#give me a fucked up dynamic and i WILL rotate it at high speed

[madnessiseverything]

oh hermes, fluttering bird in a gilded cage:

Your love is scheming, irritable, angry; a man forever itching to pull the strings of those around him. Coins spent here, a thread tugged there, lives cut short with but a look—your love wears Atropos’ mantle like his own birthright, his self-claimed destiny a shield against those with other plans. His eyes never rest, forever calculating even in the dark of night, with only fire to reflect his ideas.

Your love is terrified.

You see it plain as day, though the words never make it out into the tentative space between you and him. Fear stretches across his skin like spiderwebs, floats in the air around him like ash. He paints it red, calls it justified fury, wields it like a knife—but your love is afraid.

He shakes with it, wine spilling past his lips like blood—like he’d finally bitten off his brother’s head only to find it as poisonous as the viper lurking in his brother’s home. For once, no plans rest in wide eyes, narrowly escaped death carving deep enough to show bone.

Your love snarls like a caged beast, like his beloved ghost lion rattling the bars somewhere below, mouth bloodied and eager for more. When he turns to face you, his teeth seem sharper in the firelight.

You abandon warm silk for cold marble floors, dig out his reasons from between growled threats and despair. Your hand reaches over the snapping fangs of his mood, soft and gentle when it finds his throat.

Your heart rests on your tongue. All you can think of is the frantic beat of a bird’s wings, never fast enough to escape your love’s bow, forever doomed to try still.

Your love is a schemer, a smith of usurpation and bloodied paths. His fires of ambition sputter between your hands. With a bird-wing heart and your own ambitious words, you make yourself a spark for his flame.

Your love kisses you gentler than ever before. His lips curve in a smile you can’t help but replicate, relief and hope filling up your lungs like ocean air.

You lock your fears of the man you call love away behind them both.

[delicatestones]

Rereading Worm for my purposes and the early sections are giving me unexpected emotions about, of all things, the dynamic between Brian and Alec.

They have such a quiet teen boy sort of back and forth, is the thing. Like, yes, Brian finds Alec profoundly annoying, Alec is being profoundly annoying on purpose - but one of our earliest examples of Alec laughing is when he trips Brian and Brian goes across the room to put him into a headlock and starts punching him in the shoulder.

Insinuation 2.9

With Brian gone and Lisa absorbed in trying to patch up Bitch’s ear, I was left with Alec.  To make conversation, I said, “Alec.  You were going to tell me what you do.  You go by Regent, right?” “The name is a long story, but what I do is this.”  He looked over his shoulder at Brian, who was returning from the washroom with a damp washcloth in hand.  Brian, mid-stride, stumbled and fell onto the floor. “Way to look good in front of the new girl, gimpy!” Alec mocked his teammate, laughing. Grateful for the break in the tension, I couldn’t help but laugh too.  While Alec continued laughing, Brian got to his feet and ran up to the smaller boy, at which point he got Alec in a headlock and began punching him in the shoulder repeatedly.  This abuse only made Alec laugh harder in between his cries of pain.

I mean, there's the casual ableism and Alec being a little shit at an inappropriate time, but it's also notable to me that Brian, the stiffest man-teen in the world, is still roughhousing with Alec instead of actually being angry. It's also a lot that Alec, given what we know about his relationship to touch, likes this. Getting a headlock from Brian probably feels the closest to a hug Alec gets, well. Ever.

Then there's the sparring moment before Taylor gets her first bout with Brian, where Alec wears basketball shorts (???), gets bored, and fucks off to play video games - but Brian still cares enough about Alec to want to teach him. He cares about Alec to the extent he goes 'easy on him' (read: just teaches him like you should teach people to fight), which Alec takes as a slight (slightly sarcastically, because it's Alec), but we learn not too long after that Brian's father's method of teaching him how to fight was basically just short of actively kicking the shit out of him. But Brian doesn't do that to Alec, or to Taylor.

Then later on, in Shell 4.4, Brian gets Taylor that dragonfly in amber for her room in the loft (Brian!! down bad for the bug girl), Taylor hugs him, and we get:

“Hey!” a voice from behind me startled the wits out of me, “No romance in the workplace!” I turned around to see Alec and Lisa standing in the hallway, grinning.  In Lisa’s case, grinning more than usual. I must have turned beet red.  “It’s not, no, I was just thanking him for-” “I know, dork.  I was with him when he bought it.”

And I'm entranced by the concept of Alec and Brian on their separate side shopping trip while Lisa and Taylor were having that Very Straight Shopping Date. Brian contemplating a giant Declaration of Paying Attention To The New Girl in this big open air marketplace while Alec stood there in his new Kid Win shirt laughing like a little cartoon hyena.

It just makes me rotate things in my brain at high speed about both of them.

(This is also good foreshadowing for what Aisha is going to be like when she comes onscreen because you can feel the Exhausted Big Brother rolling off Brian in waves.)

[musical-mastermind]

SBURB Ideas

It’s one in the morning, I have class in about six, seven hours, and I can’t sleep.

Time to share Generic SBURB Session ideas.

1) Planets are more like Solar Systems.

So basically we see the four/eight/twelve planets revolving around Skaia during the sessions with the kids and trolls. Generic perfect circle. I doubt that’d truly be the case. I kinda think they’d be arranged sorta like our solar system is. That is to say, accounting for the planets, they’d be revolving at various velocities, rotating at variable speeds, and have general distances between the paths of travel, though maybe not as extreme as ours. Say we’re 1000 miles from Mars (just bear with me, i know it’s not), in a SBURB session, your home planet might be 200 miles from your friend’s planet.  Now, distances will be pretty close, but you do gotta account for Gravity, right? Revolution speeds will drastically differ too. If one planet goes around Skaia 365.25 Days, another planet closer could go around in 35 days, a planet closer to home planet could be 634 days, etc... and Travel between planets. There’s the gates, but there could be potential to add some other methods? That’s a debatable thing that I’m gonna leave open ended.

2) SBURB Menu.

In a sense, it’s kinda like a pause menu, except time won’t stop really.

All sessions can have this as a thing. But SBURB will program a menu for you to use freely. When you successfully enter a session, perhaps a small square or something can spawn on your arm. Pressing it will activate a pop-up menu that you can check various things in it. What I’m thinking is a general Map, Stats, Skills, Tips, and Players (In a session of 2+) Map: Generic map of your general location. An indicator will mark Your Location, Spawn (where you entered), Quest Bed, and any various bookmarks you end up leaving, such as a temple buried in sand or some stuff like that. Stats: A menu showing YOUR stats and general capabilities. Stats could include things like Strength, Intelligence, Wisdom, Sanity, Constitution, etc. showing general things, like how strong, clever, etc. and give you some ideas of where you could grow, what you’re able to do, and even Health. Good to know when you want to plan a fight. This can also show general information, such as Time In Session, Enemies Slain, Comrades Helped, etc... Skills: A list of feats you’re capable of performing. Skills are divided into three categories: General, Super, and Fraymotifs. General skills can include things like, say, Flash strike, where a user can bolt at high speeds and skewer enemies in the way. General skills can basically be done by anyone, and usually help get players started. Super Skills are for your general use. For my example, I can call Obelisk Impale, where a stone obelisk will rise from the ground and impale enemies. Now some super skills will require unlocking full potential, i e Ascending to God Tier, such as my Obelisk Impale, but others will be unlocked via proficiency with Strife Specibus. Persay, if you used needles, you can use Spike Rain and throw a thousand needles at enemies. No one else can use that. And Fraymotifs. Generally these are using your aspect in weaponized form. No two players of a same class/aspect can use them the same way. For example, I’ve had someone who defined what a Mage of Space can use as fraymotifs, but I can also add that a Mage of Space can use a fraymotif to summon meteors from above to rain down and harm the enemy. I’m not gonna discuss much, but anyway. It’ll show basically ultimate skills only you can use, and provide what cooldown time it could have, say a minute or thirty seconds... And all that’s unlocked after God Tier, and it’d help to have higher stats on the Echeladder anyway. Tips: These are for starting players entering a session, giving them general clues in how to progress in the game. This means a starting player could look in tips and read “It’s important to have some sort of armament in a session. Anything will do if you can use it.” and remember ‘hey, i gotta grab the kitchen knife.’ As you progress, you’ll encounter fewer tips, and when you reach X level, say, level 533 on the Echeladder, the tips will completely disappear, thus forcing you to adapt to a session. Players: This will give a general overview of the players in the session. It will show their state (Alive, Dead, Ascended, Just/Heroic), Health, Experience, and Planet. This can at least monitor if your pals are alive or whatnot.

3) Variants of Planets.

Back to this one I guess. So not only are planets in a solar system format, but they’ll have variety in size too. We could have a planet the size of Saturn or Pluto basically. This could make for interesting dynamics and quests as needed.

Other variations might include an Asteroid belt that one planet resides in, or a double planet revolving hastily around each other or some weird shit like that. Not only would weather be weird there, eclipses every ten minutes? I don’t know, im tired.

Anyway. On with the grouping.

4) Hacking Sessions/Cheating.

SBURB could probably come with patch notes. Ver. 4.3 Patch Notes: Fixed Travelling Through The Void To New Sessions glitch, Fixed Bug That Kills Players On Spawn. Fixed Bug That Crushed Totem Lathe That sorta thing. Depending on the version nabbed, you could find new ways to exploit and cheat the game, such as an infinite card glitch or another way to slip to another session, so there’s the possibility of fucking things up in SBURB. Maybe an Infinite Time glitch. 5) Limits, Challenges.

Last thing before i try to sleep again. There will be limits and challenges required by the game, that you and your team must complete before being able to face off against the final boss. You can have main challenges, such as Heir of Void must slaughter the Cavern Boss in the Land of Shade and Frost, or Sylph of Space must create Genesis Frog, variable stuff. And of course optional challenges, such as Slaughter 40 Oil Imps in 60 minutes. Stuff to give you bonus EXP.

And Time Limits. Apparently in canon, John, Dave, Rose, and Jade completed their first portion of the game in 24 Hours? Some shit like that.

Well, there’d be time limits. Knights of Time will be the ones that influence the time limit of course (Because there’s little time and every second is precious) but that aside, I’m gonna disregard the impact of Time Players for right now.

Time limits in SBURB are a standard 8 years for a party of 2-4. 5-6 takes it to 6, 7-8 would have 4, and 9-12 would have 2 years, and any more will have a year to complete though i doubt a session would even allow 13+ but anyway, there’d be a time limit before the Cataclysm, and End-Game event occurs, which spreads from Skaia outward. It’s basically the blackout/destruction of the session. Failure to reach the goals will not only destroy the planets, any life remaining in the session will be erased completely, thus making it vital for players to commit to meeting their goals on time. With those time limits in place, players will be given a timer that’ll indicate how long they have before everything starts up. But there’s also hope. The outermost planet will have a device of some sort, like how the main session in HS had The Scratch, which reset the universe. Various artifacts will be around the outermost planet, which, if done at the last possible moment (For a bs example, ten minutes before total annihilation), will successfully reset the universe and give a new set of players a chance to run things. Any later than the set moment, and it’s automatic game over.

Of course, with all that, it’s obvious to state that Lords and Muses will have differing portions in that, but I’m not going into more details... 

Now if you excuse me and my long post, I’ve got a hot date with a warm bed and sleep. I hope.

[theseventhhex]

Clark Interview

Chris Clark

Photo by Tim Saccenti

Sixteen years since his debut and eight albums later, a now rightly considered cornerstone of Warp's core artist base, Clark, lines up what is sure to amount to his most cutting edge and immaculately scored vision of varied dancefloor dynamics and richly-ground techno hydraulics with the high-rise hypnotics that make up ‘Death Peak’. The latest record is an incredible and starkly visceral series of recordings with strong influences from the battered 12"s of mid 90s warehouse techno and drum & bass mixed ethereal electronics and library record exploration. Clark remains a true pioneer of the hypnotic groove, and constantly yet carefully constructing sounds that will lay down the blueprint for the future… We talk to Chris Clark about trimming down content, the Clipse and severity in music…

TSH: Was your approach for ‘Death Peak’ consisting of fluid rules and being open to change and possibility?

Clark: Yeah, totally. You know, I actually always have a wide range of ideas that I have on tap. For me, this record was quite easy to chisel down and to give it a distinctive feel. I wanted the identity of the record to be audible at every section of a track. My girlfriend is a choreographer and when she makes her work, if you take a frame from any point of it, it’s so distinctly her own, and I want my music to feel like that. I want people to hear this record and instantly know it’s from ‘Death Peak’ at every point of a track.

TSH: You’re also never afraid or trimming down content and deleting…

Clark: Yeah, I condensed a lot of material into this record, possibly more than any other record I’ve made, which makes it feel really, really tight. I still keep all of the work I cut and I just continue to write all of the time, I’m really prolific like that. I guess I have an ego-pit of deleted ideas that I don’t let the public hear and I just release what I think I want people to hear. I enjoy all of my content and never think of anything as wasted, it’s just that I don’t want to over-saturate, I just want to saturate to the right point.

TSH: What aims did you outline in terms of the speed of the record?

Clark: At first, I wanted the speed to be quite gentle. I think this record has a very different trajectory to all of my other records. It starts off quite warm, seductive and familiar and then it gets more darker and twisted. It transitions to a steep climb all the way to the distortion at the end of ‘Un U.K.’, which is brutal and really harsh. It’s kind of a paradox that I wanted the album to progress as both seamless and harsh, but I guess I just wanted the sounds to remain native to the record.

TSH: What resonated with you most about ‘Peak Magnetic’?

Clark: I’m constantly competing with my old work and for a while I was thinking if ‘Peak Magnetic’ could actually lead this record and whether it was better than ‘Unfurla’. Once I came up with the ending for ‘Peak Magnetic’, I was convinced it was better than ‘Unfurla’. For a while I only liked the Goth loop bit, but once I got the chord progression for the end, it just caught on fire. I definitely feel that this song was the right one to lead the record. Also, I liked how it started unassuming and then it gets to this point of visceral intensity – I just love that type of narrative in music.

TSH: How much of a challenge was it to get the drums right on ‘Hoova’?

Clark: I actually finished that track at my mum’s on Christmas day. I didn’t want her to know that I was writing music, so I pretended to go to bed and ended up finishing it. I actually finished the whole album around Christmas so it all feels quite festive to me. But, yeah, drums are always the hardest thing to nail because they always date music, but not in a bad way, I mean genres and periods of music are defined by the drum sounds more than anything. I was just glad that I was able to refine the drums on this track and have it become so concise.

TSH: Are the vocals just another instrument in the mix…

Clark: I guess so. I don’t really like that thing of having one big track with vocals, it always feels a bit cynical, you know? I wanted the vocals on this record to be a secondary element in a way, but also a continuous element that adds a human inflection to the record.

TSH: Do you still incorporate the idea of using 4 hours of brain power a day to help you to create efficiently?

Clark: I think so. I reckon 4 hours is good and then the rest of the day can be chilled, ha!

TSH: Does ‘Hell Hath No Fury’ by the Clipse still get heavy rotation from you?

Clark: I love that album. It’s just kind of ice cold, isn’t it? I like every bar of it and I can definitely listen to it all the way through. I’ve binged on that album quite a bit, and I guess I like it so much partly because it’s so different to what I do. The production is just so clean and amazing.

TSH: How do you keep your mindset fresh?

Clark: Well, I’m always kind of busy. I mostly just read and keep up with the fucked up world that we live in. You know, I want to affect some positive change rather than giving in to this politics of outrage, which I guess can be quite tempting. I want to think outside of the echo chamber, but it’s hard to avoid the suffering in the world, and that’s quite worrying. I mean how do you perform some kind of alchemy with all of the toxic hatred around you? I guess I want to turn some of the negativity around me in to something good and constructive, even if it’s a really small gesture - it’s still something. In order to get somewhere in music, you need to be a bit severe, but I think with politics although it’s unfashionable, moderation is the key. There needs to be more extremity in art and less extremity in politics.

TSH: What do you feel will define your future musical endavours?

Clark: Well, I’ve bitten off quite a large chunk of range within my music and in a way it’s all about refining the range. It’s taken about 6 years for me to get to this point, but it’s been a fun process refining my skills, because now I’m so certain and in-tune with what I want now. There’s a distinct terrain that I’m on and that’s what I want to keep pushing with my future work.

Clark - “Winter Linn”

Death Peak

[seekapk-blog]

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