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mulling-over-milgram · 1 year ago

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My current Remi theories

Agghhh I’m very late….but here we go ^^;

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TIMELINE SPECULATION

Okay so first of all again starting with a timeline. Now Remi’s recordings seem like they could be over the course of multiple years? So since as far as I’m aware we don’t know what year tsumigram takes place I’m going to be referring to the first paragraph of recording one as year 0001 and then if I believe the year changes 0002 so on and so forth so keep in mind I’m not actually referring to the real life years 0001 , 0002 , 0003 ect ect.

“Summer is ending. Let's stop already, how long are we going to chew on this cold food?” End of august

“Spring is ending. We part and come back together, this must be a form of true love for you; though as for me, I'm not so sure.” End of may

“Winter is ending. Closeness never matters; they switch their opinions in an instant, and always, always, always, always choose someone else instead.” End of February

“Autumn is ending This was a game of play-pretending for everyone but me; right, I wanted a place I and others could belong to, but as I've seen through lies, I'm burning down the theatre..” November/December

“Summer is ending. You simply disappeared without a word; I didn't care, did I care? Too many people, I get lost.” End of August again

Now there are two interpretations since the memories from this recording if my research is correct :

-1) the memories take place over the corse of five years which explains why we start in august the 8th month of the year and then go to the 5th , 2nd , 11/12th and finally back to 8th assuming the recordings are chronological then this is the only answer that really makes sense

-2) the alternative would be that the paragraphs are in reverse order so then you’d go 2>5>8>11/12>8

but I personally lean more towards them being in chronological order because there feels like a progression. In paragraph one Remi asks the other why they are still in this relationship? The relationship to borrow Remi’s metaphor had gone cold then in the next paragraph they seem to be on better terms but still not great then 3 we are back to the relationship being strained and getting worse…it won’t make alot of sense for us to start with “you simply disappeared” and end with “how long are we going to chew on this cold food? = how long are we going to prolong this dying relationship?

The only thing really giving me pause is that its such a long time. 5 years! Remi is 18 thats just under 1/3 of her life time…it makes me feel like I’ve made some mistake in my research….

moving onto the second memory

“Year by year, I look back and feel all the same, let me out of this, let me out of this loop! I wonder what kind of person I used to be before. Is it your fault? Changing me so much. Cherry blossom petals, a wave of crystal water covering my ankles, tender girly laughs from all sides.” CHERRY BLOSSOM’S SAVE THE TIME LINE YET AGAIN :D because cherry blossoms were blooming that places this paragraph around late March and early April.

“Ah, my first ever wish made on New Year night was to meet a true friend. I imagined my own friends, and this is how I became a writer, slowly but surely. I met real friends to grow up with, slowly but surely, but all of them were condescending, and I got trapped in a small box of expectations. “ because its new years eve December 31st

“Warm snowflakes falling from the night sky, the stars are never seen in the city; I watch myself looking up from the sidelines, holding onto the lantern as my last hope.” Now personally I interpret the warm snow flakes line as describing the stars rather than actual snowflakes as warm snowflakes is a contradicting description and the fact the next line literally talks about the stars with that in mind the lantern is the only clue as to wear to place the memory now I’m not fully sure on this but the main Japanese lantern related thing I could find was Toro Nagashi now I’m a little iffy on this since from my research Toro nagashi is mostly about the dead and guiding dead souls but I did see a few places mention wishes “Toro Nagashi is a summer tradition in which people make wishes and float paper lanterns down a river” again I’m really not sure about this but its the best connection I could find so far…this slots (assuming the toro nahashi connection is correct) this memory at the 13th - 16th of August or July.

“Running through a chilly meadow, sun rising and I hold your hand, catching lavender clouds as I stay at home.” Chilly = cold // cold = autumn? September December???

“You're squeezing something heavy with your hands, water covering your eyes, so you can't see what's there; sun’s warmth is on your back, a chill feeling spreading over the body.” Warmth = summer???

I’m quite shaky on alot of the conclusions but my overall interpretation of the time line is.

The trial starts possibly some time in December due to 003’s birthday being soon after T1 starts???

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FULL TIMELINE THEORY

0001 / august / ?? Summer is ending. Let's stop already, how long are we going to chew on this cold food?”

0002 / march / April / ??

0002 / may / ?? “Spring is ending. We part and come back together, this must be a form of true love for you; though as for me, I'm not so sure.”

0003 / February / ??

“Winter is ending. Closeness never matters; they switch their opinions in an instant, and always, always, always, always choose someone else instead.”

0003 / December / 31st

0004 / August / ??

“Warm snowflakes falling from the night sky, the stars are never seen in the city; I watch myself looking up from the sidelines, holding onto the lantern as my last hope.”

0004 / September / ??

“Running through a chilly meadow, sun rising and I hold your hand, catching lavender clouds as I stay at home.”

0004 / december / ??

“Autumn is ending This was a game of play-pretending for everyone but me; right, I wanted a place I and others could belong to, but as I've seen through lies, I'm burning down the theatre..”

0005 / august / ??

“Summer is ending. You simply disappeared without a word; I didn't care, did I care? Too many people, I get lost.”

0005 / August / ??

“You're squeezing something heavy with your hands, water covering your eyes, so you can't see what's there; sun’s warmth is on your back, a chill feeling spreading over the body”

0005 / December / ??

milgram

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THOUGHTS ON HER CRIME

Now moving on to what I think remi’s crime is…..I have not idea! That is the reason why this is so late because I am completely lost on what it could be :)

clearly remi was in some sort of unfulfilling relationship were she felt she was giving more then taking , felt neglected and like it was dying for a long while before it actually ended. So her victim is probably that person?

as for the description

“You're squeezing something heavy with your hands, water covering your eyes, so you can't see what's there; sun’s warmth is on your back, a chill feeling spreading over the body.

It's not the time to listen to yourself. It's never the time, remember?

Your knees and hands seem to hurt, but you keep on pushing, can't give up — now or never”

ummm it kinda gives me the vibes of drowning? Like keep pushing = keep pushing the head under water??? Water coving her eyes could be because she’s also under water…? But I feel like “something heavy with your hands, water covering your eyes,” thats gotta be tears right? Like yes it could be a large body of water was involved if so probably the one implied here “a wave of crystal water covering my ankles,”

Her murder location does look like a lake surrounded but trees to me? But that could just be the distortion. That what go me started down the whole drowning train of thought.

(Gorgeous diagram I know)

but just overall I don’t have a strong theory (this seems to be a reoccurring theme….)

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RECORDING/UNDER COVER IMAGES

Once again moving on. Time to tackle these two images , her memory recordings and her undercover.

Starting with the memory recording this is alot more abstract then hotaru’s so I feel like the symbolism in it can be read into more. Remi is in space and I feel like space is probably a metaphor for her relationship. Space is cold and a vacuum you can’t speak or be heard in space (without special equipment and the whole no speaking thing is more that if you open your mouth you die and boil/freeze alive but lets put the logistics to the side for a minute) she is surrounded by other planets (possibly reproductive of the other people like the other people implied by lines like “ tender girly laughs from all sides.” / “I wanted a place I and others could belong to” / always choose someone else instead“ ect) and how planets and other celestial objects go in set orbit going round and around on the same path could be seen as similar to how remi describes the relationship “So tiring. I need to break the cycle.” There’s falling star’s in the bg which could refence wishing stars or possibly the concept of star crossed lovers? Or wishing

I attempted to map the planets from the art to our solar system which again not sure if its ment to be our solar system or just a general space setting but if it is our solar system then perhaps we could read into the fact that in this context remi would be on the outer side of the solar system far away from the sun and in the colder part of the system.

unrelated observations that the shape on the side kinda looks like a wave or maybe thats just my conformation bias talking…?

And this art could also possibly reference a magical girl transformation ??? I feel like I’m reaching to much with those last two points tho…

As for the undecover frame we have already seen remi liken her relationship to food “Let's stop already, how long are we going to chew on this cold food?” So relationship metaphor???

there seems to be strawberries in the picture which according to google in japan has symbolism of love and is a gift on valentines day in japan….? it is also apparently a symbol of the goddess Venus which links it back in with space but idk

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MY CURRENT THOUGHTS ON VOTING

I really don’t feel like I know enough to vote her anything….? I went with victim in the end because I didn’t really feel like I had any strong concussion on her situation but I feel like I gotta be missing something cuz it was 50% predator when I originally wrote this section.

#I feel like I’ve failed as a theorist but atleast the post looks pretty!#I didn’t want to read any other theories (not that I really consider this a theory post any more since it amounted to no real conclusions)#Till I finished this so maybe I’m missing something obvious that someone already pointed out #I feel like it the whole time I was writing this or thinking about it I had this consistent feeling I was missing something #But atleast it’s done now…and I can stop feeling guilty that it’s been rotting away in my drafts

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yeonchi · 15 days ago

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Doctor Who Series 15 Recap Review Part 1

#RIPDoctorWho. I honestly never thought I'd be saying this at the beginning of a review, but here we are. The last time I unironically said this was in my review for The Giggle, but over the course of this series, I started to plan out the conclusion of this recap review and updated some of my older reviews with that hashtag so I can track how Doctor Who got to the state that it is today.

It's been a year, or rather 11 months, since the last series. Let's get into Season 2 of RTD2, better known to me as Series 15. Spoilers after the break.

2024 Christmas Special: Joy to the World

The Doctor crosses through various periods in the Time Hotel; he was originally looking for some milk but he tracked down a Silurian with a briefcase. The Silurian eventually arrives in the Sandringham Hotel on Christmas Eve 2024, inside a room where Joy Almondo is staying. The Doctor refuses to touch the briefcase but Joy does; the briefcase cuffs itself to her and releases the Silurian, who disintegrates. The Doctor opens the briefcase and discovers a star seed inside. The briefcase asks for a passcode and a second Doctor from the future comes in and gives it to him before taking Joy with him into the Time Hotel, telling the first Doctor that he will need to stay and complete the loop, the long way around.

With the Time Hotel's next arrival being in New York on Christmas 2025, the Doctor has no choice but to stay at the Sandringham Hotel for the year, bonding with Anita who would be considered his companion because of this. Eventually, Christmas Eve approaches and the Doctor returns to the Time Hotel. The Doctor deduces that somebody is trying to "microwave a star" by leaving the star seed in one time zone so it can be retrieved thousands of years later. At the same time, he triggers Joy by reminding her of her mother, who died in hospital on Christmas Day during lockdown while politicians were partying at 10 Downing Street despite them making the restrictions that prohibited most public gatherings. The UK should be so lucky. Down in Melbourne, you couldn't go down to the pub or to an outdoor playground, but you could line up for a takeaway coffee or go to a BLM rally. Only 5 people could visit your house but you could have an outdoor gathering of up to 20 people. And that's not to mention the 5km travel limit, the curfew, the mandates; as authoritarian as those guidelines were "for our safety", it was a gigantic and inconsistent clusterfuck.

Anyway, getting triggered causes the briefcase to release itself from Joy. The Doctor checks the briefcase again and discovers that it was made by Villengard, the weapons manufacturers who were the subject of the conflict in the last series' episode Boom. Because human history on Earth only lasts a few thousand years, they would have needed to go 65 million years into the past. Sure enough, a dinosaur appears and swallows the briefcase.

The Doctor deduces that Villengard would need to retrieve the case again once the star seed matures and is about to detonate; sure enough, he gets a call from the star thanks to one of the hotel staff (Trev Simpkins) he met at the start whose consciousness ended up absorbed into the star and linked to the briefcase's software. The Doctor is guided to the briefcase which is inside a stone pillar, but there is only four and a half minutes until detonation. He goes through multiple time zones to break it open, but when he gets back to the briefcase, the star seed is missing; Joy took it into herself and proceeds to rise, letting the star seed detonate itself in space.

The star is seen throughout Earth's history, from Ruby in 2024 to Joy's mum at hospital in 2020. Anita is offered a job at the Time Hotel thanks to the Doctor and the Doctor realises that he is in Bethlehem in the year 0001. Except there is a debate as to when exactly Jesus was born and the most popular theory is that he was born between 6 and 4 BC as the latter is apparently when King Herod died, but let's not let historical accuracy get in the way of a heartwarming story.

This special was written by Steven Moffat, who also wrote Boom for Series 14, and I think it was better than that episode, discounting the usual SJW red flags. Frankly, Anita's actress should also have been credited in the opening credits because 10 minutes of the special was dedicated to the Doctor spending a year with her instead of the actual companion, Joy.

Episode 1: The Robot Revolution

17 years ago, Belinda's boyfriend Alan has a star named after her, giving her a framed certificate, or diploma (which isn't what that is, by the way), that she would keep all this time before easing her into a kiss, because even in 2008 men have to be wary of women claiming that a kiss is sexual assault, even if they're dating.

17 years later, Belinda Chandra is a nurse. The Doctor tries to get her address at her hospital, which he does somehow (while potentially killing a bunch of people by cutting off the power, our hero everybody) and goes to her share house just as she is kidnapped by some robots from the very star named after her which is actually a planet. On the way, Belinda complains "Go get Alan, he bought this thing!" as she goes through a time fracture. Remember this as it will be important later.

Belinda is brought to the planet Missbelindachandra One, where she is to be married to the Great AI Generator in a welding of metal and skin. The Doctor, who had followed Belinda, arrived six months before her and became the Historian after his TARDIS was impounded, covertly tells her that the robots are faulty and they cannot hear every ninth world. There are rebels fighting back against the robots and the Generator and they immediately turn on them, some of them (including Sasha 55) sacrificing themselves to get the Doctor and Belinda out.

They head to the Undercity where Belinda helps treat the wounded, but the people (the Missbelindachandrakind) have resentment towards her for being the reason so many of them died. The Doctor explains to Belinda that the border between this world and Earth keeps jumping about in time which is why the Doctor has been there for six months. The diploma the AI Generator had is the same one that Belinda has, that the robots took with her; the robots likely brought it back from the future, but it ended up 5000 years in the past.

Feeling some guilt over being the cause of this, Belinda reactivates a polishing robot the Doctor turned off, allowing the robots to track them to the Undercity. Belinda offers herself to them and the Doctor goes with her as they are brought to the Great AI Generator. As she approaches it, she notices it say something Alan had asked her 17 years ago - "Are you married?"

It is then that we learn that the Great AI Generator is actually... Alan Budd, Belinda's boyfriend from 17 years ago that she thought moved away to Margate. So when Belinda said, "Go get Alan," the robots actually went back through the time fracture and brought Alan back, ten years before the Doctor or Belinda arrived. Alan was incorporated into what would become the Great AI Generator, and he started the robot revolution by killing the first person that tried to ask him a question. The Doctor asks Belinda why she broke up with Alan, to which she reveals that it was because he was trying to coercively control her, something that he laid on her when he tried to propose. Yeah, coercive control doesn't work like that. Usually all the "rules" would be laid out over time and not when they're trying to propose, which you'd think would be when they'd shut up about their "rules" just so their target can say yes.

Also, by timey-wimey reasons, because Belinda was the reason why Alan became the Great AI Generator in the first place, the events of this episode were, in a way, her own fault. "But Azuma, Alan didn't have to be creepy and name a star after his girlfriend in the first place!" Yeah, and Belinda didn't need to call it "planet of the incels" when it was really just being run by one "incel". And technically, Alan wouldn't be an incel at all. RTD has no idea what incels are.

Belinda asks Alan how he could live with himself, to which the Doctor says that he can't. His brain communicates with the machine on an eight-part loop, so the robots can't hear every ninth word and Alan can communicate his truth at the same time; he wants to be saved from the pain. The Doctor passes Belinda's diploma to her through the polishing robot and she touches it with the copy that Alan has, causing a time explosion. The Doctor manages to absorb it alongside Belinda and they survive, though Alan is nowhere to be found; the Doctor sees that he was regressed into a sperm and an egg, which is quickly cleaned away by the polishing robot. RTD turned someone into semen and period blood and I could never find an opportunity to use that plotline in a story. What's next, a Kamen Rider W ripoff with Gaia Memories and humans being used as an analogy for sperm and eggs, and the resulting abominations being the equivalent of Dopants?

The world is freed from Alan's control and the robots declare to live in harmony with the people. The TARDIS is returned to the Doctor and the Doctor tries to take Belinda back home because she has to go to work the next morning, but for some reason, they are bouncing off 24 May, the date they left, and it isn't because of the time fracture because the Doctor closed it; as such, they will have to go the long way around. We then see that the Earth has apparently been destroyed, as we see a taxi, the Eiffel Tower, the Statue of Liberty, a pyramid and the star certificate/diploma floating in space.

This episode was meh, better than Space Babies for a series opener, but fuck, the wokeness came at me like a truck, especially that "planet of the incels" line. Was this an MSM-fed normie idea of an /r9k/ reference? I'm gonna have to give a "fuck you RTD" for this episode.

Episode 2: Lux

While trying to get Belinda home to 24 May, the Doctor lands in 1952 to use a Vortex Indicator (Vindicator) in order to cast a signal to that day. They find themselves in front of the Palazzo Picture House (Cinema) in Miami at 4 AM - the Vortex Indicator completes its job quickly, but the Doctor notices that the cinema has been chained up strongly. Um, I don't know, maybe because it's 4 AM and the cinema is closed? But seriously, he and Belinda decide to investigate and they learn that 3 months prior, 15 cinema-goers went missing one night.

The Doctor and Belinda head inside the cinema to see the old projectionist, Reginald Pye. Reginald tries to tell them to go away, but the movie stops and Mr Ring-a-Ding from the animated movie appears. The two try to find out who he is and Mr Ring-a-Ding tells them not to make him laugh, because his laugh is... The Giggle. Mr Ring-a-Ding is Lux Imperator, the god of light and one of the Gods of Chaos of the Pantheon of Discord. He came into existence through a beam of moonlight reflecting itself onto the film.

Suddenly, Reginald plays Mr Ring-a-Ding's song and Lux is forced to perform it, allowing the Doctor and Belinda to escape. Reginald says that he has been showing Lux movies to keep him fed; he didn't run away because Lux was able to recreate an apparition of his dead wife. The Doctor and Belinda find a film strip containing the 15 missing people trapped in it; Lux turned them into images.

Lux enters the room and seals the Doctor and Belinda onto film. They become animated characters and regain their dimension through expressing emotion and acquiring depth. They seemingly manage to escape the film only to be confronted by a policeman, but the Doctor sees that he is wearing the uniform of the NYPD, meaning they are still in the film.

The Doctor and Belinda manage to escape the screen, where they encounter three Doctor Who fans. One of them (the fat lady in the wheelchair) says that she knew it would happen because it was leaked online, namedropping the hashtag #RIPDoctorWho. I knew that RTD was poking fun of, or rather, mocking the fans with this when I first saw it, but for him to jam it in like this probably shows that he either doesn't understand why #RIPDoctorWho was coined or he lets the haters live rent-free in his head after the 60th Anniversary (because the episodes in this series were produced while the last series was airing or due to air). Still, RTD can go fuck himself for that.

As the Doctor and Belinda talk to the three fans, they learn that their favourite episode is Blink and the token guy in the group gives the most basic summary of the episode. They also learn that the three are not real and that they will cease to exist once the Doctor and Belinda leave, because they are real (at least in the context of Doctor Who).

After leaving the three, the Doctor says that to get out of the film, they have to stop it; the celluloid in the film will burn from the heat of the projector and set the reel on fire. The Doctor and Belinda do so and are successful. The Doctor gets a burn on his hand and he uses a pocket of remaining bi-generation energy (like when Eleven healed River Song's arm that time and oh my god, we're calling it bi-generation energy now) to heal himself.

This is what Lux has been waiting for; he binds the Doctor up with film and shines the projector through him, transferring his bi-generation energy to him and creating a body for him. Following the plot of the episode as told by the three fans, Belinda rips out all the film in the reels and throws it to the ground. She then goes to borrow some matches from Reginald so she can set the film on fire, but he offers to do it himself.

The exploding film opens a hole in the theatre, exposing Lux to the light of the sun. Lux, who had become real, reverts to being animated as he begins continuously growing out of the Earth and into space, becoming the whole of creation itself. If humans are 60% water and they can still drown, giving Lux all the light in the universe makes him infinite, yet invisible. The 15 missing people are released; as the Doctor and Belinda leave, Mrs Flood mentions a good show on a limited run ending 24 May...

As the credits run, the three Doctor Who fans are revealed to be alive.

Gotta say, this episode was pretty amusing (and meta). They did implement the racism of the time in there (because they felt the need to tackle those issues), but unlike Series 11's Rosa, it shows that not everyone has animosity towards people of colour, but that's not the important thing in the episode. If I was to review this episode like I did before, I would have given it a -5/10. Yes, as good as this episode was, I'm docking points for RTD namedropping #RIPDoctorWho, because he knew what he was doing with that.

Episode 3: The Well

After failing to get back to Belinda's home time, the Doctor lands 500,000 years in the future and goes to take another Vindicator reading, but they find themselves on a ship with a crew of troopers preparing to jump onto Planet 6-7-6-7, which is mining Carbon-46. The crew are investigating a colony base with 35 colonists which went silent over two weeks ago. Because of the galvanic radiation on the planet, the ship needs to land slowly, so the Doctor and Belinda can't leave for five hours.

As they go inside the base, they begin to discover all the mirrors smashed and all the colonists dead, with the exception of one Aliss Fenly, the crew's deaf cook who had to shoot her best friend, Sal, who tried to kill her. The Doctor goes with troop leader Shaya and second-in-command Cassio to investigate central control while Belinda stays with Aliss. During this, the Doctor and Belinda discover that to the crew, the planet Earth or the human race doesn't exist.

Belinda begins seeing something behind Aliss, but no one else can. This happens again to Belinda, and soon, this happens to some of the crew as well. Aliss says that this is how it started and how she ended up killing Sal. One of the crew is ordered to go behind Aliss while she remains looking at another, and the crew member who went behind Aliss is thrown back and killed by an invisible enemy Stand.

The Doctor recovers the base commander's final statement, showing the crew yelling about something coming out of the mine and they don't know how to stop it. He begins to realise something; the galvanic radiation came from an X-tonic star before it burnt out 400,000 years ago, then during the wars, the carbon-46 was stripped off the surface of the planet and was left in ruins. Carbon-46 is also known as diamond and the surface of the planet was once made out of diamonds; Planet 6-7-6-7 is Midnight and the enemy Stand, the thing behind Aliss, is the Midnight entity, also known in the credits as "It has no name". I'm gonna call it a Stand because it's funnier and it's totally not a JoJo reference.

The Doctor rushes back to Aliss just as the crew member dies. Belinda explains that if someone is looking at Aliss, then anyone who goes behind her dies - "if it was a clock-face, you die at midnight." Cassio attempts to kill her but Aliss says that if he kills her then the Stand will go behind him; half the crew killed each other to get rid of it but it just went behind them. Cassio declares a Red Code and takes over command in an attempt to drag the Stand out into the open, but several troopers end up being thrown around as a result until Shaya manipulates the Stand into killing Cassio. Shaya decides that they need to leave Aliss behind and get off this planet, but after the Doctor tries to communicate with the Stand, shedding tears in fear over what he learns.

The Doctor realises that there is a way they can get Aliss off the planet; he has Shaya shoot the pipe vents to rain down a stream of mercury, causing the Stand to see itself; it destroyed all the mirrors in the base so that it couldn't. Aliss is thrown forward and they run. As they get to the airlock, Aliss is sent up first, but then the Doctor and the others are suddenly attacked; the enemy Stand is now behind Belinda. Shaya decides to shoot Belinda and have the Stand go behind her before running back into the base and falling into the mine, taking the Stand with it before the whole base is nuked, until the next idiot somehow encounters the Stand in the rubble of what was a former diamond mine. Belinda had been shot precisely so that there was a chance she could survive, and of course she is saved.

Following this, one of the remaining crew members makes a report to someone who might be Squadron Leader Chinchappa, but is actually Mrs Flood, who asks her if the Doctor used a Vindicator, which she confirms. She's going to be the Susan Triad of this series, isn't she? The episode ends with another remaining crew member apparently seeing something behind the other's back...

This episode is a sequel to Series 4's Midnight and I have to say, it's actually pretty good and better than the last two episodes despite being written by RTD, though I suppose he had to rein it in because this episode was co-written with Sharma Angel-Walfall. See what you can do when you're not disrespecting continuity or attacking the fanbase? I suppose nuking the base with the enemy Stand inside was a way to deal with it, but I think it was just buying time until the next encounter, like how the hostess threw herself into the X-tonic light alongside the Midnight-possessed Sky back in the 2008 episode. I felt disappointed that we never really got to see the entity so it it could actually be dealt with; the Doctor Who Unleashed for this episode shows Paul Kasey wearing a mask for it, which I swear I've seen before because it looked a bit like the mask used for the Passenger form in Flux.

Aliss is played by Rose Ayling-Ellis, who was born deaf and thus her character is also deaf. The last time a deaf actor was in Doctor Who was in Series 9's Under the Lake/Before the Flood, with Sophie Stone playing Cass, who is also mute on top of being deaf. Cass had a teammate, Tim Lunn (Zaqi Ismail), interpreting for her, but in this episode, Ncuti Gatwa had a bit of training in British Sign Language as well so the Doctor could directly communicate with Aliss (the last time, the Twelfth Doctor learnt semaphore and it apparently erased BSL from his mind so he could still sign, but he didn't know what he was signing).

A little detail I noticed in the episode is that on top of signing, the Doctor also had to use the transcription/subtitling modules the rest of the crew used. One reason is, as Shaya says, is that they want all conversations audible (and documented), but another reason is that despite having subtitles on the screen, there is no way to convey emotion or emphasis through text alone, not to mention that signing is faster than captions or transcription during live events, and even then, captions or transcripts may not be 100% accurate.

Several BSL consultants and interpreters were brought onto the crew for this episode, plus Rose was given the script to review so she could give notes on the episode based on her experiences as a deaf person; there's also a moment where the Doctor turns his back to Aliss and Aliss becomes distraught/angry at him because she doesn't know what he is saying. As I was watching the episode before the revelation (I did hear rumours that this was going to be a sequel to Midnight), I almost thought Aliss was going to be the villain for this episode, which if she actually was, would have made RTD look hypocritical considering the "disabled people can't be villains" thing.

Episode 4: Lucky Day

Like the last series, we've got another Doctor-lite episode along with the return of reincarnated Chris-chan Ruby Sunday.

On New Year's Day 2007, an eight-year-old boy named Conrad Clark encounters the Doctor and Belinda using a Vindicator, the Doctor giving him a 50p coin and telling him it's his lucky day. He goes back to tell his (alcoholic) mum but she tells him "enough with the lies".

17 years later in 2024, Conrad sees the TARDIS again when he hears a noise inside the building. He goes inside, gets some goo on him and sees a Shreek before the Doctor and Ruby (from between episodes 2 and 3 of Series 14) deal with it. He learns that the pheromone from the goo will absorb into the bloodstream and mark them as future prey unless they take the antidote, which the Doctor gives to Ruby. As the two go back to the TARDIS, Conrad quickly takes a picture of Ruby and shares it.

A year later, Conrad is hosting a podcast featuring eyewitness accounts of the TARDIS; Ruby managed to find the photo of herself and went on the podcast for an interview. After recording the interview, Conrad takes Ruby out for a coffee and she tells him more about the Shreek; they come from their hive in a pocket dimension once a year to hunt, but this year, one of them comes to the same location it did last year, meaning that it had already marked its prey (Conrad) with its goo, but UNIT had already captured it. Ruby gives an antidote to Conrad and eventually, the two of them start dating.

Conrad mentions that his mum died of liver cancer and Ruby opens up to him about her experience with the Doctor in the TARDIS, fulfilling her need for someone to talk to about it. Conrad and Ruby head out on a weekend trip to a village called Colson where they meet the former's friends. Ruby notices the electricity flickering in the pub and calls Kate at UNIT, only to find no signs of Shreek there. Soon, two Shreek show up outside as Conrad notes that one of his friends is missing.

Ruby heads outside to confront the Shreek and Conrad soon joins her as well. They seemingly find the remains of Conrad's friend, at which point Kate and UNIT arrive. As the UNIT soldiers aim at the two Shreek, they stand on two legs and take off their masks; they were Conrad's friends dressing up as them. Conrad reveals that he is part of a group called Think Tank, a group of alien-deniers aiming to expose UNIT's lies and agenda, and that they are also livestreaming the event on social media.

Conrad and Think Tank are arrested, but they are released 24 hours later after public backlash. Think Tank doxes every person employed by UNIT and Ruby is brought to UNIT HQ. She learns that Conrad applied for a job at UNIT, was interviewed by Kate and was apparently rejected, plus his mother is very much alive, living in the south of France in a villa that he paid for. The containment cube containing the Shreek is about to be transferred to Geneva as Kate comes back after learning that the government is ordering an inventory audit of UNIT premises.

With help from an inside man, Conrad enters the building and heads up to the control room at the top. Kate reveals why she didn't hire Conrad eight years ago and it's because in her notes, she wrote "Don't trust him" for some reason. In the confrontation, Kate shows Conrad the truth he has been demanding; she opens the helipad doors and lets the Shreek out of its cage - he hadn't taken the antidote so the Shreek is still hunting for him (apparently people actually think this is some sort of parallel to antivaxxers lmao). With no way to escape, Conrad tries confronting the Shreek and it's only when he is cornered and closed in that he admits that he lied about everything. Ruby gets the Shreek off of Conrad and tells him to go to hell. Conrad stands up, remaining defiant until the Shreek bites his arm off.

The next morning, Colonel Ibrahim tells Kate that she went a bit too far while Shirley notes that public opinion of UNIT has improved. Later, as Conrad sits in his prison cell, his arm reattached, the Doctor brings him inside the TARDIS to give him a lecture for betraying Ruby, saying that cowards like him weaponise lies and generate relentless noise to wear people down. Conrad asks the Doctor if he met Belinda yet (meaning this scene takes place just before the start of the series, which led to him trying to find her in the first episode), and the Doctor reveals to him that he dies in a prison cell at the age of 49, alone and unloved, while the world carries on. In response, Conrad says that he rejects the Doctor's version of reality and tells him to put him back in his prison and get off his world. Conrad is then visited by Mrs Flood, acting as the governor of the prison, telling him that it's his lucky day.

So let me get this straight. Conrad is enamoured by the Doctor but his mum doesn't believe him, so he starts believing in aliens and tries to get into UNIT, but he gets rejected so he starts a podcast about the Doctor and the TARDIS, then he runs into the Doctor and Ruby having an adventure, takes a photo of Ruby and basically stalks her for a year until she goes onto his podcast, starts dating her to lead her on so she can meet his friends, then stages a fake alien sighting to "expose" UNIT which was apparently his target all along, get arrested then freed after suddenly having the public on his side, dox everyone working for UNIT and stage protests across the globe, then storm into UNIT HQ alone to make Kate admit that UNIT is faking everything only to get his arm bitten off and sewn back up like a doll?

youtube

What the fuck was this episode? Can I honestly call this another leftist fantasy episode, because after that twist I got so confused at the goodest logic going on in the second half I can't even tell if it's a leftist projection. How did Conrad's pipeline go from meeting the Doctor to wanting to find the TARDIS to going full-blown ACAB at UNIT? If it was just getting rejected by UNIT alone then it's honestly a stretch and a pretty weak justification, to put it lightly.

Straight white male (and SJW?) villain aside, this episode only serves to show that leftists don't know what they're talking about when they talk about "conspiracy theorist grifters", which Conrad obviously seems to be an expy (or caricature) of. In this decade so far, these so-called "grifters" have been shining lights on tangible issues like lockdowns, vaccine mandates and the enshittification of Doctor Who and while I don't agree with everything they say, that doesn't necessarily mean they don't have a point. Conrad is apparently trying to show people that UNIT are spying on people, covering up lies and faking alien invasions, but the episode doesn't give any evidence to back his viewpoint or provide any motivation into his actions, so I couldn't find anything agreeable with him even if I wanted to. Granted, we've all seen the series with the viewpoint that UNIT are the good guys so maybe the thought of UNIT doing shady things never occurred to anyone. Or maybe I'm just frustrated because I think grifters are right (sometimes).

You know, if this episode were done with the Tenth Doctor (not the Fourteenth) then I think the Doctor would have given Conrad a chance, to travel with the Doctor in the TARDIS on the off chance that he might rethink everything he's done despite how contrived it came to be. If Conrad chose to reject that chance because he still denies it, then it would be on him.

This episode was written by Pete McTighe, with the scenario devised by RTD because of course it is. What the hell happened to you, Pete? You wrote two of the more decent Message episodes in the Chibnall era (Kerblam!/Praxeus) and now you've written something that is somehow even worse than the SJW-fest third episodes (Rosa/Orphan 55). I guess I should have expected better coming from someone who wrote for the Chibnall era. RTD wanted to explore evil in the form of "toxic online hatred", but I think when he saw Conrad's role in the story, he didn't care how much sense anything else in the story made as long as it served the goal of "grifters bad". Also, Pete, why did you pussyfoot around calling Conrad a "grifter"? You knew what you were doing with this episode, so you might as well have owned up to it.

By the way, this is an actual quote from Pete McTighe: "That speech I wrote for the Doctor at the end of the episode – he says everything I wanted to say." Coincidentally enough, that scene was filmed on 23 November 2023, right on the day of the 60th Anniversary. What a happy birthday.

Let's face it, we'll definitely be seeing Conrad again in the series finale, otherwise Doctor-lite episodes are a waste of time when you only have eight episodes in a series. They're good as filler episodes in a 13-episode series when time constraints meant that they had to be produced alongside another episode without the Doctor and/or the companion, which this one was as it was produced alongside the first episode. 73 Yards and Dot and Bubble were Doctor-lite episodes because Ncuti Gatwa was busy filming on Sex Education as production of Series 14 commenced, so that was excusable. And somehow, they weren't as bad as this episode.

Of all the years I've watched Doctor Who, this is the first time I actually felt that an episode was actively insulting my intelligence. The Timeless Child, the bi-generation and the Sutekh bullcrap was insulting enough but at least I could understand what was happening. I saw though RTD's intentions with the remarks about incels and #RIPDoctorWho in the first two episodes of this series. But this episode - what the fuck was it trying to say or do? Even if I knew, I'm still baffled at all the logical leaps that are apparently required to even agree with anything in the episode. Go check out Aimless Words' review thread for this episode on Twitter. They put it better than I could have done here.

Anyone who likes this episode and thinks this is a gotcha on grifters or NMDs needs to take a good long look at themselves. The episode's story doesn't make sense and you know it.

Episode 5: The Story and the Engine

A note I made before watching this episode so I can prove myself right or wrong when I watch it - writer Inua Ellams apparently sees this episode as a companion piece to Dot and Bubble. You know, that episode with all the elitist nepo babies which, by the way, are actually thinly-veiled racists as well, and we totally didn't see that twist coming when their attitudes could be written off as just being, you know, elitist? Yeah, I'll bet anything that relates itself to that episode is going to be shit. Anyway, on with the story.

The Doctor gets the idea to head to Lagos, Nigeria to boost the Vindicator's effect as it boats the largest technology market in Africa (for ewaste lmao) and it is near Omo's Palace, a barbershop owned by Omo, who met the Doctor once as a boy in a forest fire. The Doctor frequents the barbershop because it's a place where he is accepted, where he can get away from being differently in some parts of the world. So much for the Doctor saying that he shines over racism, but I can understand having a little place to get away from everything. Honestly, I eat out at Chinese restaurants and cha chaan teng cafés more than I eat out at pubs or fast food joints, so who am I to judge?

After using the Vindicator in 2019 Lagos, the Doctor leaves Belinda in the TARDIS while he heads to the barbershop. He notices a sign warning him to turn back followed by posters of missing people, including Omo and a few others. Entering the barbershop, the Doctor greets Omo and realises that the others inside are the missing people on the posters. The barbershop has a new owner, who has no name other than the Barber so I'll call him as such. The Doctor notices one of the men's hair growing back after just having had a haircut. He watches another man get a haircut and tell a story, which comes to life on a window, which seems to stablise something that they need to feed because it is hungry.

The Barber and his assistant, Abby, are the ones who are controlling whatever they are feeding. It is then that Abby comes back with food and the Doctor notes that he knows her face, but she just tuts at him. Huh, that's the same reaction I got from Roberta Tubbs when I saw her in Quahog some years ago. The Doctor learns that the Barber and Abby used to work for the latter's father and they are travelling somewhere. Omo met the Barber when he offered to give him a haircut in his own shop, but when he did, the shop seemed to transfer itself to him and Omo was unable to leave, along with the others who had come in, a select few who loved the shop.

The thing needs to be fed again and the Doctor offers to tell a story. The Doctor sits down in the chair and finds himself restrained for some reason. Compelled to tell a story, the Doctor tells a story of how Belinda helped save an old woman just as she was about to go home for her nan's birthday. The Doctor's story feeds the thing more than it did with the others, allowing them to go faster.

The Doctor's hair grows back and he has a falling out with Omo over being used by him. He turns to leave, but when he opens the door, everything starts flying; it turns out that the barbershop is on a giant mechanical spider travelling through some kind of web that is apparently in outer space or something (was it though?). The Barber tells the Doctor that the shop are in outer space and Lagos at the same time; they are travelling through something called the Nexus, also known as the World Wide Web. A time-space compressor is fitted into the doorframe and only he and Abby can return to Lagos because they control it.

Belinda, having been affected by the alarms ringing in the TARDIS every time the barbershop door was manipulated, heads to the barbershop. The Barber says that he goes by many names, mostly those of gods related to stories. The Doctor and Belinda laugh at this, particularly because the Doctor has met all those gods before and the Barber is not any of them. The Barber admits everything; the storytelling gods needed to strengthen their bonds with humanity, so he travelled around the world to spread their myths so that they may be worshipped. He built the Nexus with a strand of the gods' essence and collected the stories of humanity to feed the gods; later on, he built the Story Engine and powered it with the stories he collected before the gods threw him out of his life's work when he wanted to be recognised; the Nexus had been primed so well that it would work without him.

The engine runs out of energy again. The Doctor realises that Abby is Abena, the daughter of the man-spider Anansi who wagered her to the Doctor and purposely lost the bet so he would marry her, despite his best efforts at trying to lose the bet himself. She ended up with the Barber after the Doctor abandoned her, because at the time he was- JO MARTIN, THE FUGITIVE DOCTOR?! Anyway, their objective is to take the shop to the heart of the nexus so that the Barber can become storyteller supreme. The Doctor recognises that the Barber is doing this for vengeance and the Barber reveals that he intends to cut the storytelling gods out of the Nexus and all of memory, destroying them and endangering humanity.

The Barber attempts to force the Doctor into the chair but Abby offers to tell the story herself. After Abby tells a story about how female slaves would braid their hair into maps so that they could help others escape, as slaves were not allowed to carry paper, the Doctor causes a distraction and uses the map Abby braided into his hair to get to the Story Engine with Belinda.

The Barber follows the Doctor to the Story Engine as well; noticing that the Barber had some Hemingway books on the shelves, the Doctor tells him a story about how he challenged Hemingway to write a story in six words. Suddenly, the engine somehow connects to the Doctor and stories of his past incarnations are displayed (luckily, nothing outside of what we've seen on TV), but the Doctor had taken out a third of the engine and his stories would cause it to overload. He makes the Barber choose between sacrificing seven billion people (by going through with his plan) or only seven people (by letting them go) and the wording of this is kind of weird when you think about it.

The Barber compresses the corridors and opens the door to the shop, allowing everyone to escape. The Doctor sends Belinda out as well before encouraging the Barber to escape with him as well, so he can live long enough to write his own six-word story. The Doctor and the Barber escape and the ship tries to manifest itself, but the Doctor sends it back to the Nexus where it explodes. The three men with Omo prostrate themselves before Abby and go on their way. The Doctor encourages the Barber to start his own barbershop and continue collecting stories for himself. Omo makes up with the Doctor and leaves his barbershop to the Barber, naming him Adetokunbo after his father. Abby parts ways with the Barber on good terms, unwilling to resent the Barber despite him lying to her about his motives.

Fugitive Doctor aside, this was a pretty good episode that proved my initial suspicions wrong. I can see where the Dot and Bubble parallel comes into play when the Doctor realises that Omo was using him for the Barber's own ends. It's a cultural episode representing Africa like Legend of the Sea Devils represented China. Also, the Doctor we saw at the end, when he was encouraging the Barber to write his own six-word story - where the hell was he last week when he was confronting Conrad in the TARDIS? Oh wait, he's a straight white male grifter so he totally doesn't deserve any mercy or redemption. We know he's coming back for the finale, so if he doesn't get a redemption arc or at the very least, an elaboration on his character, we're going to have a serious problem. I'm still baffled over last week's episode and I'm honestly baffled at how such a beautiful episode like this came after such an atrocious episode.

Episode 6: The Interstellar Song Contest

How fitting that this episode premiered on the day of the Eurovision Grand Final and that it was just squeezed in after the FA Cup final between Crystal Palace and Manchester City on BBC One.

The Doctor and Belinda arrive at the Harmony Arena in 2925 during the 803rd Interstellar Song Contest and decide to stay and watch after using the Vindicator. Mrs Flood is in the audience as well, confirming that the Doctor is using the Vindicator and that it has been primed after this use. Two men, Gary and Mike, are unable to get into their pod, which the Doctor and Bel are in, which ironically saves them from what happens next.

A Hellion named Kid hijacks the gallery and is revealed to be working with another Hellion named Wynn, switching the live feed to the dress rehearsal version. The Doctor suddenly realises something and jumps out of the pod to investigate as the contest begins. Kid turns off the safety protocols and opens the air shield, sucking all 100,000 beings out into space, including the Doctor, the TARDIS and Mrs Flood. Belinda is saved when she hits the roof of the pod before it closes on her.

Belinda heads out of the pod and into the hallway, where Cora from Trion and Len (her manager?) have also survived. Belinda is distraught that the Doctor is gone, while Len tries to access the computer core, but finds that something is rewriting everything.

The Doctor sees a vision of Susan Foreman (finally, they got Carole Ann Ford back) and somehow manages to unfreeze himself and fly himself back into the Harmony Arena using a confetti cannon. The Doctor faints upon entering and Mike helps him regain consciousness. The Doctor reveals that the 100,000 people outside are still alive because he triplicated the gravity mavity field. He accesses the computer core as well and discovers that the Hellions have uploaded a primitive delta wave, which will kill all 3 trillion people watching the contest.

Kid discovers the Doctor trying to interfere with the systems and Belinda manages to see him as well, much to her relief. Belinda hears the Doctor threatening Kid and realises something is off with him. Cora reveals that she knows Kid and Wynn because she is a Hellion as well, her horns cut off by force; the planet Hellia was harmless until it and its people were bought by the Corporation sponsoring the Song Contest, taking the Hell Poppy (which is used for honey... flavouring- damn, a Kamen Rider Gavv reference made before that series was commissioned lol) and its seeds and burning the fields so they could never grow it back. For some reason, the Hellions are "treated like scum across the galaxy" and rumours have been spread about the Hellions "doing it to themselves" and that they practice cannibalism and witchcraft.

Kid prepares to transmit the delta wave, but then the Doctor enters the gallery using a hologram decoy, destroys the delta wave device and disarms Kid before using a hard light hologram of himself to torture him. Susan, in his head, tells the Doctor to stop, but he doesn't stop until Belinda comes in with Cora and he realises what he is doing. The gallery operator regains control and Kid and Wynn are taken away.

The Doctor enlists the help of Gary and Mike to bring everyone back into the Harmony Arena and unfreeze them. He also enlists Len's help to turn a VIP pod into a revival booth so that everyone can be unfreezed faster. Once everyone is brought back, the contest is rendered null and void, but Cora gives a performance of a song from her home planet Hellia to 3 trillion people to remind them of the world that they lost. After the song, the arena slowly bursts into cheers for Cora.

The Doctor and Belinda prepare to leave in the TARDIS, but not before they are greeted by a hologram of Graham Norton, who informs them that Earth was destroyed on 24 May 2025, the day when Belinda left. Rushing back into the TARDIS, the Doctor plugs the Vindicator into the TARDIS, but as they set off, the console room glows red and the Cloister Bell rings before the TARDIS door blows in...

In a post-credits scene, Mrs Flood is the last person to be revived, but being in space for too long froze her double brainstem, causing her to bi-generate as she is revealed to be the Rani. Damn, so RTD did get the rights to the Rani. I said before that Sacha Dhawan's Master in the Chibnall era should have been the Rani given that the Master died at the end of the Moffat era, but I guess that didn't happen given that Chibnall slagged off the Rani's creators, Pip and Jane Baker, back in 1986. Also, is RTD seriously making bi-generation the new regeneration? What happened to it being a myth?

Say what you will about the episode's writer, Juno Dawson, I thought this episode was alright, save for the Doctor torturing Kid maybe. There have been theories and rumours that Mrs Flood was the Rani and I'm glad that the Rani has finally been reintroduced, despite everything else in this series. I also hope to see Susan again in the two-part finale after that red herring last series.

I thought that the Hellions hijacking the Song Contest was a parallel to Russia or Belarus being suspended from Eurovision over Ukraine or Israel continuing to participate in Eurovision despite what they are doing to Palestinians. However, seeing the dynamics between Kid, Wynn and Cora connected another parallel for me, namely the two main dynamics of the pro-democracy protesters during the Hong Kong protests of 2019-20. Kid and Wynn are the radical 勇武 valiants willing to use violent means to send their message, while Cora is the peaceful, rational and non-violent 和理非 who became a singer and performs at the Song Contest to spread the message of her home to the entire universe. But like other things in this series, we don't get a deeper elaboration on the Hellions other than what we've been given. And if this actually is a jab towards Hong Kong/Ukraine/Palestine etc, honestly that is the least of my issues right now.

This review is getting too long so I'm splitting it into two parts. The series finale will be in the next part. My brain will never stop blowing up if I keep thinking about the goodest logic of Lucky Day for another second.

#doctor who #doctor who series 15 #doctor who review #RIPDoctorWho

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objectgames · 2 months ago

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OBJECTGAMES LOG #0001

CHANGELOG -

(05.04.2025) the blog has been renamed from "pool-loop-backlog" to "objectgames-log" to "objectgames", and has been repurposed to be a log for all my osc-related game projects instead of being a log for just pool loop.

(05.04.2025) minimal tweaks to the profile picture have been made, now it has a white background instead of being transparent.

(05.04.2025) the desktop version of the blog has been made.

NOTES -

(read: 1.) i like to attach the word object to any word when talking about osc stuff. i've been calling my osc game ideas "objectgames" in my mind for a while now... i want to make that my studio(?) name! i'm planning on roping some people into my game crafting... make a team, basically. so having a "studio name" would make credits and branding much easier if anything goes big and i'm not keen on attaching my real name to any of the games i make due to many reasons at the moment. for now, objectgames in simply the name of the blog where all the information about my games is instead of a team name or anything of the like! but that might change in the future... we'll see.

(read: 2.) the pfp is the computer webding from the webdings font! it's my favorite webding of my second favorite font, i wanted it to be somewhere in the blog. maybe even be like a "logo".

(read: 3.) i'll modify it later, i'm not too keen on the theme and i can't customize its colors. maybe i'll make my own theme, but that's a hard maybe.

#objectgames log #objectgames log: changelog #changelog: misc.

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isatinformation · 8 months ago

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got the first 24 isat variables in! well. kinda. i lied a bit

only 10 of the variables have any actual information about them in there, the rest are just TBA, which usually means i don't have enough information about them to write a description on them. when it comes to these, feel free to tell me what they do if you know!

the most notable variables i've added here are 0001. Loop #, 0002. ACT<<CanBeSeen>>, 0009. LOOP<<fakeloop# CanBeSeen>>, and 0024. !!!Kingquest

variable 1 is the loop count, which counts the number of real loops you've gone through in game. 2 is the act number. 9 is the number of loops shown to you in game, which is the number of real loops you've played through plus the number of fake loops acquired over time (if you didn't already know the game lied to you, you're welcome :D). 24 is where you are in regards to kingquest

#page updates #variables #in stars and time

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bestmobileappdevelopmentagency · 1 year ago

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#Android app development #Android app development services #mobile app development agency #custom mobile app development services

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app-development-company-in-india · 1 year ago

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Top-rated Mobile App Development Agency in USA | Taction Software Services

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unogeeks234 · 1 year ago

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Get Peras SAP HR

Understanding GET PERAS in SAP HR

In SAP Human Resources (HR), the GET PERAS event is a vital tool for retrieving employee data. It interacts with the powerful PNPCE logical database, offering flexibility and efficiency in handling HR information. Let’s explore what GET PERAS is, why it matters, and how to use it effectively.

What is GET PERAS?

GET PERAS is an event within the PNPCE logical database (a structured way to organize complex HR data).

It’s triggered when you need to process data for a group of employees (as opposed to GET PERNR, which focuses on a single employee).

Think of it as a way to say, “Fetch the relevant HR data for this set of employees.”

Why Use GET PERAS?

Optimized Data Retrieval: GET PERAS is excellent for scenarios where you must simultaneously work with data from multiple employees. It helps streamline the process compared to fetching individual employee records.

Logical Database Integration: The PNPCE logical database is designed for complex HR structures. GET PERAS aligns perfectly with this, allowing you to navigate these structures easily.

Performance: In many cases, GET PERAS can improve the performance of your HR reports and custom programs, especially when dealing with larger datasets.

How to Use GET PERAS

A typical GET PERAS implementation looks like this:

ABAP

NODES: paras.

TABLES: pernr, pa0001, pa0002 …. ” Add other tables as needed.

GET paras.

” Your data processing logic goes here

” Example:

LOOP AT paras.

READ TABLE pa0001 WITH KEY pernr = peras-pernr.

IF sy-subrc = 0.

” Process info type 0001 data

ENDIF.

ENDLOOP.

Use code with caution.

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Important Considerations

Selection Criteria: Be mindful of the criteria used to determine the employees you want to process with GET PERAS. This influences the data retrieved.

Infotype Selection: Clearly define the HR info types (categories of HR data, like personal data, organizational assignment, etc.) needed within your GET PERAS block.

Modern Alternatives: While GET PERAS is still widely used, explore object-oriented approaches with classes like CL_HRASR00_EMPLOYEE_SEARCH for potentially cleaner and more maintainable HR programming.

In Conclusion

GET PERAS is a powerful instrument within the SAP HR programmer’s toolkit. Understanding its use, strengths, and best practices will empower you to build efficient and robust HR data processing solutions.

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the-third-other · 2 years ago

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23..01.22.·

本週日

[ free-improvisation , noise , drone , experimental ]

即興/噪音/實驗/喝醉

The Third Other/ part 2

時間：1/23(Sun.) 19:00-22:00

地點：23Music Room

■免費入場，每人低消一杯飲品

■支持表演者，支持酒吧，禁止外帶酒水

表演者介紹：

●Lica …

Sound is better than silent, which refers to all, and sound is the base of expression that constitutes the establishment of words.

Lica is a bridge and an emotional medium that sends words that cannot be easily spoken.

有聲勝於無聲，而無聲則是開始也是結束。聲音是構成詞的表達基礎，

Lica 是一座橋樑，也是一種情感媒介，可以傳達難以言說的話語。

[ no-input ]

●Chloe Lin...

Pipa trying to find its own way out.

林雨儂 … .....總是尋找新聲音與頻率的琵琶手

[traditional pipa and contemporary electricity]

●Nj Nj

鍵盤即興菜鳥

keyboard improvising newbie

https://www.instagram.com/chi.nien.jaz

●Sherr Von Huang

He will get his heart eaten for you.

他的心就是他的表演

[ guitar and soul ]

●Yao Lu

One can't feel real…. when he's sober.

One can't play well …..when he gets Hammered.

願眾人彌留在音樂與夢之間，遊於醉鄉

[ bass ]

●La Flèche’ ...

An old 45 vinyl, scratched ; autumn evening above the waste-ground and memory of parisian-suburbs. Is it a spell, a loop, a circle uncrossable...?

旧的 45 乙烯基，有划痕；荒地之上的秋夜和巴黎郊区的记忆。它是一个咒语，一个循环，一个无法跨越的圆圈......？

[ guitar, voice, saxophone, violin ]

●Kanalkrank ...

Diving through the drone-clouds.

在无人机云中潜水

#Bandcamp

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andmaybegayer · 5 years ago

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Hello, I'm a fool who knows nothing about computers with a couple questions. For reference, I'm on Windows, for no reason other than I prefer it. I want to make a video game, a very very large video game. I'd be making it out of the love of my heart and for people to play, and not for any other reason. It would be a third-person 3D game. Now, I've heard that RollerCoaster Tycoon 1 was built in Assembly, and is thusly able to run just about anywhere, though I don't know the truth of that. 1/2

Hey yeah tl;dr you should Not try and make your game in assembly, especially as a beginner. Your best bet is to learn a modern game engine and start with that. Especially nowadays if you can get your head around Unity or Godot or any other similar game engine making a 3D game is, while not ~easy~, much easier than it ever was in the past when you would have had to roll your own engine from scratch.

The guy who made Heat Signature and Gunpoint recently started a tutorial series for “Make a game in Unity with no experience.” which may interest you. From there you’ll want to learn how to design 3D objects in something like Blender or Wings3D so that you can build your world and texture it.

I’d recommend starting small, Big Game Projects are ambitious but you’ll want to put out a few small things first, something like a game where you walk around, say, A Single Building with a garden and talk to NPC’s in the building, maybe have a combat system, etc. to really get the hang of your tools before attempting a project where it won’t seem like anything works for potentially weeks of work.

I have tons of little dead-end projects that were dedicated to figuring out simple things like “How do I create randomly generated terrain” or “How do I make Gun.” There’s plenty of YouTube tutorials basically dedicated to stuff like this, Sebastian Lagues’ Coding Adventures are basically all videos dedicated to exploring how to create common interesting things in Unity that you might want to use in a game like random terrain, portals, weird gravity etc.

You’ll have to pick up A Language but it’s honestly not that hard. One thing you will want to do if you’re doing game design is brush up on your high school trigonometry because a truly ridiculous amount of the maths you will do in the process of making a game is just finding relationships between angles and coordinates in space.

Rolling your own engine is a good learning experience if you’re interested in how to write optimized code, designing a scripting language, and writing really wacky dynamic code, but if you just want to Make A Game for your friends to play then it’s a waste of time.

The long explanation for this is:

Assembly is a very powerful but extremely specific tool that’s only useful in the modern day in a very specific handful of situations.

The lowest level of programming that you can do (more or less there are some lower levels that don’t count) is Machine Code programming, which is where you write the binary instructions to a program out by hand. This can be done and is indeed how we used to do it in Ye Olden Times but even in Ye Olden Times programmers quickly got bored of this and invented Assembly.

Assembly is a very simple mapping from raw binary code to a somewhat human readable system. Talking about what that binary code looks like without a firm grounding in processor basics is hard but needless to say that binary generally represents something like Operation, Data1, Data2, Data3, for example you might have a set of codes that correspond to Add A, B, C where that adds A to B and stores it in the address at location C. That instruction in binary will be like 0110 0001 0010 1001, but that’s a pain in the dick to write so you write a simple program that can read in you writing “ADD A B C” and convert it to the right binary code.

In contrast to more high level languages, the mapping between assembly and machine code is pretty direct, usually 1 to 1 or almost 1 to 1. You can’t really do an “if X is true then do A” in assembly, instead you have to do “Compare X to True, check if the True flag was set, if so then jump to the location in memory containing A.”

This has some advantages, like, if you’re very familiar with the processor you’re using and where you’re storing everything in memory, you can skip certain steps you know you don’t need and dramatically speed up your software. Old games, especially for games consoles like the GameBoy and PlayStation, would be partially or wholly written in Assembly so that they ran fast on very limited hardware (the original PlayStation had a stunning 2MB of system RAM) . There’s lots of programming libraries for doing extremely fast maths written partially in Assembly for this very reason.

The DISADVANTAGE is that you have to be really good to write faster code than a quality optimizing compiler. Even fairly barebones languages like C have a lot of creature comforts that make programming nicer, faster and more readable, such as having language constructs to create loops, systems to help you create structures in memory, etc., and once you put that code through a modern compiler it will add in its own very smart optimizations that can make even fairly amateurish code run extremely quickly.

in Assembly you have to do all of that by hand, and doing so requires tracking a lot of things manually. It’s not something for the faint of heart and building a modern game entirely in assembly is something you wouldn’t really do if you could avoid it.

That’s not to say it can’t be done. Since ultimately all programs boil down to machine code, there’s nothing stopping you from making a full 3D game in assembly. Rollercoaster Tycoon is almost all assembly, as you said. Indeed plenty of old 3D games are written partially or mostly in assembly for performance reasons, and if you use a game engine like Unity, some chunks of the engine will be written in Assembly for speed. Especially when it comes to things like realtime physics or very fast AI and the like.

On modern computers for even fairly complex games, the performance of well-optimized compiled code in a normal language is plenty for most games. The benefit of using Unity is that you can leave the heavily optimized engine stuff to a team of skilled programmers who’ve been writing game engines for years and you can deal with the unique things that you need to make your game happen. If you were to start writing a game in Assembly you’d first have to design your own engine, probably write your own scripting system, etc. which would require a robust basis in programming language design, parser design, and a firm view of what you want to create. Tooling around in Unity experimenting with things as you go is much easier.

Learning Assembly and getting good at it is a valuable skill if you want to write crazy optimal code and get a robust understanding of how the internals of a computer work (although not actually but I’m not going to talk more about microcode beyond linking this video lecture) and fi all you want to do is make Video Game your best bet is to learn Unity because it’s what everyone is using.

Pitches for other engines I like but that might not be for everyone:

Godot: Basically a fully open source baby unity that is a little easier to use but a lot less powerful and with a much smaller community, I really like it for experimenting

LÖVE2D: Not a 3D engine, but a really minimal 2D game engine that uses Lua for scripting. It is extremely bare bones but gives you a lot of room to program all behaviours yourself if you feel like making extremely fast demos, I mostly use it to write graphical simulations.

LÖVR: A 3D game engine heavily inspired by LÖVE with a focus on VR game design, shares the same bare-bones, lua-scripted design that makes it very suitable for quickly throwing demos and experiments together but less suitable for large projects unless you pull in some libraries.

#computer stuff #programming #game design #video games #ask #theyhylianbatman #software

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asimplegeekylife · 6 years ago

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Thursday 11th April 2019

My last full day in Japan! Had to make it a memorable last full day. So I made sure I ate a lot for breakfast, and made sure I left my card at the table so I could get my extra coffee… The day before, the restaurant staff just took my coffee away when I was getting more food.

Then out I go. Out to the shopping district of Osaka. Tenjinbashisuji. As you come out of the Temma Station. You go to one side, then back to the middle… then you walk the other side, then back to the middle… OMG… that was so long! Luckily I had lots for breakfast. There’s a lot of shops, most don’t open until after 10am. So just walk back and forth.

After shopping, it was time to eat… I haven’t had much sushi on this trip, so I decided to go to this store outside Temma Station.

It’s just like Yo! Sushi… but much more fancier, and much more tastier…

I had 10 plates and free DIY green tea… the expensive dish was the one on the black plate – OMG, raw prawns are AMAZING!!! I could eat these all over again… Cost less than ¥3000.

Address: 回乾寿司マリンポリス, Temma Station.

KFC was next door… I had to take a picture of Mr KFC.

As I was leaving, I had to take pictures of these…

On the Osaka Loop Line, there is a station called Sakuranomiya. Can’t find much history of this spot but I guess it was a man-made area dedicated for sakura, cherry blossom viewing for the locals and the tourists. It stretches for a few kilometres… I could have walked a bit more, but I was in need for a toilet… drank too much tea and coffee!

If you’re in Osaka between March and April, I recommend you go to this spot!!

One food item I bought at the market was a box of gigantic dango. I actually wanted one skewer, but got a box instead. Hahahaha!! Too embarrassed to refuse, I just decided to buy it and eat it at the hotel. The sauce is like sweet hoisin sauce… The dango was like tough mochi. I’m actually craving for these!

I took a really long nap at this point – I was really tired.

Then I suddenly woke up, and went for my final dinner in Japan… I went out looking for omurice. Thankfully there’s a stall near the station that makes omurice.

You may think there’s a lot of tomato sauce, but it was just right. It didn’t taste like ketchup, it tasted like Italian pasta sauce.

I had chicken omurice… and it was amazing with that sauce! Where can I get that sauce!!??

Also had some fried chicken… why not?

Address: Japan, 530-0001 Osaka, Kita Ward, Umeda, 3 Chome−1−1 3

As I finished eating, I decided to walk around the shopping areas… Mr Games wanted pictures of fake food… so here’s a pic of fake sushi.

Couldn’t find a dessert shop in Osaka Station, so I bought some desserts from 7Eleven – cheap and cheerful, but too much plastic wasted. Sorry to the environmentalists!

It was a long night… Shouldn’t have had that nap… And next door I could hear a couple having a romp. 🤣🤣🤣 They weren’t ashamed of people hearing them I guess…

Goodnight Osaka!

Very hard to get to sleep… But at least I slept in the end…

End of Day 13.

Last full day in #Japan... Lost in Japan, Memoirs of a Geek: Day 13 – #Osaka Last Round Thursday 11th April 2019 My last full day in Japan! Had to make it a memorable last full day.

#holiday #Japan #Osaka #Travel

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stephanieinge · 2 years ago

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Check out this listing I just added to my Poshmark closet: Paige Premium Denim "Blue Heights" Jeans Low Rise Straight Leg Style 0255-0001.

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afrontier-jp · 7 years ago

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afrontier 15th Anniversary

モーション・ブルー・ヨコハマ発のジャズイベント「アフロンティア」による15周年記念のスペシャルライブ＆DJイベント！アフロンティアに縁ある新旧選りすぐりの精鋭バンド、DJが一同に集結する。今回、モーション・ブルーはもちろん、隣接するTUNE、バルコニーも会場として開放。準スタンディング・スタイルで、店内を自由に行き来しながら、極上の音楽をたっぷりと楽しむことができる、開放的でラグジュアリーな空間をご用意。秋の夜長に、赤レンガ倉庫で繰り広げられる「音楽好きな大人のためのパーティー」を心ゆくまで堪能してほしい。【Live @Motion Blue yokohama】 [Fontana Folle] Alvin(vo)、Ryuji Iida(g)、Yuki Lee(b) Guest：佐々木大輔(tp,fl)、會川直樹(ds)、山野友佳子(p,key) [河野祐亮ピアノトリオ] 河野祐亮(p)、座小田諒一(b)、木下晋之介(ds) [細川玄 Jazz Quintet] 細川玄(tp)、早坂勇真(tb)、堀越昭宏(p)、清水玲(b)、村上広樹(ds) Guest：中村智由[native](sax) 【DJ @Motion Blue yokohama】 TOJO[afrontier]、Jun Morita[afrontier]、大塚広子[key of life+] 【Live @TUNE】 [山内洋介(13souls)&Outrage Soul Band] 山内洋介(g)、土本浩司(b)、中村新史(key)、橋本現輝(ds) 【DJ @TUNE】 Takeshita[afrontier]、木村勝好[in the mix, POSSIBILITY]、 kiki[Mucho Mucho Mambo!] 【VJ】 Tasuke 【Organizer】 isao osada 開催日時：2018年9月30日(日) 開催時間：4:00p.m~9:30p.m Special Live Set at Motion Blue yokohama ［5:00pm / [Fontana Folle］［6:35pm / [河野祐亮ピアノトリオ] ［8:10pm / [細川玄 Jazz Quintet］ Special Live Set at TUNE ［5:55pm / 7:30pm [山内洋介(13souls)&Outrage Soul Band] ミュージックチャージ：￥4,500（税込） ※別途2ドリンクチケット（￥1,000）をご購入いただきます。開催場所：Motion Blue yokohama 231-0001 神奈川県横浜市中区新港1丁目1-2 横浜赤レンガ倉庫2号館3F 045-226-1919 http://www.motionblue.co.jp/ 予約受付先：モーション・ブルー・ヨコハマ電話予約（045-226-1919） ※11:00a.m.～9:00p.m. WEB予約（http://www.motionblue.co.jp/）※公演当日の14:00まで ※スタンディング形式の公演となります。(一部を除く) ※ミュージック・チャージ(エントランス・フィー)はインターネット予約のお客様以外は店頭で受付時にお支払いいただきます。(クレジットカード利用可) ※ご入場時にドリンクチケット(￥1,000／2枚)を別途ご購入いただきます。(現金のみ) ※インターネット予約の際には無料のアカウント登録が必要になります。登録がお済みでない方は、｢マイページ｣より事前にご登録いただくことをおすすめいたします。 ※なお、ウェブサイト��らのご予約の際はクレジットカードが必要となります。ご利用可能なクレジットカード⇒VISA、MASTER、JCB、AMEX、DINERS ※小学生以上18歳未満の方は、保護者同伴の上22時までご入場頂けます（条例による）。 ※制服、ユニフォーム等でのご入店はお断りしておりますので、あらかじめご了承下さい。なお、未就学児、乳幼児のご入店は堅くお断り申し上げます。公演のご予約はMotion Blue yokohama公式サイトから http://www.motionblue.co.jp/artists/afrontier/ afrontier公式サイト https://afrontier.com/news

出演者紹介 (LIVE)

Fontana Folle (フォンタナフォッレ) ミステリアスな多国籍メンバーが紡ぐ、躍動する新世代のボーカルジャズ。ニコラ・コンテ、ジャザノバ、ジャミロクワイが溶け込んだような新サウンドがここに誕生。 2016年結成。日本、アメリカ、ブラジル、イタリア、東南アジアで音楽を吸収してきた多様なバックグラウンドならではの新たなボーカルジャズ像を提示するトリオ。ジャズ、ラテン、R&Bを飲み込んだ豊かなサウンドの中でSadeやGeorge Michaelを彷彿とさせるセクシーで中性的なボーカルが音楽を彩る。 2017年4月に1st EP "PRIMA"を全国リリース。結成1年にして渋谷最大のジャズクラブJZ Bratへの二度の出演、Blue Noteグループの名門Motion Blue Yokohamaへの初出演も果たす。 2018年はMotion Blue Jakartaでの公演を中心にしたジャカルタツアーを敢行し、日本とアジア、アジアと世界を音楽で繋ぐバンドとしての大きな一歩を踏み出している。 Fontana Folle 公式サイト http://fontanafolle.strikingly.com/

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山野友佳子 -Yukako Yamano- <Fontana Folle's guest> ３歳からヤマハ音楽教室でピアノを習い始める。東京音楽大学付属高等学校～同大学へ進学し本格的に音楽を学び始める。18歳からジャズを習い、演奏活動を開始。その後、自身のオリジナル楽曲の演奏活動も開始。ジャズピアノを清水絵理子氏に、クラシックを小高明子氏、稲田潤子氏に師事。また、学内にてペーテル・ヤブロンスキー氏の公開レッスンを受講。2015年6月にオリジナル曲を収録した2ndアルバム、『2nd Stage』納浩一(ba)藤井学(ds)をリリース、完売。2015年9月～2016年4月、『読売プレミアム』よりコラムを連載。現在多くのライブハウスやフェスティバルに出演、アジア各国・ヨーロッパ・アメリカでの海外公演や海外のアーティストと共演するなど、幅広い地域とジャンルで活動を展開している。その他、KORG　Cafe Style認定講師、リー・エバンス協会研究員、"Vocal School DADA"ピアノ講師。山野友佳子公式サイト http://yukakoyamano.com/

河野祐亮ピアノトリオ Yusuke Kono Piano Trio GospelやHiphopのサウンドが香る”NY JAZZ”スタイルのピアノトリオバンド。リーダーの河野祐亮は2011年にNYへ渡り、名門The New School Jazz And Contemporary Musicにスカラシップ合格し入学する。2014年秋に帰国し『河野祐亮ピアノトリオ』を結成。2015年にSAPPORO CITY JAZZのコンペティションでグランプリを獲得。名実ともに日本一のジャズバンドに輝く。 2016年7月から初の海外ツアーであるヨーロッパツアーを行い、世界三大ジャズフェスティバルの1つ『ウィーンジャズフェスティバル』(オーストリア)、ヨーロッパを代表するクラブ『ロニースコッツ』(イギリス)へ出演し喝采を浴びた。そして2017年にはメンバー3人で渡米し、本場NYのジャズシーンでいま大活躍するサックスプレイヤーWalter Smith Ⅲと、ビブラフォニストWarren Wolfをゲストミュージシャンに迎えブルックリンの「The Bunker」スタジオでレコーディングを行う。一流のプレイと河野のオリジナル楽曲の魅力が合わさった、珠玉のニューアルバム『Be with us』が8月30日に発売。また、このアルバムのためにクラウドファンディングを企画。目標金額であった100万円をわずか2週間で達成し、まさにファンと力を合わせて完成させた1枚である。ディスクユニオンをはじめとする全国CDショップにて発売され、TowerRecords 都内店舗では初回入荷分がすべて完売、Amazon でも JAZZ 部門第 5 位（2017 年 9 月 3 日時点）という快挙を成し遂げた。また、このCDのリリース記念として行われた 2017年11月23 日の東京・渋谷「JZ Brat」でのライブでは、1st・2nd それぞれ定員 100 名の入れ替え制にもかかわらず、チケット完売・キャンセル待ちも発生。一夜にして200名の動員を達成する大盛況のライブとなった。河野祐亮公式サイト https://yusukekono.com/

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細川玄 (GEN HOSOKAWA) ジャズトランペット奏者、作編曲家として25年以上プロとして活動中。『細川玄ジャズクインテット』を率いてブルーノート系列のジャズクラブ、モーションブルーヨコハマには15年以上継続出演中。他全国で演奏を展開している。代表作CDソロアルバム『Motion for jazz Frontier』(Impartment Inc.)はジャズ系DJをはじめ、各方面から絶大な支持を獲得した。現在もロングセラーとなっている。これまでに30タイトル以上のCD作品にトランペット演奏また作曲アレンジなどを提供。TVCMなどのBGM作曲作品提供オンエア実績も多数。商業音楽での楽曲制作曲数は延べ70,000曲に及ぶ。 2018年より自身がプロデュースするミュージックスクール『セプテンバーミュージックスクール』を主宰。25年に渡るアーティスト活動、商業音楽活動を経て後進にリアルな情報と、音楽で生きてゆくためのリアルな必要スキルを伝授している。プロも学びに来る本格的な完全個人レッスン音楽教室をスタートさせ人気を博している。個人レッスンの他にも荒川区が運営しているジャズビックバンドの指導、コンダクターなども務めている。地域コミュニティーへの音楽活動への推進やアマチュア音楽活動の普及に尽力している。荒川区の歌『あらかわ～そして未来へ』のジャズビッグバンドアレンジも手掛けた。現在バンドテーマ曲として演奏��れ、地元の方々から愛されている。演奏家としては正統派ジャズミュージシャンとして定評があり、作曲家としては類稀なるメロディーメーカーとして各方面から高評価を獲得し現在に至る。細川玄公式サイト http://genn.la.coocan.jp/

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中村智由 (native) 大学卒業後よりプロのサックス奏者として演奏活動を開始。ダンスホールやジャズクラブでの活動を経て、1999年に自身がリーダーのジャズバンド"native"を結成。nativeでは、ドイツ、中国など海外での公演、サマーソニックへの出演、海外レーベル含む10枚のアルバムをリリースし、大手CDショップのセールスランキングにチャートインするなど2000年代のクラブ／ジャズシーンを牽引する。演奏活動と並行しサウンドプロデュースも行っており多数のカバーアルバムを制作。生音中心の都会的でクールな表現を得意としている。 native 公式サイト http://www.cnative.com/

山内洋介(13souls) 鳥のさえずりの如く歌うことを信条とし、海とサーフィンを愛する湘南生まれのギタリスト山内洋介。 2009.08にデビュー作「Six strings with love」7インチをリリース。全国のDJの耳に響き、無名のアーティストにもかかわらず、スマッシュヒッツ。これを受け、60’sの黒人ミュージシャンのセッッションをイメージした二枚目の7インチをリリース。DJ MURO mix CD「MIX SHOW NIGHT CHANNEL issue 02」に収録され即完売。一気に話題のアーティストへ。 2011.7.06 1st Album「BRAND NEW OCEANS」をリリース。インディーズインストとしては異例の大ヒットを記録。7.20 Motion Blue yokohamaにて、『BRAND NEW OCEANS』のワンマン、リリースパーティが開催。当日は入場制限、1st setから立ち見が出るほどの動員数で、多くの観客を魅了した。同アルバムは2013渋谷TSUTAYAバイヤーが選ぶ今年のベストディスクに選ばれる。 2012.07 2nd album 『GOOD TIMES (I SAY) 』が発売。全国のタワーレコードを中心に、大展開。大きな反響を得る。後に2017年、ギターマガジン３月号、国内JAZZ FUNKのギタリストとして本誌を飾り、主催ライヴを大いに沸かせた。 2017 13souls 3rd album 『Rough&Beautiful』をクラウドファンディングにより制作。山内洋介の呼びかけにより、多くの人々の資金援助を得て、大反響を得る。同年、ギターマガジン12ヶ月号にてギタリスト山内洋介がピックアップ、特集される。人気アパレルブランド、JOURNAL STANDARDとDeliciousのコラボ企画に楽曲提供。正に13souls山内洋介の存在そのものが現代のレアグルーヴと言えよう。今、最も注目すべきアーティストの一人である事に間違いはない。山内洋介 Facebookページ https://www.facebook.com/13souls-816172288405353/

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出演者紹介 (DJ, VJ, Organizer)

TOJO (afrontier) 90年代前半にDJとしてのキャリアをスタート。都内クラブ、カフェやライブハウスなどで活動後、2003年、トランペッターでありオーガナイザーでもあるオサダイサオ氏に見出され、Motion Blue yokohamaを拠点としたクラブジャズイベント『afrontier』に、JUN MORITA、Takeshitaと共に参加。『afrontier』のレジデントDJとして、国内外のアーティストと多数共演。Blue Note TOKYO関連イベント、来日アーティストのフロントアクトや数々のリリースパーティーに抜擢される。その他サルサやUKジャズダンス等のダンスイベントから、カフェやレストラン、ホテルのラウンジイベントまで、活動の場は多岐にわたる。また、ジャズミュージシャンやダンサーを相手にその場で選曲をするなど、セッションの経験もあり、アーティスト側からの信頼も厚い。近年はバレアリック・シーンとの交流もあり、シーンを代表する来日アーティストのサポートDJとして出演もしている。リイシュー・シリーズ【EXTRAVAGANZA!】から2016年5月にリリースされた『Randy Weston’s African Rythms / Niles Littlebig』のライナーノーツを担当。ジャズやエキゾチックな音を基調に、時空間を横断するクロスオーバーなDJスタイル。ドラマティックでストーリー性のある選曲を得意とする。 http://tojoafrontier.jugem.jp/

森田潤 (afrontier) DJ、モジュラー・シンセ奏者。ソロ・アルバムLʼARTE DEI RUMORI DI MORTE (SPF-004)ɸonon 2018年発売。ワールド・ミュージック、ジャズ、エレクトリック・サウンドなどに幅広くコミットし、クラブやホテルでプレイするほか海外にも遠征。クラブ・ジャズ系”afrontier”、ワールド・ミュージック系”Séduction Tropicale”、エクスペリメンタル系"WHOLE LOTTA SHAKIN’ GOIN’ ON”、ハウス系”Perfect Love Affair”等、多くのイベントにレギュラー参加。blackmadras名義で楽曲製作も行い、OMAGATOKIやVillage Musicからリミックス作品も発表。バンド形態のOmega f2;kは13年にポニーキャニオンよりデビュー曲をドロップ。DVD作品"THE DECLINE OF THE ORGY”を発表。また、レア・ヴァイナル復刻のマスタリング・エンジニアとしても評価され、ホセー・アントニオ・メンデス等の再発盤がベスト・セラーになっている。2018年には芥正彦企画／演出によるノイズ・オペラ「カスパー」に参加。

大塚広子 (DJ/音楽ライター/プロデューサー) ジャズをメインにDJ歴20年。アナログレコードにこだわった1960代以降のブラックミュージックの音源発掘から、現代ジャズ、クラブミュージックまで繋ぎ、ワン&オンリーな“JAZZのGROOVE”を呼び起こすDJ。徹底したレコードの音源追求と、繊細かつ大胆なプレイで全国的な現場の支持を得て、ニューヨーク、スペインの招聘、東京JAZZ、2度のFUJI ROCK FESTIVAL、Blue Note JAZZ FESTIVAL in JAPAN等出演。クラブシーンのみならず老舗ジャズ喫茶やジャズライヴハウスで、評論家やミュージシャンとのコラボレーションを積極的に行い、柔軟なセンスで音楽の楽しみ方を提示している。DJ活動の他、メディアでの執筆、選曲監修、伊勢丹新宿店をはじめ企業の音楽イベントプロデュース、自身のレーベルKey of LIfe+を主宰。現在生まれる音楽を審美眼を活かした切り口でまとめあげたコンピレーション（PIECE THE NEXTシリーズ）や、気鋭ミュージシャンを束ねたプロデュース・ユニット（RM jazz legacy）のディレクション、リリース活動なども行う。DeAGOSTINIジャズレコードコレクション(2016年創刊号及び、書店PR文)、朝日新聞(2017年7月「ジャズと私」コーナー)、読売新聞（2018年2月「くらし家��記事」）などに掲載、執筆。ジャズ及び、アナログ・レコード普及におけるオピニオンリーダーとしても活躍。 http://djotsuka.com/

Takeshita (afrontier) 90年代後半から青山BLUEなどの都内クラブやカフェ・レストランetcを中心にイベント企画及びDJ活動に精力的に取り組み、2003年からはMotion Blue yokohamaにてジャズイベント『afrontier』のレジデントDJとして参加、活動範囲を全国区へと広げた。ラテンを中心とした新旧ワールドミュージックからジャズ、現行のダンスミュージックを現場によって使い分けている。Eddie Palmieri, Larry Harlow, Jorge Benjour, Joyceの来日公演サポートをはじめ、国内外のミュージシャン/DJとの共演歴も多く、第一ホテル東京ラウンジなど商業施設のBGM選曲なども手掛けてきた。 https://afrontier.com/

木村勝好 '90年代の終盤にキャリアをスタート。現在、青山ZERO、渋谷FAMILYといった都内のクラブフロアでプレイする他、ジャズクラブやホテルのラウンジ、レストランなど、あらゆる場所、シチュエーションに良質の音楽を届け、響かせている。ダンスミュージックの分野では、ASHREY BEEDLE、DJ KRUSH、菊地成孔他、国内外の名だたるDJやアーティストを、自身がレギュラーを務めるパーティー『in the mix』に招聘。そこでのフロントアクト・共演を経て吸収した幅広い感性は、まさに自らが提唱する「FREE FORM HOUSE MUSIC」そのものといえ、現在も変化を続けている。そのジャンルを横断しつつまとめあげる起伏と情感に富んだプレイスタイルを、是非とも体感してほしい。 http://mixcloud.com/masayoshikimura/

Kiki (Mucho Mucho Mambo!) サルサバンドに明け暮れた大学時代から、無類のラテンクラシックス好き。60-70年代のグルーヴィなラテンをベースに、現在進行形のサルサまで、ラテンの様々な味わいを表現すべく、音源捕獲＆模索の日々を送る。都内及び横浜、大阪のクラブ、バー、ラウンジで活動中。ラテンを愛するすべてのダンサーに贈るパーティ「Mucho Mucho Mambo!」レジデントDJ。

TASUKE 1974年生まれ。ディレクター・アートディレクター。主に映画・テレビ番組のオープニングタイトル映像のディレクションをメインワークとする。VJとしては2000年から、VJユニットNitro Movieのメンバーとして、キャリアをスタートする。2002年からtasuke名義で南青山のloopで行われていた「VORTECHS」のレギュラーVJをはじめ、代官山UNIT・Motion Blue Yokohaha・ageHaでプレイ、国内外の様々なアーティストと共演。2007年にはドイツのカッセルでDJピエールがオーガナイズするイベント、Tokyo NightにゲストVJとして出演。現在は2002年からオサダイサオがオーガナイズするジャズイベント、afrontierでレギュラーVJとして第1回から出演している。

isao osada (trumpet, producer) 80年代初頭からプロのトランペッターとして音楽活動を始める。93年にCLUB JAZZ UNIT『O.M.U』のファーストアルバムをリリース、欧州14ヶ国を始め米国にて発売される。以降インターナショナルジャズフェスティバルへの出演、ヨーロッパライブツアーを行う傍ら、ミスターチルドレンのツアーサポート、数多くのレコーディングにソロプレイヤーとしても作品を残すなど、ジャンルにとらわれることなく精力的に活動。2002年からは自身のバンド演奏を行っていた横浜赤レンガ倉庫のジャズクラブ「Motion Blue yokohama」にて『afrontier』のイべント・オーガナイザーとしても活動。2008年には同イベントのコンピレーションCD『isao osada presents "afrontier" 12 colours to 7 seas』をリリース。近年はホテルを全館使用した新たなイベントスタイルをプロデュースする等活動の幅を広げている。公式サイト http://www.isaoosada.com/

#afrontier #15th_anniversary #motionblueyokohama #tune #fontana_folle #河野祐亮ピアノトリオ #細川玄 Jazz Quintet #山内洋介(13souls)&Outrage Soul Band #djtojo #djjunmorita #dj大塚広子 #djtakeshita #dj木村勝好 #djkiki #vjtasuke #isaoosada

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