#* self promo. » please i'm a star

[misspr1ss]

tags

*   out of character.   »   gaslight gatekeep girls with guns

*   nancy wheeler.   »   visuals

*   nancy wheeler.   »   development

*   nancy wheeler.   »   aesthetics

*   nancy wheeler.   »   musings

*   always open.   »   prompts

*   dynamic.   »   n. wheeler / s. harrington

*   dynamic.   »   n. wheeler / r. buckley

*   dynamic.   »   n. wheeler / m. wheeler

*   dynamic.   »   n. wheeler / k. wheeler

*   dynamic.   »   n. wheeler / j. byers

*   arc one.   »   little miss perfect

*   arc two.   »   wide - eyed idealist

*   arc three.   »   girl gunslinger

*   arc.   »   to be determined

*   self promo.   »   please i'm a star

*   favorites.   »   hawkin’s finest

*   saved.   »   probably crying over this

[buddie-fic-recs-this-way]

what are your fav buddie au’s? i’m looking for like cute/ mild angst but with a happy ending? for reference i like the au’s where neither one of them is a firefighter, like they’re a chef or a barista or a teacher, stuff like that! but i also like when one of them is a firefighter and one isn’t! honestly im not picky i’m just on a “fluff buddie getting together au” kick right now lol!!!❤️❤️❤️

well you have come to the right place! au's my most beloved. i'm also known as the au queen 😂 (since i'm combining these asks, i'll put which one's are angsty) i tried to stick to more “normal jobs” so i hope these are what y’all are looking for <33 as always if anyone else has other recs, please feel free to add them!

pick a star on the dark horizon (follow the light) Bob_loblaws_lawblog @bi-buckrights (army buddie/angsty)

winner takes it all buddiefication (pumpkincreamcoldbrew) | (hockey buck/baseball player eddie/ light angst)

now our love lives in the radio | heartbeatdiaz @loserdiaz (college au/ radio host buck/ fluffy)

traded | Princessfbi @princessfbi (hockey buck/ bartender eddie/ light angst)

falling for you (when you're miles away) | MonsterRae1 @monsterrae1 (long distance relationship/ buck is a course teacher for LAFD/ angst)

cordolia verse (bakery au) | MonsterRae1 @monsterrae1 (baker!eddie/barista!buck/ fluff)

kiss me before it's over (if only for a minute) | Bob_loblaws_lawblog @bi-buckrights (baseball buddie/light angst)

come love, | colonoscopys (business man buck meets bodyguard eddie/ angsty)

don't play games (come my way) | letmetellyouaboutmyfeels @letmetellyouaboutmyfeels (buisnessmen buddie/light angst)

a wednesday in a café (i watched it begin again) | MonsterRae1 @monsterrae1 (nurse!eddie/firefighter buck/coffee shop au/fluff)

made your mark on me (a golden tattoo) | heartbeatdiaz @loserdiaz (tattoo artist!eddie/fluffy)

wastin' my time when it was always you |heartbeatdiaz @loserdiaz (childhood friends to lovers/navy seal buck/angsty)

eyes like sinking ships (in waters so inviting) |heartbeatdiaz @loserdiaz (lifeguard!buck/more fluff than angst)

falling slowly; sing your melody (i’ll sing it loud) |Princessfbi @princessfbi (musician!buck/bodyguard!eddie/angsty)

hearts, hooves, and healing | mansikka @redlightsandicedtea (neither are firefighters/horse sanctuary/fluffy)

your name is written in the sand | lecornergirl @clusterbuck (lifeguard!buck/fluffy)

let my ink stain your pages |letmetellyouaboutmyfeels @letmetellyouaboutmyfeels (author!buck/detective!eddie/fluff & angst)

steppin' into fate | r_holland @onward--upward (hockey buddie/fluff & angst)

i don't mind waiting (if it's for you) | Princessfbi @princessfbi (detective!eddie/bartender!buck/angsty)

a picture is worth a thousand words (but love is undefinable) |extasiswings, letmetellyouaboutmyfeels @extasiswings @letmetellyouaboutmyfeels (model!buck/photographer!eddie)

teardrops could be bottled | Princessfbi @princessfbi (model!buck/photographer!eddie)

string of hearts...| ReallySmartLadyMarieCurie (plant shop owner buck/firefighter eddie/fluff)

what if you're someone i just want around... |ReallySmartLadyMarieCurie (boxer!eddie/firefighter buck/angsty)

pin me to the wall, i'm an art piece | whiskis @angela-feelstoomuch (models buddie/fluff & angst)

cowboys, jorts and building shit |Ineedapuppyandsomevodka (houseflipper!buck/carpenter!eddie/fluffy) @ineedapuppyandsomevodka

frequent flyer | whileyouresleeping @whileyoursleeping (eddie is a firefighter/buck is not/fluff)

coastlines | browney3dgirl6 (surfer-shopowner!eddie/firefighter buck/ agnsty) a lil self promo; i would list more but 99% of what i write is au's like this 😅 if you want me to make a separate post of all of them, just lmk 🫶🏻)

[percheduphere]

Okay. First post trying to use gifs properly. I've switched out improper gifs for these type for my last 3-4 posts. Gonna work on some more corrections tomorrow when I have time. Please let me know if I'm misstepping anywhere. Thanks for your patience! That said...

LET'S TALK ABOUT SYLVIE💕, INTERSECTIONAL FEMINISM (SYLVIE & LOKI)✊🏽, AND QUEER REPRESENTATION (LOKIUS)🏳️‍🌈🏳️‍⚧️!

SYLVIE

I'm rooting for Lokius, AND I also love how much Sylvie has forged a life for herself in S2. A lot of her development is implied, so I think it's worth looking at her growth outside the context of Loki himself: She found a job, locals know her by name, she has friends and acquaintances, she has hobbies!

People call her by name in her timeline on 4 occasions:

1. When the McDonald's shift manager (John) checks in on her after work. See the kid with the tie in the image below. I couldn't find any gifs of him visiting Sylvie at her truck. She asked him if his mom was gonna pick him up to make sure he was gonna be okay late at night. 🥹

2. When a customer picks up their McDonald's order and thanks her (cheerfully). Also note how many employee stars she had on her badge! Queen.

3. Lyle at the record store. They seem like really good friends, and I got the "beginnings of an attraction" vibe between the two of them. Unfortunately, the gifs below are the only ones I could find of him and I'm still searching for the source. His interaction with Sylvie before spaghetti-trauma was so sincere. He could tell she was down and offered her Velvet Underground. Come on, that's a solid move.

4. Eric at the bar, who comments 2 shots of bourbon is a good choice. Let me tell you, finding a gif of Eric was like finding a needle in a haystack, but here he is leaning close to Sylvie. Thank you, @zehiiro!

I tried to find more gifs of all the people Sylvie has in her life but couldn't find any, which is a darn shame because there are so many subtle cues she's built a support system on her own and she's thriving.

She's a regular at many places in her timeline, and when people greet her, they do so with a smile. She loves music, a hard drink, and punk fashion.

When she engages with Loki, she may come across as cold, but I honestly think she's being firm with her boundaries and true to her beliefs. The TVA threatened her life for centuries. I don't doubt setting foot in the building is traumatic for her, which may explain why she was more harsh than usually in S2E4. Her psychological defenses were all on overdrive. Yet when Sylvie's in her own timeline, far away from the TVA, she can be her real self. Turns out, her real self is pretty well-liked! (I'll talk about how this is mirrored in Loki soon).

INTERSECTIONAL FEMINISM

Sylvie's an unapologetically "selfish" woman who knows what she wants, wants it on her own, is doing it on her own, and isn't afraid to put her foot down when it comes to her personal boundaries. We should be applauding all of that!

This is exactly the kind of female representation we need, but the show did Sylvie a disservice in S1 by coming at her character as a love interest first (look at all the media promos classifying her as such) instead of more thoughtfully showing how badly she has been affected by the TVA and planting what her desires are throughout. If they had done this with more intention and finesse, her position in S2 wouldn't come off as completely irresponsible.

As a result of this apparent marketing and pre-production development decision, her perception as a character (by both lokius and sylki shippers) is muddled by the question of her relationship status with Loki. This truly isn't fair, most especially to Sophia Di Martino.

Of course, Sylvie isn't perfect. No well-written character should be. I just think she's cooler than she gets credit for precisely because her character arc doesn't require the fulfillment of a romance. She will be fine whether or not she ends up with Loki. It's very feminist!

Loki, in turn, found safety, belonging, and love at the TVA. All the things that are the complete opposite of Sylvie's lived experience. I often see fans complaining about how Loki is ooc in his own series.

The thing is, and Loki admits this himself: it's all part of an illusion.

This illusion started far before the first Thor movie. He comes from a hyper-masculine (dare I say toxic-masculine) warrior society. His true nature doesn't conform with this, so he has to overcompensate with some (genuinely awesome) bad assery.

BUT he doesn't like it.

As a comparison to a far lesser but more relatable degree: imagine putting on a customer service persona 24/7. UGH. It's just not sustainable without becoming increasingly angry and bitter, which is what Sacred Timeline Loki becomes. Mobius gets ahead of this.

In the series, Loki can finally TURN OFF that persona, and TURN IT ON again when it's needed (and fun!).

He also now has the freedom to be silly, expressive, and magical (unapologetically queer!) without anyone making fun of him for it.

The end result is a much calmer, happier, likable person (like Sylvie in her timeline, his defenses are no longer on overdrive!). Who shows him this is possible?

Here's the receipt:

QUEER REPRESENTATION

Sociopoliticaly, Loki and Mobius come from a different angle. A lot of men (cis, fluid, trans, or otherwise) struggle with the social expectation of burying feelings and never ever showing vulnerability, especially to another men. Now, some might argue that shipping men together perpetuates this construct. There's some truth to this, but only through the lens that it is shameful to be gay. In order to get to a point in society where there's no shame in being mistaken as gay (or queer, generally) when being affectionate with another man, there must be continuous positive representation of homosexual relationships in which the characters are not stereotypes. Loki and Mobius are exactly this, especially Mobius.

Whereas Loki, on Asgard, represents the openly queer oppressed (i.e. magic and cunning, qualities historically tied to witches or "immoral women" instead of brute strength), Mobius can represent the closeted repressed.

In S1, Mobius was much more uptight, rule-abiding, and just shy of holier-than-thou. The power structure in which he existed perpetuated this, until Loki reveals to him it was all a lie (an illusion).

In S2, he becomes more flexible, more fun-loving, and more expressive in his affection. In S1, most of his support of Loki manifested as words of affirmation. In S2, his support extended to physical touch and bonding. Mobius, if seen through the lens of a closeted man allegory, finds the courage (and partner) to slowly come out.

[gallaghersgal]

hello everyone! tysm for 1,500 followers, this means so much to me as someone who took almost a YEAR off of writing. the support i get and the friends i've made here mean so much to me! so LET'S CELEBTATE 🎉🎉

celebration masterlist here. looking for my main masterlist? it’s linked up top under "writer" <3

p.s. special shoutouts to my beloved moots at the bottom <3

❀ GENERAL RULES & INFO ❀

you can send in as many requests as you’d like!

if you don’t want spam, block/filter #maggie's 1.5k

it’s not required to be be following @gallaghersgal but it would be appreciated. if this is your first time interacting with my blog, come check me out!

also not required but if you like my content, go check out @carmenberzattosgf @thecapricunt1616 @mouseymilkovich @carmybrainworms and @notsonian they're great writers and even better friends! <33

this blog is NSFW, 18+ only, and so is this celebration! minors will be notified of this, then blocked if they don't unfollow. i'm not mean, i'm just not comfy with you reading my works underage.

anon is on, by sending an anon ask you are telling me you are 18+

my inbox is open now, so feel free to go send in asks!! celebration requests close Friday, August 23rd at midnight!

❀ REQUESTS ❀

send me in a character + prompt for a blurb! i am accepting prompts from this au list, this trope list, this smut list, or this other smut list.

please include the number or prompt, and the list it's from since there's more than one!

for this celebration i will write for any character from shameless, the bear, marvel cinematic universe, daredevil, all star wars trilogies, the mandalorian, and the clone wars. i will also write any of oscar isaac, pedro pascal, or barry keoghan's characters, or any formula one driver.

i will also write sydcarmy 😚🧚🏻‍♀️

i will do my best to write ANY character from the fandoms listed above, i know i have a wide range of followers! however, i am more likely to lean towards requests for the characters listed here.

please limit your request to one to two prompts, or one au/trope + one prompt. i will have a lot to write, so this will help me get your req done quicker!

requests missing a prompt or character will be deleted. general requests not w/o a celebration prompt will be saved for afterwards.

❀ GAMES ❀

send a 💒 + a self description for me to ship you with someone from any of the media listed here. please include the fandom/media you want a ship from, as well as preference for male/female character or of you have no preference.

send a 💿 for a 5 song playlist based off your blog! or add a character from the listed medias for a playlist based on them.

send a 💌 to shoutout a writer, or to self promo your own fic! i will read & reblog, or give my thoughts on their writings <33

send a 💘 + three characters or people for me to play fuck, marry, kill with

send a 🌸 and ask me any question you have about a blurb or fic of mine!

that's all! enjoy the celebration!! sappy shoutouts to my fav pookies below <33

@tinyphantomsalad THE first mutual i made on here that i'm still talking to. the man i run my filthiest porn by, and he doesn't bat an eye. the love and respect for you i have is insane. what are we at now? four years? feels like four hundred. i love u endlessly.

@thelazyhero-ttums the one that's in my corner 24/7. only irl i have on this god forsaken site, bc you're just so so special. how do you think 7th grade maggie with her hand written leo and calypso fanfic feels about 1.5k? thank you for being with me for all of it.

@devils-dares thank you for sticking by my side even with my change in eras!! and for vibe checking so many fics you know nothing about <33 ur a real one pooks

@carmenberzattosgf im thankful all the time that u messaged me first bc how else would i have someone to get up to dm shenanigans and share my ideas with?

@thecapricunt1616 my sweetest capri, i'm so happy we're friends, i love reading your messages and i LOOVEEE your moodboards my queen

@mouseymilkovich ur a real one cause who else is gonna send me 1926284 ethan cutkosky edits? i love hearing all your plot bunnies for speechless, i can't wait to see where you take the series!

@carmybrainworms i hope you're enjoying your time in the ocean, and i'm so glad i brought u over to the dark side with my lip fics. ur the sweetest silliest ever and ilysm

@l4long-winded & @emotionoitme we haven't talked much yet, but i'm so excited to share more ideas with each other! you're both amazing writers who i'm so glad to call my friends

@notsonian u are genuinely the sweetest, i love talking to you about our ideas (esp the mkverse!) and i love love looovveee your fics! keep up the good work <33

[spirkme915]

more spirk fics i've read recently and loved

The Promised Land by gunstreet @gunstreet (TOS) - buckle in and get ready for chapters and chapters of p-a-i-n. it's divorce era spirk (pre-TMP) and it hurts oh so good. have a desperate need to find out what spock was thinking when he chose kolinahr? you will wonder no more. also, there's sex. a lot of it and beautifully done. all around perfection

The Accidental Matchmaker by notboldly (AOS) - it's valentine's day on the enterprise and spock receives an unexpected note. this had me muttering "oh spock" (affectionate) under my breath as i read

emotionally compromised by thesorrowoflizards (AOS) - an extremely thoughtful and poignant rewrite of the bridge scene in the 2009 movie. gen not slash, but who needs sex when you get the vulnerability of tos spock in aos spock?

Between Me and You by Solid_Medical_Advice (TOS) - ONE BED! need i say more? well, i will anyway. this fic has a touch of angst but it's mostly fluff and feelings and is terribly soothing

home by Sir_Bedevere (TOS) - am i sucker for everything OMS? yes, yes i am. have another entry into the old married space husbands being adorably old and married (with a cat!)

Injury by iyokou (AOS) - F1 AND STAR TREK??? i love it when my fandoms collide. AND IT'S EXPLICIT HURT COMFORT??? *eternal sigh of happiness*

The Other Uniform by Bibarian (AOS) - jim wears an alternate uniform, spock loses his shit. spock & uhura bffs. then sex. how can you go wrong?

The way that we love at night (gave me life) by phlebotinxm (AOS) - obligatory PWP entry for this list and this one is established relationship so it's a completely different kind of good

(This and Every) Morning After by Solid_Medical_Advice (TOS/AOS) - are they friends with benefits? is it unrequited love? you probably already know those answers but this fic is still fun as hell to read. also, CONFIDENT SPOCK. i am here for all confident spock

Sweet dreams (of course I love you) by decidedlynotheterosexual @decidedly-not-heterosexual (TOS) - fluff, ALL fluff. need a happy read? this is it

and, for once, i don't have any non-spirk fics to rec, but there are two entries in the "aliens made them do it" trope for this list:

Lead Us to Our Own Bliss by gunstreet (TOS) - i'm hesitant to read this trope because it often involves non-con, but @gunstreet handled it perfectly. this fic definitely has voyeurism, but it's more about their awakening of their feelings for each other

Red Matter: Scents, Starfleet, and Kurage Sushi by CampySpaceSlime (TOS) - this was so. damn. creative. omg. unlike anything i could've expected and just as weird and alien as space should be

(you can find previous recs under fic rec and/or spirk fic recs)

reminder - please do send me recs and feel free to self-promo!

[emilybeemartin]

Just a hello, and thank you for writing!

I found your stuff through your humorous Boromir comics (man those make me laugh, I've shared them with several people) and then when you mentioned you were an author I got excited, and then when you mentioned which of your books you liked best I got even more excited! So I read through Sunshield and now I am reading Floodpath, and I want to say, I really really enjoy your books and writing and I hope you write (and enjoy writing!) a lot more! I have limited time these days but I look forward to when I can enjoy some more of your stories. And please don't hesitate to tell people about the books you have written too! Tumblr is a beautiful place but awfully disjointed, and it's fun to find new authors here. Thanks for putting your stories into the world!

Thank you so much!! I'm so glad you enjoyed Sunshield (and ostensibly Floodpath as you sent me this lovely ask like a hundred years ago, sorry). Self-promo is the worst, so I appreciate the kind words of support, and sure, I'll take the opportunity to say:

If folks have enjoyed my comics or fics, maybe check out my published novels. The Creatures of Light trilogy starts with Woodwalker, which follows an exiled ranger guiding a deposed queen through the wilds to reclaim her throne. The Outlaw Road duology starts with Sunshield, where a desperate outlaw, a sheltered diplomat, and a political prisoner find their paths crossing in a quest to expose a system of corruption.

And if you like my illustrations, take a look at my middle-grade eco-fantasy, A Field Guide to Mermaids. It uses the behaviors, adaptations, and habitats of mermaids to explore real aquatic ecosystems. I like to think of it as a science book with a fantasy veneer.

I'm hoping to have more novel news soon after many months of being stuck in the publishing industry hamster wheel, but the timing on that is anyone's guess. Which is what fan art is for.

[only-by-the-stars]

Fic Promo: Song of a Champion

Now that @spacelemon has put up that amazing promo vid of the Mipha's Grace mod, it feels like a good time to do a little self-promo of my own, for something that I promise is related (otherwise I wouldn't be mentioning the vid; I am doing so in hopes of helping to get more eyeballs on it): a fic I've been writing since 2022, that is both inspired by and based on the mod. I've been lucky enough to have been allowed to play early versions of it, and was inspired to write a fic that retells BOTW with Mipha as the lead, taking cues from many plot points and armor redesigns present in the mod. If that's not enough to entice you, then please read on for my list of things that you might enjoy about this fic!

It's about Mipha Judging by the results of my poll, a lot of you like reading about Mipha! I've written a LOT about her over the past few years, but this is my most in-depth exploration of her yet. It's entirely centered on her, delving deep into her thoughts and feelings and exploring the myriad aspects of her personality as we follow her journey. Instead of Link waking up on the Great Plateau without his memories and being handed the responsibility of saving Hyrule, it's Mipha who must walk this path; unlike in the base game, she's not a fridged love interest for Link to be sad about, she's an active heroine in her own right with a monumental task ahead of her from the moment she wakes up, not to mention a lot of questions. How did she get there? Can she do this? What--and who--has she forgotten in her century-long slumber? How will she find her way in this strange new world she awakens to? What kind of bonds will she forge with the people she meets along her way? All these and more are tackled in great depth as she goes on her adventure, setting out with, initially, little more than her own courage, determination, and compassion. I've been told by many people that I write their favorite Mipha, and though this isn't my first time giving her a starring role, I fully believe this is my best character work for her so far. I've given her so much to do and act on and react to, exploring her rich inner life and personality and character FAR beyond just shipping stuff, and developed a lot of really fun friendships for her and gone heavy on her familial relationships as well. There is miphlink, but it's only one aspect, and Mipha herself is the shining star at the heart of everything.

2. It takes inspiration from Wind Waker Mainly, the concept of a character who is not the chosen one stepping up and proving themselves worthy and going on to save Hyrule. If you, like me, enjoyed that aspect of Wind Waker, then you'll like this story!

3. It plays with the lore in fun ways Do you like the older bits of lore from pre-Skyward Sword games? Like the Golden Goddesses and other deities? Then you'll like the bits of it I've weaved in!

4. It treats the NPCs with care, love, and nuance One of the things I'm proudest of about this story, that I've gotten praise from others for, is how the various NPCs are written. I've treated them all like people in their own right, who all have their own rich inner lives, schedules, interests, priorities, and feelings that don't revolve around the protagonist. Mipha befriends most of them, yes, but that's because she treats them with compassion and kindness too. Nobody is shallow here, I've gone to great pains to illustrate a world filled with people all living their own lives that intersect with Mipha's journey in various ways, and allowed people to just be human and make mistakes and have doubts but ultimately just be people. There's a lot of emphasis on Mipha's relationships with her family, and I've certainly won praise for my depiction of these dynamics, but also a ton of friendships being formed and explored, and people have told me that I made certain characters interesting and likable to them where the game failed to do so.

5. It has awesome fight scenes BOTW is a game with a lot of combat, so anyone novelizing it better be good at writing that kind of scene. Fortunately, I am! This is an action-packed story, not just for its own sake, but to show the dangerous world Mipha is traveling through and the challenges she has to face as she ventures into each Divine Beast and cleanses them of their respective Blights. I write really fast-paced action that also shows the characters' mindsets while fighting, and strikes a balance between showing off their strengths and that they're up to the challenge, while also respecting their opponents and demonstrating why the Champions of a hundred years ago fell to these things, why NPCs fear certain monsters. And speaking of respecting opponents, I've taken stuff from Age of Calamity as well as some of my own inventions, to beef up the boss fights, a certain area, and make every Divine Beast threatening (we all know how scary Medoh wasn't in-game).

6. It has beautiful prose/descriptions But you don't have to just take my word for it! Here's a sample from the rough draft of chapter 42!

Shards of light drifted across her floor, leaves caught in the current of clouds flowing over the moon. Mipha took a moment to watch them before closing the door behind herself. The water in her sleeping pool murmured a melody of rest and relaxation after a long day, calling her to it, but she ignored it for now. She’d done all her preparations for tomorrow, downed a warm elixir crafted from a few hearty lizards, and now only one thing remained to do before going to bed. It wasn’t a need, as the other tasks had been, but a want. Nothing wrong with that. She crossed the room to the old chest that lay tucked beneath her window, opening the lid with a whining creak from the aged hinges. A folded length of fabric the color of spilt starlight lay atop the item she sought; Mipha moved it aside. Her breath catching, she withdrew the armor beneath and held it up to the softly swaying illumination of the moon outside and the luminous stone lamps within.

All in all, I think this fic is some of my best work, and shouldn't be missed if you're a Mipha fan like I am (she is my favorite Zora, so if it's okay I'd like to use this as a belated submission for that Zora May prompt). She truly is the star of the show, with so much to offer as a lead character, moving through a world treated with depth and care. If you're in the market for a BOTW retelling that does something different, something no other retelling has done, and does it really well, then give it a chance! You can read it here on AO3. :3

[the-sun-and-the-sea]

can you please do another list of odesta fanfic recommendations.

Of course! I'm actually really glad you asked this because I've been in such an odesta phase lately. Here are some of my current favorites.

Below the Surface by deathmallow - This is a cool oneshot focusing on Annie and Finnick pre-relationship. It's well written and offers some great outsider POV, so I'd definitely suggest checking it out. This author has a ton of great THG work, a lot of which features odesta.

The Finish Line by voidshade - This is a great one that focuses on Finnick's time as a new victor. Because of how early it takes place, it doesn't actually feature Annie, although I think it will eventually. I love how this one highlights Finnick's youth and his transition from a teenager to what we see in canon.

The Kindling by perilearring - This is another one that takes place while Finnick is young. This fic tells the story of his Games, and although it's still in the early stages, I'm really liking it so far. Odesta is tagged as a relationship so I think that's something we can expect to see later on. This one really captures the writing style of the original trilogy.

Exit Light, Enter Night by grumkin_snark - This is a short one that really highlights the tragedy of Finnick's life. I would definitely recommend checking out the author's other odesta works, because I love them so much. They're all so well written and pretty iconic, in my opinion.

The Moment I Knew by wisteriawall - I love this one, it's so sweet. There's definitely an undercurrent of sadness running through it, but the ending is so poignant and hopeful. I also love the other odesta works from this author.

It Takes a (Victor's) Village by sakurasencha - I'd seen this one around before but I only recently read it, and it was so worth it. This is just so funny and sweet, it brings such a welcome levity to a dark story. I enjoyed every minute of reading this and I think any odesta fan should give it a try.

Like the Tides by Indefatigable - If you're into AUs, this series could be a great one to check out. It puts Finnick and Annie's relationship into an interesting new context that I find really cool, and it's nice and long so you'll have plenty to read.

Once, the Stars Aligned by Gamemakers - This is another AU that I really love. It's a historical AU, so it doesn't take place in Panem, but we still get to see Finnick and Annie come together anyway. I will warn you that this story is unfinished and most likely won't be updated, but I thought I'd throw it out there since I really enjoy it anyway. The author also has several other odesta works, many of which are cool AUs.

I hope you find something good to read! As always, feel free to reblog if you want to share your own recs or self promo!

[bunny-lovers]

Promo

Hi! My name is Rebecca & a sweet self shipper. I have a lovely irl girlfriend, @nekolucci🥰

Mirko (My Hero Academia) is my only romantic f/o. I'm very uncomfortable sharing her.

Please read my DNI/BYF on my pinned post before interacting with me.

Lesbian star divider by: @cafekitsune

[evilwickedme]

You seemed sad that nobody's asked for jayroy fic recs. I want jayroy fics! I am a simple creecher with simple needs.

God what a mood tho. ngl I'm obsessed with these two

I've already recommended some of my favs in previous posts! here and here for your enjoyment

anyway here we go

ace-spectrum!Jason

one of my favorite hc and with a lot of support from the text imho; I have more of these these are just my favs

Kiss Me, Kill Me, Take Me Home - 5+1 times somebody kissed Jason, ace!Jason

Jane Austen Never Said Anything About Speed Dating - this one's pretty long. an au where Jason never died and is dealing with trauma from an abusive ex. again, outright ace!Jason and his ex absolutely raped him, so dark subject matter but it's still so good. Jason's brothers try to get him back in the game after the breakup and he ends up running into Roy at speed dating; they decide to fake date to get both their families off their backs. some nice Lian stuff here too.

Between These Pages (Is a Wonderful Place To Be) - ace!Jason gets extremely injured and Roy reads to him, cute little oneshot

(can you feel) the fire burning through your veins - nothing wrong with a little bit of self promo, right? this is demi!gay!Jason figuring his identity out and navigating his changing relationship with Roy. it takes place in a slightly alternate timeline where he's been to therapy for a couple of years and he never slept with Talia so it's his first time with pretty much everything. there actually is smut but it's Jason's first time :D

there is sex in this

I’ve Got the Feeling You’re the Right Thing After All - more poisonivory??? yes please!!! Roy's has had feelings for Dick since their teen titans days, but still ends up in a fwb with Jason when he's asked to help Jason run the iceberg lounge... somewhat plotty, smut in basically every chapter, so fucking good

Let me shipwreck in your thighs - we all have a thing for Jason's thighs, lbr

Arrows and Bullets - a two fic series. injured Jason falls into Roy's apartment and stays there until he heals. once again, some quality Lian stuff here. the sequel fic has some minor Jason-comes-back-home and surrounds christmas.

Boys Don't Cry - trans!Jason. I think this does have a minor plot?? I can't remember it's basically just fifty thousand words of marathon sex over the course of like at least a week

there's a middle ground between ace and outright smut actually

Some Kind of Disaster - this is actually one of my favorites and I've reread the whole thing more than once even though it's a mildly long series (although tbf I've reread longer). instead of outright dying at sanctuary Roy is just grievously injured and Jason runs to his side the moment he hears and refuses to leave. there's a lot of angst. one of the fics is smutty; halfway through the series Roy discovers Lian exists and that's where the plot really kicks in. so good

The Midnight Snow - Robin!Jason is in a time loop and Roy gets trapped in there with him

Flowers Are My Love Language - Jason keeps trying to get Roy to date him using flowers, and Roy simply refuses to get the message

Around Red Hood's Barn - Neighbors au where Roy and Jason are still partners as vigilantes, Roy just doesn't know Red Hood's identity, and Roy CANNOT STAND his new neighbor Jason. I love me some good identity shenanigans in a superhero fic

Magnet Tar Pit Trap - I already linked one cowboy au in the first fic rec (linked above), why not one more

other

remember how canonically Roy died in Heroes in Crisis? ow. I actually already rec'd my favorite one of these in the first Jason fic rec (linked! above!) so check that one out too

It is only, and all about Roy - I actually really regretted not putting this in the original fic rec (again, linked above). Jason shows up in Star City and ends up collaborating with Oliver. JayRoy is only implied but either way Jason is clearly deeply grieving Roy's death and so is Ollie

Please, come back - JayRoy were together before sanctuary and Jason grieves his death deeply. happy ending tho!

anyway yeah that's some good fics believe me when I say I could've rec'd twice as many honestly. unfortunately I had to stop somewhere so that's it for now

[galatariel]

Thank you for always making amazing Seventeen content I'm so glad we get to see more gifs of them being made lately, both their new and old content 💓 can't thank you enough

And if it isn't a trouble can please give some list or recommendation of other carat gifmakers here too please

omg hii thanku for ur sweet words 😭 yeah i'm really glad u feel that way bc svt are my faves 🧡 and i feel like im still a pretty recent fan but its so fun to go back and make content for their older eras!!!! anyway heres a list of carat cc's i'd recommend!!!

@featdino @ajusnice @mingyuskim @woozi @wnjunhui @master-tonberry @irlvernon @hwiyoungies @ch-channie @jeonghan-yoons @wonufied @nootcoups @usersjeonghan (this is also me sorry for self promo but its jeonghan based) @twojae @chenleyah @yohanblr @woozification @itsyoonzino @jeonwon-wonwoo @parkloves @dokyeomis @seokmingming @userjungkook97 @coupsnim @wonwooridul @facethesuns @kiimtaehyung @ueberdemnebelmeer @xuseokgyu @seoksgyu @seokmins @taeminblr @smingi @choi-soobin @dinotual @c-seungcheols @woneko @4media @star-losts @donghyuckkies @taetheists @97chwe @solojihyo @bisexualgyu @zyx

they all make lovely posts and im sooo glad theres an amazing carat community on here 💌

[aidoriimu]

(c.) ideallyadored

March Promo !

☆: Hi hello, first of all— I'm Aeriko! To start, bullet points aren't really my style but it's the easiest way for me to deliver bite-sized chunks of info?

☆: I primarily yume Albedo and Tsumugi, with the rest being linked here.

☆ I use she/her, but I don't really mind which pronouns are used on me.

☆: This blog also serves as a mishmash of my writing and serves as a way to brush up my japanese a little, but I hope the tags are easy enough to navigate, on that note—

☆: I enjoy writing imagines!! They're tagged under (まるでの夢) , it makes me glad that people are enjoying them and I hope you'll continue to support my writing. 応援してください！

☆: Other than my f/os, I love all celestial bodies (planets, stars, moons, the sun), and lots of different anime.

☆: My main interests currently are Enstars, Genshin, TWST and recently.. Link Click (Shiguang Dailiren)

picrew (c.) me and my self-insert/oc, eria ☆

☆: I really like seeing oc x canon, and personally use it interchangeably with my yumeships. I especially do like seeing others' ships as well!

☆: I don't bite :3 But please do come to me first because my anxiety basically stops me from fully interacting with a person (although this notion can be overcome from time to time from the fact that I like people! and particularly, learning more about them :3c )

[incalculablepower]

some fics i've liked lately

it's been a weird year. when i made this list of recs back in january i fully intended it to become a monthly thing, but life happened and then i guess it just kept happening. in early 2023 things were ramping up in my new career, i was practicing and playing a lot with my band to prepare for our first show, i was settling into dealing with depression and anxiety with medication, i was getting over a miserable breakup. then i fell in love. i lost my job (the best and most favourite job i've ever had) abruptly this past may. this is my longest period of unemployment since i was a teenager and while you think it would be the best time to lose yourself in fandom, i felt the opposite. fandom was such a lifeline to me when i had a miserable job and was in a bad relationship and needed an escape but i was very present in my own life this summer. i took my partner to visit my family and spent a lot of time with friends and played shows (and recorded some music... shameless self promo once again) and in between i watched so much star trek on my couch. this is such a long preamble to explain why i haven't been fandoming as much lately and why idk if i'll write anything again anytime soon (let's say, once i have a job i want to procrastinate at) but -- i HAVE been reading fic! not as much as before, but i have been, and there's enough for a fic rest list so that's what i'm giving you today. when times are dire [podfic] - @aibidil

drarry. i have such a soft spot for middle aged draco and harry falling in love, the relationships they have with their friends and their grown children. @aibidil reads her own podfics and it's an utter delight. i usually only listen to podfics or audiobooks when i'm doing work around the house but i can going on walks with my headphones just so i could listen to more of this one.

purple haze by @ashesandhackles

romione. i was so so honoured to see this pop up in my ao3 gifts during @thethreebroomsticksfic pride fest this year. it turns the well tread romione ground of shell cottage and the yule ball over a bit, using them as settings to explore a confusing mix of jealousy and sexuality for ron and hermione. ashes knows i love mess with these and it captures that teenage chaos wonderfully, then lets them laugh at it as secure and settled adults.

crookshanks by @ala-baguette

gen. warning that this is a tearjerker, especially if you've ever loved and lost a pet. i think the pure and simple expressions of love and gratitude from crook's pov here would be a comfort to any pet owner.

at some point this year, i got REALLY into the idea of a one-sided dramione. it's hard to look for, especially since it's such a popular ship but i managed to find a few that scratched the itch until i find the time and/or motivation to write one of my own new years eve by 2daughtersofathena, the guardian angel by mylifebelongstothebbc, and a boy of hans by elixirsoflife. the last one being my personal favourite, a grim take on the hanahaki disease trope.

every mother is a grave by witchofimber

this was recced by @whinlatter in @thethreebroomsticksfic discord (btw i feel like no one on my followers lists needs anyone to remind them to read beasts -- but please read beasts) and when i saw "gillian flynn treatment" in the tags i slammed the mark for later button. this is probably the most balanced and realistic portrayals of molly weasley and her role as a mother that i've ever read in hp fic. it's not weasley family fluff but it doesn't devolve into something so flat as bashing either. molly is regular mother with flaws and strengths like anyone else and how they amplify and shift with love and grief and pain and stress and duty and pressure. every single relationship she has with her children is uniquely expressed and the way it ties the past to the direct aftermath of the war is so well done and a great way to organize this giant, messy family. particular care here went into fred and george, giving them their own identities in a way that can be difficult, given the source material. a favourite line:

“Probably have tried to make us name the twins after them.” He stopped laughing, sucked in a breath. “Do you want to?”  For a second she considered it. It would be wonderful, getting to use those names again like living things. But -  “No,” she said. “I - if they were alive, I’d have said no, so I’m saying it now. Let the boys be their own people.”  The truth was that she didn’t want to lose her brothers. To have their faces erased in her memory, painted over with her sons. To have to say no, not THAT Fab, I mean UNCLE Fab - he died before you were born. Anyway, she liked the names Fred and George. It was easier like this. 

the scrunchie by @saintsenara

another fic i've meant to read for ages and finally got around to just yesterday. the background drama of these side characters as a cheap scrunchie from boots floats around them is so perfectly teenage. reminds me of the other series i loved as a teenager around the time HP was coming out: georgia nicolson and gossip girl. i could also compare it to derry girls a little, how despite the environment surrounding them these girls are still being girls, arguing about stupid things and getting crushes on boys and having the absolute most ridiculous blowout fights with your sister (parvati and padma's portrayal here is probably my favourite i've ever read!)

i also can't leave without reccing @saintsenara's wip, one year in every ten. i can't get enough of a good case fic. tomarry/harrymort (both versions of this ship, oddly, apply to this fic) is not something i've ever sought out but i really think the way it's handled here could win over any non-believer. it's sharp and funny in a way that makes it turns into poignancy hit even harder. i screenshotted two full phone screen pages of chapter 27 so i could go back and read them over and over. it might be one of the best things i've ever read from ron's POV (emphasis mine):

It had been a long ten years, with a chair at their table always left empty and a hole in their hearts always unfilled. Grief was exhausting and boring and dully painful, like a slightly sprained ankle which you can still walk on, but which always bothers you a little bit.  But there had been love among the grief. There had been love before the grief - indeed love had caused the grief - and there had been love after. His love for his parents and his siblings had changed, the way wine left in a barrel changes and becomes richer and deeper. There was more sorrow in the love, as he threw a quaffle around with George and saw the tired lines at the corner of his eyes. There was more recrimination, more struggle with the mistakes they had all made in the past, as he finally sat down and had a real chat with mum and dad about how a lifetime of corned-beef sandwiches and maroon jumpers had made him feel. But there was more joy there too. And with joy came forgiveness and understanding and hope and fun.

image used is wildflowers (1915) by tom thomson

[berryshipbasket]

🌈Promo time🌈

Hi! I'm Berry/Clo! I'm a 20 (soon to be 21) yr old self shipper and my main F/O is Jim.iny Cricket 💛💛 My tags for him are: 🦗Right way to make Honey🍯 🦗⭐Wish upon a star

My pronouns are she/they/he and I'm autistic! I also have PCOS and use self shipping to help comfort me through it

I tend to selfship for fun and comfort but I do take some of my self ships very seriously!

I'm not comfy sharing Jim.iny and certain other F/O's, sharers can still follow and interact but please be respectful of my boundaries <: )

Just be nice on my blog!!

I don't post NSFW but some posts may be suggestive (tagged accordingly)

Proshippers, exclusionists and others like that please DNI.

[one-additional-time]

Daft Punk in Chronic'art 2007/2008 - scans & translated interview

Here it is, the long-awaited monster interview that sat untouched on my bookshelf for 6 years. I bought this magazine on eBay in 2017, fresh off the Grammys performance with The Weeknd, and I was really excited when I realized it was a huge 10 page spread... Until I started translating and realized the content was extremely in-depth and complicated. So, it got put to the side and accidentally left there for many years.

Anyway, here we go. Buckle in for a long read! Please note that I did not translate the extra sections of the article titled "Discovered" and "Very Disco" as these are just basic information about DP's discography and samples they've used- they are not part of the interview.

My usual disclaimer- I am not French, nor am I fluent in French, so some of this may be incorrect or interpreted differently than the author intended. If you find any glaring errors, my ask box is open for feedback and I can update the post/files as needed. (Post updated May 2023 with corrections)

Feel free to repost to other platforms/social media sites, but I humbly beg that you link back here or give me credit because I really spent a lot of time slaving over this (like 50+ hours).

Thank you so much for sticking around my blog after so many years. I really appreciate this fandom and community and I'm excited to experience new music with you all soon!

(Trigger warning for discussion of suicide [Electroma] in the interview!)

Download full scans and translation at my Dropbox.

Full translation below the cut.

In ten years, from Homework in 1997 to Alive 2007 and Electroma, the electro duo Daft Punk have popularized electronic music, launched fads (the French Touch, filtered house, monumental live shows), and transformed a simple music project into a verifiable universal, even metaphysical, concept. Are Daft Punk dropping the helmets?

BY: WILFRIED PARIS & OLIVIER LAMM | PHOTOS: © MAUD BERNOS

SCANS AND TRANSLATION BY STEPH @ ONE-ADDITIONAL-TIME.TUMBLR.COM

(Please see the downloadable PDF file for translation notes/comments)

Everyone has been hearing about Daft Punk for the last two months, because their live CD (Alive 2007, from EMI) and the DVD of their robotic road-movie Electroma are being released for the holidays. We wanted to go a little bit beyond the obligated promo, and the repeated wooden language found in all the media, by trapping Thomas Bangalter and Guy-Manuel de Homem-Christo for an hour and a half in a restaurant in the Latin Quarter, subjecting them to questioning, and if possible, making them drop the helmets a little bit, over ten pages and many questions.

We’re not going to harp on what you already know (the French touch, the robot helmets, the live pyrotechnics), we’ll just say that we wanted to do this thorough interview with Daft Punk because they’re more than a CD or a DVD, more than music, more than any current pop group. They are an essential symbol of our post-post-modern times, speaking in a very clear yet always paradoxical voice (between hedonistic joy and profound existential sadness) on the human condition, no less. Over the ten years of their career (Homework, like Chronic’art, again, decidedly, appeared in 1997), Daft Punk have invented a new way of presenting music to the world. The robot helmets reveal (social uniformity) more than they cover (buried humanity) and have given them perfect anonymity, which seems like the anonymity of those who succeeded, not in annihilating the self, but becoming self-less. This anonymity accentuates the dominance of the art over the artist, and it has made Daft Punk a universally well-liked and famous group.

A conceptual, pop, philosophical, even metaphysical group, Daft Punk mixes Andy Warhol (seriality, pop art, emptiness) and Friedrich Nietzsche (the man who wanted to die in Electroma, the superhuman for and against technology), mass culture (disco, Albator, Star Wars) and esoteric symbols (the masonic pyramid), the dancing body and thinking brain. In that respect, they are a purely manufactured product of our culture and likely represent the completion of the pop figure began by the Beatles: fragmented culture (the sample) and repetition, theatricality and abstraction, universalism and experimentation, technological innovation and advanced marketing, refusal of the embodiment and worship of the personality…

The current tour (Alive can also mean “en vie”) also refers to an interstellar voyage, like Discovery and Interstella, which seemed to mean that humanity is, by nature, dispossessed, that humans do not belong on Earth but came from Heaven and are destined to return there, that they are “stardust.” They themselves [Daft Punk] are probably not aware of the symbolic and almost metaphysical significance of their creations, and they always prefer to talk about “emotions” rather than thoughts, the heart instead of the head, and they act as the “guinea pigs” for their own experiments. Listening to them, we realized that Thomas Bangalter and Guy-Manuel de Homem-Christo do not really theorize their work, their music, or their image, but that they react to the infinite accumulation of data from our culture of abundance, that they are indeed the guinea pigs of an experience that has outrun them, marionettes played by “high culture,” pop culture, and the entertainment industry. Maybe Daft Punk really are robots, and no one is pulling the strings, certainly not them.

Chronic’art: Between Homework, which would correspond to your schoolwork or your learning phase, Discovery, which would represent your adolescence, the discovery of the world, microscopic to macroscopic, and Human After All, a moment of reset before a new cycle, it seems to us like you have come full circle, which would be represented by the mirroring of your two live albums, in 1997 and in 2007. Could you have scripted your career?

Thomas Bangalter: It’s strange. We have never written out any part of our career, because even ten years ago we didn’t think we would do this for a long time. After the fact, without having planned it, we realize more that we had sort of reset prior to the live show from 2007. For us, these concerts, this tour, this CD, they are more of a new step than a conclusion. We had not done concerts for 10 years, and there was something very exciting about doing things that weren’t technologically possible when we started. With the last live, we wanted to produce something original, that could predict what might become the norm of tomorrow. We know that we’ve done certain things in the past that were five years ahead of their time, and we are happy to be trying something no one else has done right now. We feel like, during each album, we’ve started back at zero and have had to create a new process, even if it’s true that there is a consistency which emerges in the straight line of our career. But this consistency is not defined a priori, we just emphasize working on projects that can become sort of a realignment of everything we’ve accomplished until now. Interstella was consistent with Discovery, the live show was consistent with our third album compared to the two previous albums, but each step represents, in the moment, the desire to start a new cycle. As for Human After All and Electroma, they’re about something darker, less celebratory… Maybe the live show is a loop; our record label released a Best Of last year, but the concert itself and the way we worked on it is more a way of combining things and expressing them in a new way, rather than celebrating a sort of anniversary or something from the past. We definitely didn’t want to give people the impression that they were in 1997, in a continuation of past music: we instead wanted to give them the chance to feel like they were really in 2007.

During the live shows, you mix together your own tracks, referencing and quoting yourselves. It’s like being simultaneously and precisely between 1997 and 2007, as if the past and the present were merging. All of your songs evolving in a sort of loop…

T.B.: It’s almost the third generation of sampling: us sampling ourselves. At the same time, it’s like having created a universe and an aesthetic that is more than the music, or that the music isn’t actually a central vector. Our approach isn’t at all demonstrative, it’s entirely sensory. There isn’t another message to understand. That being said, there is a desire for cohesion, to make sure that each element added to the structure resonates with the others, with the little mythology that governs this universe. It’s a bit like in a video game, each new element opens a new level in a new environment rather than replacing an older element. We wanted, for example, to break these things with Human After All, but in the end we realized that the album was very cohesive in the continuity of our work.

There is a very strong sense of nostalgia, mixed with a strangeness, in the timeless juxtapositions listeners are subjected to in the tracks. They seem to be complementing and responding to each other, as much musically as thematically… 

Guy-Manuel de Homem-Christo: It’s especially very exciting to see that twelve or thirteen years after our first maxi, our music has not aged too much. There is a sense of nostalgia1, but it still works in the present, and it’s very strange to see that we can mix four tracks from four different eras simultaneously, and not a single one kills the mood. Right after we started making music, we were seeking timelessness. It’s the same with Electroma. At our core, we are fans of timeless things. If you listen to the Beatles, aside from their very first period which is a little bit stuck in the past, you notice that time doesn’t touch their music. We are following that: we are trying to move through time without getting stuck in it. In the same way, we are trying to make sure that our music can be listened to by a lot of different people, without having to worry about languages or genres.

The Beatles were, for that matter, the first group to reference themselves, for example in All You Need is Love, where John Lennon sings She Loves You… 

G-M.H-C.: We don’t compare ourselves to the Beatles, either… 

T.B.: The idea is constructing a cohesive universe from a series of spontaneous attempts. If you watch Star Wars, people don’t seem to come from when the film was made. It’s as if the 70s have no effect on the film’s universe. Its atmosphere is its own, even if mixes a lot of things together. For about five or six years we have tried not to let the times we live in make an impression on us.

You are very privileged to be in a time when everything moves so fast, or everything ages so fast, right in the middle of acceleration. For example, you did a massive world tour without having an album to promote… 

G-M.H-C.: The day before the first concert of the tour, at Coachella, we were terrified, we weren’t sure of anything. Every time we try something new, we start back at zero.

T.B.: It’s the live show that sparked the craze, I think, truly. The success was really unintentional. Separate from that, being immersed in a certain underground before our first album taught us a lot. We’ve seen all the trends come and go—jungle, speed garage, electroclash, new rave, French touch, revival—and we are really surprised to have slipped by all of that. We didn’t want to be specifically concentrated on music, we only released three albums in 15 years, and we had a lot of luck. The legitimacy of our music, the future of our music lives in the combination of different forms of expression, the scope of influences, the mixing of techno with funk, with metal, the intermingling of rules and cliches. A lot of important decisions have been roughly made; also by means of spending time solidifying this roughness in order to share it. In fact, electronic music, in the 90s, put you in a state of experimentation, urgency, innovation, it literally prohibited you from repeating yourself. Electronic music was still very elitist, because it was expensive—you had to go to the library to find out about these musicians, you had to go to Beaubourg to make photocopies of books on filmmakers, you had to go to small shops to buy old drum machines. We know what changed, we’re familiar with the saturation that followed. We were also lucky because actually there wasn’t much of that happening when we started out.

The permanence of Daft Punk is also really linked to your image. People don’t only dance to your music, they dance with your personas, with the robots, like you predicted the fatal characteristic of the embodiment of rock (John Lennon, Kurt Cobain). With your robot helmets, you have made the entire process of love, requisition, and the sacrificial reclaiming in your place impossible. You come across as impersonal and therefore verifiably impossible to sacrifice. Not gods, rockers, heroes, nor rulers. The helmet prohibits any kind of identification process. When put on, they show the listener-viewer their own reflection. By giving nothing, the helmet says (silently), “Know thyself.” Can your work be considered an invitation for people to know themselves?

G-M.H-C.: Yes, I agree with that interpretation. At least, that’s what happens with our concerts. Audience members, rather than being lost in the view of a far-off guy, Mick Jagger or another inaccessible idol above the audience, find themselves between us, or even with themselves. It’s kind of like a rave, without superstars, like in the era of anonymity. The robots don’t give the audience much except music. There are robots in a pyramid, but the audience enjoys it in a more selfish, more self-centered way.

T.B.: It’s a mixture—the chance to show the listener their own reflection, to respond to a question with another question, but also the opportunity to go back to a fiction, in a cult that isn’t the cult of a personality, but of an art, of an image, of an aesthetic. Without personification. Then we can let ourselves to be two robots in a pyramid of light. If our faces were uncovered, it would be the most megalomaniacal thing in the world; with the helmets, no one sees us because we stay within the fiction. And without wanting to make a joke, there is also a degree of separation, a distance. A distance from the reflection, like in Electroma, or a distance from the entertainment, softer.

All the lines from Human After All work in the same way. They recall Kraftwerk, but Kraftwerk developed a precise message about celebrating, in a way, the immediate future. Your messages are a lot more ambiguous: are they critical, ironic, devoid of meaning? Like we see so well in Electroma, your helmets are, above all else, mirrors…

T.B.: Ambiguity is good, because it allows for a certain interaction between the viewer and the artist; between what the viewer interprets and what the artist is trying to depict. It’s very participative, and that comes from a desire to go against the demonstration. We are the first consumers of our music, and we hold the view that we can’t make any judgement values by calling things into question. In speaking about technology, about consumer society, which completely inhabits our art, we don’t want to teach a lesson, or offer a point of view or a judgement, we just want to find paradoxes and point them out as is. For example, we’re dependent on consumer society and it’s so appealing, productive, optimized, and at the same time totally terrifying, horrible, and very funny.

Your work is dialectical: sometimes it seems to denounce a sort of robotic totalitarianism (like in the Technologic video which depicts propaganda of a robot on top of a pyramid) and at the same time it plays with this imagery, strikingly. The video for Around The World also shows how robots surround and surveil the population; they are in the last circle, and they are the ones who chant the phrase “Around The World.” Does the video denounce the surveillance of us by nonhumans, or does it condition us to accept it? We never know if you’re denouncing a conspiracy against humanity or if you’re participating in it. You use of language is equally dialectical. Your language is refined, born from catchphrases and words of totalitarian order (Technologic), and if taken literally, it’s this: the phrase “Television Rules The Nation” can be taken as the assertion of an established fact. It then becomes constraint, manipulation. At the same time, the distance imposed by the performance can give the words a double meaning, and adds to them a critique of this established fact, even the denunciation of a totalitarian power. This recalls the “doublethink” in Orwell’s 1984: the capacity to simultaneously accept two opposing points of view and thereby put critical thinking on the back burner. Where do you situate yourselves in this in-betweenness?

T.B.: But it’s inside this paradox where we progress. In terms of our experimentation, we are in fact the heart of the system; it would be totally obscene to lean more to one side or the other, to claim to be part of a totalitarian system, as if we were giving lectures. It’s because this is so interesting that we refused to do any promotion for Human After All, because there couldn’t be a willingness on our part to encourage people to buy the album, because of this paradox. Because it’s like an unbiased opinion on technology, on consumer society. The video for Technologic actually gives you the keys to derive an ironic and scary message from the track, but it has since been used by Apple in a commercial for the iPod, and there the lyrics turned into blind praise for technology! It’s funny seeing to what extent the double meaning has effectively functioned. That’s why we so often refer to Andy Warhol who had an experimental approach through his connection to pop culture that, depending on the project, had as much a place in very elitist and private circles as it did on supermarket shelves. Creating with perplexity, in short.

Nevertheless, you use very strongly significant symbols, like the robots or the pyramid. The pyramid that you use on stage is a Masonic symbol. It is on the dollar bill, with George Washington and the note, “New World Order.” The pyramid represents the structure of society, from the masses up to the elites and the leaders. The cornerstone with the “all-seeing eye” surely represents the summation of technology which, though it could be plainly operational, will make sure that the “New World Order” can truly start coming forward and establishing itself on Earth. Some interpret it like the construction of a new technology, a technologic eye that would see all, through a generalized surveillance. With that said, the presence of robots like operators of this pyramid makes a lot of sense. How do you fit in with regard to these symbols and this story?

T.B.: We work a lot with the senses, with the power of symbols on the subconscious, and the pyramid, in effect, is a very heavy symbol, in terms of the senses. We don’t want to discuss the details of the symbolism, but to question its power without its history. The pyramid has become a symbol because, geometrically, harmonically, it’s a magical, occult, mysterious object. There is also this mysterious and occult, on the verge of paranormal, power in music. No one can really theorize about the effects of music on the body and mind, so it’s incredible. We just try to pass on that magic in a rather empirical way. Moreover, we could carry out experiments on the way in which light or sound intensity acts on the body and on crowds, to see which types of sensations or emotions are provoked by one frequency or another. But we could never really explain the reason for these effects.

G-M.H-C.: We are the guinea pigs of our own universe. We managed to create a sort of self-sufficiency between the two of us, which lets us experiment with a consistent voice, and what works for us tends to work for the audience, it’s like a small miracle. We put a pyramid on stage because we think it’s cool, and it makes everyone trip out.

When you talk about guinea pigs, it’s as if you were manipulated from the outside, by a mysterious third-party, as if you were also puppets. There is a determinism there, but one that serves humanity. According to the Laws of Robotics by Isaac Asimov, it’s humankind who constructed the robot, and the robot is at its service…

T.B.: Above all we want to express a paradox on the discussion of human dependency on technology. We’re not virtuosos and we rely on technology like a crutch. We could never do it without technology, and at the same time, we try to value, like any artists, the human element in our work. The process we’ve used for these fifteen years has been to try merging the machines and us. We are the operators of these machines, the editors of the experiments: we select them, we choose them, and we decide to keep them or not. Daft Punk is the product of a tug of war between human and technology, always questioning the place of technology in the project.

Electroma addresses this discussion between human and machine, in a sort of grand general inversion. Electroma seems to be the account of a traumatic experience: in the world of robots, the two characters presented a human face to the others, in openness, generosity, expressiveness. The result of this demonstration of humanity leaves them ostracized, chased, and reduced to aimlessness and suicide. Do you think that showing your humanity is dangerous?

T.B.: Yes, that’s the background of the film. But speaking more broadly, formally, it’s part of the same approach as what we’ve been able to do before; to know how to create emotion while using machines, in a creative process. Without actors, without a script, without a real plotline, but with photography, color, framing, made from machines, objects, just like a still life. We began with creating an environment around the spectator, who is almost like the only actor in the film, and wondering how to make them experience these emotions, which are not the same as those on the dancefloor, but aesthetic emotions, where the spectator can project onto themselves. The film is totally open, and we thought a lot about Magritte when making the plans. What you can see in Electroma is essentially sensation, that’s a lot more at the level of the gut or the eyes than of the brain…

Robots After All by Philippe Katerine was clearly inspired by your album Human After All and touches on the idea that human society has attained such a degree of conditioning and conforming that humanity became a species of robot, a determined creature, ruled by automation, in their language as much as their everyday comportment. When we recently asked what he thought about your music, Katerine told us, “I hear nothingness in it, so I want to find a place there.” Is the universality of your music due to the fact that it’s also, in a sense, empty?

T.B.: It’s empty because it’s more sensory than significance, yes. Theoretically devoid of sense, it allows people to see something from nothing and project themselves there. We just heard Katerine’s single. Our music is open, it can be interpreted and taken in different ways.

The musical abstraction and loops that by and large make up your music allow each person to take possession of the music and go beyond it. There is a shamanic aspect in this usage of emptiness and repetition. As a matter of fact, musicians like Animal Collective, who were inspired by shamanic trances, now cite you as an influence. Also, you could interpret the end of Electroma, when the two robots die by explosion and combustion, as referring to shamanic initiation rituals, in which one goes through a symbolic death by division of the body or self-combustion. Could you say that the end of Electroma represents, in some sort, this symbolic and initiatory death? In other words, do you perceive a shamanic side to your music?

T.B.: Yes, it’s a trance: the loop, the heartbeats… We use samples to express the desire of prolonging a strong sensation that comes during one or two seconds in a track, and wanting to repeat this sensation, not only feeling it for ten minutes, but also seeing what consequences come from ten minutes of that feeling, how everything unfolds. Visually, with Electroma, our desire is the same: to create images or an assembly of images that produce a physical sensation, a feeling of hypnosis, wandering, or weariness; in any case a state of mind that you can only reach by feeling this sensation for a certain time, for quite a long time. 

Wandering, loss of identity, and expropriation are pop themes in a sense. If you think of the Beatles, the “Magical Mystery Tour,” the transformation of the Beatles into the “Lonely Hearts Club Band.” As of now, you are a group that “turns,” that travels, to those “lonely hearts.” Is there a “trip” pop?

T.B.: It’s true that during this tour, we felt a little bit of a psychedelic thing: there are people who saw and re-watched the concert multiple times, almost like a Grateful Dead concert, with this idea of there being, during the concert, something imperceptible that you can never capture on disc or on film: an experience which was unique and can only live in reality, at a time where everything is virtualized. We felt like people wanted happenings, concrete experiences, which could consequently be produced by advanced technology: we could multiply the giant screens, have a very strong sound, and combine everything into these unprecedented audiovisual processes, which had never been seen anywhere before. Even a film projected in an IMAX theater could be no more than the “ghettoblaster” from another experiment with new technologies. Our music is moving: it was within an industrial system which ended, it was dependent on the economy. And the economy was destroying itself, it influenced new formats and new ways of creation, like the tours we’re doing currently.

Today, music needs to find new ways for distribution, with the death of the record industry and the virtualization of music. The live show, as a unique experience, is a response to this situation. You were the first to start a download site on the internet, with the Daft Club in 2001, which didn’t work out. Was it five years too early?

T.B.: Being current five years too early is really better than we can hope for. It’s good to be precursory, it’s almost our principal objective. Speaking about the musical economy, I think that music has never been as important as it is now, and the concert isn’t a response to difficulty selling CDs nowadays, because live shows are also very expensive. Economic upheavals are interesting: I read a book recently by Jacques Attali, Bruits, which talks about the musical economy and its power since the Middle Ages, and if you look at the place of music in the world in the last 2 thousand or 3 thousand years, the place of the record and pop music industries will have not been an end in itself, compared to music as a whole. It’s interesting to try to find out where music will go and what it will generate, in the sense that it is often a precursor of the relationship to come between social and economic powers. But we define ourselves less as musicians than as artists and creators, in trying to combine things and experiment with new formats and new technologies. We aren’t uniquely musicians.

Homework represents a sort of pinnacle of the age where a certain technologic novelty was expressed directly through music. You could literally hear knobs being turned. Does Daft Punk necessarily have to excel technologically in an age where all these methods have become normalized? Were the concerts from your new tour sort of like an advantage?

T.B.: It’s not an advantage, it’s a set of challenges that could be technological, actually. You wind up with a concert that looks sort of futuristic, like a remake of Close Encounters of the Third Kind or a mix of a Grateful Dead and a Kraftwerk concert. Making something that we couldn’t make before. We pick up the tools, we manipulate them, we try to progress. Electronic music in itself, in 2007, doesn’t seem to me to be very conducive to experimentation from a strictly musical point of view. I’m waiting for the new generations to prove to me otherwise… We pay attention to technological developments because we’re interested in them, and because they are at the heart of our art. Musical instruments are advanced technologies which have continuously reinvented music.

Since Human After All was released online, there were a lot of rumors about the album, which was an indication that people were waiting for you. In that context, are you able to feel free as musicians? Have you produced things in reaction to the public’s expectations?

T.B.: Actually, we aren’t free relative to our own expectations. We can’t totally set the public aside, but we have our own demands and we respond to our own vision of what we make, while taking into account paradoxes, contradictions, restarts, new beginnings. But we don’t think about the public: it’s both selfish and more respectful for people because we don’t have the pretentiousness of putting ourselves in their shoes.

G-M.H-C.: We are our own fans. We work until we find moments of pleasure in our work, and when we save those moments and explore them on an album or in a film which we release, that resonates for people. But within those moments, which are like lightning, we are like spectators—we feel like we’re revealing something, and discovering something we created at the same time. In this way we are ourselves in the position of spectators and fans. I imagine that this process is even more evident in painting: you have a piece of canvas in front of you, and there is a tangible process of creation. Creation is a mystery and you can really speak about magic when it comes to music or art.

Could the image of the pyramid that you use be a graphic representation of your music? With its foundations, progressions, ascents, and its climax? Bercy, it so happens, also has a pyramid shape…

G-M.H-C.: Not all of our songs follow a progression. We have flat songs, square songs, round songs… And in the live show, there are a few final moments where the tension comes back down. Bercy really does have a pyramid shape, but the top is missing. And it’s true that we would have really liked to play on top of it (laughs)…

[cxncrie-a]

“We are each our own devil, and we make this world our hell.”

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