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ehlnofay · 9 months

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writer asks... 🥺🛒🤡✨🎶🎨👀

🥺 Is there a certain type of moment or common interaction between your characters that never fails to put you in your feels? I think that something that always gets me is when the interaction is nice and good and lovely, and it could continue to be nice and good and lovely, but there are underlying circumstances that will not let it be and even now the cracks are starting to show. I love it when you can see the painful dissolution of a relationship long before it actually comes to fruition. it's so hhhhh and I write it a fair bit with characters like arabella and j'zargo, torr and astrid, pax and martin, and so forth

🛒 What are some common things you incorporate in your fics? Themes, feels, scenes, imagery, etc. the thing that draws me most to writing is the characters; I think most of my writing is in some form a character study. I'm perpetually fascinated by how people react to difficulty, how they relate to one another, how their experiences inform their actions. so I think most of the themes that crop up often relate to that. I like using a lot of images and motifs, as well, but I can't think of any that are ubiquitous, though most of my characters have one or two specifically assigned to them that I like to reference

🤡 What's a line, scene, or exchange you've written that made you laugh? hmm... I'll be honest almost anything with efri has at least one thing in it that is extremely funny to me. she just says things. I'm looking through her document to give an example and there's just so much in here. in her first meeting with savos she asks him how old he is and then raps her stick on the ground and says "you're dead," before he can finish answering. she announces to the group of vampires she's sitting around a campfire with that she isn't sure how she feels about her choice to free them, you know, ethically speaking. she refers to the eye of magnus exclusively as "the ball" and when mirabelle informs her what they've been calling it she says "huh. that's a weird name" (she does not know who magnus is)

✨ Give you and your writing a compliment. Go on now. You know you deserve it. 😉 I'm genuinely really happy with where my writing is right now. I'm proud of how much improvement I can see over the last few years in how I portray scenes, atmosphere and dialogue, and I see a lot of potential for growth which I find really exciting! since I was a little kid I've wanted to be a published author and I feel like that's actually in the cards for me at some point in the not-too-distant future (assuming, you know, I actually write a book)

🎶 Do you listen to music while you write? What song have you been playing on loop lately? I cannot play music or listen to literally anything when I'm writing. I close the door and the windows and ask my siblings to turn down their youtube videos or else I Cannot Focus An Inch. however I do love to listen to music to help me think through my stories and characters... it helps me get into a Mood and I've gotten a lot of ideas that way. most recent song I've begun to associate with a character is the amazing devil's the calling. it's pax (ish) at a very specific story beat

🎨 How do you feel about fan art of your stories? LOVE IT FOREVER. I still regularly look at art fight attacks and go AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. I want to give each of them a turn as my profile picture but I keep forgetting :(

👀 Tell me about an up and coming wip please! the Ludicrously Big Project.... if I keep the other sections to a similar length it will end up over a hundred thousand words, which is ABSURD. if I don't, the first bit will feel like such an insane outlier. I guess we'll see... I don't want to go into too much detail since I am only about a quarter of the way in (ridiculous) and I might trim the section I've written down a Bunch, so I don't want to like. jinx it. or say anything that ends up not being true. I will say that each main part focuses on the same story from the perspective of a different character and it is an exercise in not writing in little scenes pieced together (the reasons it is SO STUPID LONG methinks... if it was just the one character in vignettes it would have ten thousand words cut out and it would be done already) and that none of the characters in it are mine. unless you count the ones I made up expressly for this story. also it is pretty dark... which isn't super uncommon for my longer stuff it seems. I guess the more intense topics demand more space to resolve themselves. but there are parts that might be hard to read (definitely will be hard to write). whenever I post it in fifty years I will be sure to include comprehensive content warnings

#thank you muchly for the ask! sorry it took me a while to reply I was busy putting slime on my head #and then I wrote way too much about it #ah I'm kind of nervous about the Long Thing tbh. I always get worried about writing sensitive topics Well #I really don't want to mishandle stuff #but I will do my research and my best. and I'll see how it goes!!!!#ask

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offbeatmusicuk · 1 year

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Albums Of 2022: 25-1

Part one of this list (numbers 50-26) is here:

The countdown continues:

25.

HVOB "TOO"

Austrian duo HVOB (Her Voice Over Boys)'s 5th album is another melding pounding techno, with lush vocals, elements of trance and house, chilled soundscapey moments and more downtempo fare. Mesmerising.

24.

Leftfield "This Is What We Do"

Second Leftfield album as a Neil Barnes solo project, and 4th overall, this album is unsurprisingly closer in sound to its 2015 predecessor 'Alternative Light Source' than either of the albums made as a duo with Paul Daley, and while they may not be as legendary and classic as 'Leftism' or (as some may argue) 'Rhythm & Stealth' they are still very good records. As ever a genre melting pot, with elements of dub, techno, breakbeat, punk, chillout etc.

23.

Röyksopp "Profound Mysteries"

The first part of the Norwegian duo's 2022 album trilogy contains the typical combination of danceable floorfillers and beautiful chilled moments. Quality stuff. Honestly if they'd done a best of the 3 parts as one album, it could be the best they'd done.

22.

Synthsonic "Iconiq"

Hard trance producer Carl Nicholson wanted to create a multi-genre (within dance music) band type project. So along with fellow producer Dave Parkinson, pianist Paul Skelton, and vocalists Renny Carroll & Niki Mak, he has done just that. A dance music journey, they claim 8 genres appear over the 12 tracks, with trance, house, breaks and drum & bass among them. A nice nostalgic reminder of the more inventive dance albums of the past.

21.

Billy Daniel Bunter & Sanxion "1993"

The second collaborative album from these two, this time concentrating on recreating the style of breakbeat hardcore from 1993. Job done, nailed it. Big breaks, pianos, vocal hooks all present. Love it.

20.

Lupa J "A New Kind Of Magic"

I've liked Lupa J's brand of glacial electro-pop since 2016's My Right Name EP, but this, her 3rd full length, is her best work yet. As she's brought the breakbeats. Adding old school breaks to her modern glitchy style works a charm, and this is a mesmerising, hypnotic listen.

19.

Working Mens Club "Fear Fear"

They may be from Yorkshire, but I hear a lot of influence from 70s & 80s Manchester here. From Joy Division to the dance beats of the Haçienda via some synth-pop, this album is full of upbeat (in a rhythmical sense) melancholy and a bleak view of the world, but not afraid to use a catchy hook.

18.

William Orbit "The Painter"

Chilled beauty, elements of dub, gorgeous guest vocals, all wrapped up in music that is distinctly Orbit.

17.

PVA "Blush"

Mixing pounding dance music, with live percussion, spoken vocals and post-punk vibe, makes this band rather unique and their debut album one to treasure.

16.

Yeah Yeah Yeahs "Cool It Down"

Though at only 8 tracks and 32 minutes, it only just qualifies as an album - controversial statement incoming - this is probably YYY's best album yet. Bathed in electronics, to set mood and produce energy, with some huge instrumentation, synths and beats, with some big hooks, there are multiple tracks here that are up there with the band's classics like "Date With The Night" or "Zero" but really don't sound like them.

15.

Holy Wars "Eat It Up, Spit It Out"

Debut album from this LA duo, and it packs a punch. Flitting genres from rock and punk with some hip hop influences and a large pinch of electronics, these songs pack attitude and hooks aplenty. Singer Kat Leon is a bona fide rock star, just not enough people have heard of her yet. Give it time.

14.

Annie Hamilton "The Future Is Here But It Feels Kinda Like The Past"

Sydney folk and indie pop band Little May's debut album was dreamy, atmospheric, warm and beautiful. Their follow up wasn't. I wondered what happened, and now I feel it may well have been because Annie Hamilton left the band between albums. For this, her debut solo album is dreamy, atmospheric, warm and beautiful. As Rough Trade put it "Dream pop can sometimes feel detached and low-stakes, but not in the hands of Annie Hamilton. The Sydney solo artist applies an urgent kick of immediacy to shoegaze-style layering, stacking heady textures so impactfully that everything she sings about begins to feel like sensory immersion." And that is the thing, there's not an abundance of big choruses or catchy hooks here, but it draws you in and surrounds you and just feels lovely.

13.

Celsius "1992"

A tribute to the breakbeat hardcore, and the music of the raves in 1992, and a very good one. It sounds just like it was made in 1992. If you like that sort of stuff you will find much to enjoy here. Top one, nice one, get sorted.

12.

Mojave Phone Booth "Hollow The Numbers"

Former Snake River Conspiracy members Tobey Torres-Doran and Mitchell Doran, with drummer Lynn Farmer of Meat Beat Manifesto, release their 2nd album as Mojave Phone Booth, and what a genre hopping journey it is. Across the course of the album there are elements of industrial, trip-hop, punk and even a 10 minute breakbeat-esque club stomper with "Analog Religion". Excellent stuff.

11.

Ben Gold "Rest Of Our Lives"

Stunning euphoric trance on this debut album from Ben Gold, featuring two of the biggest vocal tunes on the scene this year with the title track and the magnificent "Same Sky Same Stars" featuring Plumb.

10.

Feeder "Torpedo"

The quality of Feeder albums have been up and down over their career. The last couple (2016's "All Bright Electric" & 2019's "Tallulah") represented somewhat of a return to form and were very good records. "Torpedo", however, is pretty much a Feeder classic. Mixing elements from their first 4 albums (and mini album "Swim"), from chunky riffs to soaring choruses and beautiful slower songs, this album is their first since "Comfort In Sound" to give me that feeling which made Feeder one of my favourite bands back in the late 90s and early 00s.

Grum "Unreality"

Fusing an 80s influenced, almost synthwave sound, with deep house, trance & techno, Grum's latest is an intriguing and addictive beast, helped in no small part to some stunning vocal contributions from the likes of Natalie Shay and Sarah Appel amongst others.

Conjure One "Innovation Zero"

Rhys Fulber, the mastermind behind Conjure One (and also one half of Delerium), unleashes his 4th album under this alias. It is a dark, yet beautiful, exquisitely produced album of downtempo electronic music. Staggering melodies in the vocal led songs, mesmerising soundscapes in the instrumentals, this contains 3 of my favourite songs of the year, in "Animals", "Hide" & "Wheels Come Off".

Craig Connelly "Believe In Magic"

My absolute favourite of the new trance producers to emerge in the last decade or so, Craig Connelly unleashes his 3rd artist album of uplifting trance, mixing vocal anthems and instrumental stormers.

Placebo "Never Let Me Go"

In my opinion, Placebo haven't made a bad album, and this, their first in 9 years, is fortunately no exception. Typical fuzzy guitars, drums both real and programmed, a soaking of synths and electronics, Placebo often look to do something different with each album, and they do, but only slightly. So it's always undeniably Placebo, but it just keeps it a bit fresh. They themselves here sound somewhat renewed and recharged and ready for action.

Vukovi "NULA"

A concept album then, for Vukovi's 3rd opus, but none of your moustache twiddling, pretentious, triple album nonsense that can so often come from the concept album. Nope, this is a Vukovi album good and proper and the songs within will stir up many a mosh pit. It's heavy, it's bouncy, it's melodic. It simply rocks. One of the most reliably brilliant bands in the world right now.

Blood Red Shoes "Ghosts On Tape"

This was a little unexpected. Every Blood Red Shoes album has been enjoyable. Every one has made my top 50 of its release year (I believe), but none have broken the top ten. This, then, is their masterwork (at least so far). Combining elements of the older rocky era, with the later more electronic output, "Ghosts On Tape" is a spectacular melting pot of sound, with some brilliantly good tunes.

Brigade "Dissonance"

Wow, where did this come from? I saw Brigade live in support slots a couple of times in the mid to late 00s, liked them, bought their first 2 albums (and completely missed that they had an album out in 2011). You know, they were good, but didn’t blow me away. But when I heard this was out I thought it deserved a listen. My, how they have grown. “Dissonance” is fantastic! Yes there are elements of the band they were, but it’s gone super widescreen. Taking the epicness of post-rock, a dash of prog (in the way of having many ideas in one song, rather than the meandering length), with some brilliant vocal hooks and melodies. It’s huge, spine tingling, and manages some to get some huge riffs in there in places too. Superb.

The Glitch Mob "Ctrl Alt Reality"

I wasn't that aware of The Glitch Mob until a month or so ago. I think I'd heard the name, and checking out their previous albums of heavily American festival main stage EDM slanted bass music, if I had heard any previously, I'd've thought 'nah, not for me'. But I saw someone praising this album online, so I checked it out, and it blew my mind. Out goes their modern EDM style production and in comes the old school. More specifically, the amen breakbeat. And lots of it. This is a lazer sharp, immaculately produced, love letter to early 90s rave culture, specifically hardcore and jungle music, and the beautiful power of the breakbeat. And while it is stuffed to the gills with old school style samples and sounds, it doesn't sound like it was made then. It's not a carbon copy. It sounds like it was made today, but it ticks all the boxes for someone who was in love with that music in the 90s.

Pure Reason Revolution "Above Cirrus"

Pure Reason Revolution released 3 astonishing albums (2 of which were Offbeat albums of the year) of modern prog, mixed with almost metal riffs, Beach Boys-esque 3 way vocal harmonies, and massive amounts of electronics before they called it a day in 2011. Core duo Jon Courtney and Chloë Alper reformed the band in 2019, and in 2020 unleashed 4th album “Eupnea”. While “Eupnea” was a very good album, and it was great to have them back, something wasn’t quite the same as it was. That magic spark wasn’t quite all there. But wow is it back with “Above Cirrus”. Right from opener “Our Prism” the huge vocal harmonies are there to tingle your spine, to announce PRR are back on form, and prepare you for the ride. Stunning stuff.

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The top 3 albums were all considered for the number 1 spot, and it was very, very close in the end, but PRR took it.

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Playlists:

Spotify 50-1 (though missing number 21 as Billy Daniel Bunter & Sanxion are not on Spotify)

https://open.spotify.com/playlist/6J4Udn1dFO3KployUUq5Z9?si=914fdf151f6d41d2

YouTube 50-1 (though missing number 21 as Billy Daniel Bunter & Sanxion are not on YouTube) and different tracks to the Spotify one

https://youtube.com/playlist?list=PLSWMYBJKcPo20wiAD9J8n3FlJEuaqGWX1

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milgrammer · 4 years

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[ENG] Yurina Amami on Es & “Undercover”

DECO*27's fussy lecture about saying "Future"! Yurina Amami, who will sing the first song, felt the mystery behind it?

Co-produced by DECO*27, one of the leading Vocaloid composers, and Takuya Yamanaka, known for his human psychology oriented literary style, this original work, “MILGRAM”, is a viewer participation type music project. The MVs, which are the keys to unlocking the prisoners’ sins, are currently being released!

Animate Times is conducting an email interview with the voice actors participating in the project! Our first guest is Yurina Amami, who voices Es. This time, we’ll hear about Es, who exists as the audience surrogate, and, of course, the visuals, the lyrics… We’ll also hear about the song "Undercover”, which attracted numerous users with its scattered mysteries.

“Milgram” was already mix of excitement and mystery...and then they appeared! What were the pointers for playing Es, the audience surrogate?

“Milgram” has finally started, so please tell us what your thoughts were upon hearing the outline of this project.

When I heard about the outline, my honest first impressions were: 10 prisoners? All of them are “killers”? A viewer participation model? A three trial system? I had so many questions. The concept had never been done before, so I was incredibly surprised by its novelty.

Not to mention, I was gonna sing songs made by DECO*27 and act out a story written by Takuya Yamanaka?! I remember getting super worked up over that. I love the look of the world, which those two created, so I’m honoured to be involved with the project in this way.

Es exists to be the audience surrogate and interacts with the prisoners as such. Did the staff give you any explanations or directions for their role beforehand?

Es will act as the audience surrogate until the very end, so I kept it simple and added some aspects of their individual character. As the prison guard, I’ve been given some leeway, but Es remains cool, calm and collected towards most things. I wasn’t allowed to be emotional. However, despite being this work’s protagonist, I was told that their character shouldn’t stand out too much. Since their sex remains a mystery, they also taught me lots about Es’ character, so that I wouldn’t end up leaning too far to one side.

Honestly, it took me a long time to understand and get a feel for Es’ part. In addition to that, Es often says "Hm", but I had such a hard time grasping the nuance behind it...lol

The MV of "Undercover" was released and its numerous mysteries are attracting so many users! What a fitting song for the opening, created by Yamanaka and DECO*27!

The MV of “Undercover” was released on May 15, 2020, and marks the start of the series. Please tell us your first impression when you watched the video.

From the moment the visuals of "Undercover" appeared, I thought, "there’s no way I can stop watching this". I was glued to the screen from beginning to end. There were many scenes in which the dark atmosphere heightened the mystery behind it. And, above all, the characters’ movements were incredible.

Were there any aspects in the visuals and lyrics, which were of particular interest to you? Please tell us your favourite parts as well.

The lyrics which I was curious about were "You would probably smile and be pleased" Same goes for the visuals—the scene, where everyone gradually laughs more and more, sends a shiver down my spine.

From there, they seemed to be hinting at something while the chorus played for the last time… That made me feel a sense of terror. Also, the lyrics where the kanji reading was "you" instead of “me” was another favourite of mine. Es is you and you are Es—that was what I thought. But, more than that, I thought the word gave a sense of unity between Es and the users.

Also, the MV of "Undercover" may have a dark atmosphere, but there are some cute parts, which I personally like! When the chorus is played for the second time, in the scene where the tied-up prisoners appear in order, Amane looks like a scroll. It's so cute… Please have a look!

When you were singing “Undercover”, were there any aspects you paid attention to, were particularly fastidious about, etc?

This song is the so-called opening song of “Milgram”, so I sang with lots of strength and tried to give off the impression that we were moving at a fast pace. It’s an incredibly cool song, so I was worried as to whether or not my singing voice would be able to keep up.

As for fastidious… In the song, there’s a scene for each prisoner where I have to mimic them, so I listened to Mr Yamanaka as he talked about the set-up in detail and managed to deliver the “essence” of each prisoner in my singing voice. If you can feel the difference between them, then I’m happy.

Not to mention, “future”. He was very fussy about this part. Sing it like this! And so, I had to listen to their consultations on how to produce the correct sound, DECO*27 actually said the word “future” himself, and I had to go through a lot of lecturing.

When you first read the lyrics or after you finished singing, did your impression of Es change?

Not really. Just like how Es doesn't know anything about themself, I feel like there are so many things about Es which I don’t know yet either.

Furthermore, I personally chose to sing "Undercover" more like an opening song, which would mark the start of MILGRAM, instead of treating it like Es’ own song. I also don’t know much about how things will unfold or what will await us from now on, but someday I hope I’ll get to know the real Es!

It’s the users themselves which make the project more exciting!

Since observations hold the key to a project like this, it is expected that there will be discussions among users on the official app and social media. Please tell us how you would personally enjoy “Milgram” or if you have any suggestions for those users.

Do loads of analysis, share your opinions, and tell lots of people about Milgram. If you get 10 people, you’ll get 10 different ways of thinking. Not to mention, this project uses song lyrics, singing voices, visuals, and voice dramas! Those can all be looked at from various angles.

If there are sections in your analysis which are lacking, someone could fill in the gaps for you. It’s fantastic! Please pay attention to everything and fully uncover the sins of each prisoner. There’s also an official app, so it’d be great if you could make the most of that as well, while continuing to make Milgram even more exciting!

Lastly, please give out a message to those planning to enjoy the project from now on.

Since MILGRAM is a three-trial system, its users will have to observe the work for quite a long time. The information we’re given at the moment—about what on earth kind of sin each prisoner has committed—is a puzzle in itself.

However, this project is one which all of you will help form alongside us. Analyses are a given, but things like song and dance covers as well—to the people who produce those derived works, it’d be great if you could use them to make the project itself more exciting!

I’m sure that once the third trial ends, the project will unfold in ways which my current self could have never imagined. The project may have just barely started, but it’d make me so happy if you could see it through to the end.

In regards to Milgram and Es, thank you for continuing to support us!

Thank you

#These interviews are all so wholesome #ミルグラム #milgram #translation #interview #Es #Yurina Amami #Amami Yurina

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armedinkblot · 4 years

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I see the "Hot Chocolate" Polar Express memes going around (fuck yeah) so I wanted to type something very important to me about the movie that I'm sure you can relate to, even unknowingly. Please read (I can't do spreader bars on mobile).

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The Polar Express is an underrated masterpiece (in box office numbers and reviews, not nostalgia/memes) among not only Christmas movies, but movies altogether, both animated and live action. The music by Alan Silvestri is phenomenal, the writing and directing is beautiful, the characters are personable, and the graphics were, in my opinion, before its time (the CGI is incredible if you remember the movie is from 2004). But those things are not what I really wanna touch on.

I want to talk about the main character, whom we know only as Hero Boy. He's a brunette kid who has no name both in the book and the movie. He has no known identity to anyone on the train or to us watching the movie. In fact, most of the characters do not have names and we know them only as Hero Boy, Hero Girl, Know-It-All, Conductor, Elf, etc. The only characters we know are Billy (called Lonely Boy in the credits; we only know his name from the label on his present), Scrooge, Santa, and Hero Boy's sister Sarah. Note: I know the wiki says their names are Chris and Holly but those are unconfirmed fan names and I have no idea where they came from.

Everyone else has basic traits, as well: Hero Boy is courageous, Hero Girl is empathetic, Know-It-All is naive, and Billy is depressed. That is quite literally how you can sum up their personalities. Now, I'm not saying the characters are boring or poorly written- in fact I'm saying the complete opposite. They're some of the best characters in film altogether because of the simplicity and lack of identity.

I was 8 when the movie was released and I saw it in theaters as my family's once-a-year trip to the cheap AMC down the road. We were incredibly close to homeless and only had a small apartment because my grandparents owned an apartment building and gave up one apartment for us. It was my mom, my dad, my sister, and I living in a two-bedroom apartment in a rich city outside of Chicago, and my sister and I were bullied consistently for being "slum rats" and "floor-lickers".

When I saw The Polar Express, Billy stuck with me. I related to him. We were in a three flat apartment building with maybe 4 outfits each and going some nights with no food. The way Billy was in a run down house and felt the need to isolate hit me hard. And when he refused to give up his one present, I really felt that. My one present as a kid was a GameCube when it was released, and I played Luigi's Mansion nonstop for years until we could afford more games.

Anyways, Billy had no personality besides being shy and sad, like me. He lived practically in poverty, like me. He wanted everyone else to be happy and gave up what he wanted to make sure they were. Like me.

Seeing as he had no set identity, it was so easy to just... insert myself into his place. I pretended his name was Felix, and I projected my only two friends Lauren (she was only friends with me out of pity) and Derek (we're still extremely close) as Hero Girl and Hero Boy. I could imagine myself in Billy's place on the train, finally feeling included despite how much worse he had it than the others.

I feel like if they had identities, I wouldn't've been able to do that, and the movie wouldn't have stuck with me as much as it did. They'd have more traits, and the elaboration would make it so much harder to relate ourselves to them. The fact that these characters were practically blank canvases made it so easy to project onto, and that makes it very special to children.

My family is in a much better place. Thanks to my grandparents leaving the building to my dad when they passed, we sold it and we live in a house that we have a mortgage on. We can afford internet, health insurance, phones, and we have dinner every night.

I still watch The Polar Express every Christmas and play the soundtrack CD on my old boombox. I remember when I was young and insecure like Billy. I remember that I was able to project onto him and daydream about being in his happy-ending shoes. It gave me a lot of hope.

And that's why I personally feel like The Polar Express is severely underrated. The atmosphere was immersive and the kids' personalities (or lack thereof) struck hard with me and others who remember it fondly. When I mention the fact the kids were left unidentified and unspecific so that children watching could find themselves in them, people think for a few seconds and then realize they had also done the same.

Sure, it's a cheesy movie (hot hot ooo we got it), it got mediocre reviews (58% on Metacritic), the other kids besides Hero Boy were not in the original book, and the GameCube game was a mess (it had... a few flaws. Maybe game-breaking ones... Maybe one glitch that made me rage and break my controller... hm...)

But by far, The Polar Express raised the bar for character portrayal so high that I have not seen any movie come close to reaching it. It's a magical movie that sticks with the children who saw it. It helped develop my imagination, and gave me hope for the future.

I love. This movie.

#the polar express #christmas #christmas movie #christmas movies #polar express #tom hanks #hot chocolate #movie

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another-music-page · 4 years

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*originally posted on Instagram on 4/13/20*

These are my top 10 favorite albums from the 1st quarter, January-March, 10-1.

10. Everything is Beautiful & Everything Sucks - Princess Nokia

This double album was my first time listening to Princess Nokia, and I’m glad I checked it out. It shows so much of her personality, and the fact that the two sides of the album are two different attitudes adds to that personality as well. The production is pretty well done, but the highlight on here is Nokia’s witty, biting, sarcastic, and funny bars that are showcased throughout the project. There’s a lot of great music on this album and the variety shown in the 2 sides of it make it unforgettable to me.

9. Future Nostalgia - Dua Lipa

Future Nostalgia is another great example of 80s trends coming back into pop culture. The songs on this album are uptempo and infectious. Energy just radiates from every aspect of Future Nostalgia, from Dua Lipa’s vocals to the catchy-ass instrumentals. Every one of these songs is an earworm: the hooks are so well-written, simple but effective. And a lot of the songs on here have messages of female empowerment, which is always nice to see. All in all, this is a really nice project from Dua Lipa.

8. color theory - Soccer Mommy

I was drawn to Soccer Mommy’s album, Clean, because of its late night indie-rock feel that’s just perfect to me. The singles that came out before the release made it easy to tell that this album wouldn’t be Clean. However, the song structures used, the great, great guitar riffs, and the awesome vocal performances still are amazing. Overall, color theory is another great project from Soccer Mommy.

7. 3.15.20 - Childish Gambino

I’ve already shared some of my thoughts about this album. I think this album is a very logical step from “Awaken, My Love!” and because the internet, but there are also some definitely lows in the tracklist. At the end of the day though, this album showcases Donald’s immense talent, and the highs are fucking amazing, which is why it’s one of my top 10 albums of this quarter.

6. The Price of Tea in China - Boldy James & The Alchemist

In all honesty, the first time I tried to listen to this, I kinda thought it was just going to be a watered down version of MadGibbs. Once I gave it a chance though, I saw that the beats from The Alchemist are amazing, Boldy’s flows across the album are great, the features are used super well, specifically from Freddie Gibbs and Benny the Butcher, and the project as a whole is very cohesive and a really compelling listen. This was an amazing introduction for me to Boldy James.

5. Freckle Season - EP - Orla Gartland

This is technically an EP, but I’m putting it on my list because of how much it accomplishes in its super quick 16 minute runtime. The lyrics are chock-full of dry humor and wit, like on “oh GOD”, but also pack a surprising emotional punch on songs like “New Friends”. The instrumentals on this project are simplistic but effective, especially on songs like “oh GOD”, “Did It To Myself”, and “Figure It Out”. And the length of the project really lends itself well to the directness in the other aspects of the music. I really enjoy this project.

4. UNLOCKED - Denzel Curry & Kenny Beats

I already knew Denzel Curry could make bangers. I already knew Kenny Beats could make bangers. But goddamn, put them together and wow, it’s a match made in heaven. The chemistry between Zel and Kenny is unmistakable, and it shows through beautifully across this project. You can tell how much they influence each other during the making of the project because each beat works so well with the lyrics it’s paired with. Denzel is firing on all cylinders; he’s witty, quick, and compelling. And Kenny is at his best too, his beats go hard, the samples are expertly used, and the cohesiveness of the album is kept while still having tons of variety. I’m almost sure that this album will never get old.

FAVORITES: Take_it_Back_v2, Lay_Up.m4a, DIET_

3. Eternal Atake - Lil Uzi Vert

To be clear, I don’t mean the deluxe version. For whatever reason, LUV vs. the World 2 didn’t hit like Eternal Atake did for me. It took me exactly one listen to figure out that EA was full of hits. The first time I heard it, I only liked a few songs, then after a 2nd listen, there were only a few songs I didn’t like. I don’t know where it sits in Uzi’s discography (I might make a list about that in the future) but I’m pretty positive that the top songs in this are some of the best in Uzi’s catalog. The productions across this project is mostly very well done and Uzi’s rapping and singing are top-notch. This was pretty much worth the wait, although the deluxe has more fan service so I guess there’s that. Besides that, Eternal Atake is a dynamic, varying listen from one of my favorite artists right now.

FAVORITES: Prices, Silly Watch, Venetia

2. After Hours - The Weeknd

The main word I’d use to describe After Hours is “cinematic”. The atmospheres The Weeknd is able to create are amazing. This album is dark, brooding, and emotional with its lyrics but also its instrumentals and because they complement each other so well, each aspect is enhanced. Abel is kind of a cryptic person in real life, but on After Hours, he doesn’t mince words: “Where are you now that I need you most”, “Tryna be a better man but I’m heartless”, “Take me out of LA/This place will be the end of me”, “I don’t know if I can be alone again”. Abel is in emotional turmoil, and he does a great job of making that crystal clear. After Hours is one of the best albums of the year so far because of The Weeknd’s amazing vocal performance, the stellar instrumentals and the perfectly clear picture it gives us of Abel’s emotional state.

FAVORITES: Faith, Blinding Lights, After Hours

1. Circles (Deluxe) - Mac Miller

Circles, to me, is the emotional flip side to After Hours. While The Weeknd is singing about his emotional turmoil, Mac is singing about his contentment with life in general. It sounds like Mac is singing and performing directly to us at times, telling us not to be worried. I love this album so much because it just makes me happy. It calms me down. I can’t describe the feeling that Circles (the song) gives me right from that opening chord. So many songs on this album just make me feel good: Circles, Complicated, Blue World, Good News, Floating, Surf, etc. Besides the feeling this project gives me, Circles feels complete, which is amazing for any album, but especially for a posthumous release. The production is masterfully handled by Jon Brion, the songwriting is amazing, and Mac’s performances are as inspired as ever. I’m not counting out the possibility, but it’s going to be very hard to top this album for my favorite release in 2020.

FAVORITES: Circles, Complicated, Floating, Hand Me Downs, Blue World

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tlbodine · 4 years

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Three 1970s Horrors Worth Watching (that are not part of this film series)

The Horror by the Decade series started innocuously enough, with someone requesting some recent film recommendations. That got me to thinking about trends, and recommendations from previous decades, and how many movies that were true classics I was familiar with but had never seen, and thus the idea “hey, let’s watch movies from every decade!” came into being.

But obviously you can’t watch every horror movie from every year, so there had to be a selection process in place. Here’s roughly how I’ve been choosing movies:

Search Google for “horror movies {year}” for each year of the decade

Research them a bit and pick out everything that is familiar, historically significant, or seems especially interesting, and put them on a list

Pare the list down to 1-2 of the most interesting titles per year

Look for themes and pair movies up according to theme (since we watch two movies a week)

In order to save time, any movie that both I and @comicreliefmorlock have seen recently/a lot gets knocked off the list. In the 1970s, that means removing three extremely good, extremely important movies, so I wanted to talk about them a bit here.

Follow below the cut for thoughts on Jaws, The Exorcist, and Alien

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Jaws, made in 1975 by Steven Spielberg, is based on a novel of the same name written by Peter Benchley. Richard Dreyfuss and Roy Scheider team up to kill an unusually large and aggressive great white shark that is terrorizing the beach in a quiet New England town.

Fun fact: Until Star Wars was released two years later, Jaws was the highest-grossing movie of all time! This is probably due in part to how much money Universal decided to sink into its distribution and marketing, but the film’s quality has to play a big part too. It really is a magnificent movie and is probably a big part of why people are still scared of sharks.

Some things that are notable about Jaws:

It has one of the most iconic and effective film scores in cinema. Everyone knows the Jaws theme, and it’s been used to basically mean “impending danger!” in a jokey way for...I mean, at least 30 years, because I know that was a meme when I was a kid. I imagine it has been since 1975. That’s just a really impressive feat, and John Williams (yes, the Star Wars guy) deserves acclaim for it.

Music aside, Jaws is an excellent study in suspense and restraint. Technological limitations meant they couldn’t show the shark as much as they’d wanted, so scenes had to be filmed suggestively to ramp up the tension. (You do still get to see a lot of wonderful big scary shark, though, and honestly the effects still hold up pretty well to this day)

The performances are really good, too. The leads have a great chemistry and play off of each other really well. The script was a joint effort, getting passes from several people (including the book’s author), but a comedian Carl Gottlieb got a pass at it, and that humor really helps to elevate the film.

The most powerful thing about Jaws, though, is that it taps into a mythic seed that renders it utterly timeless. There is an echo of Moby Dick in Quint’s character and motives, with a similarly tragic arc. But it draws on something older and deeper, too. The premise of “man-eating wild animal terrorizes a community, a bounty is put on its head, only a hero can kill it” has been a staple of mythology for thousands of years.

Man-eaters are real, and they become the stuff of legend -- dating at least as far back to the monstrous Nemean Lion that could be slain only by Heracles. Historically, there are accounts of man-eating wolves, lions, tigers, etc. terrorizing locals, sometimes inspiring local werewolf legends - you can read about just a few of them here: https://listverse.com/2010/10/16/top-10-worst-man-eaters-in-history/

I think I watched Jaws for the first time when I was 8 (I saw all the sequels too, there was a cable marathon) and I was utterly captivated. I feel pretty confident if I showed it to an 8-year-old today, they would be too. It’s just that kind of movie.

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The Exorcist, released in 1973 and directed by William Friedkin, was based on a novel by William Peter Blatty, who also wrote the screenplay.

The story is about a 12-year-old girl, Regan, who begins acting strangely after playing with a ouija board. Once medical causes are ruled out, her mother turns to two priests for assistance; they come to perform the exorcism and have a harder time than expected with casting out the demon, to say the least.

The film is still considered one of the most frightening horror movies of all time by some, and at the time of its release it was a sensation. Movie-goers were said to have all sorts of reactions, from fainting and vomiting to having miscarriages and heart attacks. Contemporary psychologists even wrote about “cinematic neurosis” in people who had watched the film: https://www.ncbi.nlm.nih.gov/pubmed/1151359

The story crossed a lot of boundaries (even for the 1970s) and you have to bear in mind that this was a major cinematic release, not a grindhouse exploitation film. Most film-goers in 1973 were absolutely not prepared to see an innocent child spouting off vulgarity, urinating on the floor, and masturbating with a crucifix. And some of the practical effects, like the famous head-twisting scene, are still really creepy.

This is one of those movies that’s hard to watch with fresh eyes because it was so influential on all of cinema to follow. If you like demonic possession movies, this is the film that started it all. I know religious people who are deeply afraid of this movie and won’t allow it in their home for fear of inviting real demons, so, that’s the kind of staying power the story has.

** As an atheist, I am not particularly frightened of demon movies, and I suspect I will never fully grasp the real terror of watching something like this for people who believe that these types of things happen in real life. The Exorcist is definitely not the scariest movie I’ve ever seen, but I can respect that it definitely is for many other people.

Fun trivia: The Exorcist is considered by some to be cursed because the cast and crew had an unusually tough time with filming: the set caught fire (but Regan’s room was undamaged), several actors were injured during practical stunts/effects, several people died during filming or in post-production (not on set), and the demon’s voice actor experienced an awful tragedy years later when her son killed wife, kids, and himself: http://www.the13thfloor.tv/2015/12/02/is-the-exorcist-movie-cursed/

The events are all most likely coincidental (and on a long enough timeline, everyone involved with a project will be dead!) but it lends power to the suspicion that this was A Very Cursed Movie That God Doesn’t Want You To Watch, which makes it all the more frightening.

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Alien, directed by Ridley Scott, came out in 1979 and is so powerful that it’s still a popular franchise today, spawning books, movies, video games, merchandise, and more.

The story is essentially a haunted house film set in space. A commercial space crew is woken from stasis by the ship's on-board computer to answer a distress signal, discovering a derelict alien ship and founding a chamber of eggs belonging to an aggressive, parasitic alien creature that infests a crew member with its egg, which later hatches violently from his body, grows up, and proceeds to terrorize the ship.

It's a tense cat-and-mouse game of searching for the alien as it picks off crew members one by one, and the music, atmosphere, and visuals are all compelling, with effects that still hold up pretty well for modern audiences. But what makes Alien especially significant is the performance of Sigourney Weaver as Ripley.

We’d had scream queens before -- female horror protagonists who survive as “final girls” against the mayhem and slaughter -- but Ripley is something different. She is badass, heroic in a way that girls rarely got to see themselves, and laying down a template for strong female characters in future cinema (for better or worse).

The script was reportedly written to be gender neutral, with no assumptions about casting, which allowed Ripley to defy gender norms and expectations. But despite this supposed gender neutrality, there is a definite flavor of female horror in Alien -- which is, after all, a movie about forced impregnation and death at the hands of a decidedly phallic monster.

And that is, I think, probably right at the heart of the film’s sticking power. Science fiction can swiftly become dated as our knowledge of the universe expands, but the horror of Alien isn’t really the aliens so much as what they represent -- and sad to say, sexual violence is something we humans may never understand. Here’s a fun essay on the topic: https://www.newstatesman.com/culture/film/2019/03/forty-years-what-can-ridley-scott-s-alien-teach-metoo-generation

So, there you have it. Three movies we will not be watching in our film series, but which you absolutely should check out if you somehow haven’t seen them.

#horror movies #horror by the decade #horror through the decades #jaws #the exorcist #alien #i love these movies #so much

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doomedandstoned · 5 years

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PSYCHO LAS VEGAS IV

~Festival Review~

Words by Roman Tamayo | Photos by Sally Townsend | Films by Arturo Gallegos

Psycho Las Vegas is a unique experience: more than 70 bands play for 4 days in 4 stages. This is not a regular festival; it represents the triumph of the underground scene that loves heavy, slow, and psychedelic riffs. We are living in the golden era for this kind of music: bands like Electric Wizard or High on Fire playing in a big arena, the dream has come true. This festival is opening the doors on the American continent for new bands, while consolidating the old ones -- they will probably be the next legends like Led Zeppelin or Black Sabbath. I flew in from Mexico City for Psycho this year and hope that in the near future the festival will turn its eyes to the thriving Latin America scene.

PSYCHO SWIM

The first day of the festival, I had the chance to see bands like Primitive Man, Danava, Lucifer, and Corrosion of Conformity playing on a stage overlooking a big pool, affectionately nicknamed the "slosh pit." For such a setting, the sound was amazing, the atmosphere unique; it was the start of a big party that would continue non-stop for the next three days. You could see fans from different parts of the United States and other countries like México, Argentina, France, Canada, and so forth. The cultural exchange and the vibe of friendship were amazing.

Primitive Man

I don't have words enough to describe how loud and heavy these guys are live. I think the correct way to describe it is: a massive wall of sound melting your face. In my opinion, Primitive Man emerged as one of the heaviest bands of the festival.

Lucifer

Lucifer was one of the most anticipated bands of the event. The line to access the stage was long, with people waiting upwards of 20 minutes to get access. As for the show, I think they stole the night. Nicke Andersson and Johanna Sadonis have an incredible band. You can feel the fuzzy vibe of the ‘70s all over their songs, carried out by musicians who are quite skilled for the job.

Corrosion of Conformity

Kirk Windstein from Crowbar introduced Corrosion of Conformity in the final show of the night and the entire crowd started to party. The sound was amazing, you can see why they are living legends. They played a lot of classic songs like "Albatross," "Clean my Wounds," "Broken Man," along with plenty of surprises beneath the starlit sky.

DAY ONE

Arthur Brown

It's Friday and Psycho Las Vegas has officially begun! I saw the God of Hellfire himself, Arthur Brown, to open things up on the main stage -- a big arena with an amazing sound. The living legend was back once again to offer us one of the most magical shows of the entire festival. The godfather of the shock rock let us know that there is no age restriction to being a rocker. The mix of clothes, musicians, vibe, passion, and love were the perfect combination, and the audience warmly recognized Arthur Brown for his many years of music.

Graveyard

After Arthur Brown, it was Graveyard's turn to wow us. The arena was full for this show. The Swedish stoner-blues outfit played an incredible set with songs from all of their albums: "The Siren," "Hisingen Blues," "Please Don't," "Goliath," etc. The sound was impeccable. With wider exposure like this, these guys could very well be recognized as the next Led Zeppelin.

Godspeed You Black Emperor!

After the break, I saw Montreal experimentalists, Godspeed You Black Emperor! Without doubt, one of the most impressive acts of Psycho -- more than music, it was a breathtaking experience. The visuals coupled with the sound had me in a trance for the duration of the performance by these eight musicians. One of our favorite shows.

Yob

Next, I arrived at the Beach Stage for Yob. I was very excited about this show, but unfortunately the audio from this venue was horrible during all three days. The mixing console was next to the stage and the audio engineers did not have a clue of how the sound was outside. Yob played an incredible show, nonetheless. During the last song, Colin from Amenra sang with Mike. What a great collaboration to witness!

High on Fire

After YOB, I ran to see High on Fire on the main stage, but it was the same story -- the sound was terrible. That, however, didn't stop the crowd from getting into the spirit of the songs, and they formed big circles for the mosh pit. The new drummer suffered a little bit during some of the numbers, though Matt and Jeff tried their best to coordinate with him. Certainly not the best show from the band, I’m afraid.

Fu Manchu

On the other hand, Fu Manchu radiated with pure energy. The sound was a little better than it was for Yob's set and the Cali legends did their best to offer us a killer show even with these conditions. Fu played a lot of classic songs: "King of the Road," "Saturn III," "California Crossing," "Evil Eye," and "Laserbl'ast!" One of my favorite bands of the festival and, in my opinion, deserving of a better stage.

Electric Wizard

Finally, I arrived to Electric Wizard. Tons of people tried to access to the main stage, it was crazy. Thankfully, the sound was beautiful. EW is heavy and loud, so imagine this sound in a big arena: massive waves of sonic force crashing against your face. The new bassist Haz (ex-Hawkwind) gives a new sense of heaviness, you can feel the difference he contributes. The band looked so happy playing songs like "Return the Trip," "See You In Hell," "Black Mass," etc. An unforgettable sonic encounter to be in the first rows for.

DAY TWO

Old Man Gloom

During my second day, I spent a lot of time at the main stage. The first band that opened the stage was Old Man Gloom, one of the best acts of the festival. After the loss of Caleb, Aaron Turner and the other guys continued the project. The sound was pure and direct -- you could feel your chest vibrating with every riff. Seeing Aaron Turner play made you want to move your head like a crazy.

Triumph of Death

Triumph of Death is a tribute to Hellhammer with Tom Warrior on front -- one of the most anticipated acts of the festival. The legendary Warrior played classic songs in a new way, like "The Third of the Storms," "Massacra," "Visions of Mortality," and "Triumph of Death," -- all amazing songs. The band was brimming with enthusiasm by the end of the show.

Sumac

Sumac is one of the heaviest bands of our time. Unfortunately, the sound of the Beach Stage was abysmal. The band, however, put on an incredible performance. To see Aaron Turner play twice in the same day was simply legendary. I hope next time the festival are able to troubleshoot the nuances of outdoor acoustics and put Sumac and Yob on a proper stage.

Clutch

Clutch was a lively, unforgettable experience, the legends playing a killer show. Neil Fallon is one of the top frontman these days -- he makes you want to jump, sing, hoot, and holler. One of the best moments of the gig was when we heard "Supergrass" and "Willie Nelson" -- what a great surprise. Clutch also played standards like "Earth Rocker," "X-ray Vision," and "Firebirds."

Misfits

After Clutch, the arena was packed to the gills for the Misfits. These icons of the underground put an unforgettable set, even with the technical problems experienced by Doyle. The crowd was crazy -- I saw four circle pits emerge from the beginning and they never let up. Glenn's voice continues to be one of the best in the industry. The band played some classics: "Where Eagles Dare," "Die Die My Darling," "Hybrid Moments," "Halloween," and "Hollywood Babylon," to name a few.

Full of Hell

I visited the House of Blues following this, where Full of Hell was on fire. I was particularly shocked by the drummer, one of the craziest and fastest in the biz. Hardcore, punk, noise and power violence -- Full of Hell is an experience-and-a-half. You can feel the hate in mere moments of these absorbing songs.

The Obsessed

The last band of the night was The Obsessed, and the place was understandably full for Wino. The sound was nice and balance; the crowd was crazy. Wino appeared and played some songs like "Soden Jackal" and "The Way She Fly." It's probably just my point of view, but Wino did not look excited about the show, though perhaps he always looks this stern. Whatever the case, it was great to see this giant of doom. A great way to close the Day Two.

DAY THREE

Weedeater

The last day came all too soon, but sadly all good things need to come to an end. However, some great things did take place throughout the day, like the marriage of Matt Pike (congrats). On Sunday we saw Weedeater. They are like an urban legend, where I'm from. Dixie Dave appeared on the stage and the crowd went nuts. The sound again was not the best and the guitar player suffered some troubles with his amp toward the end of the show. Such are the perils of change, Psycho having ventured out of their three-year home of the Hard Rock Hotel & Casino this year to embrace a series of new venues on the Vegas Strip.

Mogwai

Mogwai is another affair entirely. Their music makes you feel a lot of things at the same time, like happiness, hope, and sorrow. The ambience was perfect for this performance. I don't have words to describe the sensation.

Dead Meadow

I moved on to see Dead Meadow and they were a trip. The light show by Mad Alchemy gave the place a unique ambience. The band played a special set for the people of Psycho Las Vegas, Jason having worked very close with the festival organizers to plan every detail from the get-go.

Uncle Acid and the deadbeats

From there, I ran to see Uncle Acid and the deadbeats and was an amazing show. Even if, God forbid, you don't like the band, their live performance is undeniable: the visuals, the energy, and the sonority make everything moving and memorable. They played songs like "13 Candles," "Waiting For blood," "Mind Crawler" and, of course, "I’ll Cut You Down."

Truckfighters

From there I ran over to the Beach Stage to see Truckfighters. It was the same story as with Yob or Sumac, the sound engineers still hadn't figured out their shit. Nonetheless, The crowd was happy and supportive. Truckfighters offered an incredible show with the new drummer, Toro. Two words: pure energy! The band played Gravity X and that was a joy to hear live, as this is one of the great contemporary stoner rock albums.

Power Trip

I spent some time watching Integrity, a lesser known band to me, then moved back to the Beach Stage for Power Trip, the modern heroes of thrash and crossover metal. The area was packed and when the band appeared on stage, the biggest mosh pit in the pool erupted. The guards tried to stop it, but it was in vain. This was surely one of the most iconic moments of the festival: the slosh pit. What energy; what a band -- long live these guys.

Twin Temple

Twin Temple was a great surprise. Imagine a black mass in middle of House of Blues with a band that combines rock 'n' roll, country, and garage rock. To see Twin Temple is a very unique experience, like the satanic version of Amy Whinehouse. I loved how all the crowd joined in the chorus: “SATAN, SATAN, SATAN!”

Amenra

The last band of my weekend was Amenra. I don't have enough words to completely describe the experience. The heaviest and loudest riffs, sadness, pain, and anger all wrapped up in one moment. That's Amenra, and it was a truly spiritual experience. Also, the visuals offered us a lovely trip. Amenra deserve to play the main stage when they come back to Psycho, as they are the rising legends of the scene.

Despite a few technical glitches here and there, Psycho Las Vegas was amazing. All in all, it's the best party for the scene, with a ton of bands, nice people, and smooth-running logistics. I hope that the organizers of Psycho start checking out bands from Latin America to join next year's roster, for the scene here is really blowing up. Thank you to the festival organizers, Liz Ciavarella-Brenner, and the team who run the press table for making my first US festival rad!

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reel-em-in · 4 years

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The Shot - Single Shot Tableau with Audio

Overall Info:

Synopsis - At an underground rave, one teenager attempts to prove his worth and masculity by shooting something with a bow and arrow. Hyping his peers up as he builds his own confidence to do it. After he does though, he realises that not only was it not worth doing, but that it actually caused a wedge to be driven between himself and the other partygoers. An extreme look at the way that teens become more primal during parties.

Written by - Elsė Vozbinaitė

Pre-Production:

Once we had been given our groups for this project, our group had a meeting in order to assign our roles, as well as to discuss things we needed to do pre-production (e.g. finding actors and locations, sourcing equipment, booking equipment, risk assessments, etc.)

Our roles were as follows -

Director - Elzė Vozbinaitė

Producer - Maddy Reay

Director of Photography - Stephanie Penney

Production Designer - Laura Bercebal

Sound Recordist / Sound Designer - Tom Makepeace (Me)

We also took this time to work out dates and times for a casting call (so that we could meet potential actors for the main role and choose the best), test shoot, shoot, and editing days.

Finally, we had a discussion about the sort of aesthetic we wanted for the location and costume, making sure that we were all on the same page. This also meant that our producer could get a head start on finding suitable locations, and our production designer could start getting costumes together.

Casting call - our casting call went well, we had a great turnout. Each audition was filmed so that they could be watched back later, allowing for a decision to be made on our main actor. It was a tough decision.

Finding a location - Maddy did an incredible job in sourcing a location. It was perfect. The owners let us use the space for free, and they even let us use some of their equipment (specifically a smoke machine). Plus it isn’t too far to travel with all the film gear.

Risk assessment - (Note: the location changed after the risk assessment was sent off, to the better location that Maddy found)

Booking equipment - we each took charge of booking the equipment that we would need. E.g I booked everything for the sound as that was my department, Stephanie booked all the camera equipment and lights. But we went as a group to collect it.

Test Shoot:

We did our test shoot about a week before our actual shoot. We used this to get a better idea of the location, work out what props we already had on location, explore the positioning of the lights, and work out what our camera set up was going to be.

By doing this on a separate day well in advance of the shoot, we were able to work out what equipment was actually nescessary, as well as find any possible issues with the location. This also meant that on the actual shoot day we wouldn’t have to stress about working out camera and light positions whilst also sorting out extras. Meaning our shoot day will run smoothly.

Production (AKA The Shoot):

I feel that our shoot day was successful, we ran on time, and had a good amount of extras show up. Due to our test shoot, we managed to set up quickly. Being fully set up in time for our extras arriving.

The main issues we had during the shoot were in the sound department. Due to the small space we were working in, as well as the amount of people and the type of atmosphere/action (a party with lots of shouting) the audio kept peaking. In the end I had to make the best out of a difficult situation, with the gain as low as possible and positioning myself as far away from the action as possible, I still couldn’t fully eliminate the peaks.

My hope was that I would be able to try and fix it a little more during post production.

Post-Production:

For a single shot film, this took a lot of editing. Although there weren’t any changes to the visuals (aside from beginning further through the action, cutting a little from the end, and minor colour grading), the audio was where everything was going down.

We did not have music playing during shooting. This meant that the music needed to be added in post. After all, what sort of a party would it be without music? Adding this was the easy bit.

I attempted to fix the peaking audio, though I have to admit I had no idea how to do it, and eventually gave up. This is something I would like to learn more about in the future. Although I understand that in an ideal world you shouldn’t have to fix peaking audio in post as the audio shouldn’t peak in the first place.

The rest of my time editing revolved around making the music change in volume throughout the film, making the audio seem ‘dream-like’ or dissociative after the firing of the arrow, and cutting the music entirely as the main character comes back to the harsh reality.

I had a great time editing the sound for this film, and feel that sound design is something I would definitely like to try again. And certainly something I want to learn more about.

Final Film:

vimeo

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callumhumphreys · 4 years

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INTERVIEW: BRYAN SHUTMAAT FOR TRESPASSER

Callum Humphreys: Hi Bryan, firstly, thanks for taking the time to speak with me. Can you start by giving anyone who’s reading an overview of Trespasser?

Bryan Schutmaat: Trespasser is a small, independent art book publisher based in Austin, Texas that was founded in 2017 by Matthew Genitempo, Cody Haltom, and me, Bryan Schutmaat.

CH: What inspired you to start Trespasser?

BS: Before launching Trespasser, Matthew and I had talked for a couple years about starting an imprint together. He and I have really similar taste and passions, and we wanted to see books made that might have less of a chance to be made with established art book publishers. When the opportunity arose to publish my short book, Good Goddamn, we decided to make the imprint a reality, and we recruited Cody Haltom, a brilliant designer, to join us on the endeavour.

CH: I come from a graphic design background and one thing that instantly jumps out to me is the construction of your books. They mix DIY / zine elements like staple binding, with high-end offset printing and foil stamping. Do you think these design decisions enrich the experience or enhance the books narrative?

BS: Yes, that’s our hope. The design, materials, and all further considerations put into our books are meant to reflect the narrative, meaning, and emotional atmospheres within. As objects, we think photobooks need to honor the images and the stories we’re telling as best as possible. Regarding some of the stylistic choices you mention, Matthew and I grew up skating and listening to punk, which might account for the DIY/zine elements - maybe an outlook and aesthetic that stayed with us after youth Cody compliments that with what he brings forth in terms of layout, typography, an acute attention to detail, and so on. I think it amounts to books that feel somewhat against the grain yet don’t sacrifice great printing and overall quality.

CH: Congratulations on your newest publication ‘Polar Night’ (Mark Mahaney 2019) it seems to have been met with universal praise. Polar night, similar to many books in your back catalogue seems to touch upon themes of isolation, anxiety and the interaction we have within our landscape. This type of ‘documentary’ photography has almost become a genre in itself. Is this the kind of work you are actively seeking to publish through Trespasser?

BS: I don’t think we’re trying to push that kind of work necessarily. We’ve only collaborated with close friends on our projects so far, and perhaps the themes you notice might just be shared interests among a small friend/artist group. I like that all of our publications up to now have a sense of cohesion, but we’re also eager to branch out and tell different stories.

CH: In an age where sharing work, ideas and opinion is instantaneous, what role do you think the photobook plays in modern photography?

BS: I have a bit of spiel about this. I think photobooks are the saviours of photographic meaning in an era when we are constantly bombarded by the ubiquity of images and digital media. There’s a torrent of content everywhere we look, and most of it adds no significance or benefit to our lives, aside from being momentarily stimulating. They quickly disintegrate into the abyss. But a good photobook can transcend this meaninglessness and function like work of literature. A book is physical and lasting. It slows you down. It can convey profound concepts, engaging narratives, and unique points of view.

CH: Can narratives or ideas be shared in the same way on social media as they can in photobooks?

BS: No, I don’t think so. On this topic, I often reference a great video of David Lynch, which can be found on Youtube, talking about how sad it is that people think they’ve seen a film when they’ve watched it on an iPhone. “You'll think you have experienced it, but you'll be cheated,” he says, “It's such a sadness that you think you've seen a film on your fucking telephone. Get real.” I think it’s the same with photobooks. There’s no way the attributes of photobooks - their tactile characteristics, mechanics, poetic nature, etc - can be equalled on a computer screen, especially a tiny mobile device with a three-inch screen. There are some interesting ways media is evolving on bigger screens - desk/lap tops and iPads, etc - but I still think books win out every time.

CH: Do you think the resurgence in the popularity of film, and its tactile nature, has played a role in keeping physical prints and books alive?

BS: I think it goes hand in hand to some degree. These days, people spend so much of their lives in a digital world -- working, communicating, shopping, banking, etc -- that I think a part of us yearns for something tangible. To me, this explains why photographic film is resurging, as well as music on vinyl, photobooks, and other things analog. Digital tech has conquered a lot of our lives, but for some people, maintaining a relationship with physical objects has value.

CH: Is there any advice you can give to someone who is interested in publishing a long-term body of work in book form - For example, knowing when to draw a line in the sand and consider it ‘finished’ (if there is such a thing)?

BS: It’s important to keep in mind that great photos are what make great photobooks, so it’s crucial for photographers to put their energy into their body of work foremost. The photobook is the reward for the work after completion.

The question about when to consider a project finished was recently asked of me in the recent released Aperture book, Photo Work, edited by Sasha Wolf. I hope you won’t mind if I recycle that answer: “What’s the cliché? A work of art is never finished, only abandoned. With the kind of work I do, I could shoot forever, trying to improve the photos or tweak the edit or just fuck with things endlessly. But life is short, and at some point you have to say, ‘Ok, this is enough.’ If you feel the subject matter isn’t thoroughly explored after the completion of a project, then you can always go shoot the same kind of stuff in the future.”

CH: Do you have 3 book recommendations that helped shape you as a photographer, whether classics or more recent works.

BS: It’s so obvious, but The Americans by Robert Frank is the godfather of photobooks and sort of touches everything that comes after it, so it has shaped me without question. Truck Stop by Marc F Wise is a much lesser known book, but I came across early on and it helped to ignited my interest in everyday America and the subject matter I came to shoot. Laura McPhee’s River of No Return is a book I fell in love with early on as well, and it probably shaped my vision in untold ways in terms of its content and the sensitive, poetic way she conveys her subjects.

That said, I like these books because of the astonishing photos inside, not necessarily because of what the books are themselves as aesthetic objects. I think a new standard has been set in recent years in regard to design and physical characteristics of photobooks, so if I were to choose books that have shaped me as a publisher, it would be a different selection.

CH: Thanks for taking the time to speak with me, is there anything else you would like the readers to know about Trespasser?

BS: We don’t do a newsletter at this time or have much of an online presence outside Instagram, so that’s the best way to keep up with us, @trespasserbooks.

See more of trespassers work here:https://www.instagram.com/trespasserbooks/

Bryan Shutmaat here: https://www.instagram.com/bryanschutmaat/?hl=en

youtube

#bryan schutmaat #david lynch #film photography #Photography #documentaryphotography #Photobook #interview #trespasser #poler night #fine art

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gemmayim · 4 years

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Interview with Colin, a librarian in Walthamstow library in 1980s

I had an In-depth interview with Colin, who worked in library in Walthamstow for 5 years in 1980s to better know more about libraries and books in the past.

Question: It has been a long time since you worked in library, is there anything that you still remember and feel important to you?

I still remember clearly the reason why I quit my job in library. In 1985, the library in Walthamstow started to introduce computers to replace the card index system for borrowing and returning books and the trend started in most libraries in London since 1980s.. I needed to help with making the barcodes and the admin for that back then and I could feel that my job was going to be replaced by the computers. What I don’t like most about computerisation is that it took away the connection between the public and the staff. It was an important way for people, especially elderlies who live by themselves to meet people.

Question: How would you run a library?

I think libraries nowadays have become souless because there is a lack of interaction between users and the staff. If users need to interact with staff when they borrow/ return books, it creates a community. I used to make friends with the users and staffs in the library. People would say hello to me on the streets in Walthamstow because they knew me from library. I really enjoyed interacting with the children there.

Question: Who are the regular users of the library?

Elderly women, who are around 60-80s, visited the library more often. They normally borrow romance book like Mills Boon, which is some kind of slashy, tame romance stories. Jacky Collins is another popular choice among the elderly women. Some of the elderly women would ask his friend in the library Linda to find erotic romance fiction for them. I guess if the users can find books on the computer system, it would be more private when they want to find books that are more personal.

Question: Was there any event in the library that you really liked or disliked back then?

We didn't usually have events in the library. Sometimes there were talks given by some author, like Michael Rosen. I remember we had a Children's Book week to encourage kids to read more book, and I wore a clown costume and promoted the event with a girl who was wearing a teddy bear costume. That was the only book week for children in the 5 years that I worked there. They did have book weeks for other groups but it didn’t happen that often.

Question: How was the reading culture in 1980s?

Reading culture was much stronger back then. When I was young, I regarded the libraries as churches because of the silence and the atmosphere there. Staff would tell you off if you spoke loudly in the library. And I think the attitude changes over time.

Question: What’s the difference between the reading culture in the past and nowadays?

I think, in the past, we only had radios, magazines, one channel on TV and maybe records to listen to music and no other kinds of entertainment in the media. Nowadays, we have computers and the internet that offer different kinds of entertainment to us and I think that definitely affects the use of libraries, less people go to the library nowadays.

Question: Was it common that people stole books from the library?

I don’t know how common it was but they used to have agents knocking on people’s doors if they haven’t returned the books to the library after a certain time. They probably called reprocessing officers, who worked for the council for collecting rent or other kinds of duty. After the book were overdue for weeks, the library would send the user a warning letter/ reminder and if it was overdue for months, the reprocessing officer would then go knock on their door to collect the fee and the book. I remember there was a time that a reprocessing officer went to the user’s house and found that the room was full of books that were borrowed/ stolen from the library.

Question: What do you think about books in general?

I love the feeling of a paperback and I treat books with reverence. Even I own the book, I treat it as if it is not mine and with utmost respect and very carefully.

I think books exercise a lot of power and transport someone to have a variety of feelings. It conjure different feelings and emotions and it is magical how words take readers to different parts of the world at different times, having different experiences. Books set light to our imagination and there is no limit to the way you think and feel.

Question: How do you get your book?

I normally buy books in bargained bookshops, or charity shops like Oxfarm

Question: How will you treat your book after reading it?

My sportsbooks accumulate at home and find it difficult to give books away to someone who are actually interested in it. And I am reluctant to give away my books because I am quite attached to my sport books. I do give them away to my friends, but only occasionally

Question: Is there any story behind a book that you really like?

In 1960, I was about 9, Arsenal bought a player George Eastham and I was very excited because I thought George Eastham would greatly improve the team a lot. Then Geroge wrote a biography about himself and I managed to get a copy through a supporter club, which is a signed copy written “Best wishes, George Eastham” (see the photo)

Question: Do you think the signature gives more meaning to the book?

Yes, I think so.

Question: What do you think about books in a digital world?

I feel sad that books are taken over by the internet, but the internet can make it much easier for people to find information and from an environmental perspective, the internet is better because it takes much more energy to print and produce a book than posting it on the internet.

Takeaway and Afterthoughts:

I was very intrigued to hear Colin’s story of working in the library in Walthamstow, especially his perceptive of library being soulless after computerisation. Despite his personal resistance to computerisation of the library system, he is actually open to the changes of the society and agreed with the advantages Brough by technological advancement. Yet, if library is actually becoming soulless due to the lack of human interaction, if we need to repurpose and rejuvenate library in our society, what more should we do to make it more accessible with a “soul”? How can we bridge the distance between individuals when they come to library? And how can we attract people to go to library again?

Out of curiosity, I searched on Google to see if there is any existing project that try to bring library alive again and found that a library in Ireland, dlr LexIcon, actually become a local attraction and important community centre since they renovated and reopen in 2017.

Shared by a librarian and event programmer from dlr LexIcon in an interview,

“Regarding challenges or opportunities for the future, I would list the following; the changing concept of the library model, upskilling of staff and the public to embrace the evolving culture of libraries, technological developments and digitalisation, a recovering economy, employment support and adapting and supporting changing demographics in the area i.e. older people, immigrants, young families etc.”

“Our current ambition is to connect and empower people, inspire ideas and support community potential”

“We couldn’t do what we do without all the teamwork and passion. Bring in writers, musicians, storytellers, digital curators in-house as they bring new life and energetic perspectives. We are always trying out our spaces in different ways and it is amazing how many people will come and look at an exhibition that has been on display for a while if you just move it to a slightly different location.”

Source: https://princh.com/how-can-a-new-library-connect-and-inspire-communities-dlr-libraries/

From the look of it, no radical or outrageously innovative changes made in the library, but as Colin mentioned in the interview, they strive to promote the connection and empowerment in the community. If connection and empowerment are the key ingredients to rejuvenate a community and is there a “smarter” way to do it? Also, does human interaction have to be happened in library? if library is just being renovated into a community centre, and physical books are not the main characters anymore, why do we still keep it as a book library? What is actually the right question to ask if changes has to be made? These questions reminded me of the tool library project Lara mentioned in the lecture and the discussion in our first group meeting, Of course! More than books! But Tools and resource!

In that case, back to the main topic about books and library, do library really need physical books anymore?

#library #books

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theseventhhex · 5 years

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Glassing Interview

Glassing

Cold sand on a barren coastline. Spectral blackness. Godless nights. The calmness of undisturbed water. The illusion of belonging. Death As A Gift. These are but a minute illustration of the vast array of themes and explorations deliberated upon by Austin, TX trio Glassing on their sophomore opus ‘Spotted Horse’. Weaving together layers upon layers of dense textures, swirling blast beats and looming atmospheres, Glassing excel at the art of organized chaos through sound. Across 10 songs and 44 minutes, Glassing blend elements of black metal and post-hardcore with ambient explorations, dream-pop sensibilities and grinding walls of sound that defy categorisation. ‘Spotted Horse’ is, at its core, a construction of dynamic, beautifully unsettling soundscapes and nothingness unsurfaced... We talk to member Dustin Coffman about fusing genres, the growth of the band and hobbies…

TSH: What sort of discussions and direction did the band outline as ‘Spotted Horse’ was coming together?

Dustin: We wanted the songs on ’Spotted Horse’ to share a collective headspace. In order to keep it as consistent as possible we decided to write the entirety of the record in one location. After we wrote the songs, it felt only natural to name the record after the ranch we recorded it at. The first album was a collection of aggressive songs with a hint at some introspective ambience. ‘Spotted Horse’ though, is an album to us that has movements and a pacing that is much more deliberate this time around.

TSH: What would you say informed the bulk of the instrumentation this time around – riffs, vocal lines, jamming sessions?

Dustin: We developed the songs nearly from scratch with no ideas prior to us visiting the ranch. In our case, normally one instrument or member controls the progression in writing a song, maybe someone starts off with an idea or riff, but this process allowed all three of us to feel equally responsible for our contributions to the overall album. The first record was much more a "one person brings most of a song written entirely" deal, and Spotted Horse was a team effort more so.

TSH: What was the level of focus like in the studio on a daily basis?

Dustin: We were working with an amazing sound engineer, Andrew Hernandez. Andrew made the studio feel like a temporary home to us. What normally would have been a stressful intense few days turned out to be so relaxing and fun that we were bummed when it was over.

TSH: Can you give us an insight into the themes and subject matter that come into play for this record…

Dustin: Diminishing faith, loss and isolation.

TSH: Which track took the longest to get right?

Dustin:’When You Stare’ it’s a pretty long song in general, but when we were listening back to it in the studio we realised we had forgotten an entire verse and had to re-record it!

TSH: What sort of motivations do you draw on to pen a track like ‘Coven’?

Dustin: We’ve had a fascination with the idea of bridging beautiful and desolate together. ’Coven’ came from Cory playing along to a trance-like electronic sample we had made, the sample itself sounded really bright, but Cory’s guitar tone and note choices gave it the type of contortion that resulted in ’Coven’ sounding slightly like an ominous trance.

TSH: Also, what does a track like ‘Way Out’ convey to you overall?

Dustin:’Way Out’ lyrically, uses light and blindness as metaphors for intemperance and disassociation. More specifically, through excess we’re offered a temporary refuge from the pain of our human experience. The adverse of that is just as appealing, feeling content in being purposeless because existence is purposeless. Absolute brightness and absolute darkness have the same end result in the metaphor which is the inability to see the common experiences in which we derive our humanity. Musically we tried to represent this concept by creating something that sounded triumphant and bright with sections that were as harsh as we could possibly make them, possibly to convey that there is salvation from both absolutes but not without sacrifice.

TSH: What sort of emotions did you guys feel upon applying the finishing touches to the record?

Dustin: Relief and a profound appreciation to the people that helped us do it.

TSH: Is it pleasing to know that your range on this release covers mid-tempo shoegaze, aggressive post-hardcore, black metal and post-metal – a fusion of so many genres…

Dustin: It’s nice to know that we’ve managed to somehow make that amalgamation work. There are many great bands out there that brought a lot of inspiration to the table.

TSH: Knowing that you at times struggle with knowing when to finish with a song – did end up with several variations of certain tracks?

Dustin: Yes, definitely. We actually played ‘Sleeper’ on the tour with This Will Destroy You with a beginning that was wildly different than what ended up on the record, which we're much happier with. Also, the first and last songs on the record went through many variations up until the point that we were rearranging parts the day before we went into the studio.

TSH: You pushed yourselves a great deal with this album, but the growth came naturally. How rewarding was this factor?

Dustin: I think it helped shed some light on how this machine is supposed to work. We get to reflect on the process that helped us work together to make something we’re proud of, it’s not always easy finding compromise with one another but the coherent aspect of our growth as a band helped solidify that as something we can remember for the future.

TSH: What are your primary hobbies outside of the band?

Dustin: We all play in other music projects. Cory plays in a pretty heavy band called ’Zyclops’ and performs ambient sets at a Yoga studio. Camacho plays in a band called ’Windows 1995’ with one of the members of ’Troller’. I just finished working on the soundtrack for a table-top game called ’Planet Kamra’ and have an upcoming project with one of the members of ’Boyfrndz’ called ’Gnarly Parker’.

TSH: What would you say defines the band’s ethos as you look ahead?

Dustin: Our city shapes us a lot. Our scene is alive and well. Bands like Exhalants, Portrayal of Guilt, Grivo, Easy Prey, etc. are all just so badass so we're really just trying to throw down as hard as they all do. But in general, we’re going to try and not take ourselves too seriously and just keep playing what we’re into.

Glassing - “Sleeper”

Glassing - “Follow Through”

Spotted Horse

#interview #Glassing

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eng-hypnosismic · 6 years

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Spoon 2Di vol.40 Interview (Komada Wataru)

Please get the spoon magazine and get your hypmic poster and support the original!!

Yokohama Division’s mediator, Iruma Juto, as played by Komada Wataru-san. He was asked on how he delivered Juto’s unique high-tension rap style, also on how he approached this project and an outlook to the character.

How do you feel about the huge amount of responses to the project lately?

Since we started the project with a “full-fledged rap”, we ourselves also had an uneasy feeling and was not sure if people would accept it. So we were really surprised to hear that the response was bigger than we imagined. “Hypnosis Microphone” is divided into 4 divisions: for example, Yokohama Division had rappers who’re actually from Yokohama to collaborate in making the songs, etc; they even included sounds that has the characteristics of Ikebukuro. We got comments like “they made it so particular” from fans of hip-hop, which makes me really happy. Also this was from the early days of the project, but hearing things like “that sounds fun” or “I want to try that” from our industry makes me glad.

Was Komada-san familiar with hip hop before the project?

I grew up in Germany, and the hip hop culture there is more active than in Japan so I was familiar to it as a listener. Therefore in this project, I tried to create the feeling and sounds from the hip hop I’ve listened to before.

It is said that there was an audition, how did you feel at that time?

If its an idol project, idol songs are like the set piece. But, for Hypnosis Mic it was a reggae song. Moreover, rather than the hook, I was tested on doing an unique melody line. I think it’s for seeing our vibes and rhythem, which was new to me. Perhaps there’re roles that are already designated during the audition, but I was given rough illustrations of the characters, setting guidelines and also the freedom to choose. Among the ones I was interested in were Busujima Mason Riou, Arisugawa Dice and Iruma Juto. I feel an affinity to Riou, thinking how nice it is to let him use English, and as for Dice I never played a character as easygoing as him. But, the character I’m used with are always the intellectual ones wearing glasses. Although Juto is usually cold-hearted and cool, when he raps he goes on a sudden change so I thought that he is very interesting. It’s not favorable to play the same role twice (laugh), but at least I have a character that I can draw new experiences from..

After your role was decided, how did you build your character?

When I actually started playing [Juto], I still got very little of detailed information about him. Because of that, I got myself several patterns, thinking “Maybe it’ll feel like this?”. Those things I came up with, I use as a base, so when I rap I asked on how far should I go on making Juto’s sudden change. Since I was told that he can become a totally different person , I went all out with the rap out. And by nature, I have a powerful voice. So those who listened to the song would say “Juto seems energetic!” (laughs).. But if the tension is to that extent, it is a success to me. When I hear the song, I realized that I challenged myself too much on coming up for something different, so I couldn’t imagine the usually cool Juto.

How were the song recordings?

Whichever content the demo song was given, Hypnosis Mic will make the demo song sound good. It really makes you think, “Isn’t this good enough already?!” (laughs). Since I was influenced like that, once I check the rhythm and rhyme stanzas, I try to face the character without listening to the sound. The rap part doesn’t have a music score, so it is free to insert or take something out. But to get compliments from fans of hip hop, it is important to have a lot of practice. Therefore, I listened to a lot of rap patterns that includes freestyle, and made certain rules within myself for the sake of that rap feeling. I think other cast are doing this as well, so everyone gets better every recording, and has a stronger grasp of what to do.

In the Niconama Rap Battle, you showed off your freestyle, didn’t you?

That’s right! That was pretty harsh (laughs). “Will we be given a script?” was what I thought, but we were really told to freestyle. So in order to deal with the responses during the live performance, we were sweating on our foreheads in the dressing room, desperately thinking of lyrics.

But you guys seemed to do it without any difficulty, you guys really are amazing.

We face difficulty all the time! (laughs). But, to take a rhythm and put words to it , it seemed so far away since the first time so it’s fun to accept the challenge. “Thanks, Hypmic!”, kind of feeling (laughs).

So, what do you feel about Yokohama Division’s team, MAD TRIGGER CREW?

Fierce, they give a strong impression of aggressiveness. As of now, they don’t only chop very fast rhymes but their choices of words are the utmost violent, and the characters are placed in the most rough environment. Maybe physically, they’re the strongest team. Since they live in that kind of unforgiving environment, it seems like that is where their sharp piercing words and sounds came from. Their occupation is all over the place too….. I don’t even know if I should call it their occupation as well. (laughs).

In the songs and drama, I feel that they get along unexpectedly well.

Taking good care of one another is part of the hip hop culture. They are still a team, even if they’re a bunch of pricks. Even though they’re really rude towards each other, when Samatoki somehow got admonished by Riou, Juto would go and stop them, which is unexpected for him to show understanding towards Samatoki. That kind of relationship with each other is what makes a beautiful balance to them. They have no foundation like “I like this guy” or “I trust him” to their relationship, so I thought it would be a challenge for them to battle as a team. Therefore, I got a feeling that Yokohama Division are pretty good guys, aren’t they? (laughs).

What kind of impression do you have on Samatoki and Riou?

Samatoki is the member of the legendary team that established an era, The Dirty Dawg. Due to that fact, it gave him great amount of pride. And of course, this brings a lot of nuisance to Juto and the rest of the police force (laughs), Samatoki’s a very stubborn man. I feel like he is a leader who will open up if I tag along with him. Juto and Riou do not follow Samatoki, but rather, stand with him as equals, so all 3 of them kept a perfect balance among each other. They might fall if one of them is missing, but if the three of them are together, they seem to be alert and stand for their own in whatever they do, which just gives a feeling of relief. Also, Riou’s existence just felt like he’s the buffer , doesn’t he? His dishes are brutal, but it has become a key to calm the atmosphere down in a moment. (Bitter smile)

Samatoki and Juto seem to know each other from a long time ago.

Indeed. “A Yakuza whom I befriended” (laughs). I need more details on that!! Now in Chuuoku, their past wasn’t revealed as much. But I’m sure there’s been a cause and effect in the past, that’s how they are able to be in a team now. For that reason, it makes me feel like both of them are drawn to each other, or dependent on one another . They’re foils to each other, and I find that interesting.

You’re also interested in Juto’s past, aren’t you?

This is just my imagination but, maybe, he did have an upright sense of justice when he was younger. However, the world was heavily infested by evil. With his position only as a policeman, he realized that it is impossible for him to deal with everything so he felt that despair.

Not only he became rotten, by taking in evil he could ruin things from the inside, and that seems like a good idea. Although it’s quite a dangerous thought, it does make sense in a way. I mean, he could also handle a dangerous dog like Samatoki. In that sense, he seems to be good at winning people over and is capable of adapting to his surroundings. I really want to know how his past was like!

In the drama part, Juto gave advice to Jiro and Saburo on how they’re being too dependent on their eldest brother, didn’t he?

Juto is so kind~ (to the kids) ! That why you can call him a guardian (laughs). However, it is because Ikebukuro is their opponent, that’s why you can see this side of Juto. I think he’ll be different with other teams. He’s extremely uninterested to those who can’t do anything or are talentless. It doesn’t take much time for him to crush those people down, by just saying “try to face yourself once again”. While Juto could sense the threat from the future growth of the Ikebukuro boys, he look forward to that boiling blood of theirs. That is why, Ikebukuro team interests Juto a lot. He definitely won’t admit that, but it’s good that he’s aware of that.

Next, we are going to touch about the songs.First, please show us some key points of your solo song, “Bayside Smoking Blues”.

Basically, it’s as if you’re standing alone, smoking cigarette while watching the scenery of Minato Mirai and its surroundings. Other than that, I was told to do it as how I like. Samatoki and Riou’s solo song has other characters joining in, but for Juto’s song, it’s literally a solo song. There’s no one there to help him sing (laugh). That’s why he’s been saying “I’m a lonely only RABBIT” on every chorus, expressing that he’s a lonely only RABBIT. The hardest part of the song is obviously the rap. At the introduction part, in order to express what kind of person and what kind of position Juto has in Yokohama, I checked and try to say the very Juto-esque words like “I'll arrest you” or “Pig Pen [jail cell]” so that it remains in people’s ears. There’s no way I’d scream such foul word like “mother xxxx”, though (laughs) . Other than that, Juto being the number one brain but a bit nihilistic is beautiful. Since that’s the case, I tried to rap in a calm and charming manner so I won’t change that image.

Then how about Buster Bros!!! And MAD TRIGGER CREW’s WAR WAR WAR song?

This song has the so-called freestyle battle feels. It feels more like a stage battle rather than a song. It has the baton-passing format, so I thought that it was fun with all the clear call and responses. I responded to Jiro (Yamada) but, the recording is different. When Jiro speaks to Juto, his words are littered with sharp glares and phrases meant to knock him off his feet, that’s what I think. However, whatever their enemy says, Yokohama gathers and releases the strength to utterly annihilate them. The tension rises, to the point a policeman said “We’re cold-blooded killers” (laughs). Maybe I’m thinking about it too much, but that phrase is certainly a killer word, it’s important to me.

After listening to the complete product, how do you feel about Jiro’s rap?

Jiro is much stronger than I imagined. If someone were to record half-heartedly, it is obvious that the power balance would collapse, so everyone definitely did their best in this.

There must be a battle among the casts, aren’t there?

We do battle! Haru-kun (who plays Jiro) listens to the complete songs, even now, “that comeback is strong!” he says in regret (laughs). “You’re strong too!” was what I thought, but it’s great to see everyone’s doing their best.

So what do you think about Yokohama Division’s song, “Yokohama Walker?”

To me, I imagine the 3 Yokohama members riding an open car (convertible), running through the sea breeze while smoking cigarette at the bayside. Juto drives, Samatoki sits at the passenger’s seat raising his legs and Riou sits diagonally in the back seat because he does not fit (laughs). They won’t talk much, driving towards any desired destination as they please. It’s as if they’re taking a short break after the whole deal in the screwed up world of theirs. The song doesn’t make me feel anything as much, but it sure do has a lot of brutal words. “The path home dirtied by blood” or Juto’s “I’ll handcuff and arrest him to kill some time” is definitely not something a policeman should say (laughs). But I don’t feel the least bit uncomfortable saying it, since it’s important for the establishment of this character. The gaps between the sound and lyrics has a meaning that’ll make the song a killer, and I like that.

Which character are you interested in Shibuya Division and Shinjuku Division?

I enjoy listening to Shibuya Division Arisugawa Dice’s song, it makes me want to sing along, so I got interested. As for Shinjuku Division, they have this peculiar vibe that is eerie, but fun. (Jinguji) Jakurai-sensei is really tall!! Our Riou is no match (laughs). I look forward on how will the song be when those two team battles. I really can’t wait to see them battle.

So other than your own song, do you like any other songs?

My most favorite song would be <Hypnosis Mic -Division Battle Anthem->. All 12 people sing in one song, singing all at once and also solo. Moreover they made their own rhythm and it was tough. The song gave the most rap feeling. I really like the feeling it gave, as if beating people one after another. Of course, this song has a demo version and I’ve already sang it before. The demo song was also sung in character, so it really is like the sample (laughs). So, I think we shouldn’t let it get brushed off. Also, I like Ichiro’s song, “Ore ga Ichiro,” because it’s catchy, isn’t it?

<Hypnosis Mic Division Battle Anthem>’s MV also shows all of you rap, that must’ve been a big deal wasn’t it?

You can watch the MV’s fullsize for free! It's the ultimate giveaway!. The MV’s appearance is so stylish, it gave that mood of “Maybe I’ll try to do rap!” and I’m really happy for that. Of course showing the character is important, but if that’s the only thing that is showcased, the rate of being shaken off by hip hop will fall. On top of the rap, I add in characterization so that the character can be received well. “Hypnosis mic” has become the key to wow factor contents.

It seems like all the casts are having fun, too. All of you who collaborated with “Hypnosis Mic” made a Champagne Tower at a karaoke store.

Yeah we did ! Actually what happened after that is a private matter, but out came the Champagne Tower (laughs) ! First we drank to <Battle Anthem>, and the tension rises. Lastly, we drank to Champagne Gold and………… it was bubbling (laughs) 。 There’s a lot of things you can do only within “Hypnosis Mic”, so I look forward to work with everyone.

There is a second live on 26th of August, isn’t there?

Yes, you’re right. But I’m so scared on how it is going to be like. They’re definitely going to include freestyle battles! Definitely! It’s horrifying!

In the Territory Battle with Ikebukuro Division, Yokohama Division is currently leading.

But the results are very close to each other, so I can’t figure out the outcome. This isn’t about “either way, everyone will be in peace”, but the project will continue on delivering contents only to that outcome, which I think is very unique. The songs and story will definitely be designed by their victory or loss, so I feel like the listeners are truly involved in this. To have a wave of something like “You guys gotta win!” echoing to us motivates us to not lose. That’s why Ikebukuro should be crushed…………. (laughs).

(laughs) . Finally, any messages to the fans who supported you?

As time goes by, all the songs, story and goods will be brushed up, and it’ll expand rapidly. So in order to not get left behind by the momentum, do fight along with your favorite teams, favorite songs and favorite characters. And, by all means, please listen to rap other than “Hypnosis Mic”, too. I haven’t been informed much, but it seems like there’s going to be secret plan and hidden tricks so I want to support as much as I can. And please! Make MAD TRIGGER CREW be the winner! Cast your last vote and reach out to the summit together (laughs)!

#t:interview #komada wataru #iruma juto #hypnosis microphone #hypnosis mic #hypmic

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so-shiny-so-chrome · 5 years

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Witness: Livia_LeRynn

Creator name (AO3): Livia_LeRynn

Creator name (Tumblr): Livia-LeRynn

Link to creator works: https://archiveofourown.org/users/Livia_LeRynn/works

Creator name (other platform- please specify): I am also So-Shiny-So-Chrome on Tumblr. Witness me interviewing myself.

Q: Why the Mad Max Fandom?

A: The Mad Max franchise has a few of my favourite things (I should write this song...) like: deserts, obsessively detailed world building, post-apocalyptic setting, women being gritty, weird religions, and characters that hit the right combination of badass and broken. You have all this angst in the characters, but then there's this great sense of fun with how extra everything is. I'm a real sucker for deep social and philosophical concepts hidden behind explosions and cool fight scenes. Fury Road also came out at just the right time for me. I was just really ripe for so many of the themes and aesthetic components.

Q: What do you think are some defining aspects of your work? Do you have a style? Recurrent themes?

A: Stylistically, I like to change things up. I kind of oscillate between long, descriptive sentences and almost obnoxiously pithy ones. I break rules, start sentences with 'but' and 'and;' I use commas like breath marks, especially in dialogue to give it the rhythm I hear in my head. I also world build to an obsessive extent.

A frequent one for me is being female in the wasteland: relationships between women; portrayals of women finding themselves and their strengths; and the trade-offs women make to keep themselves safe. I also work a lot with religion in the wastes. Most fic have their own themes that come from the characters and their emotional struggles. For example, “Stranded” is about Furiosa being stuck between her past and future selves. “Blood and Breath” deals with a lot of different themes, but one of the more prominent ones the struggles that come with being in an unexpected and sometimes undesired position of power; it’s another theme that pops up rather frequently.

Q: Which of your works was the most fun to create? The most difficult? Which is your most popular? Most successful? Your favourite overall?

A: I really enjoyed writing “Stranded.” It was just so different from anything I'd written for the fandom before. For me personally, it's still a good read.

The most difficult was “7000 Days,” both because I was new at fanfic in general but also because both parts I and II are really raw, dark, and personal. I needed to take breaks while I was writing it and shift gears to something lighter. It also doesn't get much reader attention, probably because it is so heavy, and that always makes writing harder for me. This one just felt like I was shouting into the void for a lot of it.

Currently "Daughters of the New World" is a struggle for me. The premise is a bit out there, what with Wonder Woman coming to town and being romantically attached to K.T. Concannon. Diana is a difficult character for me because she is complex but seems simple, and the whole thing is from the perspective of Furiosa who just doesn't get her. I worry that I've bit off more than I can chew because I want to explore some heavy stuff.

My most popular overall is “Blood and Breath,” which I kind of get because it scratches a lot of different itches. “Little Mate is my most popular short, which surprises me because it definitely is not in my comfort zone. It's cute; it's fluffy. It's just not something I would seek out to read.

My most successful might be “Crux.” Being a remix, I had set parameters to follow, which I find creatively useful. The author of the original was also quite please with it, so: success!

I think the fic I have written that most closely aligns with my personal tastes right now is “Wasteland Jukebox.” It probably helps that it is also my most recent. It bounces from angsty to fun to bittersweet to campy and back again multiple times over, all the while showing really intimate character portrates.

Q: How do you like your wasteland? Gritty? Hopeful? Campy? Soft? Why?

A: All of the above. I like my wasteland realistic where everything hurts, but some things are still funny, and big wins are possible, but they come at a cost. Even when I'm filling my wasteland with ghosts and vampires, I still want it to feel very grounded in reality and populated with realistically complex people. This especially applies to medical stuff; if I'm going to write about something I want to portray it accurately and realistically within the context of the story. All the injuries, diseases, and treatments are based off of real things.

Q: Walk us through your creative process from idea to finished product. What's your prefered environment for creating? How do you get through rough patches?

A: It depends. Sometimes I can just crank something out. These are typically shorter, more atmospheric pieces. More often I have one or more specific scenes, and the rest of the fic grows off of them. Like for “Daughters of the New World,” it's Diana riding on top of a bonnet/hood while Furiosa is trying to shoot out the window, and they keep getting in each other's way. None of my longer fic is written in chronological order. For “Blood and Breath,” I have scenes that I first drafted probably two years ago, but I still haven't gotten to them in fic. Most of my first drafts are dialogue. Then on second pass I add or replace those words with body language.

Getting to the finished product is the hardest part for me, especially when I already have all the major parts of the puzzle figured out, and I just have to polish them up. I also tend to have that writers' curse where I think of what to write when I can't possibly write it, like in the shower or a work meeting. I'm also very much the type of writer where I live off of interaction with my readers. I love it when people question the choices I make in my fics. I don't really have a preferred environment for writing, but I know I can't do it if there's the slightest chance anyone near me might be reading over my shoulder. I just get paranoid. If I'm on an airplane, I have to wait for my neighbors to fall asleep.

Q: What (if any) music do you listen to for help getting those creative juices flowing?

A: Lots. Too many to list. I make playlists for each of my major projects. I listen to them mostly when I'm not writing so the stories stay in the back of my mind. They're all public on Spotify so just ask if you want a link.

Q: What is your biggest challenge as a creator?

A: Finishing my long projects, especially when there isn't much reader response. I can lose interest quickly, but I want to be reliable; if I know someone is looking forward to updates on my fic, I will keep writing for that one person.

Q: How have you grown as a creator through your participation in the Mad Max Fandom? How has your work changed? Have you learned anything about yourself?

A: I think I've found a writing voice for myself. My early work tends to have a lot more of a throw shit against a wall and see what sticks approach. In my working with Furiosa especially I've definitely found some of myself in her. For example, a few interviews about Fury Road have stated that Furiosa avoids learning names to protect herself from emotional pain when people move on, die, betray her, she betray them, etc. I realised that I do that do. Of course, my situations aren't quite as extreme. :)

Q: Which character do you relate to the most, and how does that affect your approach to that character? Is someone else your favourite to portray? How has your understanding of these characters grown through portraying them?

A: Right now I relate most to Furiosa, and that answer shouldn't surprise anyone, but initially I felt more like Toast. I thought Furiosa was really cool, but I didn't feel worthy to compare myself to her. It took me a few months to go - fuck it, I want to be her for Halloween. Of course, that wasn't enough. I wanted her backstory. I wanted to spend more time in the costume, and make the costume better. I choreographed a dance about her so I could wear the costume more, but I really needed to get to know her as a person to really feel comfortable taking on her persona, not to mention I needed make the dance make sense in character (”She Used to Dance” is that fic.) The more I got to know her, the more I took apart all her insecurities and neroses, the more I found her in me and myself in her.

I relate to her being a woman caught in the middle of a lot of things: being both young and old, hero and villain, masculine and feminine, strong and weak... The list goes on. I relate to how she has spent most of her adult life in a predominantly male environment, and how that manifests as difficulty relating to other women like in the, "Everything hurts," exchange with Angharad.

My favourite character to portray is whomever I'm currently writing once I find their voice. I enjoy the process of getting to know these people. Dag's POV is especially refreshing to write after working with characters who are super guarded like Max and Furiosa. I can just ramble and take weird turns in the narration. I need to write more of her. Capable is the hardest for me of the franchise ones I've tried.

Q: Do you ever self-insert, even accidentally?

A: I'm full aware of it. There is a bit in 7000 Days Part II where it's mentioned in memory that a the Vuvalini get ahold of some vaccines from Melbourne, which in my chronology falls significantly later than other cities. Furiosa is a little kid, and she is so determined to not get the shot that a couple of adults have to hold her down. This was me. This is literally a story from my childhood. Mostly little things like that. There's also the bit about Furiosa reading "Dune;" I fucking love "Dune," and her being trapped in the Vault while she's reading it, how can she not imagine a giant worm coming out of the sand and eating the whole damn place? On a larger scale, I use fic to explore themes and issues that are going through my head.

Q: Do you have any favourite relationships to portray? What interests you about them?

A: Well, we've already established that I have a bit of a crush on Furiosa. I ship her with Max in my main continuity and with Valkyrie and Angharad in a couple of side projects. I'm interested in Furiosa with Max because of how they relate to each other. Yes, they are both terribly fucked up people, and who knows if the relationship would actually work, but that tension is a big part of the interest for me. It took me about six months in the fandom to open up to the possibility of there ever being any kind of romantic or sexual relationship between them, and in my chronology that's about the amount of time it takes for them to move from one time plautonic snuggle buddies to romantic/sexual partners. I do most of my writing in that time frame. The fact that they massively respect each other definitely is something that shouldn't be squandered, and I think they recognise that. I don't headcanon either of them as asexual (though my Furiosa is demi), and I think that the best shot they have for a happy partnership is with each other. They are both fundamentally good people who don't think they are worthy of kindness, let alone an actual relationship, but they both look at the other and see all the wonderful things about that person. I'm interested in how they navigate this dynamic and how they eventually come to the decision that even if it does end badly, which it probably will, it's worth trying. Everything hurts, right? Easy relationships are boring anyway.

Q: How does your work for the fandom change how you look at the source material?

A: Sometimes I watch with specific details in mind, like to see the details of a prop or costume piece. Other times I'll watch something and see a detail I forgot but suddenly becomes an inspiration for a fic. For example, the Crazy Diamond chapter in “Wasteland Jukebox” came from me rewatching the first movie and seeing Jessie with her saxophone.

Q: Do you prefer to create in one defined chronology or do your works stand alone? Why or why not?

A: Most of my stories are in the same chronology. Setting change AUs and “Crux” are the exceptions. Part of the fun for me is keeping tracker of the chronology. I don't expect my readers to work that hard though; every story stands on it's own.

Q: To break or not to break canon? Why?

A: I do not break canon; I bend it to my will. Setting changes are an exception of course. I just work better within the structure that canon provides. If I change canon, I change one thing and only allow other changes that are a result of that first change. I develop and justify my interpretations of canon so that I find enough wiggle room for my headcanons to comfortably coexist with it. Where canon contradicts itself, e.g. video game vs. comics, I chose my preferred version. I even take little blurbs from interviews and try to work them in as lore.

Q: Share some headcanons.

A: Pretty much all my fic are based around headcanons. There are many, many of them. Some are the premises for fic while others are big reveals. Others are back story or missed scenes or just what was going on in someone's head. Here's one that's not a spoiler and doesn't make too many fic appearances:very Rockatanskyup name. Max's original last name was Patansky, and Jessie's was Rockwell. They're parents were millennials; of course they were raised to value gender equality :)

Q: If you work with OCs walk us through your process for creating them. Who are some of your favourites?

A: I rarely work with real OCs for anything other than side characters, but I often use characters who have little (Miss Giddy) to no screen time (K.T., Mary) or no canon name (Promise the Milker). They effectively become like OCs. K.T. had the most of a design process because all I had to go on were her name and Vuvalini affiliation. I made her black to bring more racial diversity to my 7000 Days cast, and I made her American because I wanted to have an instory explanation of Furiosa's accent not being Australian. Warboy Kai exists because I felt Furiosa needed an ally among the War Boys cuz fuck if the Imperator pumps her own gas. He will eventually become the History Man we see in the comics so he's still not a true OC. My true OCs follow the same process: 1) identify a logical gap or role that needs filling, 2) establish the character using canon reference points, 3) fill in the character's appearance, personality, etc. not already established by 1) or 2).

Q: If you create original works, how do those compare to your fan works?

A: I'm not doing originals at the moment, but when I look back now at what I was doing pre-Fury Road, I realise just how fannish it all is. We're talking many thousands of words of world building, character development, angst, and pining. So yeah, not much different.

Q: Who are some works by other creators inside and outside of the fandom that have influenced your work?

A: I learned a lot about working with themes in different sub plots from "Wishbone." Seriously, if you've never seen that shit go check it out. A cute doggo dresses up and tells stories from classic literature while his human learns similar lessons in the "real world."

I consciously avoided other fic when I first started writing because I didn't want to accidentally injest headcanons and not be able to remember where I got them. Once I found the story I wanted to tell, I dove into the wealth the fandom had to offer. I owe @sacrificethemtothesquid for paving the way in making these characters as gross and gritty in fic as real humans. I owe @lurkinghistoric and @fuckyeahisawthat for warming me up to Maxiosa first through their less and then through their more explicit fic. And of course @youkaiyume for drawing the art that inspired many of those fic. Really the whole of the Smuttyartfic group got me writing smut again after a good decade away from it.

Q: What advice can you give someone who is struggling to make their own works more interesting, compelling, cohesive, etc.?

A: I'm gonna go with the good ole, "Write what you know; so know interesting things." Show off your passion and the depth of your knowledge.

Q: Have you visited or do you plan to visit Australia, Wasteland Weekend, or other Mad Max place?

A: Yes to all of the above. I really like deserts and tend to pick them for my vacation spots. I stopped in Sydney on my way to New Zealand a few years back, but I didn't get to go outback; crossing the Nullibor is in my to-do list. If anyone plans a fandom-cation count me in. I've been to Wasteland Weekend twice and intend to be back, but probably not this year because this summer I will be going on a camping safari through Namibia. Don't worry, there will be pictures. And yes, I will be asking our guide obnoxious questions.

Q: Tell us about a current WIP or planned projectThis is my year of finishing projects. I'm also signed up for Fandom Trumps Hate. Bid on my listing and you can choose my next project.

Thank you @livia-lerynn

#Mad Max Fandom Creator Spotlight #Mad Max Fandom Spotlight #mad max fic #fury road fic #mad max fandom #fury road fandom #mad max fanfic author spotlight

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wintersongstress · 5 years

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Writer’s Questionnaire

tagged by: @a-shakespearean-in-paris - Whew, girl, this tag was hard. I don’t think I’m smart enough to do it but I love talking about writing more than actually doing it so strap in...

EDIT [1/5/19]: @the-darklings Thank you for tagging me as well!

Short stories, novels, or poems?

POETRY?! #TRIGGERED

Ya’ll I want to talk about poetry. That Illuminati Cryptology.

On the one hand, I’m actually quite decent with writing poetry. I like the poems I’ve written. I’m proud of my sonnets, sestinas, villanelles, and free verse. Albeit, the restrictions of closed forms and writing in iambic pentameter grinds the gears in the computer science part of my brain, but I can do it. Some of my best lines are poetry. Poetry is what resonates the deepest, what loops through my head when I think about writing. Its the ultimate mastery of words that makes your work endure.

Look at Peonies at Dusk by Jane Kenyon. Nice poem, right? Lovely imagery, the tone is somber and sweet. But, you have to remember, poetry is a puzzle. You have to put the pieces together to understand the picture.

Kenyon arranged her poem in tercet stanzas to link it to the Holy Trinity. (???)This was because she found God during the time so wrote this poem and wanted to pay tribute to how it grounded her life by grounding her poem the same way. In the final stanza, the narrator bending to smell the peony is supposed to be the narrator bending over to take care of someone who is bedridden with cancer. Propping them up with stakes and twine- taking care of a sick loved one. Peonies were also known for their medicinal properties, as well as them withering being an omen for disaster and death. The fading of light and the dusk is all blatantly symbolic. JUST. POETRY PISSES ME OFF SOMETIMES. AND I HATE THAT I KIND OF LIKE HOW CONVOLUTED IT IS ONCE I FIGURE IT OUT.

tl:dr; I prefer short stories and novels when it comes to reading for the obvious reasons why we love novels. Ya’ll already know why novels are good. When it comes to writing I usually do short stories and poems. I haven’t been able to tackle a novel yet.

What genre do you prefer reading?

I’ve always enjoyed fantasy, historical fiction, and of course, romance. I like a good contemporary every once in a while, too.

What genre do you prefer writing?

Same as what I prefer to read. I absolutely love exploring settings and writing the relationships between characters and how they transform and develop them.

Are you a planner or a write-as-I-go kind of person?

I like to make an outline at the beginning of a new project just to have some semblance of order and to know what the journey is going to look like. This helps a lot in my Research stage because I’m able to identify what I don’t know and what tools I’m going to need.

What music do you listen to while writing?

Video game soundtracks mostly. They’re designed to keep you engaged and I don’t want to focus on anything else but my work, I just need a little white noise. Jeremy Soule’s compositions are great for setting the mood, as well as Debussy. I also like those nature ambiance videos on YouTube, crackling fire, forest/river sounds, etc.

Fave books/movies?

Amazing. This question never fails to make me forget every piece of media I have ever consumed. 😂

I’m kind of at a stand point right now because I’m 20 and I don’t read YA books anymore and that’s the bulk of my personal library. (Sorry Sarah J. Maas and Cassandra Clare!). I used to read a COLOSSAL amount of YA; I’m talking 15 books a month, 2 books a day sometimes and I used to do arc (advanced reader copy) reviews through Macmillan for Miss Literati. Looking back now though, there are some novels I read that I still stand by.

The Knife of Never Letting Go by Patrick Ness - amazing, stream of consciousness writing at its best.

Daughter of Smoke and Bone by Laini Taylor - my favorite writing style. Period.

Half Bad by Salle Green - just brilliant.

The Old Man and the Sea by Ernest Hemingway - fight me okay.

Something Wicked This Way Comes by Ray Bradbury

Passion by Lauren Kate - This book was just, everything I wanted. 😭

The Abhorsen Trilogy by Garth Nix - the first series that REALLY got me into reading.

List of my favorite films I like to tell people to impress them:

The Sixth Sense

The Last Samurai

Brokeback Mountain

Crouching Tiger, Hidden Dragon

Rear Window

List of my favorite films when life is sad:

Confessions of a Shopaholic

The Mummy

Star Wars

Back to the Future

Some Like It Hot

The Princess Bride

Forrest Gump

Romancing the Stone

As you can see, I’m not a huge film buff (though sometimes I wish I were...)

I’m sure I’m forgetting some...

Any current WIPs?

gee let’s look at my documents folder...

This is gonna sound silly but the majority of my personal WIPs are actually games I want to write. I know, I know, but I want to go into narrative design, possibly even creative direction. Much to my mother’s chagrin. So I don’t write novels per say, I write scripts and game concept documents. I do write short stories but my longstanding projects I am not talented enough to start writing. I write ideas for scenes while I let the rest stew in my head, like a bubbling cauldron of ideas that is constantly simmering. I’ll get there, eventually.

If someone were to make a cartoon out of you, what would your standard outfit be?

My standard get-up is high-waisted jeans, Blundstones, and an over-sized knitted sweater. God I love winter.

Create a character description for yourself:

Hi,my name is Isabell. My worst nightmares include getting C’s, being late for work, and getting back together with my ex-boyfriend from 9th grade.

Do you like incorporating people you actually know into your writing?

The best writers are thieves, and I steal a lot of details of real people into my writing. Patterns of speech, outfits, unique traits, that sort of thing. I pay a lot of attention to the people around me, especially strangers. So I don’t incorporate actual people I know, rather, the strangers I see and who I think they are or could be in the context of story.

Are you kill-happy with characters?

By all means, I will put them in near death circumstances and give them critical injuries. However, I rarely kill them. So, no. I don’t happily kill my characters.

Coffee or tea while writing?

Self-proclaimed Chai tea slut.

Slow or fast writer?

Slow’er than the molasses in January.

Where/who/what do you find inspiration from?

Ideas strike anywhere, anytime. I could be standing in the check-out line at the grocery store and get an idea. However, most of my inspiration comes from consuming other stories. Video games have honestly been the most inspiring and immersive mediums for storytelling. I find inspiration from learning new things, especially in history. A lot of stuff from myth and history inspires me.

If you were put into a fantasy world, what would you be?

I’d like to think I would be an adventurer, but let’s be real I’d probably be an Alchemist’s apprentice. Or a sculptor. Maybe even a tutor.

Most fave book cliche? Least fave book cliche?

Hero/Villain Ships. Enemies to lovers. dYING CONFESSIONS OF LOVE.

Wait, are those cliches? As for what I hate...Oh, I don’t know. I hate the reckless heroine. I just hate reading about girls who make stupid decisions and think they’re the right ones. Not to say they can’t make mistakes, but you know, other characters are like, don’t do the thing, and they do it anyway.

Fave scenes to write?

SMUT. FIRST KISSES. Yeah. Been writing that sort of thing since I was 11. I had one of those notebooks with a cover that made a zippery sound when you scratched it and it was my first foray into fanfiction and smut lmao. Good stuff. Pandora’s box, though.

I love writing scenery descriptions. I’m acutely tuned to setting and creating atmosphere and I love determining the specific details that take you exactly where I want the reader to be. The mise-en-scene, if you will.

Most productive time of day for writing?

Dead of night or the wee hours of morning, when the world is quiet.

Reason for writing?

Because when I write, I feel like I belong. I write because I have a certain taste, and I’m the only one who knows how to capture that. I write because storytelling is intrinsic to me and a part of myself I can never deny, forget, or neglect. I write because my mind has always been full of ideas and worlds I want to explore. I write because deep down I know I’m meant to.

Tagging:

I’m gonna keep it chill because this tag takes more than 2 minutes to do, but I would love to see your guys’ responses!: @shadows-echoes || @sunstrain || @connorshero || @deviantsupporter

This tag is totally 100% optional!

#tag meme #tag game #personal #long post #this took 5ever #god this is so personal i hate hearing myself talk lmao

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kvothe-kingkiller · 5 years

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wtf is Nephelai

aight so if you’ve been following me for a bit you probably have Noticed me posting about the Thing I am writing which is called Nephelai.

so I thought I’d give a lil primer on it just for uhhh fun? I guess?

anyways. if you want it in a sentence its ‘gays out-science the competition’

if you want a little bit More info than that 4-5 word (depending on ur opinions on hyphens) blurb, here u go. I will put her under the cut so it does not clutter up the dashes of anyone who isn’t into this kinda thing. I am shit at brevity so this in itself is kinda long.

Just as far as vague genre/feeling stuff goes, it’s a sci fi and it kinda combines adventure with slice of life? Idk man. Its very much character based and a lot of it is dialogue. If you’re looking for pretty, poetic writing you’re not gonna find it here, I tend to just get to the point lol. It deals with some pretty heavy/dark stuff but I will tell you upfront that the ending is happy. There’s too many dark edgy books that end sad. Plus we don’t have enough gay stories that end well. It’s also quite R rated, though more in the violence/sweary way than the sexy way.

Given that it does deal with some Rough Shit (child abuse, racism, depression, etc.) I have a list of all the chapters and their possible triggers here. (its at the bottom of the post) I just put in general things but if you have a specific/more obscure trigger I would be happy to inform you if/where it shows up.

Also, just so you know, this fucker is Long. its at 180+K and I still haven’t gotten all the chapters out yet. As well as that, this is essentially a first draft. I know its slow to start and choppy in some places but currently Im just trying to get it out, and uploading the chapters as I go gives me incentive to do that, cause otherwise I’d never even get the first draft done. Basically I write a chapter, check for spelling and grammar mistakes, miss most of them because grammar is my kryptonite, then upload it. I will be editing it a Lot in the future.

anyways.

Setting

The story is set in our universe in The Future. How far in the future? don’t ask because I don’t know. I don’t want a 2001 space odyssey situation. A lot of the technological advancements would take wildly different times to achieve so I don’t want to put a number on it especially because we are very bad at predicting how fast things will advance. It is at Least 150 years I’d say.

Humans have moved on from earth and colonized new planets. They’re still on earth, it’s just that they’re also in other places. Namely Mars and proxima centauri B which has been renamed Salus to keep up with the whole roman god thing (she’s the goddess of safety). Both planets have colonies from multiple different countries. Not all countries, I mean lets be real lichtenstein isn’t colonizing mars anytime soon. The two american colonies on both planets are Lincoln (Mars) and Roosevelt (Salus). The way that people travel between these planets which are v far away is through electromagnetic radiation powered engines and the use of man made wormholes. Let’s ignore relativity and pretend that when you get close to the speed of light your timeline Doesn’t slow down because I don’t want to deal with that.

However, those planets are not where most of the book takes place. The main planet they are on is Nephelai (shocker I know.) It is a planet with a small research colony on it. Before the colony was put in place, it was a barren planet with some water that was in the zone for life, and just didn’t have any. They terraformed the fuck out of it so the atmosphere is the same as earths then installed a Beyersdorf around it. A beyersdorf is basically a time machine. Anything inside it will have it’s timeline sped up. Uses some black hole jiggery pokery I don’t want to explain because it would be... impossible. Anyways, they placed some organic molecules on it and sped it up until life evolved then slowed it back down to normal time to go in and observe. It has tall mountains and a surface that is so hot that water boils. So all of the life lives up in the clouds around the peaks. Most of it is adapted for life in the air. Such as: giant borzois with wings and living blimps that are basically guppies. Its very cold and people have to have specialized gear to go outside.

Plot

I don’t want to go too much into the plot because... thats why you Read books, but I’ll give my best summary. Basically the main character, Nadia, is getting her masters in evolutionary biology and has to do a year long research project. She goes with her professor, Brenley, to Nephelai to do the project. While there, the planet is invaded by uhhhh neo nazis (whoops) and they basically create a hostage situation that is very hard to get out of in order to get the third main, Krupin, a celebrity trash man, to work for them and make some very dangerous biological weapons that his company’s products would be able to produce. Obviously they don’t want this to happen so they have to come up with a plan to escape. However a lot of what happens is more based around the emotional toll it takes to be trapped for so long with no contact to the outside world and the uncertainty of whether they’re gonna make it out or not.

Characters

Alright so now the characters. As I said, this is very much character based. So its more about their interactions than anything else really. Again, lotta dialogue.

Nadia Waters

She is as said before, the main character. A 23 year old dork who is a complete nerd (they all are). She is bi and also a bit of a disaster, naturally. Quite smart but doesn’t think she is, very loyal to the friends she has, and can be a bit shy at first. She is also stupidly brave to the point where its a problem. Her need for adrenaline is Real and she does very stupid things to get it. She describes herself at one point as “just a grad student with a very poor sense of self preservation.” While she doesn’t go looking for fights she will definitely stand up for herself and others and throw down against people who could very easily kill her.

Elias Brenley

Nadia’s professor, also a dork, also a nerd. A lanky french weirdo with an obsession for physics and a love for 80s music. Very spontaneous and doesn’t give a shit about embarrassing himself. He has aspergers and even though he is very smart and can do some savant-like tricks, that isn’t the only aspect of his personality (what a novel idea...) He Also isn’t just a ‘robot’, he cares a lot about others, especially those who don’t mind his quirks. Also I took the expected subplot of ‘male professor gets with female student’ and threw it in the garbage where it belongs cause he’s gay as hell. He and Nadia do become very close but it is 100% platonic

Feliks Krupin

Also a nerd, also gay (seeing a pattern?). He is pretty much a public figure as he owns one of the biggest biotech companies out there, Vozmet. Kinda like if you took elon musk and removed the asshole-ness. Annoyingly perfect in every way, charming, pretty, v smart, all those. Struggles with a good amount of mental stuff that most of the world doesn’t know about and came from a pretty shitty background. Him and Brenley have some History though at the beginning of the story they haven’t seen each other in 9 years. Tends to be noble to a fault and will sacrifice himself for basically anyone.

Some other characters who aren’t the main three:

Kristina: The president of Vozmet to Krupin’s CEO and his best friend. About five foot nothing and has the appropriate amount of concentrated rage. She’s not mean, she just doesn’t let anyone push her around and knows how to get what she wants.

Heidi: One of the only sane ones. Was determined by others to be the leader of the hostages so to speak and has Way too much on her plate. Is often the one voice of sanity or the one to actually get the others to stay on task

James: Drinks that respect women juice all day every day. Very nice. Doesn’t deserve this situation. Has a bit of a thing for Nadia.

Scott: Is the other only sane one along with Heidi. The doctor of the group who almost acts as a father figure to all of them even though he’s not That much older than some of them.

Saoirse: Dumb irish lesbian. ‘Nuff said.

Links

so if you like the sound of any of that you can find it on

fictionpress: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

or AO3 here

if u took the time to read this massive post, and/or read some, I luv u. *mwah*

#my shtuff #nephelai #big boy post #lorge

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