Thursday, 27 December 2012

TV Review: Doctor Who Christmas Special 'The Snowmen'

 
Happy to be free of the ponds or still grieving over their departure, this years Christmas special will certainly tease you back into the hands of Who with an eclectic mix of old friends, evil villains, a chirpy new companion and a cantankerous and bitter doctor who has turned his back on the universe. Now, if I were sulking over the loss off the Ponds (which actually I wouldn’t be given they had begun to feel a bit like tardis squatters) and I had my very own time machine, where would I go? A cloud above an ever-beautiful BBC rendition of Victorian England, no more than a spiral staircase away from a lizard lady, her wife and a humorous potato man, would certainly be on my list.

Whovians will be titillated from the off with a spectacular new opening sequence that boasts some fresh new graphical mastery, an ever-epic revamped theme tune and Matt Smith’s head floating in the vortex, resonant of the shows early years and beautifully foreshadowing its 50th anniversary. Furthermore, our swift re-acquaintance with old accomplices promises to have us comfortably back in the Whoniverse following our three month break making for a welcome introduction to new companion Clara (Jenna-Louise Coleman), whose curious and playfully ambiguous character brings this tale to life with the two words that have underpinned the show's arc for some time: “Doctor Who?” Intertwined in this meeting, this years frosty villains also make their first appearance early on in the episode and come equipped with sinister eyes and suitably scary teeth, highlighting Steven Moffat’s creative genius is still second to none when it comes to creepy characters and making monsters out of molehills. In fact, these fiendish snowman along with the angry ice governess are probably some of the most inventive monsters we have seen recently and will certainly have the kids burying their heads into their Christmas jumpers.

Bringing in Richard E Grant to play ruthless Doctor Simeon and Ian Mckellen to voice the indomitable Great Intelligence was inspired but underused. It was like inviting Delia Smith to Christmas dinner but buying your mince pies from Tesco: a wasted opportunity. Though both parts were executed (as would be expected) with absolute clarity, their success was underappreciated by a plot that just did not do them justice and was rounded off hurriedly with a rather confusing conclusion. I mean, Sir Ian Mckellen on Doctor Who? Why wasn’t he in every scene? In fact, why wasn’t he playing every character? Not to worry, following the recent release of the Hobbit, we are definitely getting our yearly fix of the old thesp. On a less childish note though (and it’s hard not be childish when it comes to Doctor Who), the diluted baddie moments still did enough to embellish this Christmas special with some added flavour for the broader audience that it would undoubtedly draw, and gave way to the eagerly awaited introduction of Clara and the development of her relationship to the doctor. Unfortunately however, I still couldn’t help but feel a little starved of this year’s villains and was left wishing that the Doctor Who team had saved these two acting greats for a later episode.

Characters who certainly did get enough time to shine were Madame Vastra (Neve McIntosh) and Jenny (Catrin Stewart); their lascivious interactions, confident swagger and subtle pokes at archaic attitudes were so cheekily funny that they have given all these rumours of a spin-off off show more clout than ever (I'd certainly watch it). In addition, their relationship with the doctor remained clear and consistent, a rarity with the come-and-go companions of recent years, and has cemented them as some of The Doctor’s most important companions and hopefully ensuring some future appearances. The biggest gem in these two however, is that despite being so outrageous in their essence they are believable, making them wonderful additions to the show and its diverse audience. Strax (Dan Starkey), who has always been a bit of a question mark and a somewhat pointless character, really comes into his own too. Many of the most comical moments of this episode rested entirely on Strax's own views on humans and warfare, providing seasoned viewers with something finally to  get their teeth into with this Sontaran sidekick. Opposite Smith’s wacky but sensitive doctor, the jokes were golden and were possibly the most memorable moments of this episode.

As was widely expected following her touching debut in ‘Asylum of the Daleks’, the hook of this year’s special was The Doctor’s new companion, Clara, who managed to showcase two sides of her acting ability as both a cockney barmaid and a governess. Together with Matt Smith, who was on top form and bringing us yet more subtle layers to our 11th doctor, the two managed to achieve a chemistry that took Amy and The Doctor a whole series to achieve. They were intimate, they made the script their own and they laid the path for a new era of Doctor Who that promises to please all.

Unlike the last few Christmas specials, this episode was under a lot more pressure to succeed (especially given the lukewarm reception of last year’s ‘The Doctor, The Witch and The Wardrobe’) what with the re-introduction of our new companion, wrapping up the loss of the Ponds, leading us into the anticipated 50th anniversary year whilst weaving everything together with a Christmas themed plot. From this point of view, ‘The Snowmen’ achieved the all important balance of humour, suspense, seriousness and fun that the Doctor Who of late has frequently missed, granting us one of the most enjoyable episodes of the past two seasons. The writing, acting and visuals were all at their best right when they needed to be and though I would have loved to see more of our villains, you can’t always have everything. Role on 2013!

8/10

Friday, 21 December 2012

Not quite the end of the world we'd hoped for

So the end of the world is upon us again… except it’s not, and much to the disappointment of everybody it seems! Of course, most of us just got on with our usual business, wrapping up our last minute Christmas shopping, forcing smiles to carol singers and opening the Brandy three days before planned (and why not, its Christmas!) but always with an ear open for news of our friends down under, just in case.

Social networks are crowded with blasé anticipation and airy references but not without proving that the western world loves nothing more than a potential Armageddon to get its juices going. Though we must wonder: If we had absolute faith that the Mayan’s were wrong then surely there would be no cause for discussion, but that’s the problem isn’t it? There’s a small part of us that still thinks it might just happen! Moreover, I dare say that many of us are secretly just itching for a reason to hide away in some convenient cave while destruction rains down above, with the hope that they will emerge with a brand new start, in a world without income tax, rush our traffic, plastic pin-ups, Nectar points and hopefully without the go compare man.

But alas we must continue the rat race, all staying quietly disappointed that the big 2012 shake-up was just the consequence of a Mayan scribe getting bored of all that calendar crafting. Are we ever going to have a decent apocalypse that doesn’t go off like a dud firework?

Thursday, 20 December 2012

Live Review: Biffy Clyro's 'Only Revolutions' tour

 
As the crowd begins to get impatient, the lights dim and Simon Neil, Ben Johnston and James Johnston take to the stage. It all kicks off with forthcoming fifth record ‘Only Revolutions’ second single, and when I say it all kicks off, I mean a pit is forming immediately and we are neck deep in the energetic guitar riff of ‘That Golden Rule’. Following is ‘Living is a Problem Because Everything Dies’, which I half expect as Biffy have quite often opened with it since the release of ‘Puzzle’. Despite the predictability however, it’s probably the best song to get everyone shouting the lyrics after their mosh.

Then, out comes their brand new ‘Bubbles’ flanked by ‘A whole child ago’ and ‘Who’s got a match’ which are undoubtedly two crowd favorites since the success of ‘Puzzle’. Safe? Perhaps, but probably for the best. It may have resulted in an atmospheric drop had they thrown all their new stuff together at once. I had a similar feeling again with ‘Born on a Horse’ but it’s ingenious placement (following head-banging ‘9/15ths’ where the crowd inevitably chanted) served as an intense build to the insanity that was ‘57’, with Biffy owning the entire venue for the first time in the evening. The set of angled metal girders came alive with flashing lights, the strobes were on overtime and the crowd were alive with passion, screaming along with James Johnston’s renowned vocals in the chorus.

‘Machines’ then gave the crowd to relish in melody (as well as give them time to catch their breath after ‘57’) as Simon served it up with real emotion. The purple up-lighting and crowd involvement was very reminiscent of Biffy’s festival performances over the last year, a welcome refreshment for the die-hards. The rhythm’s of ‘Now I’m Everyone’ and ‘Love Has a Diameter’ had the crowd nodding with the beats again and lead us beautifully into the melodic ‘God and Satan’. This was another safe move by Biffy using two ‘Puzzle’ songs to flank a newbie, however crowd reactions to ‘Blackened Sky’ and ‘Justboy’ highlighted that Biffy know their audience.

After a successful reception of ‘The Captain’, their encore began with ‘Joy.Discovery.Invention’, which was happy relief for early fans and a great sing-along for the crowd, finally ending with the hugely popular ‘Semi-mental’ and ‘Mountains’ which left the crowd leaving on high.

Where I could take away points for some safe choices, I could also add points for delivering exactly what paying fans wanted. So it must be a solid:

7/10.

Wednesday, 19 December 2012

Photoshoot: A Husky cross German Shepherd named Lloyd










Album Review: 'Battle for the Sun' by Placebo (Written in 2009 following the albums release)



Placebo, the band who sound tracked adolescence and self discovery, have returned with a mature reflection on their gritty, emotionally honest and somewhat self indulgent predecessors with their new album Battle For The Sun. “All of my wrongs … come back to haunt me” seems to be the perfect lyric as Placebo regress back to their angst filled years with new drummer onboard, Steve Forrest.

‘Kitty litter’ is the perfect opening track, being fast paced yet melancholic and echoing classic titles from Black Market Music like ‘Special K’. Fans who were unimpressed with their previous album Meds will certainly recognise their token anthemic sound returning in the following track ‘Ashtray Heart’ and later on in ‘Bright lights’. Both songs capture that blurry feeling as life passes by just as Sleeping With Ghosts did with ‘This Picture’ and ‘Bitter End’.

Title track ‘Battle For The Sun’ offers a refreshment for old fans who, despite revelling in their old sound, want to hear something fresh. For the new fans however, this is the track that you will not be able to shake from your head and god knows you will be checking their backlog after this. ‘Devil In The Details’ and ‘Speak In Tongues’ bring the tone back down to an angry reflection of things past much like ‘Black Eyed’ did, however this time with a more thorough and adult angle. I’m not sure how these two tracks serve the album in that they seem to lack that Placebo edge that made the band who they are. A sign, I think, that that the naivety and confusion that we all experienced with them has moved on, both in their lives and their music.

Nevertheless, ‘Julien’ brings us back to ‘Battle Of The Sun’ with that powerful bass and ‘Happy You’re Gone’ reminds us of the innovation and spark that we have all grown to love about Placebo. For new fans, this album will certainly give you the perfect taster of what these guys were and are about. On the other hand, if you are a die-hard old school fan and you want to hear some classic Placebo, they deliver.

8/10

Tuesday, 18 December 2012

Film Review - The Hobbit: An Unexpected Journey

 
How do you make a three hour movie using the first third of an average size novel? The question that haunted us all for the exciting, if a little apprehensive, months preceding the release of Peter Jackson’s return to Middle Earth ‘The Hobbit: An Unexpected Journey’. Now we have been relieved of our agonising wait, it seems the answer is threefold. One: Take all the moments of heart and vigour and beef them up with some spectacular action, extended tension or enduring warmth. Two: Carefully select information from various appendices to solidify the little plot you have whilst subtly foreshadowing its already hugely successful sequel. Three, bridge the gaps with phenomenal locations and aerial views of Middle Earth’s magical beauty.

In the sense of turning such a small piece of text into a three hour epic, the film was a success. However, next to ‘The lord of the Rings’ Trilogy, it just doesn’t do enough to satisfy the fantasy lover’s thirst. Whether you are Tolkien enthusiast or not, ‘The Hobbit’ was and always will be a children’s novel in which Middle Earth was painted with an adventurous and juvenile tone and where the word “evil” meant little more than a child stealing a biscuit. The difficulty with the movie is that its unsubtle likeness to ‘Lord of the Rings’ evokes similar expectations from its audience which the story was just not written to deliver. Consequently, all innocent sense of adventure is swallowed by the unnecessary dark undertones, preventing the movie from achieving its full potential. The most obvious of these similarities is the plot: A gang of ragtag travellers embarking on a quest across Middle Earth to destroy a villain, encountering snarling orcs, boisterous trolls and pretentious elves, passing through a goblin ridden mountain and arriving at a point of uncertainty to lead us into the sequel. This was too akin to ‘The Fellowship of the Ring’ to avoid subliminal comparisons being made and a sign, I think, that stretching the story into a trilogy is going to have a damaging effect on its reception.
 
In the interest of balance though, the performances of returning characters were exceptional, to the point that they rescued the film from falling quickly into its predecessor’s shoes. Cate Blanchet brought us the gentle playfulness of an unburdened Galadriel, Hugo Weaving brought us a Lord Elrond devoid of doubt and Ian Mckellen returned to his robes boasting ambitions born of adventure rather than necessity. Furthermore, our villain-to-be white wizard Saruman (Christopher Lee) was executed with the same resolute authority but without the underlying malice that he would later adopt. Taking the biscuit though was Martin Freeman, whose portrayal of a returning Bilbo was understated, endearing and an all round delight to watch. Balancing the warmth that Ian Holm brought to the role with the uncertainty and apprehension of youth, Freeman managed to bring us both the Bilbo we know and the Bilbo we don’t know at the same time. Around him, there were also some wonderful performances from new characters, including Sylvester McCoy’s peculiar but lovable Radagast and Richard Armitage’s Stubborn but honourable Thorin.
 
As a fan of the book, one of my greatest fears was the treatment of the dialogue between Bilbo and Gollum. This fear was exemplified by the fact that my favourite characters of ‘The Two Towers’ (Treebeard and The Ents) were disappointingly diluted in the film. However, despite a nervous anticipation, these scenes were to become the highlight of the film. The harmony of Andy Serkis’s disturbed and endearing Gollum paired with Freeman’s chirpy timidity created an exquisite mix of tense and humorous moments, making for an outstanding twenty minutes of cinema. As such, despite the movie’s shortcomings and regardless of whether the three-film breakdown was a wise idea, I have no doubt that Peter Jackson knows where the gold is when dealing with these literary masterpieces.
 
There has been a great deal of negative reception to the higher frame rate used in the movie, and where I don’t think it ruined the movie as some have suggested, I certainly don’t think it helped it. The dry realism that flourishes under such a high frame rate detracted completely from the fantasy, taking the awe-inspiring edge off the plethora of splendid visuals that this movie has to offer. For me personally, this was not disastrous as it fell into the shadow of other aspects including the phenomenal scores of Howard Shore, some of which were fresh and exciting and some of which were familiar, and the exemplary performances from the cast.
 
In all, this film succeeds in bringing Tolkien’s Middle Earth to life once again with wonderfully portrayed characters, captivating dialogue and a grand spectacle. However, Peter Jackson’s aim to recreate the success of its predecessor has doomed ‘The Hobbit’ trilogy to be forever in its shadow. Reading ‘The Hobbit’ and ‘The Lord of the Rings’ are two vastly different experiences which is what made both works so successful and enduring. Unfortunately, this is a trick missed in their journey to cinema and I fear that the final instalment is not going to grant us the same satisfaction as ‘The Return of the King’ did in 2003. In summary, I can’t find any words better than that of Bilbo Baggins himself: “Like butter scraped over too much bread.”
 
7/10

Film Review - End of Watch

 
For me, Ayer’s work has never been much to look forward to. However, when you expect little it’s not hard to find yourself pleasantly surprised, especially when our two leads (Gyllenhaal and Pena) spark a chemistry so captivating and believable that the plot inevitably takes a back seat. The two performances came together in an unlikely and deeply intimiate harmony, a gem captured rarely throught this movie genre.

Critics are likely to compare our guys to the likes of other cop-duo bench marks like Glover and Gibson (Lethal Weapon) but in my mind, ‘End of Watch’ has positioned itself in a non-comparable position. The reason? that this is in fact, above all else, a bromance story merely set against the gritty backdrop of downtown LA.

Given this unbreakable, claustrophobic, live-and-breathe cop partnership, the numerous insights into their personal lives were left totally irrelevant. The immersion of the found footage and the confines of the car renounces the importance of the their lives beyond the job and had me eager to rejoin the duo on the job every time we left it. Usually, this is an effective device for character development and establishing empathy in the audience, but here it just didn’t add anything. Furthermore, these tangents would have been less intrusive had they not been ridden with cliches. Now, cliches never usually trouble me, but in a movie that’s overtly attempting to transcend the norms of the cop movie genre, they stick out like a sore thumb (oh the irony).

The inclusion of found footage was definitely successful in its capture of the gritty realism and slow building to the action packed finale, but it was too disappointingly safe to achieve its full potential. Though Ayer used it strategically throughout the film to give weight to tense moments, it contradicted the randomness and uncertainty that found footage usually does so well to achieve and as a result, the plot became more contrived than I think Ayer wanted it to be.

Niggles aside, the film is enjoyable in places. the acting is faultless and the plot builds slowly and consistently, managing to keep even the most impatient ones among us hooked with some deeply tense stand-offs, interesting dialogue and one killer climax.

5/10

Friday, 14 December 2012

Prologue


The boy chased it from the tavern all the way to the outskirts of Ilawan.
He chased it through the village square, a dusty expanse scattered in the long shadows of evening, and then over the soft flowerbeds that hugged the village hall. He pursued it through the cooper’s yard, between mountains of kegs and casks that stood as unsteady as Old Corgi with his wooden leg, and then he followed it through the eastern orchards, apples underfoot here and there and the air heavy with a smell as sweet as it was sour. Then it was on through Rik Red-Cheek’s barley crop that had grown taller than he was after the mid-summer downpour, the dragonfly still teasing and tormenting as it cavorted through air, before arriving in the outer fields that rolled down toward the stream.
Yet Flick kept running, and the dragonfly kept flitting. Droplets flew from beneath his feet as he sprinted through the shallows of the stream that meandered through Ilawan snakelike in the grass, startling water birds that sought escape in the branches of the willows as Flick ploughed between them. He knew the river as much as the river knew him, and his feet found every stone without so much as a stumble.
The subtle chill of the evening air rushed past his ears, turning what was a whispering breeze to others into a rushing gale that bit the tips of his ears and nose as he ran. But, despite all his efforts, the elusive creature remained just out of reach of his fumbling fingers, and before long Flick arrived at the forest’s edge where the dragonfly flitted between the leering, aged carob trees and disappeared into the dark veil of the wood. Flick stopped dead in his path.
Aewin. Everybody knew the word.
The forest that could incite wars just as to finish them. The forest whose very mention drew the gaze of hooded strangers in wayward inns. The forest that that was friend to many and foe to more, and the forest that lay forever changing, shifting, spreading its arms into the vast reaches Kala. One day they would not call the world Kala anymore, they would just call it Aewin.
They were the stories, at least. To Flick it was part of home.
The forest breathed as a breeze danced through a thousand limbs. A thousand limbs surrounding Ilawan like brown green arms and rolling away in every direction towards the wooded horizon, visible only from atop the tallest buildings.
Standing on the threshold between light and dark, the fine line between wisdom and foolishness, Flick panted heavily against his aching chest until he caught his breath. The night stank of summer, and the shadows of Aewin loomed over him, menacing black fingers reaching for the village. Disgruntled and defeated, he turned to make back for the village, in what would have been a moping and languishing stroll had his attention not been drawn by a hooting from above.
He looked up into the branches. The sky behind their jagged silhouettes was a deep azure blue; a blue that warned of night’s swift approach. Still as stone, Flick’s eyes scoured the branches until they eventually found the bird; an owl, large as a cat, adorned in feathers of grey and white and silver. The winged creature stared down at him, its glare measuring and uninterrupted. Flick had chanced to see an owl only once before, and even then it had only been at a distance, so he stepped closer better to see it. It sees me, he realised. It’s eyes did not waver, and for the slightest moment they seemed to sparkle glow, so quick that he questioned having seen it at all. And in a heartbeat, the owl was gone, disappeared into the blackness of thicket with a soft flutter.
Another challenge.
He did not hesitate. Flick leapt into the brush after it, his footsteps pounding through the brush fast as the beating of wings, the dragonfly all but forgotten. Venturing into the woods after nightfall was foolish, whoever you were, much less a child, alone at nightfall. There might be wolves out here, he found himself thinking, blood bats, tree snakes, but his feet continued carrying him ever onwards, crunching through the dark, musty undergrowth that carpeted the Aewin’s innards. What if he fell upon one of the hermits he had been so often warned of? One of them was rumoured to keep spiders as pets, another fed children like him to his cats if you believed the tales. Yet he ran anyway. The forest had never scared him, and neither had the stories.
Eyeing the owl in the bough of an ash, he halted, but was quickly to his feet again as it was gone in another flutter. No! let me see you.
The owl traversed several branches to avoid him, and eventually disappeared completely, as the dragonfly had done, leaving it’s young pursuer stranded in the black. The silence fell as quick as sleep, but the dark wood still did not frighten him as much as he knew it should have. They would be angry, the others, if they knew where he was, where he had been. Frustrated by his second defeat of the evening, he kicked the nearest tree trunk, sending a painful jolt from his toes to his ankle, and huffed. It took a final glance around the thicket to spur his feet, finally, and Flick turned to head home.  
His heart might have stopped then. Stood before him, among the dappled shadows cast by the tangle of trees, was a figure; a man draped in a long, grey robe, feathers entwined in its fabric, a twisted wooden shaft in one hand. Flick inhaled sharply and froze. The man was not of Ilawan, he knew that much.
The man was so decadently embellished with feathers; delicately sewn into his robe, dangling from his hair, entwined in his beard and peeping from the cracks in the gnarled wood of the staff he clasped. The shaft was little shorter than Flick himself, and at its head was a crudely carved owls head; its eyes dimly glowing as if it were alive, watching. It must have been a trick of the light.
The man’s shoulders rose broad and tall, padded with the same grey and white feathers he had seen on the owl before, silvery where they caught slivers of light. Even larger feathers fanned out behind from them, and a feathered necklace hung loosely from his neck.
A cloak hung long and limp behind him, and unlike his other garments it seemed to Flick that it was woven almost entirely of feathers. It wafted gently under the light breeze of the evening as the figure stood motionless amidst the trees, almost as if he were a part of the Aewin. On his face a light beard that encircled his mouth and hung down into three separate strands like stalactites in a cave. A hooked nose crowned his pale lips that were stretched thin, so taut that Flick couldn’t decide whether it were a frown or a smile that the man wore across his time-chiselled face. His eyes glistened in the dark, white globes framed in black pools, like tiny moons in night skies and every bit as striking as the owl’s had been. They too were fixed on the Flick, questioning.
“Why do you bother me, boy?” The voice was more soothing that Flick had anticipated. It reminded him of how his grandfather’s had once been; warm, wise, ominously deep.
“My name’s not boy,” he replied, stout and stubborn, staring dubiously back at the man before him. He had always hated being called boy.
The feathered stranger seemed to smile in the shadows. “Oddly overzealous for a child so young, wouldn’t you say?”
“Odd? I’m not the one with feathers in my hair.”
The man laughed. “And delightfully impetuous. What is your name then, child?”
“Flick. You?”
“In truth, I have many,” replied the druid. “Most call me The Night Watcher.”
Flick smirked. “That’s no name.” He felt strangely at ease in front of the stranger, now that he was smiling. There was tranquillity to his tone too, soothing almost. About the wood, shafts of moonlight were beginning to fade gently into existence as the sun set into a horizon he could not see.
The man laughed again. “Well, in that case you can call me Fainwyn. Now we are acquainted, why don’t you enlighten me as to why you pursued me, and with such ardent persistence.”
“I wasn’t!” Flick answered in quick defence.
“Oh, were you not? Forgive me, it must have been your twin.”
“’I’ve no twin. I’ve only an older brother.”
Fainwyn chuckled with endearment as he wandered about the trees, touching bark and inspecting moss as he did so. “Then here we find ourselves in a dilemma, for I saw a boy exactly like you. He came running across that river, in those same shabby cloth shoes, some moments ago. Then, would you believe, he ran heedlessly into the forest.”
 “I was chasing an owl,” he replied, stubborn.
“Why? Had the owl wronged you?”
“No,” Flick replied. “Never really seen one before, see. It was right there a minute ago.” Flick turned and pointed to the branch where the owl had last perched, watching, whilst behind him the sound of fluttering wings ricocheted between the trees again. He turned back to find the man had vanished. Where did he…
“Up here.” Came the voice. Flick looked up to find the feathered man resting in the bough of one of the trees.
“How…” Flick paused, staring up at the man who now rested in a branch above, just as his previous quarry had done. His brow furrowed. The owl?
“Yes, that’s right,” assured Fainwyn. “Intuitive child. Far too inquisitive, but intuitive nonetheless.” Flick struggled to grasp how the man had seemingly heard his thought, and debated the possibility that he had inadvertently said it aloud.
“Strange Man,” he muttered, accidentally.
“Man?” Fainwyn disappeared abruptly with another beating of feathers and emerged a moment later from the shadows, his feet upon the ground once more. “I’m a druid, boy…I mean, Flick.” Flick regarded the man suspiciously. “Never heard of a druid?”
“I have. I didn’t think they were real though.”
“Real? How could I not be real if you already know of druids.”
“I didn’t know of… you, just… there are druids in stories.”
“And yet here I stand.”
“I mean that there are stories ‘bout other the other folk. Folk outside.”
“Stories of the other folk? Stories of outside? What by chance have I stumbled upon here? Surely it could not be, that you thought woodsfolk were the only peoples in all the world?”
Flick felt his stomach flutter. “S’only what I’ve been told.”
“That may be so, but not what I asked. I asked if you thought that woodsfolk were the only people in all the world.”
Flick bristled. It was as though the reality of the night had finally dawned upon him, as though he had realised that he was in fact not dreaming. “I… I guess not,” he muttered, smiling his nervous smile. “Not anymore anyway.”
“Indeed not anymore at all.” The druid smiled back fondly. “Do you know, It has been many hundreds of years since I have had the pleasure of speaking to one so young as yourself. I had almost forgotten what a delight it can be. A grown mind is an overripe sort of fruit, and an overripe fruit will only spoil in time, never as fresh and sharp as it had been when it clung to the tree. Though the day will come that you must fall from the tree, I fear. But that is a sad thought. Let us not linger upon it.”
Flick blinked. “Did you say hundreds of years?”
Fainwyn was inspecting foliage again. “It’s not so long really, when you have lived as long as I have.”
Flick brooded quietly; if hundreds of years was not so long a time, what was long? The thought almost overwhelmed him. He’s lying. He decided. He’s a mad old fool with feathers in his hair. “Are there many of you?”
 Fainwyn grinned. “It depends on what you deem as many.” His answer came with a provocative flash of his eyes. Flick raised his eyebrows sarcastically, refusing to humour the druid’s teasing, and Fainwyn eventually resigned with a sigh. “Not one for riddles I see. There are enough of us, not near as many as there once were, though.”
Flick twisted is lips suspiciously. He could scarcely believe this conversation was happening. The druid seemed as real as he was, his face carrying a real expression and his eyes deep with real history, lined with real wisdom. What he once thought a drunkard’s story was now stood before him, reflecting slivers of moonlight, casting a thick shadow and inhaling the glistening dust motes that swam in the moonbeams. His mind raced. Are then all the stories true?
As he studied, and as the druid spouted more talk of fruit and trees, Flick caught a glimpse of a bracelet that must have lain hidden beneath the druid’s sleeve before.
Fainwyn noticed and came to life again. “Ah, you like the bracelet?”
“It’s pleasant enough,” said Flick quickly, coolly. The druid unfastened it from his wrist. The bracelet was strung together with ragged shards of bark, flawless black stones and – in keeping with all of his other garments – feathers.
“Then it would be my pleasure for you to have it.”
Flick frowned, taken aback. “Why?”
“As a token of my gratitude for your pleasant conversation.” Fainwyn took Flick by the hand and fastened the bracelet around his bony wrist.
Flick shook the bracelet on his arm, observing it in the moonlight, before looking back up to Fainwyn. “I’ve never been called pleasant before.” His voice had softened, his stout front dwindling slightly. No one had the time to listen to him in Ilawan, except for his mother occasionally, and he’d certainly never been rewarded for his prattling.
Disappointment befell Fainwyn’s face. “You have been taken for granted, I fear, like most of the humbler wonders of this world. Only those who haven’t known food for an age can truly appreciate even the simplest of flavours.” Fainwyn knelt before him, the moons in his eyes meeting Flick’s stare. “Just as only those who have had nobody with whom to talk for so long, can truly appreciate the miracle of conversation.” The druid smiled.
Flick stared back at the druid thoughtfully. A question had occurred to him, one that any other would have asked in a heartbeat, one that he should have asked right away, but it had taken time to come to him; a consequence of his trusting nature. “Why’re you here?
The druid’s face had changed before Flick had even spoken the words, as if he knew the question was imminent. It was a subtle change, but enough to stir disquiet between them. Fainwyn recoiled awkwardly, a shadow of doubt passing over his calm feathery mien. “I have already remained too long.” The druid paused, a thousand thoughts flickering in his gaze, clouds passing over the moons in his eyes. “I fear you should not have seen me at all.”
Flick’s stomach knotted, something was wrong. “What? But I have seen you… What’re you doing in Ilawan?” His frustration with the druid’s ambiguous manner was sharpening his words, but he could not help himself.
“I can speak no more,” Fainwyn insisted, “though please know that I act against my heart in doing so.”
“That’s not fair. You’re the one here spying on my home.”
The druid’s eyes darted about the brush. “I did not expect to be seen.” Though Fainwyn still spoke with warmth, there was now worry simmering beneath, clear as day.
“Then why didn’t you fly away?”
At this interrogation Fainwyn leant on a tree with his free hand, as if from exhaustion, and stared blankly into the darkness. “Because in a moment of weakness I wanted to help.”
“Help?”
“But I cannot help.”
“Help with what?” The druid wandered a few feet to a fallen husk of a tree and sat upon it, exhaling and deflating. He stared at the moss laden ground for a few quiet moments before bringing his sorrowful, glistening eyes to meet Flick’s perplexed and protuberant blue ones.
“Please understand that I cannot intervene.”
“In what?”
“If I told you, I would be doing just that would I not?”
“Not if I did nothing ‘bout it.”
Fainwyn stared back at Flick, endeared once again. “Such an intelligent child,” he said. “Perhaps, maybe…” Then druid lurched at him, alive with vigor once again, and fell to a knee at his feet. Fainwyn took him by the hand and spoke as if they were the last words he would ever say.
 
The dark tide will reach you,
When the rainclouds shroud the light.
Flames and smoke will burn their eyes,
Their souls will scorch the night.
 
Death will come, an orange river,
Char and scold and burn.
Survive you may if knoweth this,
To Aewin you must turn.
 
Flick was silent for a moment. “I don’t understand,.”
“And understand you should not, or I will have said too much. But you will, in time.”
“It didn’t sound… good.”
“Perhaps,” muttered Fainwyn.
“Is that all you’ll say?”
“Though I grapple with my heart in withholding such, I will say no more on it.” Flick sighed as Fainwyn rose to his feet and made for the dark. Just like that, he was once again the helpless child he’d always been, ignored and deliberately unheard. But after a few cautious steps, the druid looked back to speak again. “I should not have been here and you should not have met me.” He muttered. “Indeed, my compassion does lead me astray, as many have sought to tell me in the past. But do stop trying to be heard, Flick.”
“I still don’t understand.” sighed Flick.
“You do, because you will.”
Fainwyn made an attempt to depart, but Flick stayed him with his pale hand. “Wait,” he pleaded. “Tell me something I’ll understand. Please. Just one thing.”
“Very well,” replied the druid, his gaze leaden with guilt. “Know that I am sorry, and should you find yourself in a position to tell your kinsmen, inform them too that I am… truly sorry.”
Flick watched, deflated and pensive, as Fainwyn walked away, the Aewin forest slowly swallowing him into the dark. Flick half expected that to have been his final word, but as the man reached the brink of disappearance against the shadows of the wood, he turned back one last time.
“Though I would better have said nought at all, remember my words, little woodsman. They may save your life.”
And with a flurry of his feather bound cloak, he was gone.