#(I know: who am I and what have I done with generic-sonic-fan??)

[generic-sonic-fan]

Ivo strung the data cable over to the diagnostic table and patted the table surface.

“Up you go!”

Metal Sonic flicked his irises toward Sage. Sage responded by glancing to the diagnostic table.

“Sage, make your communications external. And tell me what he’s responding with, too, would you?”

“Yes Father. Brother is expressing trepidation at the thought of being erased.”

“I’m not erasing him. You don’t doubt my word, do you?”

Sage shook her head. “Of course not.”

Metal Sonic simply stared. 

“Do you?” Ivo repeated to him.

He shook his head. 

“Then get up here.”

---

Chapter 2 is up! I sure do love giving robots panic attacks.

#sth #fanfiction #eggman #ivo robotnik #metal sonic #sage robotnik #eggdad #eggman is a good dad #(or at least he's getting there!) #tw panic attack #metal sonic uses he/him pronouns #(I know: who am I and what have I done with generic-sonic-fan??) #if I continue this fic in the future that's gonna change. #anyways- I wanted to say thanks for the amount of love the first chapter got!!! It blew my mind to get over 100 notes on that #so thank you all so much!

[soaked4mk]

(Mk1) Flirty Intro Dialogues (part 3)

-Suggestive Content-

Bi-Han,Kuai Liang,Tomas Vrbada Peace Maker,Shao Kahn and Sindel

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Bi-Han 🌨️

༶•┈┈⛧┈♛┈⛧┈┈•༶

★Y/N: “I’ve heard, contrary to your chiromancy, you’re actually not a chill guy, Bi-Han…”

-Bi Han: “And I’ve heard enough of your words.”

★Bi-Han: “Prepare for a cold loss.”

-Y/N: “Don’t tell me what to do, Frosty the snowman.”

★Bi-Han: “Liu Kang has never cared about your life.”

-Y/N: “And you do…?”

-Bi Han: *Scoffs, shaking his head* “you truly are blind….”

★Bi-Han: “You’re getting stronger with each fight, Y/N.”

-Y/N: “Rare of you to flatter me Bi-Han…”

★Bi-Han: “Your allure burns a fiery passion within my frozen soul.”

-Y/N: “Shang Tsung has definitely rubbed off on you…”

★Bi-Han: “If only you would listen-

-Y/N: “How dare you assume I would ever consider such an offer…?”

★Y/N: “I will never form an alliance with you….”

-Bi Han: *Scoffs* “Of course not, Y/N…”

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Kuai Liang 🦂

༶•┈┈⛧┈♛┈⛧┈┈•༶

★Kuai Liang: “You have a fiery spirit, Y/N.”

-Y/N: “I can set your heart ablaze if you wanted~”

★Y/N: “What a hottie~”

-Kuai Liang: *Shakes head while chuckling*

★Y/N: “Is it getting hot in here? Or is it just you…?” *corny smirk*

-Kuai Liang: “Are you trying to charm me, Y/N?”

-Y/N: “Is it working?”

★Y/N: “You fan the flame in my heart.” (Didn’t know about Harumi until hanging out with Tomas.)

-Kuai Liang: “I am honored”

★Kuai Liang: “I couldn’t help but notice you and Tomas getting rather… close”

-Y/N: “Does that bother you…married man?”

★Kuai Liang: “Of course a woman (man/person) as stunning as yourself can fight just as adequately.

-Y/N: “I’m flattered, Kuai Liang”

★Kuai Liang: “Have you prepared for this, little spitfire?”

-Y/N: “No need to prepare when I’ve already won.”

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Tomas 💨

༶•┈┈⛧┈♛┈⛧┈┈•༶

★Y/N: *whistles* “What a smoke show”

-Tomas: *smirking* “Very clever, Y/N…”

★Y/N: “I hope you’re ready to lose, Vrbada.”

-Tomas: “Whatever you say krásné.”

(Beautiful)

-Y/N: “Huh-?”

★Tomas: “This will not be an easy fight.”

-Y/N: “Tell me something I don’t know.”

★Y/N: “Johnny says you talk about me often…?

-Tomas: *Clears throat* “Yes…but only good things…”

★Tomas: “I won’t be holding back this time, Y/N.”

-Y/N: “It won’t matter either way, smokey.”

★Tomas: “pěkný…”

(Pretty…)

-Y/N: “Tomas, I have no clue what

you’re saying…”

★Tomas: “Lord Liu Kang talks highly of you.”

-Y/N: “And you are about to see as to why”

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Peace Maker ☮️

༶•┈┈⛧┈♛┈⛧┈┈•༶

★ Peace maker: “Seriously…? How much kush do you smoke?”

-Y/N: “I have 20 bucks bro, sell me the sack.”

★ Y/N: “So if I just say ‘activate sonic-‘

-Peace maker: “do NOT-”

★ Y/N: “I’ve heard your actions are contrary to your message.”

-Peace Maker: “Dude, I’m just making peace, any way I can”

★Peace Maker: “Ready for this, sweet cheeks?”

-Y/N: *Rolls eyes* “Sweet cheeks…? And I thought Johnny was bad…”

★Y/N: “That helmet is certainly…”

Peace Maker: “Bad ass? I know right?”

★Y/N: “You and Kung Lao would get a long well.”

-Peace Maker: *confused* “What makes you say that?”

★Peace Maker: *smirking* “I see you checkin’ me out, cutie pie”

-Y/N: *lightly chuckling* “No, I’m judging your choice of uniform.”

★Y/N: “Naming your eagle ‘eagly’ is uhm…”

-Peace Maker: “Genius? I know, I know…”

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Shao Khan 💀

༶•┈┈⛧┈♛┈⛧┈┈•༶

★Y/N: “You have single handedly ruined your reputation, skull face.”

-Shao Kahn: *Scowls* “How dare you state something so foolish!?”

★Shao Kahn: “I’ve done nothing but serve the out world just as my family has, for generations.”

-Y/N: “If causing treasonous conduct is a part of ‘serving’ out world, then I don’t want to hear it, general.”

★Y/N: “Tell me you have toxic masculinity, without telling me you have toxic mas-“

-Shao Kahn: “Silence! you incompetent-“

-Y/N: “And here you go, proving my point…”

★Shao Kahn: “Why must you keep attempting battle with me?”

-Y/N: “You can’t beat a person who won’t give up, general.”

★Shao Kahn: “Why spar, when I can detect your fear, Y/N…?”

-Y/N: “A true warrior isn’t immune to fear, she (he/they) fights it out of spite.”

★Shao Kahn: “You could be victorious, in condition you submit, and join me.”

-Y/N: “Better to fight you with the possibility of falling, than to live without hope, Shao…”

★Shao Kahn: “Foolish of you to assume you won’t die during battle”

-Y/N: “I would rather die, than bow at the feet of a king, wearing a crown, studded of jewels of every life he has ended.”

★Shao Kahn: “You earth realmers, provoke me”

-Y/N: “Sounds like someone’s mad cause bad.” *smirks* “You mad cause bad Shao Kahn?”

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶

Sindel 🔊

༶•┈┈⛧┈♛┈⛧┈┈•༶

★Sindel: *snickers* “How quaint…I’ll be sure to enjoy this spar.”

-Y/N: “As will I, Empress.”

★Sindel: “I do hope you’ll be able to sustain during this battle”

-Y/N: *smirks* “I’ll be able to sustain, and then some, queen Sindel.”

★Y/N: “I just have to say, it’s an honor sparring with a beauty, such as yourself empress.”

-Sindel: *lightly chuckles* “Quite the flatterer, I see.”

★Sindel: “Aren’t you a bit young to be flirting with me, earth relamer…?”

-Y/N: “Heheh—It’s not about the age… it’s about the mileage, empress.”

★Y/N: “So what’s this ‘royal treatment’ I keep hearing about…?”

-Sindel: “Come over here and find out, my dear…”

★Sindel: “Liu Kang tells me you’re quite the formidable fighter.”

-Y/N: “And I’ll prove his case with this battle, your majesty.”

#mk1 #mk1 2023 #mortal kombat 1 #mortal kombat fandom #mk x reader #mk x y/n #mk x you #mortal kombat fanworks #rainyworx #shao kahn #sindel #bi han #kuai liang #tomas vrbada #peacemaker #peace maker #mk peace maker #soaked4mk #mk fandom #writing #dc comics #dcu

[beevean]

Especially the justifications ranging from "Sonic is neurodivergent-coded" to "Sonic is canonically neurodivergent" in Prime grind my gears. I'm certain many of the same people are gushing about how awesome it is that Sonic Prime is CaNoN tO tHe GaMeS... as in, the games where Sonic:

knew that simply defeating and sealing away Chaos again would do NOTHING except make its hurt and anger only worse.

gave Blaze a kind and supportive pep talk, acknowledging what she had been through because of her pyrokinesis and duties as Sol Emerald Guardian and offering her his friendship with a reminder she can count on the people she's got to know during her adventure.

defeated Merlina but expressed sympathy with her hurt about her world ending while sharing his own philosophy of needing to live life to the fullest, without any call-outs about her attacking him earlier, boasts about defeating her, or scoldings about her negative view on it all.

Immediately came rushing back from Cannon's Core in the ARK even though he was seconds away from foiling the entirety of Eggman's plan with the fake Emerald because Eggman and Tails informed him Amy was in danger.

And those are only the examples I know for certain on the top of my head, without even touching upon everything that happens in games like Sonic Battle and Sonic Forces. It's not even that Prime!Sonic is particularly nasty or rude, he clearly adores his friends, but he can't read a room to save his life and he is legitimately just stupid. Which is clearly done because it can be used to write jokes, but he is stupid, in a way that a properly-written game!Sonic could not be even if he tried. And you mean to tell me the Sonic from the above examples is the occasionally-insensitive constantly-dumb hyperactive chatterbox that Prime presents him as? Please.

(I'm sorry, I figure you might have gotten tired of Prime discourse now, but in general the whole He's Totes Neurodivergent fandom perception annoy me, because they use that card to completely disregard any (in my opinion valid) counterarguments about any poor portrayal...)

Oh wait I forgot to add: the reason I came up with those examples is apparently because people think that Sonic (aka Prime!Sonic) has low empathy. Stolen from some probably-shady and possibly-unreliable site on the internet whose definition of empathy does otherwise seem to check out: "In general, empathy is the ability to understand or sense another person’s perspective, feelings, needs, or intentions, even when you don’t share the same circumstances. It can sometimes involve acting on that understanding, including offering help." And I ask, in what world does Sonic from the games lack empathy?????? He's literally the most empathic pep-talk-giving perspective-seeing help-providing understanding sweetheart on the entire planet with that definition!

I remember reading a post that proposed that Tails had high empathy and Sonic had low empathy, before Prime was a thing. And I had your identical "bruh???????" reaction. Sonic has low empathy? Literally where. Show me proof that any version of Sonic struggles to empathize with people. My man is actually pretty good at understanding others, as you accurately pointed out.

Anyway, I don't have ADHD and even I am getting annoyed at how it's been reduced to "hehe i'm soooooo silly and quirky and kiddy 🤪". If it's not Sonic, then it's characters like Tangle who has pretty much become a womanchild and fans defend her because she's "neurodivergent-coded".

Also, speaking of differences between Prime and Canon Sonic, while the latter was also relatively slow to the uptake to accept that he was not meeting his actual friends in Secret Rings and Black Knight, it was still not as ridiculous as the former, who apparently could not recognize that he was in the third different AU in a row and still was all "oh Tails am I glad to see you!".

And apparently Apple Metal was built to be like Sonic but way more obnoxious about it, which prompts Sonic to say "if I'm half as annoying as you I need to change". Which. *sigh*

and i'm pretty sure there was a boom character like that, but boom apparently sucks ass now while prime is the best western show ever. okay

#sonic the hedgehog #anti prime #you make great points anon and i wish i could elaborate more #but yeah ngl i'm getting too irked at this #not your fault but i feel that i can't talk further without actually watching the show for myself #which i do *not* want to do not even with a friend #so yeah my opinions are not worth much and i'm getting heated up over nothing #i'm this close to muting every sonic tag to take a break

[nataliaphantomhivesblog]

What are your current fandoms??

OH MY GOD!!! I WAS WAITING FOR SOMEONE TO ASK ME THIS!! LETS GOOOO🥳🥳🥳

1. Black Butler<3

It would've been incredibly distasteful to not put this beauty on top of my list. I have been a fan of this one since 5th grade, the literal backbone of my insanity.

I may complain monthly over the agnoizingly short chapters, but the narrative and storytelling in this manga is one of my favorites ever.

Although you didn't ask, I have the need to mention: Ciel Phantomhive is my child!!

And yes, I am still awaiting Prince Soma's return.

DISCLAIMER: I am not a sebaciel wierdo and my space doesn't welcome the romanticization of pedophila. "waah waah but it's fiction!" okay?? my account is dedicated on fictional stories and characters and I don't want your wacky shit here. Thank you in advance.

2. Bungou Stray Dogs!!!

What a crime it would've been if I didn't mention the reason my account grew in the first place!!

BSD has such a special place in my heart. Tbh bsd saved me during the downfall that was 2021.

I think people who aren't new to my blog know I'm a sucker for Soukoku. I've made extensive analysis on their relationships for 3 years now. When will this brainrot end!?!?

And oh, of course I am forever greatful to the lovely @ryuuaka713 for collaborating with me on various post, I couldn't have done it without her!! Hope life treats you well! You got a tumblr friend always rooting for ya<3

ALSO: If any of you ever want to ask me anything regarding bsd that isn't Soukoku, please do! I love bsd as a whole and would be happy to answer<3

3. Berserk

Let me make one thing clear!!! I am NOT a berserk reddit fanboy who completely ignores and neglects the narrative of this story in order to fill whatever inner void that needs to be filled.

I am suuuper passionate about the Golden Age Arc and the Pre Eclipse era of Berserk, it would be impossible to shut me up about it.

I could go on billion rants about Griffith's character and his actual complexities throughout the narrative. (no, he isn't emotionless, that would destory the whole point of the story lol)

Also I want to give a not-so-subtle shoutout to @bthump for validating every single thought I had while reading Berserk and always providing textual evidence. Thank you for being the light in the darkness of this fandom!

4. Death Note

sighs yes I am still in the fandom of an anime that has only one season and ended so poetically that it makes perfect sense that it doesn't have a continuation yet my brain screams for content when obviously it will never happen.

Before anyone asks, I am not team Light or team L, both of them are selfish people and used others lives in order to beat one another.

I am a constant defender of the fact that the Death Note consumed Light. Not only is it textually stated; but it's visually stated

(Light's eyes get wider and more innocent looking for a reason when he forgets the death note guys!!!)

Anyways, this story is absolutely awesome and I think most people can agree with that.

I don't rewatch this anime often, but when I do I get shooked by the big brain plans and big brain confrontations lmao.

5. Moral Orel

"MORAL OREL SHOULDN'T HAVE BEEN CANCELLED!! FOOLISH PEOPLE FEARED IT SPOKE TOO MUCH FACTS" I scream into a void, tears fill my eyes as losing my religion by R.E.M plays in the background.

Seriously though, I love this show; a literal masterpiece. I don't think theres any show that made me incredibly concious of how my own family's dynamic worked as this one did.

Has amazing takes of the human condition and contains life long lessons.

I once made a long post about the generational abuse of moral orel if you want to check it out!

Anyways, if you haven't had the glorious chance to watch this masterpiece. PLEASE DO!! I BEG!!! The whole series is out on youtube!

we don't talk about the first 3 episodes!!!

6. Sonic!!!!

I never post anything sonic related on my blog, but I adore Sonic! Not only my childhood, but it continues to pump off amazing content and games.

Fun fact: I have a cute mini sonic keychain my friend gifted me, I take it with me everywhere!!

DID YOU KNOW THAT KELLIN QUINN FROM SLEEPING WITH SIRENS WAS INVOLVED WITH THE SONIC FRONTIERS SOUNDTRACK!?!?!? AAAAAAA I LOVE SONIC GAMES MUSIC AND ITS DIVERSITY

Nobody asked, but my favorie character is Knuckles and Shadow for anyone who wants to know! (No one wants to know but I HAVE THE NEED TO SAY IT.)

anyways yes, I love Sonic, I am at arms-lenght with the fandom since i'm... well... not much into the furry stuff that goes on. But theres lots of fanmade content out there that is super cool!

IN CONCLUSION!?!?!?

I have lots and lots of other fandoms im in but i fear i will go on forever if I keep on talking.

Thank you so much for reading all the way through and please, don't ever hesitate to ask me anything related to any of these fandoms above. Hyper analizing stuff is my speciality after all:D

#fandoms #inbox #black butler #kuroshitsuji #bsd #bungou stray dogs #soukoku #berserk #berserk manga #griffith berserk #ciel phatnomhive #death note #llight yagami #moral orel #orel puppington #adult swim #sonic #kellin quinn #knuckles the echidna #shadow the hedgehog #sonic the hedgehog

[ponett]

So your thoughts on the upcoming Mario Movie, or don't care and will wait for Sonic 3 instead?

chris pratt's voice acting aside, it looks pretty good. i know that's an extremely dead horse at this point, but it's also like, weird that so many things are so slavishly faithful to the games - the art direction, the visual easter eggs referencing tons of different mario games everywhere, the koji kondo music, the fact that there are literally just blocks floating in the air - and then mario is chris pratt doing a vague brooklyn accent, sometimes, when the mood strikes him. it's hysterical when he does a martinet-style "wahoo" in the trailer

to a lesser extent i'm also wondering if the script will be Too Illumination, or whatever you wanna call it. a LOT of gags even in these early trailers where we're supposed to be taking a scene seriously and then the music cuts out and the moment is undercut by mario or whoever getting stomped unceremoniously. but mario was also originally inspired by popeye, so i could see it working well if he's an underdog who gets his shit rocked by his opponents in slapstick fights until he gets his trademark powerup. hopefully it's more that, and less another movie where chris pratt is an incompetent schlub who's accompanied by an overqualified female costar who does all of the actual work and gets none of the credit

i am under no illusions that the sonic movies are perfect, though, even if i like the sequel a lot, and i think any comparisons where people are like "sonic already showed how you do one of these adaptations right!" is woefully misguided. those movies changed WAY more shit from the source material to squeeze sonic into a safe hollywood script template (bewildered straight man paired with wacky cgi cartoon animal). they just course corrected after the response to the first trailer. but i think many sonic fans are kind of blinded by their sonic fandom, or just have low media literacy in general, so those changes to the material get generously interpreted as a deliberate new take on sonic derived from analyzing what came before and what can be done different now, and not like. things that mediocre hollywood screenwriters default to. but ben schwartz doing his regular shit is a way better fit for sonic than chris pratt is for mario and sonic 2 brought back one (1) of the current game voice actors, so that colors the conversations heavily

#anon #ask

[the-era-of-shadow]

Woah, I made an animatic!

It's been a while since I've done that, eh?

Please do enjoy! And after watching it, if you want some general AU updates, click past the cut below!

So uh, first things first - there's your explanation for where TDTMD Act 2 Chapter 3 is. It'll come out some time in January unless some big autism moment like this happens again, sorry for the wait y'all!

Honestly, like I said in the video's description, I didn't plan for this to take all month - it was originally meant to be for Eclipse's birthday but. Delays happened.

But enough about the month gone past - or even the year gone past! I just KNOW you all wanna know what we have in store for 2024!

Firstly - TDTMD Act 2 Case 01 will still be coming out as it has been! Right now I have 5 planned chapters for Case 01 - and we're like, halfway there! Crazy, huh? But... What do I mean by "Case 01" anyway? Well, you see, TDTMD Act 2 is actually an anthology of sorts! A collection of stories that are all connected by the theme of the Black Arms' effect on PetalBloom - three stories to be exact! Each case is to have 5 chapters each, resulting in Act 2 as a whole having 15 chapters! Quite a lot! But worry not, those who are looking forward to things other than TDTMD, for I am not going to be writing all three cases back to back, no no!

After Case 01 is finished - I've scheduled myself to write a new side story - the FINAL side story for Arc 1! "But Ash, you finished Arc 1 like 2 years ago! Why are you still writing side stories attached to it?", well, mainly because my brain gets on my case about how the writing isn't as good as my newer stuff and how "unbalanced" Arc 1 and Arc 2 are in terms of content - so I'm doing this to make it shush. But also I saw potential still to be found within Arc 1's events, so, yeah! After this post goes up I'm gonna add the name of that side story to the pinned post for hype and all that :]

After THAT - I'm finally gonna go a bit into the catalogue of documented but not written Origins stories listed on the pinned post with The Englishman With The Devil's Eyes. I've been wanting to get to this one for a while now but stuff kept getting in between me and it. But no longer! For after the last Arc 1 side story, Devil's Eyes will finally have it's moment - no matter what! But... I know what you wanna hear...

New Main Stories?? - Yes yes, I hear you. Enough with the Origins and the side stories - when are we getting back to Arc 2 proper? Well aren't you in luck! Being preceded by a short side story oneshot, Mission: FOX FRENZY - the third main installment of Arc 2, will indeed be the next in line after Devil's Eyes! Not to spoil too much, but this one goes out to all you Garrick fans~! 🤭

Beyond That - I have a whole schedule planned that carries to the end of Arc 2 - both officially with the LONG awaited rewrite of Something to Bond Over, and spiritually with TDTMD Act 3 and more importantly, it's corresponding Moonlight Interlude. (what do I mean by that? You'll see~), but if I were to explain the whole of it now, why, this post would be like the new color of the sky! So I'll do it in increments~ All you need to know rn is that I plan to finish Arc 2 this year.

Lastly - The non fic stuff! The most important, I think, is the whole deal with CoC and it's cancellation. I won't go into the why of CoC being cancelled here - but rather, how it effects TEoS going forward. If you were unfamiliar, CoC was to be a webcomic that was a spinoff/crossover with TEoS. It was vaguely referenced in Innate Affiliation - meaning that it needs a replacement. That replacement is... kind of in the works as we speak - I plan to truly start remaking it into the role in February. All I'll say for now is that it's going to be another Sonic AU this time rather than an AU from another franchise. Other than that - I have a special YT video in mind to come out after the Arc 1 side story, won't say what it is yet but, I really hope you'll enjoy it - it's... gonna cost me a pretty penny. Also, this animatic (you forgot that this was the original point of the post, didn't you?) was made completely in Ibis - but after this I'm completely switching over to Clip Studio Paint! I've already been messing around with it since Xmas though - I'm very much willing to show what I've made with it so far! In fact, I think I'll do that on the main art blog later tonight!

I think that's all I have to say! Happy New Years Eve everyone! (Or just New Years if you're one of those time traveling Aussies /silly) Here's to a prosperous 2024!

#the era of shadow #teos #sonic au #art tag #video tag #teos update #(under the cut) #mod ash

[samethstarr]

1 year as a Sonic artist :)

I wasn't going to share this because I find it painfully embarrassing, but a friend told me someone else might find it inspiring so here we go, I guess. Today it has been exactly 1 year since I started making Sonic fanart.

The first was a simple Sonic Frontiers picture, I believe a friend of mine had recently finished their play-through so we were constantly geeking out over the game. As a result of posting art into the fandom, I was starting to peek into the community a little more and I noticed that the IDW comic fans were freaking the heck out. Issue #55 had come out and I kept seeing these panels from it:

I had seen Starline a few times before and was mildly curious about him, but my first impression of him was that he was a comic relief character. I thought people liked him because he was comically extra. But people were talking about how messed up he was and I was intrigued because he had clearly died at some point and left some sort of mess for everyone, serious enough that the heroes and villains were teaming up to deal with it.

The art for this issue is amazing and combined with the realization that Starline was actually a kind of serious villain, I just HAD to know more. Once I started seriously reading the comic there was no more hope for me, I was hooked. I did some fanart of Starline in January and people loved it, which made me even more interested in the community. I like positive attention and Starline fans are really really really nice to people who feed them. Shoutout to Starline fans for being so awesome to newcomers.

It was a bit of a one off for me skill wise, but I put a LOT more effort into it than I had put into anything else for a long time. The attention I got motivated the heck out of me. I felt appreciated.

I ended up joining several communities, I've made friends, I've done 4 Bumblekast thumbs, I got accepted into 2 zines, one of which I completed a 5 page comic for and the other one is probably one of the coolest things I have ever drawn in my life and I can't even share it here T.T

But the biggest thing starting Sonic fanart did for me is it got me practicing and studying. Not just drawing pictures and improving after each one; I was drawing with the intent to build skill, not to create a final result. I seriously wanted to work to improve.

My main goal for this year ended up being figuring out an effective method for learning how to draw characters and objects on model in general. Not just Sonic characters, any character I want.

I improved a lot with technique and my eye for color has improved a little too. I've got a knack for technical drawing, so I pick up things like perspective really quickly, but I have a difficult time making things look organic and I still struggle with that, but I am getting better.

What I'm gonna need to focus on for the next year is looking like general composition, dynamic poses, and expressions. With the amount of improvement I've seen this last year, I'm curious what kind of skills I'll have this time next year.

#Sonic the hedgehog #Still unsure about sharing this #But we'll see how it goes #Scheduling this to post while I'm still asleep so I can't change my mind

[piko-power]

This sucks.

First animators and the animation industry, and now this.

The writers and the writing community are getting pushed aside all for some phoney baloney next generation of mankind.

The animators and animation were treated like a joke for so long all because some Oscar winning bitches thought it was for kids, even though it really isn't. It's for everyone. And it's been like that since literally forever.

Hell, even some movies and shows made for a younger audience like My Little Pony have huge praise, love and support from human beings of all ages.

Don't pretend shows like Futurama, Primal, Bob's Burgers, Inside Job, ect. don't exist because their animated. If done right, an animated show for adults can be outstanding. Sadly, there are some that are kind of try-hards (Swearing and sexual jokes every ten seconds or whatever) that is just becomes a mediocre, or worse, terrible show, that it might just prove someone's dumbass theory that animation is for kids and kids only.

Again, not fucking true.

My two favorite animated shows, both targeted at different audiences, are DuckTales and Futurama. I love their characters, the stories, the comedy, the drama, the music, but I especially love the animation.

DuckTales may have been made for a TV-Y7 audience, but the people who worked on it made it for anyone to enjoy, wether it's kids, adults, or fans of the original DuckTales show. It was made for ANYONE.

Just like every other "kids" show, anyone is allowed to enjoy it and scream their heads off over the coolest and craziest thing they ever seen on Gravity Falls or cry tears of joy when Luz and Amity are together in The Owl House.

Also, animators are fucking awesome and talented and even though it is hard work, it's what they love doing and it's what brings our favorite shows and movies to life.

Every day I think about any movie or show that has 3D animation, 2D animation, stop-motion, ect. and just go "Damn, that was the coolest thing I've ever seen in my life." Even though it was only, like, five seconds of animation of Sonic blinking and smiling.

Animation and animators deserve lots of support and love every day because of these great shows and movies.

But do you know who else made these shows and movies happen? Another group of talented humans that made them to begin with? That no media can live without?

Writers.

If you're gonna make something come to life in the wonderful world of animation, you gotta write and story.

Figure out the characters and what should happen in the third act.

Keep track of the story as the show goes on and write down the funniest one-liners Dewey had ever said.

You can't have literally any animated media without writers. No. Not just animated media. EVERY. SINGLE. MOVIE, OR, OR VIDEO GAME, THAT HAS EVER EXISTED.

These guys? Right here? Mean the whole world to me.

Even if it's fanfic writers, they are so goddamn amazing.

They are responsible for your favorite franchises. I can tell you right now that the world would be gone to shit without writers.

I write stories as well and let me tell you, it's also hard work, but dammnit I love it.

Writers and the writing community are one of a kind and they are extremely important. And just like animators, they are talented and love what they do.

But despite all of that, H*llywood has other ideas.

Ideas that should never light up even the cheapest of light bulbs.

Mother. Fucking. AI.

AI, also known as Artificial Intelligence (Doubt they have any tho) are the scum of the earth. For some time it was used for art, writing and even used for cartoon voices.

By the way, that's fucking theft.

There are literally real human beings who can draw for you, write for you, voice act for you, (By the way voice actors are also my whole world and I would be nothing without them) but you'd rather choose AI to do all of that for you??

I AM APPALLED.

Why would we even use AI at all when human beings, with a mouth, a brain and hands are RIGHT HERE?!?!

I DON'T CARE IF IT'S QUICK AND EASY THAT IS THEFT AND YOU KNOW IT!

YOU ARE TAKING AWAY A HUMAN'S TALENT'S OPPORTUNITY TO SHINE JUST FOR A STUPID ROBOT!

AND REPLACING REAL ARISTS AND WRITERS AND ACTORS TOO!

Also, some AI voice memes (Sonic btw) almost got an voice actor in trouble for something THEY HAVE NEVER SAID. Yeah. A robot almost got someone in trouble. That is really bad.

AI art and writing and theft and straight up plagiarism. And AI voices are theft as well. Imagine using an AI voice of someone who passed?

Do you know how fucking awful that sounds??

Yet today, people are still using this trash and worst of all, Hollywood is in on it too.

That is absolutely insulting and hateful towards artists and writers of all kinds.

I thought we were done treating talented humans with a heart like shit.

I thought we were done.

I thought we were fucking done.

I am tired of amazing artists and writers, especially writers, being pushed to the ground and being replaced with AI. I wish artists and writers don't have to suffer like this. They deserve better.

They deserve so much love right now.

These awesome people have no right to be treated like this. They are people too. They have feelings, and you are hurting them. Saying your using AI to write is literally saying that the writers are useless and you don't need them anymore.

You made them believe that.

That's why their on fucking strike.

Writers want justice. Writers want goddamn justice and you're not giving them that, all because you think AI is the short cut.

You can't even do anything now that their on strike, but the worst part? I have a feeling you're gonna keep using it anyway after this is all over.

Is that right? Do you still wanna be a piece of shit to these real talented creators, after all these messages we kept shoving down your throats?

I know I sound harsh but sometimes raising my voice is the only way for you to listen. But I know damn well your gonna keep ignoring me, ignoring us, so we're gonna raise our voices higher.

I wish AI never existed so that way these wonderful artists, animators, writers and voice actors would never be forgotten. I don't want them to be forgotten.

I mean it when I say they changed my life.

When I was a kid, I watched all of the bonus material from the movies I've seen. All of the movies. Something about watching all these behind the scene footages from artists and actor just makes me so happy.

All these people made all of our favorite movies and shows, even though it took them a long time to make, but they were having a blast making them. They wanted to make something special for the audiences, and they never stopped.

Especially when I watch interviews and I just have this fuzzy feeling that working on a movie or show in any role is such an amazing feeling. It inspires me to write to begin with.

I love hearing people's thoughts on the media they worked on and how it made them feel to see audiences loving the thing they were involved in. Makes me emotional every time.

In fact, there's one person who I absolutely adored for a few years and loved his works from beginning to end.

His name is Ben Schwartz.

Not only he's an actor but he's also a writer. He is so funny and sweet and just an amazing person. He is incredible and talented and always got that smile on his face.

He's the spirit of optimism in my opinion. He inspired me the most. To keep going.

And also? He's on strike too!

He is a writer so of course he's on strike and I am forever proud of him.

I am also proud of everyone who is on strike right now.

To the animators, writers and actors everywhere: Never stop fighting.

Even when the strike is over, for the love of God don't stop fighting.

You guys are kicking ass right now and you are making your voice heard, loud and proud.

I am so, so proud of all of you!

You deserve all the support, respect and love for the rest of your life for what you are doing!

Never stop doing what you love and keep going!

You got this!

To all the writers, animators and voice actors out there fighting for their voice: You are not alone and we love you!

✊NEVER STOP FIGHTING!! ✊

#piko rambles #writers guild strike #writers guild of america

[game-boy-pocket]

I know it's a remake of an old GBA game, and many Donkey Kong fans are not happy about this because they don't like Mario being tied to Donkey Kong, I get it. But i'm genuinely looking forward to this. I never got to play the original. I kind of find the GBA to be tough to enjoy. Crunchy bad audio. Washed out colors on early games, faux 3D games such as this and the DKC ports look bad to me, Imo, the more GBA remakes the better ( Sonic Advanced trilogy fucking WHEN?? )

I notice a lot of DK fans are dejected and depressed today, the 10 year anniversary of Donkey Kong Country Tropical Freeze. I completely understand, it sucks when your favorite franchise goes dormant for so long. Especially when the "Revival" is still lacking a lot of things you loved from it's glory days. ( Kremlings, other Kongs, Animal Buddies, please come back. ), and any projects with Donkey Kong in them lately usually involve Mario... and as much as I don't like it, but kind of understand it, Donkey Kong fans are kind of touchy when it comes to Mario, Nintendo's golden child that will always have games in the works, who shares origins with DK, and there's always fighting about who is a spinoff of who ( the answer is neither but one is clearly more successful and central than the other regardless of personal feelings )

Despite how bad it may seem I will continue to remain optimistic.

I trust what DK vine is saying about a game being developed in house at Nintendo. I am a little nervous about that, because I don't feel like Nintendo themselves understand Donkey Kong fully, and have stupid misguided policies about character usage, but i'm hoping those are on their way out the door, and they realize that people really do love Rare's contributions to the series enough to bring them back...

But more than that, you can't look at all the little signs and not see that there's something going on with Donkey Kong that isn't going to stop at a remake of an old Mario and Donkey Kong crossover.

A Lego DK set with older Kong characters, DK being a central focus of the Mario movie, The Donkey Kong theme park opening at Universal Japan with lots of merchandise and depictions of Dixie, Crankie, Squawks, and an overhaul of Rambi ( and even Ellie the Elephant appearing in concept art ), the Donkey Kong webpage no longer leading back to the Tropical Freeze listing and now taking you to a general Donkey Kong page on My Nintendo Rewards, Diddy and Funky in Mario Kart 8, and the one that seems the most significant to me is that Donkey Kong merchandise has stopped using the "Super Mario" branding, and now uses the actual Donkey Kong logo. They would not be doing all this if Mario Vs Donkey Kong was all they had in the pipeline. They just wouldn't. Something is coming. And I think it's going to be a little bit bigger than what Retro Studios has done with the series so far.

Even if it doesn't, I'm not going to let that get me down, I'm a Nintendo fan, half the franchises I love are dormant. It's only a matter of time until something gets revived.

[katatty]

Rules: Tag 9 people you would like to know/catch up with

i was tagged by @y2sims, thank you & happy birthday!!!

Last song - oh, I hate to say I can’t remember? xD my partner generally picks what music we have on and i don’t pay a lo of attention to it, haha

Last movie - oh no, i honestly don’t remember, maybe sonic 2? I loved it, I’m a huge sonic fan lmao

Currently watching - the new double life minecraft youtube series... i try and keep my cringe obsession w/ mcyt off my main tumblr but it is SO much fun, i’m really excited about it!! bdoubleO100 my beloved...

Currently reading - far from the madding crowd, by thomas hardy! i am about halfway though and love it so far. so much farmer drama

Current obsession - other than the aformentioned minecraft series, I just finshed the main story content so far for My Time In Sandrock, I love the game so far and am foaming at the mouth waiting for the Ausust update, hahah

I am not sure who’s already done this (I’ve not been on simblr much this week) so appologies if you’ve already been taged, ofc feel free to ignore! <3 @moocha-muses @yandereplumsim @yakumtsaki @simnationlifebefore @dunne-ias @episims @deedee-sims @lesyasun @plumbtales

#ask meme #me outing myself as being into both sonic and minecraft youtubers in a single post lmao

[akumajoaurora]

In regards to this excellent post, I’d also like to make a post on how I designed my own logo. Zenith’s post gives an excellent breakdown of what elements go into a VTuber logo and things to keep in mind, but not so much how one gets from an idea to a finished logo. So I wanted to share my process, which goes through most of the basic process I learned while studying graphic design in community college.

Before doing anything else, I had to do research. I knew the general style I was going for; I wanted to evoke the y2k aesthetic, or at least somewhere in the late 90s/early 2000s. In particular I wanted to evoke the bright, optimistic aesthetic of certain games I played as a kid (DDR, late 90s to early 2000s Sonic games, Kirby Air Ride, etc.), as well as the Eurobeat music genre, which I’m a big fan of and is part of my overall “theme”. 

(Granted, I mostly find myself streaming gothic horror-esque games, but... A bitch can contain multitudes)

So with these ideas in mind, I spent a lot of time looking at y2k graphic design, researching different logos (for example, I looked at some racing logos as well), and eventually I put together an inspiration sheet with logos I wanted to evoke. Not all of these are from the same period, but they have a lot of similar vibes

Do you see some of the common elements? Text in dense blocks, lots of bold outlines, often a sense of motion, blobby geometric shapes, sans-serif fonts, bright colors. These were some of the things I wanted to keep in mind for my logo.

With my research done, it was time to design the emblem. I really like motorcycles, and they’re... technically supposed to be part of my theme even though I always forget to post about them... So I wanted my emblem to be a motorcycle helmet. (This also fits in with the eurobeat theme, since racing and driving fast is a common theme of eurobeat lyrics, albeit usually about cars and not motorcycles lol.) I sketched out a few variations on what I had in mind.

I incorporated my horns into the design, since they’re a big part of yknow, me. I also tried a few different decorative elements; The shooting stars are a motif sometimes seen in y2k graphic design, and the fangs are meant to emphasize the demon thing. As for the triangle stripe with the star, it’s meant to evoke the flag of Puerto Rico, but also has a classic racing flair.

After examining the various options and getting input from my friends and family, I settled on the design on the lower right. Next step was doing the black and white lineart.

This is a really important step. A good logo should, ideally, work in plain black and white. Even if you’re limited to just one color, your logo should be readable; This can be useful for things such as printing, stickers and T-shirts, things like that. Ideally you should be able to slap your logo on anything regardless of technical limitations. Am I, or you, necessarily going to do these things? No, but it’s good to be prepared anyway. You never know! So it’s always good to have a black and white variant of your logo.

This is the design I ended up with. In keeping with the y2k/late 90s/early 2000s style, I used bold lines with heavy weight variation, rounded corners, and a double outline. Now if I were really trying to be professional about it, I would have done it in a vector program rather than Medibang Paint, but I fucking hate vector programs and the only person who needs the files here is me, so I can afford to be sloppy. There’s programs out there that’ll let you vectorize black and white images anyway, so eh.

Next, it was time to add color to the emblem. Again, I had a bunch of different options, so I made several variations and asked for input from my friends and family. (I also put the BW version in the corner for reference.)

I already had some standard colors I use in my model and my graphics, so it was really just a matter of deciding how to arrange them. By the way, you can really see in the shading just how much inspiration I took from 2000s Sonic the Hedgehog art! Don’t be afraid to take inspiration from things that mean a lot to you, or... Well, inspire you, lol.

Once again, I ended up choosing the last variation as my winning design. With the emblem done, the next step was choosing a font. Zenith’s post already has some great notes on choosing fonts, so I won’t go into too much detail there, but once again I chose several options and asked for input. Getting feedback from others is a really important part of the graphic design process. It helps you to learn what works and what doesn’t, especially when other people may have different backgrounds than you (Is one of your friends colorblind? Does your art effectively convey its message to someone who doesn’t have the same knowledge of design history? Etc).

I actually chose 15 different font options, but for the sake of brevity I’ll just show four of them.

In general it’s good practice to do variants in regular caps, no caps, and all caps, but I didn’t do that because uh... I don’t remember why. Anyway, I largely looked for y2k or racing fonts. Admittedly Excelorate is super cute, but I ended up going with Hemi Head, because it’s nice and readable. I believe it’s a popular font in the Eurobeat world as well? I know Odyssey uses it in her graphics sometimes, at least. In any case, it looks nice, it’s not too generic, and it’s really easy to read.

After choosing both an emblem and a typeface, it was time to combine them both into a logo. Again, I started with black and white, both because it’s useful to have and it’s also just easiest to add color later on.

I spent quite a lot of time fiddling with spacing and such to get it to look neat and tidy. I added a line at the bottom to add balance to an empty space, as well as a sense of motion. To tie it all together, I encapsulated it all in that big chunky outline we’ve seen so much of.

Finally, color. Since I already had a colored version of the emblem, it was pretty easy to build the rest of the logo’s colors from there. I incorporated the purple and pink gradient I’ve used for header text in a lot of my existing graphics, and again I added a fun outline, and... That was it! The logo was finally finished!

Now, I’m not claiming it’s the most perfect logo in the world. I’m sure there’s things to criticize about it, and plenty of people who just won’t find it appealing. But I think it looks alright, and above all else, I hope this breakdown of how I went from square one to a finished logo is helpful to those of you who may be looking to design your own. I encourage you to do other research as well, and again, to check out Zenith’s excellent post on VTuber logos. (It’s worth noting as well that VTuber logos often have a particular look to them that I personally chose not to go for, but Zenith’s tutorial does a good job of explaining how to achieve that look.)

As a bonus, here’s this thing I made while messing around and trying out different techniques that ended up looking hilariously like the iCarly logo, lmao.

#VTuber #ENVTuber #Graphic design #I hope this is helpful idk if it is but I tried anyway #Good luck everyone!!!

[sarahreesbrennan]

You wrote on twitter that you were too young to be published and did fool things you later regretted. I'm curious about those regrets - is there anything you'd be willing to elaborate on?

I do want to clarify I meant I personally was probably too young, and I wasn't a babe in arms when I was published--I was 24, which is an adult! S.E. Hinton was 18 when her first book was published and she arguably invented young adult fiction. Jennifer Lynn Barnes was a teenager when her first book was published and she's always been a genius rock star. Some people are married and having kids and doing great at their jobs at 24, but some people are in college, or learning the ropes of their jobs and full-time work life in general and messing up because it still feels unfamiliar. Most of us, me included, will be making messes until we die, though we can hope for better messes.

My regrets aren't super secret--I would've conducted myself differently online and offline. One thing I've said before: I wouldn't link up my real name and my fanfic identity the way I did back when. That means having your juvenilia out there and judged, and yourself judged in a very particular way! It is hard to sit in the doctor's office and ask him for written proof you have cancer, because the internet will accuse you of faking it. (Yes that did happen. That poor man's face was like, 'Girl, why do you not live your life right.') As I've said, I have an assistant-with-antis who filters my social media and email so I don't have to come upon hostile stuff, and I do wonder if there are ways to inspire less hostility.

But to be clear regarding that example, I think fandom is awesome in many ways, and it's valuable to say you wrote fanfiction, just don't get too specific. One of my most cherished facts about a (fancy, brilliant, very bestselling) writer friend is that she wrote Sonic the Hedgehog fanfiction once. Many of my writer friends used to or still do write it! (Fanfic in general... I'm not outing a bunch of writers as avid Sonic fans...) And being open about my identity did mean I had some beautiful supportive readers from the jump, who were sweet to me and made friends with each other (Marmalade fish shoutout). I love that people connect over fiction, and that they connected over mine. My advice to others is to do it like Oscar winner Chloe Zhao, and be like 'yes I write it, yes the call is coming from inside the building, yes creative engaged people engage creatively in many ways, no you'll never know my online name!' And that's mostly how it's done these days--there are masses of fanfiction writers in TV, in movies, working as editors and agents in publishing, and who are writers, because people who are passionate about creativity are passionate about creativity in many ways. A decade ago and nobody was sure how it was going to go: I do think it went well generally, if uneasily for test balloons like me.

Overall, as regards regrets, if you're alive, you're making mistakes, and if you're growing, you're learning from them. Often the more you care, the more mistakes you make. There are some things only life experience can teach you, and I've seen people who came into writing with experience from being, for instance, lawyers which they were able to use in many ways, and there were times I wished I'd acquired experience or lost naivety in a job that wasn't my dream job. Sometimes I really didn't know what was going on, and later I was like 'Ohhh! Oh Lord.' I would say a few things I wish I'd known: How to draw boundaries like circles of salt that others couldn't cross. The personal and the professional are going to blur, but it's still important to try and differentiate them. How to pick your battles: recognise the unwinnable, find the most likely strategy for victory with the winnable ones. Know that people won't like you just because you're making life more convenient for them, so don't do it for that reason. OMG abide by contracts and make sure the contracts cover every eventuality. Learn the art of standing your ground calmly. (One day, I'll get it.)

But getting published at any age is complicated: I have one friend who was sure she was going to die after she got her publishing contract because it was her dream accomplished, and what was left? I have more life experience in my 30s, but I also had most of those years totally slain by cancer: my writing went off a cliff long before I was diagnosed, and then I couldn't write, and since then I've been scrambling. If I'd been published first at 30 I might have handled myself in style, but there definitely wouldn't have been two trilogies before the long pause. One very lovely, very talented lady who was first published in the same year I was died shortly after. You don't know what's coming: Margaret Mitchell was hit by a speeding drunk driver and we'll never know if rumours she planned to write a sequel to Gone with the Wind are true. The people whose first books were out in 2020 had a tough time, and I would've freaked out if I'd been in their position and am glad I didn't have a non-tie-in novel out--it was very strange to have two tie-ins out that year as it was! People were reading books in 2020, but it was harder for new books to get on their radar.

I didn't write the tweet to alarm anyone, or say there was a magical time it was best to be published at. Lots of amazing writers aren't published, are published feeling they're too young, are published feeling they're too old. I think my tweet was really to say, there's no precise right time, and no way to execute your dreams exactly right. I do look back on stuff and think, oh lord, me at 30 might have handled THAT better. I hope that I'll look back at me now from 50 and go, I'd crush the stuff that crushed her!

Are there things I would change, sure. But I probably would make different mistakes if it had all happened differently for me. Humans constantly torment ourselves imagining the magic way we could've got everything right, a task exactly nobody has accomplished. I've never lived a perfect life or written a perfect book, and I don't know anyone else who has. I'm really glad I was published, and really proud of all my books. If you've never done something you've regretted, how much have you done? Keep going.

#stumbling through publication #writing #fanfiction

[path-of-my-childhood]

CABIN FEVER - Aaron Dessner: Producing folklore and evermore

Sound On Sound Magazine // March 2021 issue // By Tom Doyle

The pandemic gave Taylor Swift a chance to explore new musical paths, with two lockdown albums co-written and produced by the National's Aaron Dessner.

Few artists during the pandemic have been as prolific as Taylor Swift. In July 2020, she surprise-released folklore, a double-length album recorded entirely remotely and in isolation. It went on to become the biggest global seller of the year, with four million sales and counting. Then, in December, she repeated the trick with the 15-song evermore, which quickly became Swift's eighth consecutive US number one.

In contrast to her country-music roots and the shiny synth-pop that made her a superstar, both folklore and evermore showcased a very different Taylor Swift sound: one veering more towards atmospheric indie and folk. The former album was part-produced by Swift and her regular co-producer Jack Antonoff (St Vincent, Lana Del Rey), while the other half of the tracks were overseen by a new studio collaborator, Aaron Dessner of the National. For evermore, aside from one Antonoff-assisted song, Dessner took full control of production.

Good Timing

Although his band are hugely popular and even won a Grammy for their 2017 album Sleep Well Beast, Aaron Dessner admits that it initially felt strange for an indie-rock guitarist and keyboard player to be pulled into such a mainstream project. Swift had already declared herself a fan of the National, and first met the band back in 2014. Nonetheless, Dessner was still surprised when the singer sent him a text "out of the blue" last spring. "I mean, I didn't think it was a hoax," he laughs. "But it was very exciting and a moment where you think it's like serendipity or something, especially in the middle of the pandemic. When she asked if I would ever consider writing with her, I just happened to have a lot of music that I had worked really hard on. So, the timing was sort of lucky. It opened up this crazy period of collaboration. It was a pretty wild ride."

Since 2016, Aaron Dessner has been based at his self-built rural facility, Long Pond Studio, in the Hudson Valley, upstate New York. The only major change to the studio since SOS last spoke to Dessner in October 2017 has been the addition of a vintage WSW Siemens console built in 1965. "It had been refurbished by someone," he says, "and I think there's only three of them in the United States. I heard it was for sale from our friend [and the National producer/mixer] Peter Katis. That's a huge improvement here."

Although the National made Sleep Well Beast and its 2019 successor I Am Easy To Find at Long Pond, the band members are scattered around the US and Europe, meaning Dessner is no stranger to remote working and file sharing. This proved to be invaluable for his work with Swift. Dessner spent the first six weeks of lockdown writing music that he believed to be for Big Red Machine, his project with Bon Iver's Justin Vernon. Instead, many of these work-in-progress tracks would end up on folklore. Their first collaboration (and the album's first single), 'cardigan', for instance, emerged from an idea Dessner had been working on backstage during the National's European arena tour of Winter 2019.

"I sent her a folder and in the middle of the night she sent me that song," Dessner explains. "So, the next morning I was just listening to it, like, `Woah, OK, this is crazy."

On The Move

As work progressed, it quickly became apparent that Swift and Dessner were very much in tune as a songwriting and producing unit. There was very little Dessner had to do, he says, in terms of chopping vocals around to shape the top lines. "I think it's because I'm so used to structuring things like a song, with verses and choruses and bridges," he reckons. "In most cases, she sort of kept the form. If she had a different idea, she would tell me when she was writing and I would chop it up for her and send it to her. But, mostly, things kind of stayed in the form that we had."

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written 'the last great american dynasty' and it was waiting for him in his inbox. "That was a crazy moment," he laughs. "One of the astonishing things about Taylor is what a brilliant songwriter she is and the clarity of her ideas and, when she has a story to tell, the way she can tell it. I think she's just been doing it for so long, she has a facility that makes you feel like you could never do what she's capable of. But we were a good pair because I think the music was inspiring to her in such a way that the stories were coming."

Swift's contributions to folklore were recorded in a makeshift studio in her Los Angeles home. Laura Sisk engineered the sessions as the singer recorded her vocals, using a Neumann U47, in a neighbouring bedroom. Live contact between Swift, Sisk, Dessner and Long Pond engineer Jonathan Low was done through real-time online collaboration platform Audiomovers.

"We would listen in remotely and kind of go back and forth," says Dessner. "We used Audiomovers and then we would have Zoom as a backup. But mainly we were just using Audiomovers, so we could actually be in her headphones. It's powerful, it's great. I've used it a lot with people during this time. Then, later on, when we recorded evermore, a lot of the vocals were done here at the studio actually when Taylor was visiting when we did the [Disney+ documentary] Long Pond Sessions. But Taylor's vocals for folklore were all done remotely."

Keeping Secrets

Given the huge international interest in Swift, the team had to work with an elaborate file-sharing arrangement to ensure that the tracks didn't leak online. Understandably, Dessner won't be drawn on the specifics. "Yeah, I mean we had to be very careful, so everything was very secretive," he says. "There were passwords on both ends and we communicated in a specific way when sharing mixes and everything. There was a high level of confidentiality and data encryption. It was sort of a learning curve.

"I'm not used to that," he adds, "'cause usually we're just letting files kind of fly all over the Internet [laughs]. But I think with someone like her, there's just so many people that are paying attention to every move that she makes, which can be a little, I think, oppressive for her. We tried to make it as comfortable as possible and we got used to how to get things to her and back to us. It worked pretty well."

Drums & Guitars

For the generally minimalist beat programming on the records, Dessner would sometimes turn to his more expensive new analogue drum generators - Vermona's DRM1 and Dave Smith's Tempest - but more often used the Synthetic Bits iOS app FunkBox. "There's just a lot of great vintage drum machine sounds in there, and they sound pretty cool, especially if you overdrive it," he says. "Often I send that through an amplifier, or through effects into an amplifier. Then I have a [Roland) TR-8 and a TR-8S that I use a lot. I also use the drum machine in the [Teenage Engineering] OP-1. So, a song like 'willow', that's just me tapping the OP-1."

Elsewhere, Dessner's guitar work appears on the tracks, with the intricate melodic layering on 'the last great american dynasty' from folklore having been inspired by Radiohead's In Rainbows. "Almost all of the electric guitar on Taylor's records is played direct through a REDDI DI into the Siemens board," he says. "It's usually just my 1971 Telecaster played direct and it just sounds great. Oftentimes I just put a little spring reverb on it and sometimes I'll overdrive the board like it's an amplifier, 'cause it breaks up really beautifully.

"I have a 1965 [Gibson] Firebird that I play usually through this 1965 Fender Deluxe Reverb. So, if I am playing into an amp, that's what it is. But on 'the last great american dynasty', those little pointillistic guitars, that's just played direct with the Telecaster through the board."

Elsewhere, Aaron Dessner took Taylor Swift even further out of her sonic comfort zone. A key track on folklore, the Cocteau Twins-styled 'epiphany', features her voice amid a wash of ambient textures, created by Dessner slowing down and reversing various instrumental parts in Pro Tools. "I created a drone using the Mellotron [MD4000D] and the Prophet and the OP-1 and all kinds of synth pads," he says. "Then I duplicated all the tracks, and some of them I reversed and some of them I dropped an octave. All manner of using varispeed and Polyphonic Elastic Audio and changing where they were sitting. Just to create like this Icelandic glacier of sounds was my idea. Then I wrote the chord progression against that.

"The [Pro Tools] session was not happy," he adds with a chuckle. "It kept crashing. Eventually I had to print the drone but I printed it by myself and there was some crackle in it. It was distorting. And then I couldn't recreate it so Jon Low, who was helping me, was kind of mad at me 'cause he was like, 'You can't do that.' And I was like, 'Well, I was working quickly. I didn't know it'd become a song."

Orchestra Of Nowhere

Meanwhile, the orchestrations that appear on several of the tracks were scored by Aaron's twin brother and National bandmate, Bryce Dessner, who is located in France. "I would just make him chord charts of the songs and send them to him in France," Aaron says. "Then he would orchestrate things in Sibelius and send the parts to me. I would send the parts and the instrumental tracks to different players remotely and they would record them literally in their bedrooms or in their attics. None of it was done as a group, it was all done separately. But that's how we've always worked in the National so it's quite natural."

On folklore standout track 'exile', Justin Vernon of Bon Iver delivered his stirring vocal for the duet remotely from his home in Eaux Claires, Wisconsin. "He's renovating his studio, so he has a little home studio in his garage," says Dessner. "It was Taylor's idea to approach him. I sent him Taylor's voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

"I do a lot of work remotely with Justin also, so it was easy to send him tracks and he would track to it and send back his vocals. I was sending him stems, so usually it's just a vocal stem of Taylor and an instrumental stem and then if he wants something deeper, I'll give him more stems. But generally, he's just working with the vocal layers and an instrumental."

Vernon also provided the grainy beat that kicks off 'closure', one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. "It was this little loop that Justin had given me in this folder of 'Starters', he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it's not in 5/4. 'Closure' really opened everything up further. There were no real limits to where we were gonna try to write songs."

Given the number of remote players, Dessner says there were surprisingly few problems with the file swapping and that it was a fairly painless technical process. "It was pretty smooth, but there were issues," he admits. "Sometimes sample-rate issues, or if I happened to give someone an instrumental that was an MP3, that sometimes lines up differently than if you send them an actual WAV that's bounced on the grid. So, sometimes I'd have to kinda eyeball things.

"If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, 'cause we would try a lot of things, y'know. So, eventually the sessions got kinda crazy and you'd have to deactivate a lot of things and print things. But we got used to that."

Soft Piano

Aaron Dessner's characteristic dampened upright piano sound, familiar from the National's albums, is much in evidence throughout both folklore and evermore. "The upright is a Yamaha U1 that I've had for more than a decade. Usually, I play it with the soft pedal down and that's the sound of 'hoax' or 'seven' or 'cardigan', y'know, that felted sound. It kind of almost sounds like an electric piano.

"I always mic it the same way, just with two [AKG] 414s, and they're always the same distance off the wall. I had a studio in Brooklyn for 10 years and then when I moved here, I copied the same [wooden] pattern on the wall. And the reason I did that is 'cause of how much I love how this piano sounds bouncing off that wall. It just does something really special for the harmonics."

When on other folklore songs, such as 'exile' or 'the 1', where the piano was the main sonic feature of the track, Dessner played his Steinway grand. "A lot of times we use a pair of Coles [4038s] on the Steinway, just cause it's darker. But sometimes we'll have the 414s there as well and choose."

Keeping Warm

On both folklore and evermore, Taylor Swift's voice is very much front and center and high in the mix, and generally sounds fairly dry. "I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear," Dessner explains. "'Cause I think a lot of the more pop-oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it's very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like `seven'. If you carved out that mud, y'know, it wouldn't hit you the same way. Or, like, `cardigan', I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that's where a lot of emotion is."

Effects-wise, almost all of the treatments were done in the box. "There's no outboard reverbs printed," says Dessner. "The only things that we did print would be like an [Eventide] H3000 or sometimes the [WEM] CopiCat tape delay for just a really subtle slap. But generally, it's just different reverbs in the box that Jon was using. He uses the Valhalla stuff quite a bit and some other UAD reverbs, like the [Capitol] Chambers. I often just use Valhalla VintageVerb and the [Avid] Black Spring and simple things."

In some instances, the final mix ended up being the never-bettered rough mix, while other songs took far more work. "'cardigan' is basically the rough, as is `seven'. So, like the early, early mixes, when we didn't even know we were mixing, we never were able to make it better. Like if you make it sound 'good', it might not be as good 'cause it loses some of its weird magic, y'know. But songs like `the last great american dynasty' or 'mad woman', those songs were a little harder to create the dynamics the way you want them, and the pay-off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

"On evermore, I would say 'willow' was probably the hardest one to finish just because there were so many ways it could've gone. Eventually we settled back almost to the point where it began. So, there's a lot of stuff that was left out of 'willow', just because the simplicity of the idea I think was in a way the strongest."

The subject of this month's Inside Track article, 'willow' was the first song written for evermore, immediately following the release of folklore. "It almost felt like a dare or something," Dessner laughs. "We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn't really ever stop since April."

Rubber & Vinyl

Sometimes, Dessner and Swift drew inspiration from unlikely sources; `no body, no crime', for instance, started when he gave her a 'rubber bridge' guitar made by Reuben Cox of the Old Style Guitar Shop in LA. "He's my very old friend," says Dessner of Cox. "He buys undervalued vintage guitars. Stuff that was made in the '50s and '60s as sort of learner guitars, like old Silvertones and Kays and Harmonys. These kinds of guitars which now are quite special, but they're still not valued the same way that vintage Fenders or Gibsons are valued. Then, he customizes them.

"Recently he started retrofitting these guitars with a rubber bridge and flatwound strings. He'll take, like, an acoustic Silvertone from 1958 and put a bridge on it that's covered in this kind of rubber that deadens the strings, so it really has this kind of dead thrum to it. And he puts two pickups in there, one that's more distorted and one that's cleaner. They're just incredible guitars. I thought Taylor would enjoy having one 'cause she loves the sound. So, I had Reuben make one for her and she used it to write `no body, no crime'."

Another friend of Dessner's, Ryan Olsen, has developed a piece of software called the Allovers Hi-Hat Generator which helped create the unusual harmonic loops that feature on `marjorie'. "It's not available on the market," Dessner says of the software. "It's just something that he uses personally, but I think hopefully eventually it'll come out. I wouldn't say it's artificial intelligence software but there's something very intelligent about it [laughs]. It basically analyses audio information and is able to separate audio into identifiable samples and then put them into a database. You then can design parameters for it to spit out sequences that are incredibly musical.

"When Ryan comes here, he'll just take all kinds of things that I give him and run it through there and then it'll spit out, like, three hours of stuff. Then I go through it and find the layers that I love, then I loop them. You can hear it also on the song 'happiness', the drumming in the background. It's not actually played. That's drums that have been sampled and then re-analyzed and re-sequenced out of this Allovers Hi-Hat Generator."

The song `marjorie' is named after Swift's opera-singer grandmother and so, fittingly, her voice can be heard flitting in and out of the mix at the end of the track. "Taylor's family gave us a bunch of recordings of her grandmother," Dessner explains. "But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope's] RX and then I went in and I found some parts that I thought might work. I pitch-shifted them into the key and then placed them. It took a while to find the right ones, but it's really beautiful to be able to hear her. It's just an incredibly special thing, I think."

Meet At The Pond

Taylor Swift finally managed to get together with Aaron Dessner and Jack Antonoff in September 2020 for the filming of folklore: the long pond studio sessions, featuring the trio live-performing the album. It also provided an opportunity for Swift to add her vocals to some of the evermore tracks.

"It did allow us to have more fun, I think," says Dessner. "Y'know, drink more wine and just kinda be in the same place and have the feeling of blasting the music here and dancing around and just enjoying ourselves. She's really a lovely person to hang out with, so in that sense I'm glad that we had that chance to work together in person.

"We were using a [Telefunken] U47 to record Taylor here," he adds. "Either we were using one of the Siemens preamps on the board, which are amazing. Or I have Neve 1064s [preamps/EQs] and we use a Lisson Grove [AR-i] tube compressor generally."

One entirely new song, `tis the damn season', came out of this face-to-face approach, which Swift wrote in the middle of the night after the team had stayed up late drinking. "We had a bunch of wine actually," Dessner laughs, "and then everybody went to sleep, I thought. But I think she must have had this idea swimming around in her head, 'cause the next morning when she arrived, she sang 'Us the damn season' for me in my kitchen. It's maybe my favourite song we've written together. Then she sang it at dinner for me and my wife Stine and we were all crying. It’s just that kind of a song, so it was quite special.”

National Unity

One key track on evermore, 'coney island', features all of the members of the National and sees Swift duetting with their singer Matt Berninger. "My brother [Bryce] actually originated that song," says Aaron Dessner. "I sent him a reference at one point - I can't remember what it was - and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it.

"Taylor and William Bowery [the songwriting pseudonym of Swift's boyfriend, actor Joe Alwyn] wrote 'coney island' and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought, Taylor and myself and Bryce, like this was the closest to a National song."

Dessner then asked the brothers who make up the National's rhythm section, drummer Bryan and bassist Scott Devendorf, to play on 'coney island'. Matt Berninger, as he often does with the band's own tracks, recorded his vocal at home in Los Angeles. "It was never in the same place, it was done remotely," says Dessner, "except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor."

No Compromise

folklore and evermore have been both enormous critical and commercial successes for Taylor Swift. Aaron Dessner reckons that making these anti-pop records has freed the singer up for the future. "I think it was very liberating for her," he says. "I think that's the thing that's been probably the biggest change for her has just been being able to make songs without compromise and then release them without the promotional requirements that she's used to from the past. Obviously, it comes at this time when we're all in lockdown and nobody can tour or go on talk shows or anything. But I think for her probably it will impact what she does in the future.

"But I also think she can shapeshift again," he concludes. "Who knows where she'll go? She's had many celebrated albums from the past, but to release two albums of this quality in such a short time, it really did shine a light on her songwriting talent and her storytelling ability and also just her willingness to experiment and collaborate. Somehow, I ended up in the middle of all that and I'm very grateful."

INSIDE TRACK - Jonathan Low: Secrets of the Mix Engineers

Sound On Sound Magazine // March 2021 issue // By Paul Tingen

From sketches to final mixes, engineer Jonathan Low spent 2020 overseeing Taylor Swift’s hit lockdown albums folklore and evermore.

“I think the theme of a lot of my work nowadays, and especially with these two records, is that everything is getting mixed all the time. I always try to get the songs to sound as finalised as they can be. Obviously that’s hard when you’re not sure yet what all the elements will be. Tracks morph all the time, and yet everything is always moving forwards towards completion in some way. Everything should sound fun and inspiring to listen to all the time.”

Speaking is Jonathan Low, and the two records he refers to are, of course, Taylor Swift’s 2020 albums folklore and evermore, both of which reached number one in the UK and the US. Swift’s main producer and co‑writer on the two albums was the National’s Aaron Dessner, also interviewed in this issue. Low is the engineer, mixer and general right‑hand man at Long Pond Studios in upstate New York, where he and Dessner spent most of 2020 working on folklore and evermore, with Swift in Los Angeles for much of the time.

“In the beginning it did not feel real,” recalls Low. “There was this brand‑new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind‑blowing. There was constant elevation, inspiration and just wanting to continue the momentum.

“We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on‑a‑whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points.”

Pond Life

The making of the National’s 2017 album Sleep Well Beast and the setup at Long Pond were covered in SOS October 2017; today the studio remains pretty much the same, with the exception of a new desk. “The main space is really big, and the console sits in the middle,” says Low. “In 2019, I installed a 1965 WSW/Siemens, which has 24 line‑in and microphone channels and another 24 line channels. WSW is the Austrian branch of Siemens usually built for broadcast. It’s loaded with 811510B channels. The build quality is insane, the switches and pots feel like they were made yesterday. To me it hints at the warm haze of a Class‑A Neve channel but sits further forward in the speakers. The midrange band on the passive EQ is a huge part of its charm, it really does feel like you’re changing the tone of the actual source rather than the recording. Most microphones go through the desk on their way into Pro Tools, though we sometimes use outboard Neve 1064 mic pres. Occasionally I use the Siemens to sum a mix.

“We have a pair of ATC SCM45 monitors, which sound very clear in the large room. The ceiling is very high, and the front wall is about 25 feet behind the monitors. There are diffusers on the sidewalls and the back walls are absorbing, so there are very few reflections. Aaron and I will be listening in tons of different ways. I’ll listen in my home studio with similar ATC SCM20 monitors or on my ‘70s Marantz hi‑fi setup. Aaron is always checking things in his car, and if there’s something that is bugging him, I’ll join him in his car to find out what he hears.”

Low works at Long Pond and with Dessner most of the time, though he does find time to do other projects, among hem this last year the War On Drugs, Waxahatchee and Nap Eyes. When lockdown started in Spring 2020, Low tacked up on supplies and "had a bunch f mixes lined up". Meanwhile, on the Eest Coast, Swift had seen her Lover Fest our cancelled. With help from engineer aura Sisk, she set up a makeshift studio which she dubbed Kitty Committee in bedroom in her Los Angeles home, and began working with long-term producer nd co-writer Jack Antonoff. At the end of April, however, Swift also started working with Dessner, which took the project in different direction. The impressionistic, atmospheric, electro-folk instrumentals Dessner sent her were mostly composed nd recorded by him at Long Pond, assisted by Low.

Sketching Sessions

The instrumental sketches Aaron makes come into being in different ways," elaborates Low. "Sometimes they are more fleshed-out ideas, sometimes they are less formed. But normally Aaron will set himself up in the studio, surrounded by instruments and synths, and he'll construct a track. Once he feels it makes some kind of sense I'll come in and take a listen and then we together develop what's there.

"I don't call his sketches demos, because while many instruments are added and replaced later on, most of the original parts end up in the final version of the song. We end up in the final version of the song. We try to get the sketches to a place where they are already very engaging as instrumental are already very engaging as instrumental tracks. Aaron and I are always obsessively listening, because we constantly want to hear things that feel inspiring and musical, not just a bed of music in the background. It takes longer to create, but in this case also gave Taylor more to latch onto, both emotionally and in terms of musical inspiration. Hearing melodies woven in the music triggered new melodies."

Not long after Dessner and Low sent each sketch to Swift, they would receive her voice memos in return, and they'd load them into the Pro Tools session of the sketch in question. Dessner and Low then continued to develop the songs, in close collaboration with Swift. "Taylor's voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks."

Dessner supplied sketches for nine and produced 10 of folklore's 16 songs, playing many different types of guitars, keyboards and synths as well as percussion and programmed drums. Instruments that were added later include live strings, drums, trombone, accordion, clarinet, harpsichord and more, with his brother Bryce doing many of the orchestrations. Most overdubs by other musicians were done remotely as well. Throughout, Low was keeping an overview of everything that was going on and mixing the material, so it was as presentable and inspiring as possible.

Mixing folklore

Although Dessner has called folklore an "anti-pop album", the world's number-one pop mixer Serban Ghenea was drafted in to mix seven tracks, while Low did the remainder.

"It was exciting to have Serban involved," explains Low, "because he did things I'd never do or be able to do. The way the vocal sits always at the forefront, along with the clarity he gets in his mixes, is remarkable. A great example of this is on the song 'epiphany'. There is so much beautiful space and the vocal feels effortlessly placed. It was really interesting to hear where he took things, because we were so close to the entire process in every way. Hearing a totally new perspective was eye-opening and refreshing.

"Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over-mixing.

"We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, 'Is this going to compete sonically? Is this loud enough?' We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn't improve the song — 'cardigan' is an example of a song where we ended up choosing a very early mix."

The Low Down

"I'm originally from Philadelphia," says Jonathan Low, "and played piano, alto saxophone and guitar when growing up. My dad is an electrical engineer and audiophile hobbyist, and I learned a lot about circuit design and how to repair things. I then started building guitar pedals and guitar amps, and recorded bands at my high school using a minidisc player and some binaural microphones. After that I did a music industry programme at Drexel University, and spent a lot of time working at the recording facilities there.

"This led to me meeting Brian McTear, a producer and owner of Miner Street Studios, which became my home base from 2009 to 2014. I learned a lot from him, from developing an interest in creating sounds in untraditional ways, to how to see a record through to completion. The studio has a two-inch 16-track Ampex MM1200 tape machine and a beautiful MCI 400 console which very quickly shaped the way I think about routing and signal flow. I'm lucky to have learned this way, because a computer environment is like the Wild West: there are no rules in terms of how to get from point A to point B. This flexibility is incredible, but sometimes there are simply too many options.

"l met Aaron [Dessned] because singer-songwriter Sharon van Etten recorded her second album, Epic [2010] at Miner Street, with Brian producing. Her third album, Tramp [2012] was produced by Aaron. They came to Philly to record drums and I ended up mixing a bunch of that record. After that I would occasionally go to work in Aaron's garage studio in Brooklyn, and this became more and more a regular collaboration. I then moved from Philly up to the Hudson Valley to help Aaron build Long Pond. We first used the studio in the spring of 2016, when beginning to record the National's album Sleep Well Beast."

Onward & Upward

folklore was finished and released in July 2020. In a normal world everyone might have gone on to do other things, but without the option of touring, they simply continued writing songs, with Low holding the fort. In September, many of the musicians who played on the album gathered at Long Pond for the shooting of a making-of documentary, folklore: the long pond studio sessions, which is streamed on Disney+.

The temporary presence of Swift at Long Pond changed the working methods somewhat, as she could work with Dessner in the room, and Low was able record her vocals. After Swift left again, sessions continued until December, when evermore was released, with Dessner producing or co-producing all tracks, apart from 'gold rush' which was co-written and co-produced by Swift and Antonoff. Low recorded many of Swift's vocals for evermore, and mixed the entire album. The lead single 'willow' became the biggest hit from the album, reaching number one in the US and number three in the UK.

"Before Taylor came to Long Pond," remembers Low, "she had always recorded her vocals for folklore remotely in Los Angeles or Nashville. When I recorded, I used a modern Telefunken U47, which is our go-to vocal mic — we record all the National stuff with that — going straight into the Siemens desk, and then into a Lisson Grove AR-1 tube compressor, and via a Burl A-D converter into Pro Tools. Taylor creates and lays down her vocal arrangements very quickly, and it sounds like a finished record in very few takes."

Devils In The Detail

In his mixes, Low wanted listeners to share his own initial response to these vocal performances. "The element that draws me in is always Taylor's vocals. The first time I received files with her properly recorded but premixed vocals I was just floored. They sounded great, even with minimal EQ and compression. They were not the way I'm used to hearing her voice in her pop songs, with the vocal soaring and sitting at the very front edge of the soundscape. In these raw performances, I heard so much more intimacy and interaction with the music. It was wonderful to hear her voice with tons of detail and nuances in place: her phrasing, her tonality, her pitch, all very deliberate. We wanted to maintain that. It's more emotional, and it sounds so much more personal to me. Then there was the music..."

The arrangements on evermore are even more 'chamber pop' than on folklore, with instruments like glockenspiel, crotales, flute, French horn, celeste and harmonium in evidence. "As listeners of the National may know, Aaron's and Bryce's arrangements can be quite dense. They love lush orchestration, all sorts of percussion, synths and other electronic sounds. The challenge was trying to get them to speak, without getting in the way of the vocals. I want a casual listener to be drawn in by the vocal, but sense that something special is happening in the music as well. At the same time, someone who really is digging in can fully immerse themselves and take in all the beauty deeper in the details of the sound and arrangement. Finding the balance between presenting all the musical elements that were happening in the arrangement and this really beautiful, upfront, real-sounding vocal was the ticket."

A particular challenge is that a lot of the detail that Aaron gravitates towards happens in the low mids, which is a very warm part of our hearing spectrum that can quickly become too muddy or too woolly. A lot of the tonal and musical information lives in the low mids, and then the vocal sits more in the midrange and high mids. There's not too much in the higher frequency range, except the top of the guitars, and some elements like a shaker and the higher buzzy parts of the synths. Maintaining clarity and separation in those often complex arrangements was a major challenge."

In & Out The Box

According to Low, the final mix stage for evermore was "very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There's a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you're really close to being done. Earlier on, those little adjustments don't really matter.

"I often try to mix at the console, with some outboard on the two-bus, but folklore was mixed all in the box, because we were working so fast, plus initially the plan was for the mixes to be done elsewhere. I ran a couple of mixes for evermore through the console, and `closure' was the only one that stuck. It was summed through the Siemens, with an API 2500 compressor and a Thermionic Culture Phoenix and then back into Pro Tools via the Burl A-D. I will use hardware when mixing in the box, though mainly just two units: the Eventide H3000, because I have not found any plug-ins that do the same thing, and the [Thermionic] Culture Vulture, for its very broad tone shaping and distortion properties.

"The writing and the production happened closely in conjunction with the engineering and mixing, and the arrangements were dense, making many of the sessions super hefty and actually quite messy. Sounds would constantly change roles in the arrangement and sometimes plug-ins would just stack up. So final mixing involved cleaning up the sessions and stemming large groups down."

Across The Rubber Bridge

The Pro Tools mix session of 'willow' has close to 100 tracks, though there's none of the elaborate bussing that's the hallmark of some modern sessions. At the top are six drum machine tracks in green from the Teenage Engineering OP-1, an instrument that was used extensively on the album. Below that are five live percussion tracks (blue), three bass tracks (pink), and an `AUX Drums' programming track. There's a 'rubber bridge' guitar folder and aux, OP-1 synth tracks, piano tracks, 'Dream Machine' (Josh Kaufman's guitar) and E-bow tracks, Yamaha, Sequential Prophet X, Moog and Roland Juno synth tracks, and Strings and Horns aux stem tracks.

"Most of the drum tracks were performed on the OP-1 by Aaron. These are not programmed tracks. Bryan Devendorf, drummer of the National, programmed some beats on a Roland TR-8S. I ran those though the Fender Rumble bass amp, which adds some woofiness, like an acoustic kit room mic. There's an acoustic shaker, and there's an OP-1 backbeat that's subtle in the beginning, and then gets stronger towards the end of the song. I grouped all the drum elements and the bass, and sent those out to a hardware insert with the Culture Vulture, for saturation, so it got louder and more and more harmonically rich. There is this subtle growing and crescendo of intensity of the rhythm section by the end.

"The 'rubber bridge' guitars were the main anchor in the instruments. These guitars have a wooden bridge wrapped in rubber, and sound a bit like a nylon-string guitar, or a light palm mute. They're very percussive and sound best when recorded on our Neumann U47 and a DI. On many of those DI tracks I have a [SPL] Transient Designer to lower the sustain and keep them punchy, especially in the low end. There's a folder with five takes of 'rubber bridge' guitar in this session, creating this wall of unique guitar sound.

"I treated the 'rubber bridge' guitars quite extensively. There's a FabFilter Pro-Q3 cutting some midrange frequencies and some air around 10kHz. These guitars can splash out in the high end and have a boominess that's in the same range as the low end of Taylor's vocal, so I had to keep these things under control. Then I used a SoundToys Tremolator, with a quarter-note tremolo that makes the accents in the playing a bit more apparent. I like to get the acoustic guitars a little bit out of the way for the less important beats, so I have the Massey CT5 compressor side-chained to the kick drum. I also used the UAD Precision K-Stereo to make the guitars a bit wider. The iZotope Ozone Exciter adds some high mids and high-end harmonic saturation sparkly stuff, and the SoundToys EchoBoy delay is automated, with it only coming on in the bridge, where I wanted more ambience."

Growing Pains

"Once we had figured out how to sit the 'rubber bridge' guitars in the mix, the next challenge was to work out the end of the song, after the bridge. Taylor actually goes down an octave with her voice in the last chorus, and at the same time the music continues to push and grow. That meant using a lot of automation and Clip Gain adjustment to make sure the vocal always stayed on top. There also are ambient pianos playing counter-melodies, and balancing the vocals, guitars and pianos was the main focus on this song. We spent a lot of time balancing this, particularly as the track grows towards the end.

"The vocal tracks share many of the same plug-ins and settings. On the main lead vocal track I added the UAD Pultec EQP-1A, with a little bit of a cut in the low end at 30Hz, and a boost at 8kHz, which adds some modern air. The second plug-in is the Oeksound Soothe, which is just touching the vocal, and it helps with any harsh resonance stuff in the high mids, and a little in the lower mids. Next is the UAD 1176AE, and then the FabFilter Pro-Q3, doing some notches at 200Hz, 1kHz, 4kHz and close to 10kHz. I tend to do subtractive EQ on the Q3, and use more analogue-sounding plug-ins, like the Pultec or the Maag, to boost. After that is the FabFilter Pro-DS [de-esser], taking off a couple of decibels, followed by the FabFilter Saturn 2 [saturation processor], on a warm tape setting.

"Below the vocal tracks are three aux effects tracks, for the vocals. 'Long Delay' has a stereo EchoBoy going into an Altiverb with a spring reverb, for effect throws in the choruses. 'Chamber' is the UAD Capitol Chamber, which gives the vocal a nice density and size, without it being a long reverb. The 'Plate' aux is the UAD EMT140, for the longer tail. These two reverbs work in conjunction, with the chamber for the upfront space, determining where the vocal sits in the mix, and the plate more for the depth behind that.

"At the bottom of the session is a two-bus aux, which mimics the way I do the two-bus on the desk. The plug-ins are the UAD Massive Passive EQ, UAD API 2500 compressor, and the UAD Ampex ATR102. Depending on the song, I will choose 15ips or 30ips. In this case it was set to 15ips, half-inch GP9. That has a nice, aggressive, midrange push, and the GP9 bottom end goes that little bit lower. There's also a PSP Vintage Warmer, a Sonnox Oxford Inflator, plus a FabFilter Pro-L2 [limiter]. None of these things are doing very much on their own, but in conjunction give me the interaction I expect from an analogue mix chain."

#Aaron Dessner #bryce dessner #Jonathan Low #the long pond studio sessions #making of #folklore album #evermore album #interview #about taylor #taylor swift #songwriting #producer #evermore era #folklore era #Sound on Sound Magazine #scans

[idw-sonic-fan-blog]

The Mandates

Just wanted to share my thoughts on the pro-ported mandates because they cast a shadow on this comic.

“Game characters cannot have relatives unless they were estabilished in the game canon, i.e. Cream and her mother.”

This one is understandable and you can blame Penders for this. Mind you that most licensed comics of gaming franchises don’t actually delve too much in personal family relationships or expand on them. So this is expected and honestly Sega should have put the screws on Archie decades ago about this.

“Game characters can not die. There are workarounds for this, such as being Mistaken for Dying or "Mistaken For Dead”

Again. Yes. Not a big deal.

“Game characters cannot have wardrobe changes unless approved. Chao Races and Badnik Bases has some characters (mainly the female game characters) wear different clothes for extreme conditions. Male characters remain the same.”

This is a useless rule but whatever. I mean Sega, you are the ones putting bad wardrobe choices on the characters so again it’s whatever.

“Sonic can't be shown getting too emotional (i.e;cry)”

This is one that it complained about because it really wouldn’t matter unless it is called attention to. A lot of superheroes don’t cry. But that doesn’t prohibit them from expressing themselves. IDW Sonic has been sad. He has been pissed. He has been furious.

Is this not too emotional?

Is he not expressing himself appropriately?

I don’t even know why this is brought up. When in this comic has Sonic not been expressive or displaying the appropriate amount of emotion? When did Sonic needing to cry be necessary?

“Game characters cannot enter in a relationship.”

Oh GOD YES. Don’t threaten me with a good time.

“All major Character Development must be approved by SEGA.”

Yeah, of course. Let me remind you that Penders and Archie ruined any strand of trust Sega could have in comic media. They played loose at first and all of the sudden, they are involved in a lawsuit about characters in a Sonic comic that they didn’t even know about. They probably lost a video game business relationship because of it. If they want to be involved in the comics, fine. That means that they are now forced to World Build. They have to invest in it now and not just be like Lucas Films and let anybody do anything with their flagship title.

“Much like the post-reboot of the Archie comic, the words "Mobius" is banned—the planet is simply called "Sonic's World". Unlike the Post-Boot, which allowed the names "Mobian" and "Mobini", anything related to Mobius is banned in this comic.”

…Of course but how about you throw the writer’s a bone and I don’t know, name the fucking planet. If it is not Earth, give it a name.

“Sonic must always win at the end. Even if he and his friends are at the losing end in an overarching story (the Metal Virus arc, for example), they must come out on top when it concludes.”

I don’t even get this rule and the knee jerk hatred for it. Why even have it? Why even share the existence of this rule? Archie Sonic didn’t really lose too bad. It’s more on how you frame a victory. The fact of the matter is that Eggman is still actively trying to conquer the planet. Sonic stops him but Eggman still has control of land and has military installations all over.

This rule is offset by this. While Sonic can’t lose, Sonic can’t completely win.

“Characters and material from other licensed properties (Sonic the Comic, Sonic the Hedgehog (Archie Comics), Adventures of Sonic the Hedgehog, Sonic the Hedgehog (SatAM)', Sonic Underground, the OVA, Sonic X and the Paramount films cannot be used. This rule extends to characters and redesigns done by the current writers. The only exception is Sticks from Sonic Boom, and that's because she was created by SEGA themselves and showed up in non-Boom media, but any ideas regarding her use still need to be okayed by SEGA.”

First off I am glad that Sticks was spared by this rule and I look forward to her eventual inclusion. Second, again, this is not much of a big deal as it was expected. Sorry Freedom Fighter fans but honestly deal.

“Male characters, sans Eggman, can't wear pants, which was also a thing in the Post-Reboot, albeit never explicitly stated. The inverse is also true; female characters have to have some form of lower clothing.”

Okay this is a pedantic rule. It is so weird with how precise it is. Like…huh?

“Classic characters such as Mighty, Ray, Nack/Fang, Bean, and Bark won't appear in non-Classic issues, as Sega doesn't want Classic and Modern Sonic to mix.”

One of the most bullshit mandates fueled by the nostalgia boner fans created. Like this is stupid because Archie Modern Sonic has added more character and depth to all of these mentioned characters than any of the Sega Sonic games they appeared in which only amounts to 1 or 2 at most. Why neuter your own potential stories with this stupid limitation?

“According to Ian Flynn, a specific incident involving Shadow's characterization when he's exposed to the Zombot infection was written in a specific way because of Sega mandating that he be written as an "overconfident asshole rival" character, similar to Vegeta. He later followed up with an explanation that out of every character, Shadow has the most mandates and notes attached to how he's portrayed. According to the podcast, Sega says that Team Dark is no longer a thing. The three members are not a team and they have never worked for G.U.N.; Shadow also doesn't even consider them friends.”

This is my opinion is the worst rule. First it’s contradictory to the character Sega introduced us to. Stop trying to be like Dragon Ball for once and actually be your own thing. It’s one thing if we are changing it because Shadow was unpopular because of his personality. But no one likes this Shadow. People miss the somber but reserved Hedgehog that continued to fight in spite of the world betraying him. Hothead Shadow is a cheap Knuckles. And I don’t even understand why Shadow even has so many mandates when he wasn’t the most egregious offender. Knuckles was.

Also, Team Dark aren’t a thing and Shadow doesn’t even consider them to be his friends. First off that doesn’t even fly in your own games. Who outside of Sonic does Shadow interact the most? Rouge. They have teamed up and were a packaged duo since their inception. When Shadow appeared, Rouge appeared right next to him. If Rouge was in a game, so was Shadow.

Team Dark or just Rouge has fought alongside Shadow in every game they appeared in. Who else does Shadow talk to if not Rouge?

“Sega has stated to Flynn that only male hedgehogs are allowed to go Super with the Chaos Emeralds.”

Except in Sonic Mania.

“Ian isn't allowed to directly reference a game, since the comic is supposed to be its own thing.”

Okay. Not only is this rule stupid. But it’s untrue.

This references the end of Sonic Forces.

The first page of comic.

It has referenced Sonic Adventure, SA2, Sonic Generations , and Sonic Unleashed.

This referencing Shadow the Hedgehog.

I don’t believe this rule exists and even if it did, it is dumbest rule since the whole point of this comic is to base it off the games more. The dumbest rule.

“Knuckles is not allowed to leave Angel Island unless he has a very good reason to.”

For decades, people have complained that Knuckles routinely leaves the island. For decades. Now does this mean Sega is going to 1. Use Knuckles and 2. Amplify the importance of Angel Island and the Master Emerald? No. Again, this criticism should be levied at Sega because they often conveniently forget Knuckles purpose and just hand wave it instead of giving Knuckles more to do on the island like I don’t know, have other entities invested in attacking him.

In summary, here is what I think is going on. Do I think most of these mandates are real? Yes. Given what happened to Archie, I do think Sega is doing some brand alignment. I think they got the clamps on.

But what I think is going on is a Japanese cultural thing called Power Harassment. It is normalized abuse of power. Sega of Japan is normally laxxed about their brands. They don’t mind blatant rip-offs of their mascot nor do they get stiff about fandom creations or mods. The comic division, however, is getting tough love because not only did it cost them a publishing deal, but ruined a relationship with a high end developer. So the IDW writers and staff are being subjected to intentionally hypocritical rules and strict mandates that they know don’t make sense until they’ve shown to be obedient.

A lot of the mandates aren’t strict. But some are so asinine that I don’t think they aren’t aware with how stupid they sound imposing those rules. Like Shadow is the most narratively complete Sonic character and yet, Sega puts this tight mandate as if Archie Shadow was the most egregious thing. Archie Shadow was overpowered. He wasn’t out of character like Sonic, Knuckles, and Tails were. They can’t be that stupid or be that intentionally dense. So they want to see if the writing crew can follow orders. That’s it.

But that’s just my take.

#idw sonic #sonic the hedgehog

[snowdunk]

Sonic as a medium, not just a fan fiction

I have been mentally dabbling with this theory for awhile now, but as I continue to read and write more stories as Sonic Fan Fiction, I am coming to find that the scope and vastness of both the Sonic lore (and a lot of that from the comics) and that of what AUs people create using the characters/settings we have in Sonic, I have reached a conclusion that Sonic is becoming more of a medium of story telling rather than just a Fan Fiction category.

Let me first break down what I see as general Fan Fiction. Stories written that use characters and settings from media done by fans and not meant to be in the cannon are just fan fiction. Sonic has many of these stories, and the series is no exception. But! What how does Sonic differ from Fan Fiction writers like Kingdom Heart or Pokemon? There are two elements that separate Sonic from just having typical general Fan Fiction: character creation and writing culture.

Sonic fans have always had a craving to make their own OCs that use Sonic Mobian styles to fit into the Sonic World. Because OC creation ahs become so common in the space, and now that cringe culture is over and fursonas are so common, Sonic OCs are more accepted and understood as valid than before. Another element we see with that is authors and artists creating their own headcannons or AU version of cannon Sonic characters. We all know the ones with Sonic being bi or gay or having adhd, we see the ones of Shadow being a robot or the ones of Silver being a goofy twink, and we can accept these easily into a story or art. I saw one today of Rouge being meaner than usual. Rouge isn't mean in the cannon of Sonic nowadays, but I saw that comic and said "yeah, okay I can see that and want to see more and can already build upon how I think other character would interact with her in that new headcannon." In this way, I think we shift cannon characters into customizable entities like OCs are.

So where am I going with that? Well, that last line was where I found my spark: "customizable entities." I think that the over abundance of writing and stylization of Sonic lore has made Sonic into archetypes and story starters rather than just characters that you can write about in Fan Fiction. We now have the Amy, who is a pretty, pink and young hedgehog who is driven and might have a complicated crush on another character. We now have the Shadow, a dark, brooding science experiment that hates fun but might have a pure center of gold if you dig. The variety and mass of Sonic characters allows for so many archetypes writers can use as a medium of moving the story along based on the characters used. How does a story with Amy, Shadow, and Sonic look? What about one with Rouge, Espio, and Metal Sonic? See how these characters become the tipping off points for full stories? Adding AUs into the mix makes it even more wild.

But this is what I mean when I say the writing culture we have in Sonic Fan Fics helps create this space where it isn't just "fan written stories that have Sonic characters in it." We have author written stories using archetype characters that then build the world within the text. The author in Sonic fan fiction need not spend time writing the description of the setting or exact or deep descriptions of characters, we can just say "Knuckles and Vector in Station Square" and we all go "ahh, yes, I can see it exactly as you do, now where do we go from here?" That is how we use Sonic as a medium to communicate our story, but then it puts our writing at the forefront since how we manipulate the established setting and characters makes the fuller picture.

Think of it another way, in Dungeons & Dragons, they have classes: bard, warrior, wizard, monk, etc. In Sonic, we have base characters from cannon: Sonic, Knuckles, Tails, Amy, Blaze, etc. In D&D, you pick a class and then you build the character stats and deeper personality from it. Same thing with Sonic! I can pick Knuckles, already have the understanding he is strong, gullible, and lonely. From there, I add my own flair and how I want him to interact with other story characters. Let's say I want him to have a crush on Sonic, easy! And because the Sonic fandom has so much written work of Sonuckles and the cannon has so many interactions with them, the reader can instantly see it as plausible and is ready to move on with the work without struggling. Similar to how in D&D, I can be a wizard, have spells I normally cast, but then say that I am an undercover agent of the Dark Arts and am running from my old clan because I want to be a good guy! I am using the archetype and its abilities, but adding my own twist on it. The reader doesn't get lost in my creativity because they are already so comfortable with the source material and "rules of the game" so to speak on how Sonic works.

Think about all the different ways Sonic has reinvented its own too: Sonic Boom, Classic Sonic/Modern Sonic, Shadow the Hedgehog's multiple story routes. Sonic in cannon has established itself as a flexible medium to put greater stories over the character tropes it has within. It has motived us to write so many ways and so many stories that shift the narrative, and I do not think a lot of other series have been able to do that. I could not see Mario or Harry Potter having as malleable characters as Sonic does. Even if you put Harry Potter in a coffee shop AU, they level of believability and freedom to manipulate cannon is limited. I could not read that and not just think "yeah that is Harry running a coffee shop, weird" but with Sonic it can be "oh wow that brooding, grumpy type runs a cafe named after a dead loved one and a spunky roller skater who likes to annoy him might have a crush on him?" And I bet you already pictured who it was and are ready to read on because the veil of cannon vs fannon is gone with Sonic now, Sonic is the medium of my writing, not shoved into spaces it might not fit.

Just a working theory. Please let me know if you have anymore thoughts!

#sonic #sonic the hedgehog #fan fiction #sonic fanfic #shadow the hedgehog #sonic fanfiction #sonic au #sth

[starr-fall-knight-rise]

HASO, “World War V.”

I realize the title would be a lot more clever if V wasn’t also the roman numeral for 5, but whatever.

I know this one is a bit over the top but in the immortal words of one of my favorite authors “err on the side of awesome.” and I will not apologize.

But I am interested, at the end, comment what two songs you would use in this scenario. I am intrigued. I will tell you the songs I imagined at the end of the story :)

“So, your plan is to…. Intentionally wake the dead?”

“Wake the, very long hibernated, and then blast them with hard rock music while we mow them down with machine guns? And…. remind me YOU are the GA armada Admiral? And this is your tactical genius.”

Admiral Adam Vir adjusted the chestplate of his space suit, “Well say anything in that sort of voice and it will sound stupid, but hear me out. It is much easier to take something out all at once than it is to go hunting them down one by one and having to worry about missing something. We bring in the helicopters, and the vibration of the rotors will disturb the ground causing the infected vrul to rise. Now knowing the Vrul, and knowing that complicated beats affect their ability to navigate, move and completely wipe out their fine motor control. Furthermore, they seem attracted to vibrations in the air and through the ground which means we will be able to confuse them even more and keep them away from the city. Barring that, the Vrul have their force fields up, which are more than a match for light machine gun fire and will even keep out the strange pollen.. There is no better time to deal with this.”

He tucked his helmet under one arm, “I trust that makes sense to everyone?’ he turned around to the docking bay where over fifty men and women stood in neat rows of polished flight suits, helmets tucked under their arms. As he spoke, their heels snapped together with a loud crackle, and their hands rose into a salute.

Behind them double the amount of marines raised their hands into the air and chanted with loud voices that rose into the air with a roar.

Admiral Vir turned to the commander of the 113th graduating class of Earth’s UNSC Airborne Helicopter division, which he had brought in on special loan. These men and women were yet to fly any real tactical missions though they had all logged thousands of hours of flight already in their careers. Many of them had never left earth until this moment, and their first mission was going to be on the face on an alien planet.

He smiled, “if you knew as much as I did about aliens, Major, you might understand why we are doing something that seems so ludicrous, but sometimes when dealing with extraterrestrials, this is what we have to do.”

He turned to where a line of fifty pod shaped objects were being loaded one by one onto a rolling rail leading towards the airlock. Beside it half a dozen small fluffy shapes were busy overseeing the attachment of fifty identical Sonic cannons to the front bottom of each. There was a break in their work as one of the small creatures came waddling across the deck.

Admiral Vir Knelt down setting his hand on the floor and allowing Lord Avex to step onto his hand and then onto his shoulder as he stood back up.

The rest of the crowd watched in wide eyed awe, though they were, luckily, well trained enough not to do or say anything stupid despite their large eyes and quivering lips, which suggested they wanted nothing better than to cuddle the stuffed-animal esque alien that rested on his shoulder, “The cannons are in place, Admiral, and I have examined each of the pods, and the yare ready to be deployed.”

“Thank you Lord Avex, your work is much appreciated.”

It was just then that Sunny walked across the deck to join them. She was wearing her space suit as well and carried her helmet under one arm. The new recruits staired on in shock as she walked over to stand next to him, “The machine guns have been mounted and are ready to go Admiral, A few of our number have volunteered to go with the marines as extra support. Behind her at least a dozen other Drev raised their fists into the air and chanted their excitement not all that different from the line of marines on the far end of the hanger.

Admiral Vir nodded turning back towards the group of young pilots, not much younger than himself, and stepped up onto the nearest crate.

“On behave of the Galactic Assembly and the Vrul council, I thank all the men and women here for agreeing to accompany us on this mission today. You will be the first airborne unit in history to participate in an operation off Earth as their first assignment. You are thousands of lightyears away from home, orbiting an alien planet thousands of years older than our own, and today your mission is not one of destruction, but of liberation. For thousands of years the Vrul have been trapped inside their walls, until time and tradition made them forget about the dangers lurking outside.” he turned his eyes to look over every last man and women that stood before him, “What we are about to face is like nothing humanity has ever faced before, below the soil of this planet lies a plague dormant for thousands of years, a horde like locusts ready to rise up and infect the city. Now we have our protections, we have our suits, and the Vrul have their shielded city, but it is our job to start riding the planet of it’s plague.” He smiled, “Plus it always helps to have door mounted machine guns and a little rock ‘n roll.”

There was a sharp cheer from the men and women before him who raised their fists into the air. Behind them the marines joined in, and so did the Drev, who, he was pleased to say, had taken to rock like they had guitar solos for breakfast.

Still grinning, he reached up, pulled on his helmet, “Right, let’s get this done.”

He pointed to Sunny, Ramirez, Maverick and a few others, “With me in the elad chopper. The rest of you split off and gear up.”

His words were obeyed almost immediately as he stepped  over to what had once looked like a pod, but was now clearly a very specialized sort of chopper. 

As he slid into the pilot’s seat, and the others strapped in behind, he heard, “I thought you were a fighter pilot, not a helicopter pilot.” They pulled on their helmets.

Adam adjusted his harnesses, “I can fly anything from space ships to paper plans, you can bet your ass if it leaves the ground, I know how to fly it.”

Maverick buckled herself into the door gunner position, “Yeah, but if it has wheels, you better bet he’s probably gonna back it over your mailbox.”

“Put a sock in it Maverick, that is hardly my fault. I never really got the opportunity to practice.”

The door at the back shut and locked tight.

All around them other doors were being locked into place, and once all of the pilots had indicated they were ready to go, Admiral Vir gave the signal, and he felt the ship change course. He adjusted his comms set and called up to the bridge where Simon would be piloting them into position.

“How are we looking, Somon.”

“Almost in position Admiral.”

“Now remember to pull back into low orbit once you let us drop, or else the gravity well is going to pull you in, and it is going to be a bitch to get her back out.” “Yes sir, I know sir.”

“Good.”

He turned his eyes forward as a red light burst into life above their heads. Everyone evacuated the airlock as the fifty pods were brought by rail towards the doors. Behind him he could hear the others chanting something, though his heart was hammering so hard he could hardly hear what they were saying.

Funny thing is he bet he felt like every one of those new pilots getting ready for their first mission. He didn’t know if it was just him, but it felt like this every single time, and he wouldn’t trade it for the world. He ignored the tingling sensation in his bladder as the light blinked green before the airlock door, and the ramp slid open.

All went silent, and below him he watched as the light of the vrul homeworld washed over the deck before him pouring like golden honey.

The sight was breathtaking, steeling the air from his lungs as he looked down.

“Damn.” 

It would just never get old.would it.

“Prepare for drop, in three, two, one, drop.”

The latch on the back of the rail released, and suddenly they were falling away from the ship. Adam was pressed back in his seat as they accelerated downwards towards the open atmosphere.

Lights blinked on the console ahead of him and the tracking screen picked up his target.

They were approaching, and they were approaching fast.

They were entering the atmosphere now, and he felt it as their pod began to rock and rattled around him and fire began to lick up on the southside of his pod. It was almost deafening as they roared into the atmosphere. He turned on his comms watching as other pods roared into the atmosphere back and behind him. He could see them on his radar as they roared downward.

He had to wonder what it must be like for them.

Their first mission, and they were doing a high altitude drop onto an alien planet.

He almost envied them their excitement. Because he had done stuff like this before, and he was still grinning like an idiot.

Light rose up around them as the sky behind them turned blue. Clouds passed below them in great swaths, and he reached down to the controls ready to deploy.

He set of a general count for the rest of the pilots.

Three 

Two

One.

He pulled the release, and the engine roared to life. There was a sudden firing as the engine spurted downward, lifting them airborne for a second and slowing their descent. His innards dropped as G force allowed his stomach to crawl into his feet. Then the rotors deployed like a fan. There was a sharp chunk and then a whirr as they began to fall again, and then the rotors caught, and began to spin. The rear rotor did the same sliding into position. Both caught with a roar, and he whooped with adrenaline.

He toggled his radio.

“Alright, ready the door gun.”

Behind him the doors were slid open, causing a rush of air to blast into the open carriage as Maverick rolled the gun into position and locked it at the door with a loud snap. On the other side Maverick was doing the same. Beside him. Sunny took control of the extra rear mounted guns set in place especially for this mission.

Adam had the guns already built into the chopper, as well as missiles if he felt like it.

Beside him and below him, he watched as the fifty other choppers deployed like his. Some of them were a bit wobbly, but everything he saw seemed to go well.

“Alright everyone take it in low, and on my mark deploy the cannons.”

He angled them lower roaring towards his target.

Below them, the Vrul city was a glassy blue purple bubble against the orange, brown landscape.

He took point, and the other choppers fell into flight beside him, clustered in ten open groups of five helicopters each, and together they rolled in low over the landscape, not twenty feet above the ground in some cases, though those were only the pilots who were comfortable getting that close. From here he could see the thudding of their rotors causing the dirt to shake and the strange trees to quiver. 

The wildlife began to roll out in different directions, racing across the ground and away from the roaring choppers as if they knew what was coming, He scanned the ground, with Maverick and Ramriez leaning on the machine guns behind him.

“See anything yet?”

“Not yet.”

He opened his comms to everyone else, “Alright everyone, deploy sonic cannons in three, two, one go.” 

The first line of lyrics, and the first drumline rolled from the directional cannons, blasting the ground with a focused beam of sound like a laser for noise.

He whooped bobbing his head to the music, the sound so powerful he was able to hear it over the roaring of the rotors.

He sure hoped the Vrul had taken his advise and hidden in inside bunkers for this.

They roared over the landscape turning in a huge clockwise circle over the landscape.

“Report if you see anything.” he ordered.

At first, it didn’t seem like anything was going to happen, and he worried that his idea, which had seemed so cool and tactical to begin with , was nothing but a waste of resources. How embarrassing was that going to be to explain to the UNSC.

Yes, I borrowed the entire 113th graduating class to go on a joyride around the Vrul capital city, yes here is my rank and gun, I will now go live on the moon in exile never to show my face again.

“Sir! I have something.”

“Go.”

“Just south of the city, sir. I have movement coming from the trees in thermal.”

“Same here sir.” 

He was at the point of the circle, so he wasn’t likely to see it, made sense.

“Alright , let’s give it a pass. I want as many of those bugs out of the ground before we start shooting.”

They roared over the ground with the sound of the base rattling the stone below them. As he watched, one of the strange animals he had seen running, tipped over as the cannon passed over it and fell to the ground twitching. Apparently pattern tolerance was not something that many things on this planet had.

“Sorry guy, but things are going to be better when we are done.”

Rocks jumped and rattled as they took a wide turn around the city.

He could see the shield pulsing against the sonic waves that were bouncing off the ground and back into the air.

The blades of the helicopters cut through the air so fast it was like a light grey translucent wall against the sky.

They had almost made a full rotation.

“Holy shit.” for a second he wondered who had spoken until he realised that it was himself.

They were everywhere, swarming like ants over the landscape, turning the ground black in some places as they crawled over each other in confused circles. As the music got closer, their purposeful movement turned into awkward confusion.

“Stagger!.”

The formations staggered, falling behind each other so that everyone was always covering one segment.

“Ready to deploy the  sonic attack on my mark, in three, two, one, mark.”

It was a guitar solo this time, one that he had listened to thousands of times, and one that he couldn't have resisted using to kill zombie Vrul.

Th drumline cut in as the third obvious pattern in the song, and as it roared over the wave of Zombified Vrul, there was an immediate reaction as they all began staggering and falling to the ground, behind him he felt as the guns opened fire on either side with a sharp burrrr as the rotating barrels started spitting hot lead at 1,000 rounds per minute.

He laughed with something like maniacal glee as the powerful rounds poured into the infected creatures ripping them apart sometimes four at a time sending a wave of yellow pollen up into the air, to be kicked up by helicopter blades as they passed over. His circle kept him closest to the wall, so he was able to catch the majority of them before they could even attempt to make it to the city.

He toggled his own guns, and stitched a line of bullets over a completely black mass, which erupted into a burst of yellow. His circle took him around to where the Vrul had managed to make it to the wall of the city, and had begun climbing each other like they planned to create a ladder using bodies to the top of the wall. He gunned them down with great prejudice. As they moved along the wall, more and more of the creatures had piled themselves higher and higher, but that is not a trend that they allowed to last long. One of the piles managed to make itself three quarters of the way up the wall before their sonic attack hit them, causing the tower to collapse as both glorious drum lines and bullets roared into them.

He carved a circle through the sky coming over their first line of attack, where dark bodies were doing the best to crawl over their fallen brethren and pools of yellowed pollen having fallen to the ground. Ahead of him he could see a cloud of yellow where the following helicopter was stitching tis way over the landscape with great prejudice.

Behind him, he thought he heard Maverick cackle like a swamp witch as she loaded another belt of ammunition.

Yeah sure people back home were cool, but they would never be this cool, flying over an alien landscape, killing alien zombies while listening to a little ACDC, They could dream but nothing would ever be more awesome.

He couldn’t wait to tell his siblings.

His sister would be so jealous.

She had always been a fan of the zombie genre.

“Admiral, Admiral I think some of them are starting to fly.” Came the nervous comment over the com.

“Alright, remember the drill, just keep calm, and go higher if you can, then when you have enough clustered below you, drop one of the canisters.”

There was an acknowledgement over the comms.

With that announcement still running through his head, he got ready to drop one of his own canisters.

He was in view of the last helicopter as it rose into the air pursued by hundreds of little black dots that would erupt into yellow spores as they were hit by machine gun fire, and then something dropped from the bottom of the chopper, and then exploded just above the rising infected.

Thousands of tiny organic needles rained down on the vrul, cutting straight through their helium sacks, and sending them crashing downwards, into their companions, and finally to the ground where they erupted on impact, killing even more of their companions.

Up ahead, a wall of black rose before him, but he was faster.

They rose into the air and he roared over the wall, dropping one two and then three canisters in quick succession causing a wave of them to drop to the ground. The following helicopters followed his lead. He was having to rise higher and higher into the air, but still he was managing to keep ahead of them, they were slow and he was fast, but that didn’t stop a few of them from getting in front of him. 

There was a jolt as his rotors hit one of them, and he gritted his teeth, it was fine, one or two was fine as long as he didn’t allow them to gum it up.

He pulled back and up and continued to drop more and more of the caisters.

One or two of them floated high enough to make it close to his sonic cannon, but they were blown back and the pressure caused their helium sacks to rupture.

***

The Vrul council stood on the wall overlooking the outside of the city as a wall of the Vrul infected rose into the sky obscuring everything in a wave of dark bodies. Human helicopters roared in a wide circle around the city, and everywhere they went yellow spores erupted into the air. All of them wore safety masks as a precaution, but that didn’t stop the fear that rose up in them as they stepped back arms held out in shock. Dr. Krill stared on in fascination and awe. He wasn’t wearing hearing protection like the others, he could handle human music to a certain degree, and it was pretty muffled through the shielding.

He watched in shock and awe as one of the helicopters cut too low, and rolled right into a dense thicket of the floating bodies. There was a horrific eruption of yellow as the rotors caught hundreds of the creatures, and then the helicopter itself began to spin out of control crashing and rupturing Vrul as it roared towards the ground.

The emergency systems deployed firing one last time to slow the chopper’s crash. The sudden burst of flame ruptured a line of the Vrul infected before it finally plowed into the ground sending up a wave of yellow spores.

“Sweet Nebulon.” one of the council muttered.

Two more helicopters went down, and it looked as if there weren't going to be enough bullets.

What had they done!”

***

“Everyone, On me, increase sonic cannons! Now!” he had seen the three choppers go down, and he had seen all three of their safety measures deploy, but he couldn’t be sure if any of them had survived. “Avoid the crash sites. Everyone on me!”

The entire fleet of remaining choppers clustered together turning up the volume on their sonic cannons, and the combined force was so powerful that some of the bodies began to rupture even without gunfire though it still tore downwards.

They took two more passes before he saw his ammunition running low. That was fine. The Vrul bodies were no longer coming in waves and it would be harder to hit them from above, now that they weren’t just coming in a wave.

He aimed for one of the crash sites.

“I want a group of us to set down. Only choppers with Drev on them!”

There was agreement as ten choppers split off to the three crash sites.

Adam roared down from the sky, and set down on a smoking heap of yellow coated bodies.

He cut the engine , and reach back to pull his spear from where it was attached to the floor of the chopper. It wasn’t a Drev spear and it wasn’t a human spear but something in between, with the reverse spike on the end like they had done with the NeoSpartans.

He turned in his seat just in time to see the two marines push their machine guns out of position and one of the infected Vrul to come charing at Ramirez.

A spear appeared in his hand in that moment, and he ran it through the face.

Sunny was behind him a second later, and together they were out the door, three of them armed with spears, maverick armed with her assault rifle, and together they made their way towards the downed chopper.

Making it there just in time to see as a pile of clustered Vrul was ruptured from within, and a very angry Drev came roaring out.

He recognized from the height who it was.

“Kanan!” he heard Sunny yell.

They ran over to help, sweeping through the cluster of Vrul zombies before they began fanning out across the open plane.

He turned up the speakers on the outside of his suit and allowed it to blare music as he raced towards anything that still looked to be moving. A few of them were still floating into the sky, but the remaining helicopters were taking care of those, and Maverick from the ground on occasion.

He ran one through the face, turned and clubbed the other in the head like he was swinging  for a home run.

His blad sliced straight through the neck of one as he staggered over the uneven ground.

To the side of him, sunny was cutting through them with impunity like a god of war, touching them though they never touched her, the yellowed gore spattering her suit.

As more and more of the Vrul were cut out of the sky, more and more choppers landed, and men and women filed out, running in open lines, using whatever the could to dispatch the remaining bodies.

He saw one of the new pilots grab a Vrul by the neck, and twist it like he was breaking the neck of a chicken, surprised when the entire head came off. He kind of hoped the Vrul council did not see that.

By the end of the battle. Four of their choppers had been downed. Two humans were dead, both of them in the crashes, and at least four more critically injured.

He felt bad about it.

But he couldn’t have predicted that.

At least none of the pilots had died.

Two of his marines had though, tossed from the choppers as they were falling from the sky. It made him sick to think about their families, the ones that he would have to send letters to, but he tried not to think about that for now.

Thousand upon thousands of the vrul zombies were dead, and even as he thought this dozens more were being dispatched by hand by humans who were no more than walking radios at this point, having chosen their own theme songs to fight zombies.

Some of thor picks were quite surprising, though he couldn’t blame them for their humor or their irony.

They still had a long way to go, but at least he knew how it could be done.

Vrul past, hopefully, would never come back to haunt them. 

The two songs I imagine Adam picked for this was 

First: Raise Hell - Dorothy

Second: Thunderstruck - ACDC