Friday, June 18, 2010

Gordon Brown signals start of Labours general election campaign

By Robert Mendick Published: 12:50PM GMT 20 Feb 2010

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The Prime Minister issued his rallying call at a meeting of activists in Coventry, in which he appealed to the electorate to "take a second look" at his party"s policies. He also accused the Tories of being out of touch with Britain"s "mainstream majority".

"My message to the people of Britain today is simple," he told the high-profile gathering attended by key cabinet ministers. "I know that Labour hasn"t done everything right.

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And I know - really, I know - that I"m not perfect. But I know where I come from, I know what I stand for, and I know who I came into politics to represent.

"And if you, like me, are from Britain"s mainstream majority - from an ordinary family that wants to get on and not simply get by, then my message to you today is simple: take a second look at us and take a long hard look at them."

Labour were "the changemakers" in the election, he said, setting out the four key themes for the campaign.

"First, we must secure the recovery, not put it at risk. Second, we must support new industries and future jobs.

"Third, as we reduce the deficit by half, we must protect and not cut frontline services. And fourth, we must stand up for the many not the few."

The timing of the speech, which coincides with Mr Brown"s 59th birthday, had prompted some speculation he could announce a snap election earlier than a poll on May 6, which remains the most likely date.

But he made no mention of timings other than to joke with his audience that there were 76 campaigning days left - a reference not to a national election but to the date of the local elections.

While Mr Brown"s speech noticeably omitted any pre-election policy announcements it nevertheless raises the stakes in the run up to the general election.

He arrived on stage to the strains of Jackie Wilson"s "(Your Love Keeps Lifting Me) Higher and Higher" after speeches from cabinet colleagues including Alistair Darling, the Chancellor, and Lord Mandelson, the Business Secretary.

He then immediately targeted David Cameron"s opposition in a bid to exploit narrowing opinion polls and tap into what the party believes is a "submerged optimism" among the electorate.

Labour is gearing up for what it calls "Operation Fightback". Local activists are being sent campaigning material while voters in marginal seats are receiving mail shots.

Ministers are also being dispatched to key battlegrounds around the country. Mr Brown described the coming campaign as a "street by street" fight for victory on the doorsteps.

With political differences over how best to tackle the UK"s record £178 billion deficit dominating exchanges in the run up to the election, Mr Brown put recovery efforts in the top three places of his electioneering themes.

He accused the Tories of planning a series of cuts that would hit the "mainstream majority" and harm the economy: spending cuts this year; an end to cancer and GP guarantees; axing some child benefit and children"s centres; tax cuts for wealthy estates; retaining hereditary peers and overturning the ban on fox hunting.

And he seized on recent Tory document that mistakenly claimed more than half of girls in some parts of the UK were pregnant by the age of 18 - it is in fact 5%.

"Can they claim they know the aspirations of mainstream Britain when they so clearly understand so little of how we live?" he asked to cheers.

In a reference to the ongoing political row over how to pay for elderly care, he went on: "When it comes to the most vulnerable people in our society, if you put partisan point scoring before a consensus on social care, real families really suffer.

"If you frighten people with made up figures on crime, real families really suffer.

"And if you talk Britain down in the middle of a recession and undermine confidence, real families really suffer.

"Because government is not a game. Because when you peel away the veneer and actually look at what their policies mean, what you see is not the new economics of the future, it"s the same old Conservative economics of the 1980s."

Dismissing Mr Cameron"s claim that a changed Tory party now occupied the centre ground, he said the party had done nothing but "change their appearance, to give the appearance of change.

"To those who are beginning to wonder how to use their vote, ask yourself whether at heart you believe in fairness and individual opportunity," he said.

"Ask whether you want to keep on the road to economic recovery or to return to the same old social divisions of the Tory years."

"And so today I issue a call to every progressive to come together to fight for the values we cherish and the country we love.

"This campaign is not going to be won somewhere else by someone else - it"s going to be won street by street, school-gate by school-gate, workplace by workplace - it"s going to be won by you.

"If you believe in taking this country forwards not backwards then Labour are the change-makers in this election."

Winter Olympics 2010: Amy Williams profile

Published: 9:15AM GMT 20 Feb 2010

Winter Olympics 2010: Amy Williams profile Golden girl: Amy Williams has jumped into the British record books Photo: REUTERS

Born: Cambridge, Sept 29, 1982Lives: Bath. Height: 5ft 8ins. Weight: 9st. Education: Sports Studies at University of Bath. Hobbies: Painting and creative art. Nickname: Curly Wurly. Did you know: She was a county level 400m runner before switching to Skeleton.

2002 - Entered World Push Championships and won silver medal.

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2007 - Seventh in World Championships, St Moritz, Switzerland.

2007/08 - Third in World Cup events at Calgary, Canada and Park City, USA.

2008 - Fifth in World Championships, Altenberg, Germany.

2009 - Silver medal in World Championships, Lake Placid, USA.- World Cup silver at Whistler event.

2010, Feb 18 - Breaks the track record (53.83 seconds) in her opening run in the women"s Skeleton competition at the Whistler Sliding Center.

Feb 19 - Wins Winter Olympic Games gold medal for Great Britain at Whistler Sliding Center.

Lions 65 Waikato Chiefs 72: match report

Published: 11:27AM GMT 20 Feb 2010

Lions 65 Waikato Chiefs 72: match report Free-flowing: the final score has rewritten the Super 14 record books Photo: EPA

The Waikato Chiefs have beaten the Lions 72-65 in a high-scoring match that has rewritten the Super 14 record books.

The 137 points eclipsed the previous best total of 118 set in Natal"s 75-43 win over the Highlanders in 1997 and the 18 tries scored surpassed the 14 touchdowns that were accumulated in the Crusaders" 96-19 victory over the Waratahs in 2002.

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Man of the match Stephen Donald registered 32 points as the New Zealanders picked up their second away win in this season"s competition.

The Chiefs, runners-up in 2009, scored nine tries, including a hat-trick by All Blacks centre Richard Kahui, to notch up consecutive victories on South African soil following their 19-18 triumph over the Sharks in the opening round of fixtures.

The Lions recovered from a 17-6 deficit to lead 25-17 before the visitors countered with 48 unanswered points either side of the break.

The tone was set in the second minute when Chiefs centre Callum Bruce dived over in the right corner from a scrum near the line.

Fly-half Donald, who contributed a try, three penalties and nine conversions in a flawless kicking display, added the extra points.

Lions full-back Earl Rose, who had two penalties and five conversions, kept the home side in the game before centre Kahui charged through for the first of his three tries.

The Chiefs threatened to run away with the game but the Lions responded with 19 unanswered points through tries from winger Wandile Mjekevu, US international Todd Clever and former All Blacks fly-half Carlos Spencer.

Donald put the Chiefs back in front on the stroke of half-time before team-mate Liam Messam sparked a remarkable sequence of points-scoring with his only try.

Students at Oxfords Christ Church accused of dealing heroin

By Heidi Blake Published: 8:00AM GMT 20 Feb 2010

Olivia Channon died of a drug overdose in rooms at Christ Church, Oxford, in 1986 Olivia Channon died of a drug overdose in rooms at Christ Church, Oxford, in 1986

Authorities at Christ Church circulated an email warning students that they would be handed over to police if they were caught with the class A drug after an anonymous tip-off that undergraduates were allegedly selling heroin.

Christ Church, among the largest of the universitys 38 colleges, became entangled in a drugs scandal in 1986 when Olivia Channon, the daughter of the Conservative cabinet minister Paul Channon, died on campus from a heroin overdose at the age of 22.

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Miss Channon was celebrating the end of her finals when she died after a drugs party in the rooms of Count Gottfried von Bismarck.

The count died in 2007 following a two-day heroin and cocaine binge.

Ian Watson, the junior college censor in charge of discipline, sent students an email over the latest incident this month, with the subject line: "Urgent warning concerning drugs."

"The law applies just as rigorously within college as elsewhere. The censors have neither the power nor the wish to protect anyone who breaks it," he wrote in the message to the colleges 426 students.

Setting out the allegations, he added: "Last week the censors received an anonymous letter alleging the existence in Christ Church of a considerable drugs culture, including the supplying of class A drugs such as heroin. The letter named one individual.

"The police, whom the censors consulted in the person of the community liaison officer who deals with the university, have advised that this letter does not in itself constitute usable evidence with which to start an investigation.

"All junior members should, however, recall that the use, and especially the supplying, of prohibited drugs constitutes a serious criminal offence," he wrote. The email, printed in the student newspaper Cherwell, warned that anyone caught using drugs would face prosecution and possible expulsion from Oxford.

One third-year student, who did not wish to be named, told the student newspaper that he was aware of a drugs culture at the college but denied that heroin was in regular use. "There are quite a few people on drugs, but I dont know about heroin dealing in the college. I was pretty shocked about the heroin," he said.

"It looks like some nutter coming in, seeing a few people looking rough, and saying theyre all smack-heads. Its palpably false there is no heroin in Christ Church."

Lou Stoppard, another student, said the allegations had caused "confusion". "It seemed like an overenthusiastic censor being overdramatic," she said.

A spokesman for Christ Church confirmed that the email had been sent. A statement from Oxford said: "The university and the colleges take illegal drug use very seriously. It is first and foremost a welfare issue. In that respect students will find a range of support at Oxford, both at college and university level."

FBI closes 9/11 anthrax investigation

Published: 8:12AM GMT 20 Feb 2010

The anthrax letters were sent to US politicians and news organisations in the aftermath of the September 11 attacks.

A source close to the investigation told the Associated Press said the FBI was finally satisfied it had identified that Dr Irvins acted alone.

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The anthrax case was one of the most vexing and costly investigations in US history until officials announced in 2008 that the lone suspect was Dr Bruce Ivins, who killed himself as authorities prepared to indict him.

After reviewing its initial findings the FBI is said to be satisfied it was right and is closing the case for good.

Laced with anthrax, the letters were sent with childish handwriting and chilling scientific expertise.

The spores killed five people: two postal workers in Washington, a New York City hospital worker, a Florida photo editor and a 94-year-old Connecticut woman who had no known contact with any of the poisoned letters. Seventeen other people fell ill.

For years, the FBI chased leads.

In 2008, they announced that the mystery had been solved, but the suspect was dead. Authorities said that in the days before the mailings, Dr Ivins had logged unusual hours alone in his laboratory at the Army Medical Research Institute of Infectious Diseases. They also say he threw investigators off his trail by supplying false leads as he ostensibly tried to help them find the killer.

David Walliams and James Corden kiss at Haiti fund-raiser

By Nick Collins Published: 7:30AM GMT 19 Feb 2010

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Hosted by Trudie Styler, the show, which featured a tribute to the late fashion designer Alexander McQueen, was organised by supermodel Naomi Campbell through her pop contacts in the fashion, music, film and TV worlds.

Celebrities including Kate Moss, Dame Shirley Bassey, Linda Evangelista, Geri Halliwell and Girls Aloud"s Nicola Roberts and Kimberley Walsh took to the catwalk wearing outfits by McQueen, Vivienne Westwood, Giorgio Armani and Dolce & Gabbana.

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Ronnie Corbett, cricketer Andrew Flintoff, EastEnders" Larry Lamb and Piers Morgan modelled designer suits.

Wearing a gold corset Vivienne Westwood dress, Campbell accompanied her mother, Valerie, and Britain"s Got Talent judge Morgan, while the heavily-pregnant Denise van Outen in a Jasmine di Milo gown received rapturous applause.

A fund-raising auction followed the fashion show, where a signed painting by Damien Hirst sold for £300,000. A McQueen dress, specially designed for and worn by Moss, went for £100,000.

Bob Geldof, Sarah Brown, the wife of the Prime Minister, and retail boss Sir Philip Green were among the guests at the Fashion for Relief show at London"s Somerset House.

It was held in aid of the White Ribbon Alliance, which promotes safe pregnancy and childbirth around the world.

Funds raised at the show will go towards ensuring mothers and babies are at the heart of the Haiti"s new health system, organisers said.

Campbell said: ""I am incredibly grateful to everyone who has generously donated their time and effort to make Fashion for Relief happen.""

Mrs Brown, who is patron of the White Ribbon Alliance, said: ""It"s a privilege to be back here again at Fashion for Relief such a powerful cause.

""British people have been exceptionally generous in response to those affected by the Haiti earthquake disaster, raising £77m so far and playing their part."

Dantes Inferno video game review

By Nick Cowen Published: 2:01PM GMT 18 Feb 2010

Previous of Images Next Dante The end of the level is in sight: Some of the boss battles are well designed Dante Dante Of War: It"s possible to make a long list of the stylistic and gameplay elements Dante"s Inferno takes from God Of War Dante The game"s combat makes an attempt to be balletic and flowing, but it fails. It is, however, satisfyingly bloody Dante Have scythe, will travel: Dante"s weapon is a violent, but malleable multipurpose tool. Dante Stare into the face of God: Players can punish or absolve their opponents

Formats: Xbox 360 and PS3 (tested)Developer: Visceral GamesPublisher: Electronic ArtsReleased: 5 February 2010Score: 6/10

It was initially tempting to employ the talents of our religious columnist Christopher Howse for this review. After all, Christopher is an expert on religion and it"s more than probable he will have read The Divine Comedy. I haven"t, so it"s impossible for me to determine to just how closely EA"s new hack and slash sticks to its source material. However, after watching the opening cinematic, I thought I"d spare Christopher the extra work. Whatever gaps exist in my knowledge about Dante, I"m certain he didn"t have the body of an NFL linebacker and a penchant for sewing bits of tapestry to his chest. And even if I"m wrong on both counts there, I can say with all confidence that he was never in possession of the Grim Reaper"s Scythe on his travails through the pits of hell.

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Dante"s Inferno is inspired by, rather than based on, the first part of The Divine Comedy. Players take on the role of Dante, who has just returned from the Third Crusade having visited all manner of violence on the population of the Middle East. He"s also impressively managed to kill Death and steal his Scythe. Upon arriving at his family"s home, he finds his lover, Beatrice, murdered and he falls to his knees in sorrow. Suddenly Satan appears in the form of a sneering miniature dust storm and spirits Beatrice"s soul away into the underworld. Guided by the spirit of Virgil, who looks and sounds like the soul of Obi Wan Kenobi at a toga party, Dante cuts his way across hell in search of the soul of his lover. Hilarity ensues.

Video game developers have a long-standing tradition of ransacking ancient myths and legends for ideas, so it was only a matter of time before they moved around to medieval religious texts. In the case of Dante"s Inferno, Visceral Games have a better fit than most for the medium. At just a cursory glances, the first part of Dante Alighieri"s fourteenth-century epic poem offers decent rubric for game level design, heaps of inspiration for story and characters and tons of ideas for horrible creatures for players to fight. Best of all, the source material is over 600 years old, so there"s no worry about copyright infringement. However, given how much grist Visceral have for their hellish mill, the most puzzling aspect about the finished game is how derivative it all is. While the plot is inspired by events in Dante"s epic poem, Visceral"s title also takes a lot gameplay and presentation cues from another classic this time, a video game from 2005, God Of War. Once again, this sort of practice isn"t unheard of in video games as developers constantly take inspiration from their contemporaries. However, in order to transcend their influences, developers also need to produce a game which offers an experience that is significantly different from its source of inspiration, otherwise all they"re doing is making a clone.

Allow me to be blunt; Dante"s Inferno is a God Of War clone without shame and not just because its protagonist is a muscle-bound warrior sporting red tattoos and a malleable, multi-purpose weapon. The combat slavishly follows God Of War"s format, involving mêle which makes an attempt to be balletic and flowing and fails and magic, which is mapped to the face buttons and R1. The game progression is a mixture of mêle combat, platforming and abseiling, puzzle solving, boss battles and action set pieces involving quick-time events. The levels of hell contain tons of levers, pullies, pressure pads, zip lines and movable stone slabs. I could list more, but I"d probably run out of space. The game puts a premium on collecting orbs. Dante replenishes health, magic and XP by breaking fonts; to do this players holding a shoulder button and tapping the circle button rapidly this is also how the open doors. Dante"s Inferno apes so many gameplay and presentation tics from the God Of War games, that if you"ve ever played any of them you can have a rather fun afternoon listing their like I did.

However, even if you argue that most of the heavy lifting in Dante"s Inferno has been done by Kratos, there"s still plenty to admire about it. After all, just because a game in an out and out clone doesn"t necessarily mean that it will be awful to play (if you want proof of this, pick up a copy of Saints Row 2). While the combat is certainly derivative, it"s also satisfyingly brutal and bloody. Most of it involves using combo attacks to slice up opponents with a scythe, but Dante can also use Beatrice"s crucifix to blast foes from a distance. Dante has the option of absolving or punishing some opponents for their sins, and either way the player decides will open up more attacks which can be bought with souls which double as experience points (XP). Players will also come across the odd sinner (in the form of Pontius Pilate or Filippo Argenti) who they can damn or send to heaven with a little mini-game for more XP. The combat has several issues the target lock-on is rubbish and if anyone attacks Dante in mid-combo they score an automatic hit but on the whole, they don"t eat into one"s enjoyment of the action too much. There"s also a series of relics that the player can collect that also bestow extra powers.

The game"s production values are top-notch. The soundtrack which includes visceral combat effects, grinding industrial clanks and the ever-present screaming of the damned is note-perfect and the menacing orchestral score by Garry Schuman (who also composed the music for the recently released BioShock 2) is excellent. The visuals are fantastic the in-game graphics are crisp, the cut-scenes well rendered, and the story parts which revealed through a series of grisly animations are excellent. A lot of the environments look superb; especially in the early stages. The designers deserve a lot of credit for making the realm of the undead in their game look epic, disturbing and repulsive in equal measure. From the gnarled, twisted forest of Anger, to the mixture of burned rock and rivers of molten gold in Greed, to the disgusting fluid-filled stretches of Gluttony, the first few circles of look, feel and sound like a credible vision of hell. What"s better is that in some stages particularly Lust, Greed and Gluttony the creatures match their environments. In Greed, Dante is attacked by apparitions chained up to gigantic boulders of gold who bleed coins rather than blood, and in Gluttony he"s set upon by lumbering, obese horrors who spew acidic faeces from both orifices. The latter of those two may sound disgusting, but they"re nothing compared to the wretches found in Lust. There is an element of gratuity about the game"s vision of hell breasts, blades and copious amounts of blood and other bodily fluids are on display a lot of the time. However, the developers could quite rightly slap down most of these accusations (give or take the odd needlessly exposed breast) by pointing out that they"re depicting a vision of hell. Their efforts wouldn"t exactly be helped if they exercised much restraint.

What lets the game down, however, is that the level design starts running out of ideas somewhere beyond the midway point. This is first signposted around the time the player reaches Anger; enemies which seemed to be an integral part of other environments, such as the slimy worms of Gluttony, start showing up. This impacts on the game"s power to disturb the player, as foes which made one"s stomach churn when they first arrived on screen, pack far less of a wallop visually by the fifth or sixth time one sees them. It also makes the combat feel repetitive as many of the tactics that proved effective against earlier foes, will invariably be used again. Perhaps to combat against this, the game has a nasty habit of filling the screen with enemies, and then tossing an annoyance into the mix, such as having to avoid a the fists or fire-breath of a massive demon in the background. The final few levels of the game are a genuine slog; it"s here that the player encounters a series of arena battles, some of which have to be beaten with a handicap exclusively with aerial attacks or without magic, for example.

It"s this downturn that ultimately decides our score for Dante"s Inferno. Even though the game"s controls, visuals, subject matter and its penchant for blood-strewn combat scream God Of War, the first two-thirds of the game are genuinely entertaining. It may have been derivative in the extreme, but halfway through the game it seemed for a while that Dante"s Inferno could have been considered a guiltily pleasurable alternative to God Of War. But these hopes were dashed in the final third where poor design, repetitive waves of enemies and button-bashing gameplay took all my enjoyment and curdled into a numbing disappointment. In the end, the final credits were a relief as I"d only completed the game for the sake of this review. Dante"s Inferno is by no means a terrible game, but it"s not an essential title and I wouldn"t recommend paying full price for it. If a sequel is on the cards as is hinted by the ending the developers would do well to institute a more consistent level of quality. Until then, one can"t damn the players of Dante"s Inferno for trading the nine circles of hell for a trip to Hades with Kratos.