#Arcturan

[savage-kult-of-gorthaur]

"...AND NOW, BY POPULAR DEMAND... THE STARRY, SPARKLING, SIZZLING ARCTURAN WONDER HERSELF...

PIC INFO: Resolution at 888x1345 -- Spotlight on a brilliant pin-up of Aleta Ogord, the shimmering, dazzling, sparkling female Arcturan member of the Guardians of the Galaxy, from "Guardians of the Galaxy" Annual Vol. 1 #1. July, 1991. Marvel Comics.

Script/artwork by Jim Valentino

Inks by Steve Montano

Colors by Evelyn Stein

Source: https://onemillioncomics.com/guardians-of-the-galaxy-annual-001-1991.

[askvectorprime]

Who Became Dion Vector?

Dear Vector Vagabond,

Ah yes, the wandering philosopher Dion Vector. The diminutive Guardian of Wayward Sparks has shepherded many non-aligned Transformers from the various conflicts that have plagued Cybertron over the millennia. But perhaps it is time to finally elucidate who this bot truly is.

Born during the reign of Taraxus Prime the Insatiable, Blue Maximus was an Ultra-class interstellar freighter tasked with transporting goods between the various Cybertronian colonies. On a routine trip to Apollonia to deliver solartarium converters, Maximus was walking through the bustling Halcyon Plaza when the very first Arcturan attack happened.

As the war between the Cybertronian Empire and the Arcturan Resistance escalated, Maximus and his family continually found themselves caught up in a conflict they wanted no part of. It wasn’t until Maximus’ eldest son, Gindion, was conscripted and taken against his will that the family decided to flee Cybertron and take refuge elsewhere. In his travels, Maximus heard rumors to the location of the last known spacebridge, supposedly constructed by Mercurian Prime themselves to transport any and all Cybertronians to a secret haven during the days of the Chromatic Wars (a slight misconception, but that’s a tale for another time).

Maximus and his family trekked across the stars for many stellar cycles, meeting colorful characters and avoiding the Cybertron Secret Police along the way. However, when they arrived at the coordinates, they learned their efforts were all for naught. The spacebridge had been damaged by Noirgo the Destructor’s Hand eons ago, and now it was little more than an imposing art installation. Here they were, at the edge of the galaxy, supplies dwindled to their last reserves, and with nowhere to go. That’s when the family was beset by Terrorcons.

Ultimately, Blue Maximus was left alone. Badly injured and mode-locked, he crash landed on the alien world Antilla, a lush paradise world teeming with all sorts of organic life… and Energon. Maximus used a small drone component to scour the area, make minor repairs to his main body, and refine the wild Energon into something his body could use. It was during this period, forced to remain still and do little more than watch the stars and the battles above him, Maximus made a promise: no matter what, no one else would ever feel this pain.

Returning to Cybertron and using his drone to masquerade as a Cyberdroid, Maximus took on the new identity of Dion Vector (the name taken from his lost son and one of those colorful characters he encountered on his first voyage). He began to secretly shuttle any Cybertronians looking for refuge off-planet to Antilla. With the help of a young engineer named Skywarp, Vector outfitted his larger body with a personal transwarp engine, allowing him to shorten the trip immensely for his passengers. Vector would continue to carry passengers to Antilla over the next century, and the growing population of settlers led the planet to become a permanent settlement. After the end of the Cybertronian/Arcturan conflict, Vector would retire to spend his days in peace in the rapidly developing city of New Tyrest.

[my-name-is-siduri]

"She always looked at me through the cemetery window."

[doctorwhogirlie]

Doctor Who: Arcturans

Favourite Episode: The Curse of Peladon (Only story)

Home Planet: Arcturus

Scary Factor: 0/10

My Personal Rating: 1/10 - What a creepy dude. I hate literally everything about it. Its creepy af and it moves funny.

(Please don't take these too seriously, it's just a bit of fun)

[cryptotheism]

People constantly drawing aliens as like, psychic white people wearing vaguely Indian clothing would be so funny if you swapped them out for literally any other race. What if you psychic beamed up to the 9th dimensional arcturan council and they were all like, Space Serbian.

[monsterfucker69420]

rereading h2g2 and remembering that zaphod is 200 years old

like ok gramps is out here serving arcturan megacunt

[pushing500]

Oooh, a mysterious asteroid! I wonder what it could be?

It's very blue, and has eleven strange space creatures attached to it. I'm sure this will cause no problems at all.

Ah, so they're electric space eels. Neat. Next time someone can take the thrumbos when they're hunting these things.

Rogan the rottweiler did his best but unfortunately seems to have lost his left eye in the mess. I'll see about getting Fafo to make him a bionic eye because he's a very good boy, and he did his very best to protect Hazrov and Baz during their scuffle with the arcturan sky eels.

Hazrov is fine, by the way. Doctor Brennan dealt with the heart attack swiftly, and then Irwin used his 'preach health' ability just for an extra boost. Baz is also fine. He only had a scratched eye and a bruised arm and is already back to mining the sky steel.

First | Next | Previous

[omi-papus]

I really want to know who was the funny bitch at Unknown Worlds that came up with the idea to name the god damn ancient alien Alan. Like I need the console wars style documentary moment where theyre like:

So Im sitting at my desk, thinking, “ugh man what are we going to name this alien”. And we workshoped around with ideas and we had a list of names based on like, greek gods and big mathematical equations, we even thought of naming him after some famous sci-fi stories. We considered Arcturan, in reference to A hitchhikers guide to the galaxy. But none of it was really sticking. *pixel art animation of the guy at his desk and someone walking in* And so one day, Tod just walks into the office, on his way to pick up some papers, and he hears us having this heated discusion about what to name the precursor. And he just stops, looks at us, and says “Hah, wouldnt it be funny if it was just some guy called like Alan?” *music stops, and it cuts to the guy talking in the chair* And I said, “Tod youre a genius”.

And then theres a bit where they break down the acronym the came up with to justify it. And thats whatever but it ends with:

And *clap* we got our alien!

And it cuts to Matthew like:

So I walk into the booth for this game, and I know what its about somewhat, so Im expecting to be playing an explorer, or a captain or a stranded survivor, and they tell *footage of him walking into a booth and putting on his headphones* “Alright Mat, you have to play this old wise alien.” And I though, Oh thats interesting, alright. “His name is A L slash A N.” And I stop for a second and say “Alan?” And he goes, “Yhea”. *Music stops and it zooms in on his face for one second* I thought they where making fun of me.

And finally it cuts to Kimberly just laughing.

[dmc5se]

out in the cold arcturan night

why are you leaving me behind?

twitter

[dustedmagazine]

Dust Volume 9, Number 5

Ascended Dead

Hard to believe we’re approaching the halfway point of another year, and yet here we are in May, thinking about the mid-year and how we’re going to fit all the excellent stuff so far into a reasonable length list.  There’s always too much music, a wonderful problem, but a problem all the same.  And so we turn again to Dust to burn off some of the excess.  As usual, the reviews run the gamut, from lucid ambient reveries to blistering industrial mayhem, from joyful death metal (surely a contradiction in terms?) to ragged improvised noise. Contributors this time include Ian Mathers, Andrew Forell, Jonathan Shaw, Tim Clarke, Bill Meyer, Christian Carey Jennifer Kelly, Bryon Hayes and Jim Marks.  

Aarktica — Paeans (Projekt)

Paeans by Aarktica

One of the most distinct and striking things about Jon DeRosa’s work as Aarktica has always been the way he blends more ‘pure’ ambient material with songs, both his own and others (everyone from Danzig to Peruvian shamanic songwriter Artur Mena). The new Paeans actually marks the first Aarktica LP without DeRosa’s vocals since his debut, 2000’s No Solace for Sleep. Coming on the heels of last year’s magnificent We Will Find the Light, this record could have just felt like a post-banquet digestif, but instead it’s a reminder of the beautiful, clear atmospheres DeRosa can make with just his guitar (here ably assisted by Henrik Meierkord on cello and viola). Whether it’s going Ashra-stratospheric on “Arcturan Transmission” or drifting towards Stars of the Lid on “Golden Hour at Pyramid House,” the result is a reminder of how vital his ambient work is.

Ian Mathers

 Antimaterial Worlds — Double Saturns Last Purification Exercises (Chemical X)

Double Saturns Last Purification Exercises by ANTIMATERIAL WORLDS

Gaura-jīvana Dāsa has a long history of industrial noise making under various names and degrees of success. His latest incarnation, as Antimaterial Worlds, combines the raucous noise of past projects Skull Catalog and Sewn Leather with his learnings from several years of immersion in Vedic religious studies. The results will do little to win converts to either enterprise. Musically, Double Saturns Last Purification Exercises clings to lesser Nine Inch Nails flailing whilst the lyrics swing from masochistic self-abnegation to that peculiar form of So-Cal spiritual sadism that seeks to purge the penitent while scourging the sinner. The “Kill them all and let God sort them out” forgets that hubris is a powerful enemy for the faithful but if you like your prophets wild-eyed, messianic and slinging guitars instead of lightning bolts and locusts, have at it.

Andrew Forell

 Ascended Dead — Evenfall of the Apocalypse (20 Buck Spin)

Evenfall of the Apocalypse by Ascended Dead

Evenfall of the Apocalypse comprises 42 minutes of perversely joyous Metal ov Death. Not much else to tell you, folks. The four San Diego-based musicians in Ascended Dead continue their project of making songs that cleave to the verities of the Old School, which they have come by honestly: drummer C. Koryn and bass player Kevin Schreutelkamp have put in time in the live bands of Blasphemy, Incantation and Morbid Angel, death metal legends, all. In Ascended Dead, that rhythm section is joined by guitarists Ian Lawrence and Jon Reider, and the requisite whirling chaos commences. It’s a lot of fun. Every song is overstuffed with riffs and ideas, all constantly on the verge of collapsing into noisome, rotten goo. Koryn’s drumming keeps them coherent (mostly, anyways) and coaxes them into increasingly wacky shapes, building toward the next semi-blackened guitar break or bout of psychotic shredding. There’s nothing innovative or risk-taking here, but it's nimbly composed, confidently executed and always on the move. The shorter tunes (“Nexus of the Black Flame,” “Bestial Vengeance”) are especially effective. They arrive, they mess up your mind, they’re gone. Come back and do it again, please.

Jonathan Shaw  

 Chained to the Bottom of the Ocean — Obsession Destruction (Redscroll Records)

Obsession Destruction by Chained to the Bottom of the Ocean

There’s not a tremendous amount of range in sludge metal, so it makes sense that Massachusetts band Chained to the Bottom of the Ocean seems to have derived its name by altering the title of a song (“Fucking Chained to the Bottom of the Ocean”) from Thou, perhaps the best sludge band to make misery-inducing music since Eyehategod. But’s there’s a line to be drawn between recognition of one’s artistic idols and pastiche, and Chained to the Bottom of the Ocean steps right along it — or crawls, or trudges, as the case may be. Songs like “Summer Comes to Multiply” and “Every Day a Weeping Curse” sound a whole lot like…Thou. This reviewer responds, at a profound gut level, to those tones and rhythmic structures, so he can dig a tune like “Ten Thousand Years of Unending Failure.” Ironically, it succeeds. It’s crushing and thrilling and huge, and it closes with an entertainingly daft lyric couplet: “When obsession takes over I’ll be fine / When destruction takes over I’ll decide.” Is that nihilism? A sort of fist-clenched catharsis? The aggro intensities of the music can accommodate both, creating a pretty good set of emotive qualities for a sludge song. Why decide, dudes? 

Jonathan Shaw 

 Clark — Sus Dog (Throttle)

Sus Dog by Clark

Clark’s most recent releases have been dominated by soundtracks and neo-classical work (2021’s Playground In A Lake and 2019’s Kiri Variations are especially beautiful). On his new album, Sus Dog, he returns to an electronically dominated palette, introduces his own voice as a key element, and even gets Thom Yorke on board as executive producer. Yorke’s involvement is obviously a drawcard for anyone interested in the Radiohead frontman’s oeuvre, with the overall sound of Sus Dog largely in the vein of Yorke’s last solo album, Anima. Clark’s voice is similar to Caribou’s Dan Snaith in its timbre and the way it sits in the mix, while squiggly synthesizer lines and pounding drum breaks carry the music forward with aplomb. However, it’s Sus Dog’s down-tempo moments that really shine, such as the title track, featuring guest vocals from Anika; “Medicine,” featuring Yorke on bass and vocals; and the piano-driven closer, “Ladder,” which repeats the striking vocal refrain, “Living on a ladder, stuck between two floors.”  

Tim Clarke

 The Electric Nature — Old World Die Must (Feeding Tube / NULL|ZØNE)

Old World Die Must by The Electric Nature

The Electric Nature is a free noise trio which is based in Athens, GA. Improvisation is baked into their methodology, but that doesn’t mean that they serve up raw jams. This album, which is a rare vinyl outing in their mostly cassette/digital discography, contains just two, side-long tracks, but includes sounds made between 2015 and 2022. Given the density of their sound, one suspects that Michael Potter, Michael Piece and Thom Strickland, who are jointly credited with guitars, synths, drums and recordings, add tapes of earlier performances to the one at hand. But don’t get the idea that these guys are snakes swallowing their collective tail; they’re decidedly open to outside input. “Enter Chapel Perilous” opens with the croaks of some swamp denizens, and then turns the spotlight over to Sunwatchers saxophonist Jeff Tobias, whose long, furry tones clear the path for the eventual battering assault. The trio is likewise augmented on the flip side’s titular performance by John Kiran Fernandes, whose clarinet adds a Morricone-esque dimension to the late-night squall. Times are tough nowadays — sometimes it takes a village to whip up some solar wind. 

Bill Meyer

Feather Beds — Softer Measures (Strange Brew)

Softer Measures by Feather Beds

Feather Beds is the experimental pop project of Irish musician Michael Orange, and on his new album, Softer Measures, he pushes things to perverse extremes. The album title seems to allude to the music’s raw materials being endlessly pliable, able to be squashed and stretched into new forms. There are identifiably pop-leaning tunes here, but often buried beneath effects and refracted through a funhouse mirror. Predictably it’s the two singles, “Really Disney” and “Sport of Boxing,” that offer the most immediate gratification, but even then, things get weird, a la early Animal Collective or Ronald Jones-era Flaming Lips. “Sport of Boxing,” for example, is a jangly lo-fi pop tune that hurtles along at an addictive clip, only to be swallowed up by chittering digital loops. Indeed, there’s something decidedly nightmarish about the way the songs refuse to follow the path you might imagine. Rhythms stutter and stumble, guitar tones warp in and out of tune, voices circle eerily and overlap one another. All the chaos renders moments of calm, such as the end of “We Safari,” uncannily beautiful.

Tim Clarke

 The High Strung — Address Unknown (Paper Thin)

The High Strung makes a kind of trebly, warbly, high energy garage pop pioneered by the Seeds and the Flaming Groovies and rediscovered during the aughts “rock is back” era by the Cynics, the Gripweeds and the Insomniacs. It’s not quite bubblegum, but it’s got a fair lacing of sweetness, and it’s hard to do well without slipping into saccharine cliché. Address Unknown is the band’s 11th album, following several decades together, through multiple line-ups and one major breakthrough: a song in opening credits of the Showtime series Shameless. It is everything you’d expect from a band of lifers—tight and relaxed at the same time, sure of itself but not particularly concerned about reception, and utterly charming. I like “Different Animal” the best, with its pounding beat and fluttering tunefulness, its clever rhymes and loopy harmonies. It’s the single and the video, and you can see why they focused on it, but there’s plenty of other good stuff as well. “Overcoat and Skis” with its Beatles-esque tootling keyboard and its wistful upward lilting melody, seems loose and casual until you recognize the sharpness of the ski-themed writing. (“It’s all downhill from here.”) “Run It Back” rocks harder, in a one-two punching way, but never abandons its tipsy whimsy, like XTC but rougher. Here’s a band neither torqued too tight nor slouched too low, but just a little high strung.

Jennifer Kelly

 Joseph Jarman-Don Moye feat. Craig Harris & Rafael Garrett — Earth Passage-Density (Eargong) 

By the early 1980s, when this album was recorded, the Art Ensemble Of Chicago spent a lot of their time playing music in other settings. On Earth Passage-Density, percussionist Don Moye and woodwinds multi-threat Joseph Jarman joined forces with Craig Harris, a trombone and digeridoo player who was active on several New York scenes, and Rafael Garrett, a bass and winds player who one worked with John Coltrane on the mind-melter, Om. Originally released by Black Saint and recently re-pressed by Eargong, this session shows the same breadth of reach as the AEC without shortchanging the creativity of Garrett and Harris. Patient development balances jump-cut transitional strategies and Brownian rhythmic urgency as they work their way through ceremonial dirges, angular bop, and gleefully chaotic funk. If you have any appreciation for the Art Ensemble’s pre-ECM recordings and haven’t heard this record yet, well, why are you being so hard on yourself?

Bill Meyer  

Rob Mazurek and Exploding Star Orchestra – Lightning Dreamers (Rogue Art)

Rob Mazurek enlists a formidable lineup for Lightning Dreamers, Exploding Star Orchestra’s latest recording, including instrumentalists Jeff Parker, Nicole Mitchell, Craig Taborn, Gerald Cleaver, and Angelica Sanchez. Damon Locks provides futurist lyrics and intoned vocals, taking the lead on “Future Shaman.” Mazurek’s cornet solo on the spacy “Dream Sleeper” is a standout, mellifluous and melodically inventive. The supple groove and doubled melodies on “Shape Shifter” demonstrate the groups allied affinities to fusion and modern jazz. Add in hat tips to the Arkestra, as on the paired pieces “Black River” and “White River,” and a fulsome brew is concocted.

Christian Carey

 Miranda and the Beat — S-T (Ernest Jennings)

Miranda And The Beat by Miranda and The Beat

“Sweat!” shouts Miranda Zipse in the opening salvo to this very strong album, as a soul-powered guitar snakes through surges of 1960s organs. She sounds like a long-lost Bond opening credit singer, from the Connery era no less, but she formed her band only a few years ago with her childhood friend Kim Sollecito, after dropping out of high school at 15. Now, she wields an astonishing belt, a swaggering style and a crack band of retro-maximalists. She’s caught the attention of another 1960s soul vamper, King Khan, who enthused, “I never thought I would see someone be able to play guitar with the ferocity of Link Wray, and sing like Lydia Lunch had a nuclear meltdown and morphed into Etta James and Yma Sumac.” Too much? Maybe, but “I’m Not Your Baby” swells and roars, surf guitar cascading through a Spector-esque wall of sound. “Concrete” cranks the tension with stuttering high-hat and drum—and blasts out of the blocks with a battering bass line. “Listen to the sound of the kids that are hanging out on the street,” she spits against the rough beat, and who knew that the kids would sound like this?

Jennifer Kelly

 Olololop, Arakawa Atsushi And Zea — Soyokaze (Makkum) 

Soyokaze by Olololop, Arakawa Atsushi and Zea

The Japanese trio Olololop plays electronic and acoustic percussion, and their compatriot Arakawa Atsushi manages electronics; one of them also plays a credible saxophone. They encountered Zea, the nom-du-rock of singer-guitarist Arnold de Boer (also of the Ex), at a Dutch music festival. Impelled by mutual appreciation, they flipped on some microphones and improvised a session which doesn’t fit easily into anyone’s pigeonhole, and is better off for it. Beats sputter, reeds and synth sputter, and at one point a poem drifts through the proceedings like a half-remembered dream. This music is a thing unto itself, beholden to no genre, but infused with the delight of jumping right in and finding out that you can swim. 

Bill Meyer

 Joakim Rainer Trio — Light Sentence (Sonic Transmissions) 

Light.Sentence by Joakim Rainer Trio

It must be daunting for any young musician to pick a point of entry into jazz these days. Joakim Rainer Petersen, the leader of this Norwegian piano trio, has chosen wisely. While he may not be as distinctive a composer as Kris Davis or Andrew Hill, his interest in their music helps to steer his own towards expressions of formal logic that are open to improvisational reassessment at any moment. He and bassist Alexander Risis sound like they’re completing each other’s ideas, but not by adding one guy’s statements to the other’s; no, their ideas cohere like two people saying parts of the same sentence. Drummer Rino Sivathas keeps things moving with a nicely splashy attack that keeps the moments of reflection from bogging down. Word has it that this combo tours, at least in Europe; keep your eyes and ears peeled. 

Bill Meyer

 Roser Monforte Trio — Landscape Songs (Self-Release)

LANDSCAPE SONGS, RM TRIO by RM TRIO

This slightly unusual trio lineup delivers jazz with a prog twist. Monforte has a big sound but gives drummer Jordi Pallarés and guitarist Pau Mainé plenty of space to realize her highly polished but uncluttered compositions.

The first two tracks, “Once upon a Time” and “Horses,” blend together into a suite that shows the group at its best. It begins with over a minute of unaccompanied guitar, which, as throughout the album, Mainé plays clean and with restraint. Pallarés is boisterous once he gets going, producing a wide range of sounds out of what looks like a fairly standard jazz kit, though well appointed with cymbals, in online videos. The leader eases into the tune around the minute-and-a-half mark with a catchy descending lick, and they’re off. Pallarés takes a solo at the transition between the tunes that is followed by the introduction of a new, serpentine theme and a neat shift in tempo, and the suite draws to a close with a funky vamp and a revisitation of the serpentine theme.

The rest of the tunes are nearly as memorable and fairly concise, most running three to five minutes. There’s plenty of variation, with “Cosmic Dancer” and “Orixa” straying into exotica and fusion territory, the lovely ballads “Absence” and “Baraka” slowing things down, and the rousing “anTANAnarivo” and “Atzutac” sure to set toes tapping.

Jim Marks

 Tomten — Artichoke (Plume)

Artichoke by Tomten

Tomten’s songs billow and swell in that frictionless, effortless way that often indicates great care and craft. The Seattle-based band makes heavy use of keyboards—organs and synthesizers for instance—for lulling sustained tones that envelop and soften rock song architectures. The surf rock swagger of “Lizard in the Grass” comes wrapped in a dream pop shimmer. “Grapefruit Sea” the opener and early single, has the rolling gait and spiraling psychedelic expansiveness of a Grand Archive cut (it reminds me of “Sleepdriving,” always a good thing). The lyrics are better than they need to be, with precise and evocative natural imagery scattered across the disc, poppies and wild heather and mallow weeds. The whole thing feels like a pleasant dream, radiant but fuzzy at the edges.

Jennifer Kelly  

 Volcano the Bear — Amateur Shakes (Volucan)

Amateur Shakes by Volcano The Bear

A new Volcano the Bear album is cause for celebration among fans of strange sounds. Unfortunately, even though it arrived this year, Amateur Shakes doesn’t comprise recent music. The Leicester-based Dadaists laid these songs to tape at the tail end of the 2000s, prior to the release their final official album, Golden Rhythm / Ink Music in 2012. Timeline aside, this is a notable release for the band. Recorded with Andreas Schmid at Faust Studios and with Hans-Joachim Irmler producing, this is some of their best-sounding and most surreal music. Like in a Burroughs novel, thematic elements explored on past records reappear in these songs’ lyrics, which are sung, croaked and howled. The group have dialed back their signature avant-jazz and polka leanings, leaving room for their less-frequented outré rock tendencies to shine through. The lengthier, multi-part songs “Amateurs Blind” and “Classic Clarence Fusion” somehow come across as the most accessible, with the other tracks absorbing the experimentalist influences of the studio. There’s an uncanny symbiosis going on here, but can it really be a coincidence that a proximity to Faust has intensified the band’s already kooky demeanor? This writer thinks not. 

[jerdle]

Pan-Galactic Gargle Blaster

Ingredients

100ml absinthe (Old Janx Spirit)

25ml Salmiakki Koskenkorva (Santragian seawater)

75ml strong gin (Arcturan Mega-Gin)

25ml peppermint schnapps - Rumple Minze? (Qalactin Hypermint extract)

Dry ice

Citric acid crystals (Zamphuor)

Sugar cube

Tabasco sauce

Olive

Recipe

Before starting, freeze the gin with the dry ice.

Saturate the sugar cube with Tabasco sauce. (Algolian Suntiger tooth)

Pour the absinthe into a glass and add the Salmiakki Koskenkorva.

Add the frozen gin to the glass and leave it to melt.

Carbonate the drink with the gas given off by the dry ice.

Float the peppermint schnapps over the drink.

Dissolve the saturated sugar cube into the drink.

Sprinkle citric acid crystals on top.

Add the olive, and drink very carefully.

Warning

This is very strong. One glass contains roughly 12 units of alcohol (6.7 standard drinks), and has an ABV of over 50%. I have not tested this recipe.

[professorlizzard]

Week #41

281. The Stage Of Food: A cooking show. In this ornate, clam shaped building, one can see the magic of gathershrimp cooking, prepared by an actual stage magician! The tastes they conjure will change the world!

282- Slitherchess Championship: A grand marble building, somewhere under all those vines. The Tangledrakes host a a mighty high stakes chess tournament, where the pot is Dreams. The winner will gather all the submitted dreams, and tries to make them grow into reality.

283. WIZARDS': A secret pub for wizards. Not the ones from Magic Exile, the ones who honed their craft through years of study! No, these are all absolute menaces with too much power and too little sense, mostly escapees from Planet Gaia.

284. Floating Ltd: A castle floating over the city. The structure is held aloft in the air by the flying buttresses of the anemones, as a shining beacon of their luxurious knowledge. They are not allowed to float it higher than four meters due to safety reasons.

285. Its Just Beer: Its just a simple pub. But inside, every now and then the arcturan bears drinking their chilling beers bear witness to one of their comrades figuring out the solution to a hard to bear problem. Its not much, but everyone's work will get a little bit safer that day.

286. Aresian Casino: A rather peculiar pretend-casino. Here, everyone is expected to cheat, as much as possible, without getting busted. This being a pretend casino, you don't actually win the money you win via cheating, the casino owners say pulling a fast on them is the reward on its own.

287. Weather-Go, Ltd: A laboratory specializing in weather control. Or at least, that is what it looks like, but the Ammonchild uses their fungal minds to create machinery that controls the weather of dreams. This is probably a bad idea as it might attract Elder Butterflies from the outer rings, but they too are related to Elder Gods, so maybe they have permits.

[theehorsepusssy]

I call this drink "what the fick."

2 parts phenobarbital

2 parts kratom

5 parts absinthe

Also i think you will enjoy the pangalactic gargleblaster, which is a drink that makes you feel like you've just had your head smashed in by a lemon wrapped around a large gold brick. Here is the recipe.

1) Take the juice from one bottle of that Ol' Janx Spirit.

2) Pour into it one measure of water from the seas of Santraginus V (Oh, that Santragian seawater! Oh, those Santragian fish!)

3) Allow three cubes of Arcturan Mega-gin to melt into the mixture (it must be properly iced or the benzene is lost).

4) Allow four litres of Fallian marsh gas to bubble through it, in honor of all those happy hikers who have died of pleasure in the Marshes of Fallia.

5) Over the back of a silver spoon float a measure of Qalactin Hypermint extract, redolent of all the heavy odors of the dark Qalactin Zones, subtle, sweet, and mystic.

6) Drop in the tooth of an Algolian Suntiger. Watch it dissolve, spreading the fires of the Algolian Suns deep into the heart of the drink.

7) Sprinkle Zamphuor.

8) Add an olive.

9) Drink . . . but . . . very carefully . . .

kratom always gives me a headache. I (personally) would crush up some baby aspirin. That sweet orange sherbet hint against the anise-y absinth mmmmmm.

I would try the gargle laster if someone dare me

[my-name-is-siduri]

"'We're going green to red,' said the talking head, 'It's out of control.'"

[gammasgrim]

The final Arcturan, Hecete Bane Midnight star floating peacefully

Character belongs to @lyrasomnium <3

[cryptotheism]

I saw this advertised on Youtube, does it tell you anything interesting?

Nothing terribly interesting. It's another woman claiming to channel the will of the higher dimensional space aliens and their benevolent messages for self improvement through semen retention or w/e.

But you know what's weird? Back in the 70s the arcturans were like, space white people in hippie robes or clouds of energy, but for some reason they're blue now. I don't know why people decided the Arcturans are blue, but they're blue now.