#Muse Australia

[sunburnacoustic]

Q: If there’s a colour for sex, what would it be?

Matt Bellamy: (Pause) Well it’s got to be red hasn’t it, surely? Blue’s a bit too boring.

Yeah mate? You were saying?

[my-t4t-romance]

ough I didn't know geniuslyrics had so many FEATURES

when mcr played the world is ugly at brisbane night 1, I saw the song in a whole new light. to me this song is a t4t anthem now

[paulagnewart]

Sonic the Oz-Hog Act 4/12: Knux Readux!

Knuckles the Echidna Volume 2 issue 1 AU Publication Date: 14th April 1997 Price: $2.70

Spinoffs. No self-respecting media can live with them. No self-aggrandising media can live without them. And for those of us who lived through the space year that was 1997, corporations were chomping at the bit for a slice of those sweet spinoff dollarydoos.

Best place to start and witness such influence would be, arguably, the cinema. After Baz Luhrmann's blockbuster remake Romeo + Juliet spent weeks atop the box office, the majority of March was a bitter struggle between Wes Craven's thriller Scream and Cameron Crowe's football drama Jerry Maguire. A fascinating if ultimately pointless grudge match between two distinct genres. For all their efforts, neither claimed victory when by month's end, a film 20 years their senior blasted both off the map. The Star Wars Special Editions had arrived.

The promotion (and merchandise deals) was huge. A New Hope proved an instant hit, swiftly followed on 10th April by The Empire Strikes Back. Everything old was new again, and the re-hits just kept coming. Audiences pounded the pavements, eager to revisit Jurassic Park when its sequel The Lost World saw release on 29th May (only a week after its US premiere, a then-impressive feat). Superhero buffs ignored the winter freeze to watch Batman and Robin on 26th June, a film often lauded yet pulled respectable numbers and local reviews at the time.

Speaking of space, following a successful campaign through latter 1996, the Oddbodz were back. Smith's Chips and Glow Zone launched their second series of 61 collectable glow-in-the-dark cards featuring a myriad of wacky, wicked and occasionally controversial space-themed characters. If gross-out humour wasn't your speed, ripping into packs of Thins, Ruffles, Cheetos or Doritos chips instead offered adventures in a galaxy far far away with official Star Wars 3D Magic Motion and Techno Tazos.

After the toyline's initial launch in January, Beast Wars had successfully put Transformers back on the map, though kids would have to wait at least three more months to see their favourite characters in animated action. To Channel 7's credit, they at least gave the program a decent timeslot. More than can be said for Channel 9's decision that April to broadcast the all-new Star Trek: Voyager season 2 and Star Trek: Deep Space Nine season 4 at the ghastly time of 11pm weeknights.

In spite of the former losing 30 minutes off its timeslot, the rivalry between weekday morning children's entertainment continued between Agro's Cartoon Connection and Cheez TV. Both were banking on the spinoff craze, and viewers waking up 14th April could choose between the premiere of Power Rangers Zeo episode 'Oily to Bed, Oily to Rise', or the premiere of Earthworm Jim episode 'Darwin's Nightmare'. For the musically inclined, American rockers No Doubt had enjoyed 8 weeks atop the music charts with the third single on their third album, 'Don't Speak'. At least until April saw them bumped off by Aussie pop prodigy Savage Garden and their third single 'Truly Madly Deeply'.

But of all the spinoffs to arise and bedazzle locals, after three years of development and an exclusive preview party the night prior, SEGA World Sydney opened its doors at 4pm on Saturday 22nd March 1997. Touted in print and on TV as "Australia's Largest Indoor Theme Park!", it offered hours of unrivalled entertainment and programs for Sydneysiders and visitors alike. Anyone who could afford its hefty entry fee lost themselves in all the games and rides they could handle (except Mortal Kombat, which was pulled last-minute). An escape into pixilated fantasy guaranteed to forget their real-world troubles for several hours. Mundane adult things like Victoria and Western Australia's brief yet brutal summer bushfire seasons where 3 lives and some 59 homes were lost. Or how after one year into the top job, captain conservative John Howard faced international anger over comments at the United Nations General Assembly, and local anger over casual dismissing threats by extreme right-wing rival Pauline Hanson's One Nation party.

Be it stage shows, costumed cameos and all types of merchandise featuring their antics, fans of Sonic, Tails, Sally and Robotnik were in paradise. Unfortunately the same couldn't be said for a fifth member of the cast. For someone who enjoyed strong popularity and a species originating right there, SEGA World put the bare minimum effort into giving Knuckles the Echidna his own time to shine. A remarkable oversight undoubtedly leaving young fans wondering where that embattled echidna was hiding. As luck would soon have it, they needn't look far.

Nestled comfortably among the shelves between Sonic issues 45 and 46 came Knuckles: The Dark Legion. Sales had proven strong enough (or at least stronger than Tails and Sally's comics) to warrant the development of a second miniseries. Exciting in its own right, only amplified when exclusively announced through AOL in January 1997 it would evolve to a fully-fledged ongoing spinoff. No longer was trotting off to the newsagents exclusively a Friday end-of-month treat. Knuckles' arrival meant a mandatory Monday mid-month booster for us deprived of Mobian adventures.

Over the course of its 32 issue run, Knuckles the Echidna was, much like Endgame two months later, once praised as a pinnacle of Archie Sonic. Fans adored the series, giving ol' Rad Red his own unique mythos and adventures. While Sonic naffed around aimlessly in a post-Robotnik world, we saw Knuckles as the cool, 'mature' comic. He had stakes. He had drama. Quite a turnaround after the heavy criticism its writer took in late 1996 over Sally's leaked demise. Within months he was described as "a kewl writer!", or "one of the ONLY "good" and "balanced" writers Archie has", or how they're "so much better then sonic comics now its not funny." with "all the good villains and family members." Fans swarmed en mass to his WWWBoard, creating their own stories, characters and entire websites tied to the Brotherhood and Dark Legion. Not everyone agreed on the book's mission statement "Why does everybody liek it so much? All it is really is a bunch of Penders' characters running around with slight appearacnes by Chaotix and occasionally knuckles himself.", but it made a lot of other people happy. Enough for both The Dark Legion and Lost Paradise reissued as 'back catalogue' orders to selected comic book stores in late 2004.

And just like Endgame, those nostalgic memories have since dissipated when adults reflected on his tales with matured, scrutinous eyes. We grow. We learn. We reevaluate on what was once adored as adolescents, realising perhaps those good times weren't all that good. Maybe the series and characters were fine in concept but lacked competent execution. Maybe our childish expectations meant they were never good to begin with and the critics were right all along.

The youthful, creative glory days from the late-90's to mid-2000's of Knuckles of an Echidna, Kragok Comics, Echidna Gals, Dark Legion HQ, Echidnapolis, Knux Redux, Tisha-Li's Dark Legion Camp, Kensuke Aida's Julie-Su Shrine, Echidnoyle, Shattered Moonlight, Knuckles 9000, Kiri Megami's Chaotix Hideout, Darkest Mysteries, and of course True Red's mighty Knuckles Haven have long passed.

It's from learning said past our futures are forged, but do any of these characters have a future? Do they even deserve a future?

Or maybe it's just best they're all forever banished to the Twilight Zone of cultural irrelevance.

Next Time: For years I said it wouldn't be done. Yet promises, like the hearts and cheekbones of fictitious rodents, were made to be broken. Will May's hedgie rectrospect-y truly be worthy of such hate? Or have revisionists painted a far worse picture over the past two decades?

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[darlinhutchence]

Michael Hutchence as Clive in Limp (1999)

[umbrae-sortilegium]

Welcome to my little dark corner of the interverse, a place where shadows dance with secrets and words whisper forbidden tales. I am Dyshanka, also known as Odette, your guide through this enigmatic realm. I am a wordsmith, weaving the threads of darkness into poetry that resonates with the deepest chambers of the soul. A witch of the night and the moon, I find solace in the embrace of the stars, and I dwell in the hidden crevices of existence, where the beauty of darkness reveals itself.

In the depths of this clandestine sanctuary, I invite you to explore the uncharted territories of emotion, where melancholy and mystery intertwine. Here, you'll find the unspoken dreams that come to life beneath the shroud of night, the eerie incantations that beckon the ethereal, and the intoxicating allure of the macabre. In the alchemy of my words, I conjure the essence of what many fear and few dare to embrace.

As you navigate this dimly lit labyrinth, you'll discover that it's not only the destination but the journey itself that holds the allure. Each verse I pen is a portal to a world of hidden desires and enigmatic fantasies, where the boundaries between reality and dreams blur into a seductive, enigmatic haze. Here, the night sky becomes a canvas for my darkest musings, and the moon whispers secrets that only the initiated may decipher.

In my little dark corner, you'll find the uncanny beauty that thrives in the shadows, where the poetry of darkness is etched into the very fabric of existence. It's a place where those who seek solace in the embrace of the night come to find communion with the eerie and the extraordinary. So, wander, explore, and immerse yourself in the words that hold the key to the enigmatic heart of Dyshanka, the mistress of this dark and beautiful interverse. © Dʏsʜᴀɴᴋᴀ/Oᴅᴇᴛᴛᴇ ₂₀₂₃

[yeonban]

Elijah whenever Tobias pisses him off

[tinystepsforward]

is there a masterchef australia fandom on tumblr. i mean maybe right. anyway i just watched s15e28 and cath is soooo annoying to me like. i feel like she panics every team challenge and doesn't really seem to have self awareness about how that fucks things up for her whole team but this specific team challenge beginning with her saying repeatedly to other people and the camera that she has "ice cream ptsd" bc last time it didn't set is. well it made me annoyed enough to make this post anyway

[merryfortune]

randomly remembers this one moment in my november japan trip

I've been doing my best so that people only see the My Melody side of my photo card with Spectre in it but it gets twisted around the wrong way when I sit down on the bench on the night cruise we were taking.

Old lady sits down next to me and exclaims, "An anime boy! I tried anime, specifically Yuri!! On Ice but I didn't like the over-exhagerated expressions" and I sit there frozen because um

you know

gesogao man my beloved

[sunburnacoustic]

How does it feel to be the biggest little man in music? Andrew, 21, Koolewong, NSW

Matt: (Laughs) It’s quite good. With the guitar on stage you get to feel quite: “Hey man, I’m not too bad after all! I’m only 5'7" but I can play some good riffs so it’s all right. Everything’s okay.” (Can’t stop laughing)

[Matt Bellamy, Triple J Magazine interview, 31 October 2007 ]

(The questions for this interview were all sent in by fans)

[peace-and-light-poetry]

Blinky

He came before the Parliament Seventy-five percent of his body Was skeletal

The other percent was recognizable Except singed and decaying

He was screaming A low pitched smoky cry To the skies above

She couldn't tell if he was angry or sorrowful But she knew the wails were sounds of Sounds of agony

The situation seemed like something Out of a horror film That was the point

The image of a zombified koala screaming in agony Is a distressing one

He came before Parliament for a reason He came with a message, a reminder, The incarnation of the billions of animals lost

To the bushfires And the habitat so ravaged by flames

A warning of what's to come If things don't change.

[paulagnewart]

Morganic Musings

20th November 1998 saw the 65th issue of Archie's Sonic the Hedgehog comic escape its continental cargo confines and reach the hands of Australian retailers. For us then-avid readers, it meant hopping on a bike after school to make that traditional end-of-month pledge over to the local newsagent, ready to swap a hard-earned $3.95 (and any extra loose change for an ice block when possible) for another enthralling escape to Mobius.

And yet it all felt different this time.

In the aptly titled The Fellowship of the Rings, audiences were introduced to the story of Nate Morgan. Having cameoed in the previous issue (released here on 22nd October '98 for the curious), this humble human sheltered the battered Sonic and Tails into his isolated tundra abode, while giving that nuisance Ixis Naugus a well-deserved booting out. The small, seemingly insignificant old man would prove anything but, as the issue recounted his adventures and adversities over the decades; from creating and refining the Power Rings, serving as key member of Royal Acorn court, even establishing how the Lake of Rings operated while visiting the future Knothole Village and Freedom Fighters' underground HQ

The road from concept to completion for this character was far from easy, and for years looked as though he'd never see the light of day. Morgan's origins can be traced all the way back to early 1992 during DiC's initial development of their Sonic the Hedgehog cartoons, where he was depicted in their story bible as a 110 year old black human with flowing white beard living in Knothole. A former environmental advisor now proud Freedom Fighter, he was a friend to all animals, offering advice/support and boosting morale where he could with the occasional magic trick. Two rough sketches accompanied his profile, with the choice of tall or short designs.

By the time 1997 rolled around, a copy of that story bible and designs made their way into Archie's office. Having combed through its contents, editor Justin Gabrie decided the character deserved a second chance and ordered his inclusion in the comic. The task fell on newly-minted head writer Karl Bollers to breathe life into the character opting to go with the shorter model, which artist Patrick Spaziante imbued with his Midas touch. And lo, the old man was reborn a new old man.

I genuinely liked Nate Morgan (or as my younger self used to mispronounce him, "Mor-Gain". Hey, we all do stupid things from time to time) as a character. His appearance in the comic was something of a revelation, especially in a pre-Adventure era where the idea of other humans let alone a whole city of them living on Mobius was pretty farfetched. It added intriguing new layers to the series' lore, nor could I say no to another kindly father figure at a time when the likes of King Max and Locke were anything but. His backstory of seeking acceptance only to find hate and deception at every turn really touched a nerve, and was saddened to pick up and see his demise years later in issue 105's Touch of Evil.

Unfortunately that same hatred manifested in the real-world, and it felt more than a few times that I was the only person who cared.

How disheartening it was to boot up the 25.5kph modem, peruse the message groups and see fellow readers' reactions. Whether it be through dislike of change or some underlying racial prejudice (which he sadly was a target of more than once), fans certainly didn't hold back when voicing their displeasure over the character. A chaotic chorus which only grew as the millennium drew to a close; some hated his sudden importance to the history of Power Rings and the Acorn Kingdom, others thought he'd outright steal the spotlight from Uncle Chuck and Rotor as the residential techspert, the shameless self-insert of Karl Bollers (or Ken Penders depending on which fan you asked), and of course the ever-present decries of "Mr. Walking Plot Device". In that light, early Mina Mongoose fans got off lucky. It would be nice to see Nate Morgan resurrected or even reevaluated in some form or other in future media, but like the rest of the cast, this series had its time and its day. New ideas and characters have since stepped up to fill their void, even if it's quite the pickle finding a similar substitute for him.

But stranger things have happened. His appearance in the first place being the best one.

[umbrae-sortilegium]

𝒯𝒽𝑒 𝒟𝒶𝓇𝓀 𝒩𝒾𝑔𝒽𝓉 𝑜𝒻 𝓉𝒽𝑒 𝒮𝑜𝓊𝓁 𝒶𝓃𝒹 𝒟𝑒𝒶𝓉𝒽 ℳ𝒶𝑔𝒾𝒸 𝒾𝓃 𝒲𝒾𝓉𝒸𝒽𝒸𝓇𝒶𝒻𝓉. The Dark Night of the Soul, a profound and enigmatic concept, finds its place in the realms of spirituality, occultism, and mysticism. This term, often associated with the writings of the Spanish mystic St. John of the Cross, refers to a deep and agonizing spiritual crisis. It is a journey through the shadowed corridors of one's psyche, a descent into the abyss of the soul, and a powerful, transformative experience that can be likened to death and rebirth in the realm of the spirit.

In the ancient practice of witchcraft, the Dark Night of the Soul holds a unique significance. Witches have long recognized the value of delving into the darkest aspects of themselves to attain a higher state of consciousness. This mystical experience serves as an initiation, a rite of passage, and a crucible through which the soul is purified and reborn. It is the proverbial alchemical process, where base elements of the self are transmuted into gold, symbolizing enlightenment and spiritual transcendence.

Death magic, a term often misunderstood by the uninitiated, is a potent and complex branch of witchcraft. It is not about causing harm or bringing death to others, but rather about embracing the transformative power of death as a natural part of the cycle of life. Death magic entails a deep connection to the underworld and its mysteries, and it involves communing with spirits, ancestors, and the very essence of death itself. Through this communion, witches seek wisdom, guidance, and a deeper understanding of the mysteries of existence.

Funeral rites in witchcraft are profoundly intricate and spiritually charged. They are not morbid, but rather a celebration of life's cycle and an acknowledgment of the transition from the material realm to the spiritual one. These rituals honor the deceased, pay respects to their journey, and facilitate their smooth passage into the afterlife. Witches believe in the interconnectedness of all life, and through these rites, they aim to maintain that connection even in death.

The concept of the "veil between the worlds" is pivotal in witchcraft, and during funeral rites, this veil is believed to be at its thinnest. It is a time when the living can communicate with the dead, and vice versa. Witches often use tools such as candles, incense, and divination methods to facilitate this communication. The deceased's spirit is invited to share wisdom, guidance, and messages with the living, helping them navigate life's challenges and mysteries.

In the realm of witchcraft, funerals are not just about mourning and letting go but about honoring the deceased as a part of a greater cosmic tapestry. The deceased is seen as a teacher, a guide, and a source of ancestral wisdom. Their journey into the afterlife is respected as a sacred transition, and the funeral rites are designed to assist the spirit in moving gracefully into the next phase of existence.

Death, in witchcraft, is not the end but a beginning—a passage to a realm beyond human comprehension. The rites conducted during funerals are meant to ease this transition, ensure a peaceful journey, and maintain the connection between the living and the dead. The focus is on the eternal, the timeless, and the cyclical nature of existence, where death is a necessary and transformative phase.

Witchcraft, in its essence, is a practice deeply rooted in the mysteries of life, death, and the afterlife. It is a spiritual path that acknowledges the interconnectedness of all things and embraces the cycles of existence. The Dark Night of the Soul, death magic, and funeral rites in witchcraft are integral aspects of this ancient and intricate tradition. They are not about fear, morbidity, or malevolence, but about enlightenment, transformation, and a profound respect for the mysteries of life, death, and rebirth.

The Dark Night of the Soul, with its agonizing descent into the depths of one's being, mirrors the journey of the soul through the underworld, a realm of shadows and hidden truths. It is a process of shedding the illusions and attachments of the material world, much like shedding the mortal coil in death. In both cases, there is a profound sense of loss, but also the potential for rebirth and transformation.

In the world of death magic, the concept of the Dark Night of the Soul takes on a more literal meaning. Practitioners of death magic often seek to confront their deepest fears and insecurities, facing the darkness within themselves to emerge stronger and more attuned to the mysteries of death. This inner journey is seen as a preparation for the eventual transition into the afterlife, where the soul must navigate the unknown with courage and wisdom.

Funeral rites in witchcraft are a blend of reverence and celebration, a delicate balance between acknowledging the sorrow of loss and the joy of the soul's onward journey. These rites often involve the creation of sacred space, the invocation of protective spirits, and the use of symbols and incantations to guide the deceased safely to the other side. The ritual process is a testament to the belief that death is not an end but a continuation of the soul's journey.

Witches believe that the deceased continue to exist in another realm, and their spirits can provide guidance and protection to the living. Funerals serve as a bridge between the worlds, allowing for communication and the exchange of wisdom. It is a time for sharing stories, memories, and the collective knowledge of the community. In this way, death becomes a teacher, and the departed remain an integral part of the living's spiritual journey.

The concept of the "veil between the worlds" is central to funeral rites in witchcraft. During these ceremonies, the veil is believed to be at its thinnest, allowing for a more profound connection between the living and the dead. This is a time when messages, visions, and signs from the spirit world are more likely to manifest, providing solace and insight to those left behind.

Witchcraft's approach to death is a reminder that, in the grand tapestry of existence, no one is truly lost or forgotten. The deceased become ancestors, guardians, and guides for the living, their wisdom passed down through generations. Funerals in witchcraft are not about finality but about the eternal cycle of life, death, and rebirth. They are a testament to the belief that the spirit lives on, and that the mysteries of existence are infinite and interconnected.

The Dark Night of the Soul, death magic, and funeral rites in witchcraft are all intricate threads in the rich tapestry of this ancient spiritual tradition. They emphasize the transformative power of embracing darkness, the continuity of the soul's journey, and the interconnectedness of all life. In a world often marked by fear and avoidance of death, witchcraft offers a profound and elegant perspective on mortality, reminding us that death is not an end but a transition into the infinite. © Dʏsʜᴀɴᴋᴀ/Oᴅᴇᴛᴛᴇ ₂₀₂₃

[lessapander]

The art market I went to this past weekend had a lot of really cool offerings. I wish I had the funds to buy everything I saw, alas. It was very difficult to choose from all the stalls that were there (80 different artists attended). In the end, I purchased a tote bag and three prints for my Chaos Wall from Sir Gregory & Co., three shop illustration prints from Zenti Designs, a linocut of Chaotic Good Designs' Cat, Jon Snow, an upcycled bag from Kimono Yamamoto, an illustrated book for my partner's goddaughter from La Source Australia, and a silver boundary bracelet from Mill Foundry.

There were just too many excellent artists, though. I was a bit overwhelmed on the day. I hope everyone did really well with their stalls, there seemed to be a lot of people just being drawn in via local foot traffic when we were leaving to venue.

[yeonban]

The existence of Wammy’s children, necessitizes the existence of Wammy’s children…

Behold, the bits of lore that make me feel absolutely INSANE

[captorsicallfriends]

i am not normal about feels like by gracie abrams