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 Images
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Bomb Isil? That's exactly what they want

The government appears not to answer the nature of its enemy, warns Maria Norris.

As MPs are set to vote on further airstrikes in Syria, it is difficult to shake off the feeling that the government does not fully appreciate the complexity of the problem Isil poses. Just a cursory glance at its magazine, the pronouncements of its leaders and its ideology reveals that Isil is desperate for Western bombs to fall out of the sky. As Martin Chulov argues, Isil is fighting a war it believes was preordained since the early days of Islam. Isil’s obsession with the city of Dabiq, in Northern Syria, stems from a hadith which prophesises that the ‘Crusader’ army will land in the city as a precursor to a final battle where Islam will emerge victorious. Dabiq is also the name of its magazine, which starts every issue with the same quote: "The spark has been lit here in Iraq, and its heat will continue to intensify -- by Allah's permission -- until it burns the crusader armies in Dabiq". Isil wants a war with the West. If we don’t negotiate with terrorists, then we also should not give them what they want.

Further, bombs are indiscriminate and will inevitably lead to the suffering of those trapped in Isil territories. Isil is counting on this suffering to swell their ranks. Civilian suffering from airstrikes only underline the narrative that the West is at war with Islam, which plays directly into Isil’s hands. And despite misleading headlines and the genuine government concern with individuals fleeing to Syria, Isis is supremely unpopular. It is no wonder that its magazine is filled with glossy adds begging people to move to its territories.  You cannot be a state without people. Terrorist attacks such as Paris thus have a two-pronged purpose: they provoke the West to respond with its military, and they act as a recruitment drive. The fact that fake Syrian passports were found around the sites of the Paris attacks is no coincidence as Isil are both seeking to stem the flow of refugees from its territories and hoping to provoke an Islamophobic backlash. They hope that, as more Muslims feel alienated in the West, more will join them, not just as fighters, but as the doctors, nurses and teachers it desperately needs.

In addition to this, airstrikes overlook the fact that Isil is a result of what Fawaz Gerges calls a severe, organic institutional crisis in the Middle East. In a lecture at the London School of Economics earlier this year, Gerges pointed out the dysfunction created when a region that is incredibly resource rich also is also deeply undemocratic, riddled with corruption, food insecurity, unemployment and poverty. This forms an institutional vacuum that is filled by non-state actors as the population does not trust its political structures. Further, the civil war in Syria is also the site of the toxic soup of Middle Eastern state dysfunction. Iran supports Assad, Saudi Arabia and the Gulf countries, fund anti-Shia groups in Syria. Throw in the Kurdish conflict, Turkey’s ambiguous position and Russian bombs, it is difficult to see how airstrikes will solve anything.

Finally, it is crucial that Isil is seen as a direct result of the Iraq war. The American-led invasion destroyed the institutions, giving the Shia majority power almost overnight, creating deep dissatisfaction in the Sunni regions of Iraq. On top of this thousands of foreign fighters flooded Iraq to fight the invaders, attracting disenfranchised and angry Sunnis. The result is that since 2003, Iraq has been embroiled in a sectarian civil war.  It is in civil war, inherently connected to the Iraq War, that you find the roots of Isil. As even the Prime Minister concedes that ground troops are necessary, albeit it regional ground troops with its own set of problems, it is important to consider what further monster can arise from the ashes of another ill-thought out military intervention in the Middle East.
We have had decades of military intervention in the Middle East with disastrous consequences. Airstrikes represent business as usual, when what we actually need is a radically new approach. Who is funding Isil? Who is buying its oil? How to curb Isil’s recruitment drives? What can be done about the refugees? How to end the conflict in Syria? What happens to Assad? These are questions hopefully being addressed in talks recently held in Vienna with Russian, Ira, the USA, France, Syria’s neighbours and the Gulf states. Airstrikes do not answer any of these questions. What airstrikes do is give Isil exactly what it is asking for. Surely this is reason enough not to bomb Syria. 

Maria W. Norris is a PhD candidate and a teacher at the London School of Economics and Political Science. Her PhD is on the UK counter-terrorism strategy since 9/11 and its relationship with identity. She tweets as @MariaWNorris.