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neighbourskid · 4 years

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2020

What a year, huh? Surely not anything anyone has expected to happen when we woke up on this day a year ago. I certainly haven’t. I’m not even sure, now, where to begin to sum up this year like I’ve done years prior. But then again... I may just as well just dive right into all the media I consumed this year, as I have done every year. I haven’t kept track as detailed as I have last year, but my year was definitely punctuated by pieces of entertainment that have come into my life.

Continuing on from 2019, my obsession with Good Omens was still going strong. Which was ideal, since I was gonna spend the first half of the year writing my Bachelor thesis on it. The intensity of the obsession may have waned a bit since, but I still love that show and book dearly and hold it close to my heart, and I don’t think that will ever stop. But while Good Omens was certainly an overall theme throughout my year, there were some other things that actually stood out.

With January came new episodes of Doctor Who, and having returned to that particular bandwagon the year prior, I was all about that. Jodie’s second season finally brought what I had longed for in her first--a darker kind of Doctor. She wasn’t quite as bubbly anymore, you could finally see some of the depths in the character that I loved so in the previous regenerations, which made me love Peter’s Doctor so incredibly much. In this season, I felt, Jodie was finally becoming the Doctor. Overall, that season catered to me personally every single episode. So many of the time periods they visited were of people I loved, and the introduction of Sacha Dhawan as the Master was absolutely....well, masterful. Sacha is brilliant in that role and I am utterly stunned by his talent. Although both John Simm and Michelle Gomez brought things to the Master that I liked, it’s Sacha’s completely unhinged take on it that made me finally like the character. He’s a madman and I love it.

The next major thing was The Good Place. I tend to have a talent of getting into shows just as they either ended their entire show, or the final season is just coming up. It’s happened quite a bit, and it was the same with this. I finally binged the show early in January and it would end its final season at the end of the month. True to form, I was completely obsessed with it for about a month, before I only occasionally thought about it again. But, thinking back now, I get this incredibly fond feeling for this show, and I remember that the finale absolutely wrecked me and I basically ugly sobbed through the entirety of it. Also very true to form, actually. I want to rewatch it again some time, but honestly preferably with someone who has never seen it before. Which, obviously, is a difficult thing to do given, well, everything.

Next up is something that surprised me a lot. In the middle of having to write my BA thesis, my procrastination thought it would be a great idea to rewatch and catch up on the entirety of Criminal Minds. And so I binged 15 seasons of that instead of writing my thesis. Which, coincidentally, had also just aired its final season not long before I started my binge in March. Rewatching this, I realised just how little I took in of the actual, like, stuff in the show when I first watched it as a teen. Although I mostly cared about the characters and their found family this time around--although I do find the cases really fascinating most of the time too--I noticed just how much I am not watching this for the fact that they are in the FBI. I was hyperaware of how often they shot at people before doing anything else, how many of the suspects died before ever being questioned or being brought in, and it made my skin crawl. I am aware how fucked up the criminal justice system is, and especially in the US, how the police functions and how incredibly glorified they are in the media. But rewatching this show, I realised how little I actually paid attention to anything when I was younger. Big yikes. Still, I remembered my love for these characters, and I really enjoyed that rewatch a whole lot. Found family will always get to me.

Once I finished writing my thesis and handed it in early in July, I then found my next momentary obsession: Community. The show had finally come to Netflix earlier in the year and a friend of mine had watched it then. I remember watching that pilot episode back then and being completely uninterested in watching it. The comedy felt like it wasn’t quite up my street, the characters were entirely unlikeable, and I especially disliked Jeff who the show was more or less centred around. I binged Criminal Minds instead, but then decided to give it another try. And, well, I watched it twice through without taking a break to watch something else in-between. Ironically, and maybe actually unsurprisingly, Jeff ended up being my favourite and I found myself relating a lot to him and his arc throughout the series. I even found myself writing some short ficlet-like things in the notes app on my phone. I made an attempt at starting a third watch, but I guess then the month was up, and my brain decided it was time for something else. My hyperfixations usually tend to die out after about a month. Which is why my complete devotion to Good Omens was a pleasant surprise. I did, however, end up watching quite a bit of Joel McHale and Ken Jeong’s The Darkest Timeline podcast throughout August.

Early in September, while already preparing for the new term at uni, and my first semester in my Master’s studies, I then turned to New Girl. Friends of mine had seen it and recommended it, and I remember watching probably the entire first season on TV while I was in San Diego the first time around back in 2016. Or at least I think it was the entire first season. Either way, I binged that whole thing, realised through Nick Miller that the go-to character I am drawn to and tend to project on in any piece of media is usually what I like to call “the garbage man,” which Nick is a prime example of. And although I spent a month watching the show in-between starting university again and volunteering at a film festival, I didn’t spend much time afterward thinking about it and moved on to other things rather quickly. I enjoyed watching it, that much I remember, and I’m pretty sure I cried at the finale because it was done wonderfully, but seeing as another month was up, my brain was probably like “okay fine that’s enough”.

I then spent most of fall and early winter watching every single bad Christmas movie available on Netflix, which was quite fun. In that moment of festivity, I also watched a movie I found absolutely brilliant and fell in love with immediately. It’s a beautiful movie called Jingle Jangle, it has a magnificent soundtrack and is absolutely incredible. I had no idea Forest Whitaker could sing and he completely blew me away. If you haven’t seen it already, I highly recommend it. It doesn’t matter that Christmas is already over, it’s beautiful either way.

By the time December finally rolled around, I was already over the whole Christmas thing, to be honest and I turned away from festive movies or shows, and eventually ended up finally picking up a gem I had heard much about and had been meaning to watch for a while. A show which, as it were, also aired its final season earlier this year. This little show is Schitt’s Creek. I will be going on about what this show means to me probably in another post at length, but for now just let me say: if you haven’t seen it, find some place to watch it, and put this beautiful show in your eyeballs. I am on my second run through already (although I’ve seen the second half of the show a second time already while watching it with a friend on their first run through), and it brings me so much fucking joy. It’s a gift, this show. And it will likely stay with me for a very, very long time.

That’s about it for the big things. I also watched a whole lot of other stuff, including entirely new things, or just newly released seasons of things I was already watching. Here’s what I can remember off the top of my head:

Charlie’s Angels (2020). The Night Manager. The Witcher. Dolittle (2020). The Librarians (rewatch). Harley Quinn (2020). Sonic the Hedgehog (2020). The Chef Show (S1 part 3, S2 part 1). Avenue 5. Money Heist (part 4). The Good Fight (S4). Brooklyn Nine-Nine (S7). DuckTales (2017 reboot). Frankenstein live. Staged (2020). Hamilton. Sense8. Julie and the Phantoms. The Boys in the Band. One Night in Miami. Enola Holmes. Supernova. His Dark Materials (S2). Happiest Season. The Great Canadian Baking Show.

I also got some reading done in-between what I had to read for my thesis in spring, and then for regular university courses in fall. Here’s some of what I can remember:

Anthony Horowitz, The House of Silk. Ramona Meisel, Sunblind. Donna Tartt, The Secret History. Good Omens novel and script book. Matt Forbeck, Leverage: The Con Job. Keith R.A. Decandido, Leverage: The Zoo Job. Greg Cox, Leverage: The Bestseller Job. Greg Cox, The Librarians and the Lost Lamp. Greg Cox, The Librarians and the Mother Goose Chase. Greg Cox, The Librarians and the Pot of Gold. Neil Gaiman, Marvel 1602. Christina Henry, The Lost Boy. Neil Gaiman, Norse Mythology. John Green, An Abundance of Katherines. Elizabeth Barrett Browning, Aurora Leigh. Maria Konnikova, The Confidence Game.

Having mulled over all this entertainment I consumed in 2020, there are also some non-tv or book things I need to point out. As many, many other people around the globe, I have also spent a large amount of time this year on my Nintendo Switch, playing Animal Crossing: New Horizons. It is a game I have waited for since the Switch was first announced, and I fell in love with it from the moment the first trailer dropped. It has brought me great joy in this weird fucking year, and I have more or less consistently played it since it came out in March. I ended this year with the in-game New Year’s Eve celebration and I feel like that summed up this year quite neatly and appropriately.

This year also brought with it another game very close to my heart: Super Mario Sunshine. With their release of Super Mario 3D All-Stars in September, Nintendo finally brought my all-time favourite Mario game to my all-time favourite console, and I played the entire game through in the first week of owning it, in-between university courses and volunteering at the film festival. Also contained in that package was Super Mario Galaxy which I have also played through in its entirety since. All that’s left for me now is Super Mario 64, which I am excited to play through in the coming year.

And to round off my year of entertainment, there are two more things I would like to mention. First, David Tennant Does A Podcast With..., which released its second season this summer. It is one of the only, if not the only podcast I keep up to date with and listen to immediately whenever a new episode drops. I’ve loved the first season dearly, and David came back with some incredibly fantastic guests for the second season as well. I can’t wait for what the podcast will bring in the future, but I will wait patiently until it is time. I can highly recommend it for everyone who likes interesting conversations between lovely people who clearly adore each other a whole lot.

And finally, while this year brought a whole lot of bullshit with it, it also gave me something I never thought possible and did not even dare to imagine in my wildest dreams. My all-time favourite show announced that it would be rebooted with the same main cast (minus one), a new wonderful member, and involvement of the original creators, and even started filming already in summer. Leverage is coming back. I still cannot believe it. I hoped for a movie, always. That maybe one day, they might bring the gang back together, for one last job, just one more encore. But to get a whole new tv-show with Aldis, Christian, Gina and Beth returning? With the addition of Noah Wyle? I can’t wrap my head around it. I am so excited for this. I predict that I will ugly sob through the entirety of the pilot episode, if not the first season, and will have to rewatch every episode because of it, but I have no doubt that it will be brilliant and wonderful.

True to form, I have now gone on about tv shows and movies for far too long, and haven’t really said anything about this year at all. 2020 was fucking weird. And I don’t think 2021 will be much different quite yet. I wrote an entire BA thesis in 2020. I successfully finished by Bachelor’s degree and started my Master’s studies and even got some excellent first grades in as well. I was lucky enough to be able to see some friends and family throughout the year, and even celebrate my birthday with a small circle of friends. I’ve become closer with friends, shared experiences I wouldn’t trade for the world, and, I think, maybe also grown a bit as a person.

I started this year excited to finally be able to start taking testosterone in February, and to finish the first part of my studies by summer. Although I did both of these things, they didn’t happen quite how I imagined them, but I am glad that I could do these things nevertheless.

2020 was a hell year, for sure. But there were some moments in there that I wouldn’t want to lose.

I’ve tried very hard to not be optimistic about this upcoming year, and rather take a more realistic, even pessimistic approach. But I can’t help but be hopeful. Hopeful that this year will be kind to us, and if it isn’t, that at least, we’ll be kind to ourselves and each other. It won’t be easy, and not much will change, I think. But we have to approach the coming time with kindness and compassion. That’s where I’m at currently. And I think that’s all for now.

Be well, friends, and take care.

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thatbanjobusiness · 4 years

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Bluegrass Basics #1

WHAT IS BLUEGRASS?

I realize that, what with this being a bluegrass blog and all, I should probably start by explaining... this.

If you’ve hung out with me in the last year and a half, then you’ve been subjected (probably against your will, kicking and screaming) to a Haddock Talks About Bluegrass conversation. Within seconds, you may be bombarded to an inescapable wall of sound as I shriek about G runs, five-strings, and dudes wearing hats named weird stuff like Lester, Burkett, Arthel, Dorris, Junebug, Haskel, and Chi Chi. Understandably, to cope and survive, your mind might have blocked out the worst of the memories... leaving you now with the question, “Well, what is bluegrass? And why does Haddock find it so cool?”

At its simplest, bluegrass is a folk-inspired genre of music originating from the Southern United States that utilizes a core group of acoustic string instruments: guitar, banjo, string bass, mandolin, fiddle, and dobro. However, bluegrass is not a direct preservation of old folk music. Its biggest influences are Scots-Irish fiddle tunes, African-American blues, and gospel music, and in that you can hear a lot of "old" sounds. But bluegrass also began within a commercial setting. Most people date it to the mid-1940s—yes, it's that new!—and it not only integrated new compositions and contemporary songs, but it brought about innovative instrumental techniques that most audiences had never heard before. Since its inception, bluegrass has been a music of unique juxtaposition; it's simultaneously homespun and commercial, simple and technically complex, straddling tradition with truly progressive innovation.

Also. Unlike almost every other genre that exist out there ever, bluegrass can be traced back to and centralized around a *SINGLE* human being. Yeah. That’s right. ONE dude essentially started his own motherfucking genre.

Enter: the Father of Bluegrass. Mr. Bill Monroe (1911-1996).

This guy.

1. HOW THIS SHIT GOT STARTED

Bill Monroe’s music at the time was considered hillbilly music. (“Hillbilly” was the name of the genre before we changed it to “country”). He was a radio star starting in the 1930s, and by the late 1930s, Bill and his band had become members of a popular, wide-reaching hillbilly music program, the Grand Ole Opry, whose radio signal stretched across the American South. Bill’s music wove together several influences: in particular, he combined the sound of old Scots-Irish fiddle tunes with the pitch bends, syncopation, and blue notes of African-American blues. For good measure, he chucked in four-part gospel songs, threw his singing into the high tenor stratosphere, and pushed the music forward with an urgent drive.

And the name of his act? Bill Monroe and the Blue Grass Boys.

Hmhm... something sounds familiar here... something to do with “blue” and “grass,” maybe.

Bill’s music underwent changes, different personnel, different instruments. Every musician’s contribution is important and worth noting, but regrettably my post would be too long if I talked about them here. I will, however, mention what’s often considered the last piece of the puzzle. On December 8, 1945, Bill introduced a new musician he had just hired, a twenty-one year old banjo picker whose style of playing was so unexpected to audiences that you could barely hear the music above the amazed cheers and shouts from the live crowd. People who heard it on the radio talked about the banjo picker all week; some blokes debated about whether one person was playing or several, or if it was even a banjo at all. I know peeps today don’t tend to think of banjos as “cool” and all, but he was shredding up the instrument like some banjo Jimi Hendrix, as far as they were concerned. It was so exciting. Bill was already a popular performer; under this ensemble he had between then and 1948, he was launched to even more popularity.

I’m not trying to focus just on the banjo, but my point here is to emphasize how bluegrass did invoke monumentally new ideas.

That 1946-1948 group is what we usually consider the first-ever bluegrass band. They created the initial blueprint by which a unique band style emerged. Now, some standard musical features of the genre got locked in during the 1950s after several seminal Blue Grass Boys bandmates left and formed their own band. But this original group’s sound started A Movement™ that trickled down over the decades. New-budding musicians began imitating Bill’s sound in their bands. And also, Bill’s band had constant turnover, meaning that a ton of people went into the Blue Grass Boys, got influenced by Bill, then left to form their own ensembles, carrying with them the musical ideas they’d learned from Monroe.

(And by “constant turnover,” I mean—no joke—Bill had something like 200 official band members over the course of his career.)

^^^ The “Classic Band” of Bill Monroe and the Blue Grass Boys, c. 1947. From left to right: Bill Monroe (mandolin), Chubby Wise (fiddle), Birch Monroe (bass), Lester Flatt (guitar), and Earl Scruggs (banjo). When talking about the classic band, the bassist usually listed is Cedric Rainwater, but here (and legitimately part of the band at the time) is Bill’s older brother Birch.

In the late 1950s and 1960s, mainstream country music had to find a way to compete with the new and oh-so-frustratingly-popular rock-and-roll. Mainstream country music strayed away from scratchy fiddles and banjers and moved to smooth, pop-inspired, electric guitars and background orchestration. And if you didn’t sound like that, you probably weren’t going to be played on mainstream country radio. But there was a notable cluster of acoustic string band musicians who had been left behind... those people and groups who had branched straight off Bill Monroe. By this point, they were distinct enough that their music began to be regularly referred to as... yeah, you guessed it... bluegrass music.

Having been ignored by radio, bluegrass continued through other means, such as festivals that began in the late 60s and 70s. Many musicians brought their own instruments to jam, and to this day, bluegrass is a genre in which it’s common to both pick tunes with friends and family as a social event and go out to see professional performers.

As new generations have entered bluegrass, new ideas and sounds have funneled into it. However, I feel like the theme of combining tradition with innovation remains. For instance, in the 1960s with the Folk Revival, second generation bluegrass musicians simultaneously inserted more several-centuries-old folk songs into the bluegrass repertoire (ex: Fox on the Run), and brought in contemporary rock and pop elements to their bands’s sounds. And while today you may meet bluegrass purists who want to stick with what they heard in the 40s and 50s, you’ll see just as many if not more musicians continue to innovate and expand the genre.

And expand it they will.

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2. WHAT MAKES BLUEGRASS MUSIC BLUEGRASS?

As I’ve said before, bluegrass is a somewhat progressive amalgamation and reformulation of older music styles combined with contemporary music. Bluegrass might have been based in part on ideas from British Isles fiddle tunes and African-American blues, but it’s certainly not regurgitating how people played in decades past. Familiar, old elements combine with new, creative, and original concepts. You keep a healthy dose of both old and new.

It’s because of bluegrass that the banjo was completely reformulated as an instrument: changed from a comedic prop that was strummed into an intensely-picked solo instrument. Within bluegrass, banjo performance technique has continued to evolve, new ideas and styles building on top of one another. And let’s not forget the other instruments! The first dobro in a bluegrass band went in extremely unique directions compared to what was heard at the time, taking influences from everything down to banjo technique. At the same time, bluegrass has provided the space for styles like the old-time hoedown fiddle in periods of music where fiddle was ignored.

But....... as you’ve probably been wondering this entire post.... what does this genre sound like?

^^^ The typical instrument set-up for a bluegrass band. In the back is a string bass. In front, left to right, is a banjo, mandolin, fiddle, guitar, and dobro. If you’re not familiar with how to distinguish instruments: basses are plucked and low pitch; banjos sound twangy and play short note values; mandolins are a high-pitched instrument with a mellower sound that often employ tremolo (quickly undulating notes by strumming the strings up and down rapidly); fiddle is... I mean, it’s a violin; guitar is a mellower acoustic instrument that blends sonically with everything; and the dobro (maybe you’ve heard it referred to as a “steel guitar” or “Hawaiian guitar”) has a... uhhh... it’s a unique hound dog tone I have difficulties describing but is very distinct to hear.

A typical ensemble consists of mandolin, guitar, banjo, fiddle, string bass, and sometimes dobro. On rarer occasions, you may see other instruments like autoharp or harmonica (drums are usually considered horrible, forbidden things, even though... for the record... some high-profile bluegrass bands have used them). You’ll notice bluegrass is a distinctly acoustic string band sound.

There are also, of course, vocals, and in bluegrass, there is notable emphasis on tight two-, three-, and four-part harmony. However, what’s interesting about bluegrass as versus, say, other strains of country, is that for bluegrass, it’s about the full band and not just the lead singer. It’s as important to pay attention to the technically-driven solos (“breaks”) that the instruments play between sung verses. Many bluegrass pieces are straight out instrumentals, too.

Every instrument has a role or roles it fulfills in a bluegrass band. In the background, instruments may play rhythm or fills. Rhythm keeps the basic beat. Fills are unobtrusive melodic-sounding fragments that hide behind the vocalist(s) singing the main melody. And when there’s no singing, instruments take turns in the spotlight playing breaks. You can hear any instrument play a break. It’s to note that breaks are often improvised or semi-improvised, which is half of the fun and skill of watching the musicians perform. Ergo, even if the song itself may or may not have simple chord structures and lyrics, it’s also technically advanced with an expectation that every musician can perform fast-paced solos they improvise on the fly.

There’s different types of guitar styles I’ve seen in bluegrass. I’m not a guitarist, so I don’t want to elaborate too far and share incorrect information. However, it’s fair to say that guitar can be anything from a backup rhythm chord strummer to a flat-picked, fast-paced, melodic soloist. There is a VERY distinct guitar fill that happens at the end of lines, phrases, or sections called the G run you’ll hear everywhere. Fiddle I’ve also heard a wide variety of styles. On the dobro side, the dobro tends not to be the “Hawaiian” sound you may be familiar with on a steel guitar, but more geared toward quick, technical, bluesy stuff. Bluegrass banjo has several styles, but the most prototypical is the Scruggs style, where the banjo does rapid-fire, ornamented, three-fingered picking in which a melody line is pulled out at the same time you’re also picking background chord notes.

To describe bluegrass vocals, you’ll sometimes hear the phrase “high lonesome” thrown around. I don’t hear anywhere as much high lonesome sound in contemporary bands as I do first generation, but the high lonesome sound is a description of piercing, high-range vocals. Bill Monroe would even take songs that were usually played in the key of G and pitch them higher into A or B, pushing his and the ensemble’s vocals into a higher range. I remember listening to Monroe and thinking to myself, “Even though it’s male vocals, why is it so easy for me to sing to?” Because I’m a fucking mezzosoprano, and there’s times Monroe hits and holds notes that are at the top of my range. Hot damn.

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Rhythmically, bluegrass tends to be a driving genre of music. A term that gets thrown around a bit is “drive.” Even on the slow songs, you may hear the instruments push or strain forward. Beat-wise, bluegrass tends to emphasize both a strong downbeat and hit heavy offbeats in a boom-chick style. That last sentence might not have made sense to non-musicians, so I’ll explain...

When we listen to music, we can clap to it. We can also count along to any song as we clap. Music has an innate structure where, when we count, the sound seems organized in groups of two, three, or four. So, when we count to music, we’ll count repetitively. One song may be groups of two (you’ll count “One two, one two, one two”), groups of three (“One two three, one two three”), or groups of four. Every time you hit the “one,” it sounds bigger. It’s more emphasized. It’s restarting the pattern or unit of counting that’s inherent to the rhythmic structure of music.

Now, you can subdivide those numbers between your claps. That means you’d count “One (and) two (and), one (and) two (and),” where the “ands” tend to feel smaller and less-emphasized. Those “ands” are called offbeats. In bluegrass, you’ll hear both the numbers and the “ands” clearly hit. The string bass will play the one’s and two’s, while perhaps the mandolin and banjo are emphatically hitting the “ands” in the background.

There are subgenres within bluegrass. You may hear people refer to newgrass, progressive bluegrass, jamgrass, punkgrass, etc. Put a word in front of it, add the word “grass,” and it probably exists. Jewgrass exists and it’s awesome. There’s fusions, too. The Native Howl is a band that combines thrash metal and bluegrass. Gangstagrass is a band that combines bluegrass with hip hop. It’s also to note that bluegrass has long since become international, and there are notable communities and bands of bluegrass from everywhere to Japan to the Czech Republic.

3. RECOMMENDATIONS FOR GETTING STARTED?

Ummhmhmhm I honestly need a separate post to begin sharing videos, bands, periods of bluegrass, and more. It’s diverse and I love everything from the music coming out in 2020 to the stuff heard in 1947.

I realize that this post skews more toward first generation bluegrass and the starting bands in Ye Olde Days. Because of that, I’ll say this much: the Big Three bands of the early years were Bill Monroe and the Blue Grass Boys, Flatt & Scruggs and the Foggy Mountain Boys, and the Stanley Brothers and the Clinch Mountain Boys. Bill Monroe’s music is “the original” and is based, at least in his mind, the most on the fiddle tunes he grew up with. Flatt & Scruggs skew somewhat more toward a popular culture sound with smoother vocals and instruments like the dobro that other early bluegrass bands did not use. The Stanley Brothers lean the most to mountain old-time music. Every band is wonderful in their own way and I love listening to all.

I’ll leave this post with what was my gateway song into bluegrass. This was the first song I listened to with the intent of experiencing bluegrass, not expecting to like it, but being pleasantly surprised. I fell in love with the song and... well... as you’ve seen... I’m a year and a half into the genre and still charging strong.

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I look forward to continuing to learn about bluegrass, refine my understanding of it, and share those discoveries with y’all in my future posts.

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ryttu3k · 3 years

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I want to have them all on Tumblr, so. Here are my reaction posts, in order, for Resolution of the Daleks and season 12, part 1!

Resolution of the Daleks

Thoughts on Doctor Who - Resolution! Spoilers, obviously!

Okay, negative first, just to get it out of the way. Doctor Who, I really appreciate that you consistently have queer minor characters and queer couples. Just super casual and all, as it should be. Now can you please stop killing off half of said couples? Angstrom's wife, Frankie, now this young guy? It's really not cool.

Don't think the voiceover worked. I feel the prologue would have worked better with just visuals.

Again, Yaz didn't have much to do. The Doctor got a ton of action, Ryan and Graham both had significant interactions with Aaron, Yaz was... just kind of there. I'm hoping that when the show comes back in a year, now that Ryan has largely dealt with his issues, Yaz will get more attention?

UNIT was killed by Brexit?! Fuckin' rude!

Okay, on to the positive!

The Dalek was, frankly, fucking scary. Despite knowing that the Doctor would beat it, obviously, it caused huge swathes of damage and racked up a... rather high body count. Like it felt like a proper threat. Also, its ability to stop the TARDIS tracking it and stuff. Lin's terror felt extremely genuine and it was just nice and horrific overall, like - if it wasn't for the Doctor, it would feel like a genuine threat to the entire Earth.

(Also, it shut down the wifi. On New Years Day. What a monster!)

Oh man that Dalek laughter. Creepy as fuck. The Doctor dragging it in via hologram to dare it to laugh in her face? Fucking iconic.

"I've learned to think like a Dalek." Oof.

Doctor vs Dalek. Not just the physical aspect, but the mental part - the Doctor recognising the seriousness of it, but also having that element of cockiness ("Oh, mate") because, frankly, she's dealt with bigger threats. She's right when she points out that the biggest problem will be if regular humans try to engage it!

Elements of Dark!Doctor when she asks the team - almost desperately - if she gave it enough chances, if she was nice enough. Because the Doctor can get fucking scary around Daleks and she knows it. She's nice. She's friendly. But she's also the Doctor, and the Doctor has done some really damn questionable things to stop the Daleks, and she knows that. Fantastically done and I still desperately want some proper Dark!Doctor.

Really liked the parallels between the Doctor using scrap to make her sonic screwdriver, vs the Dalek using scrap to make its armour. The Doctor makes a tool, the Dalek makes items of war. Of course, well, the Doctor is probably more dangerous just with a swiss army sonic than a Dalek blaster...

I love how the whole, "Dads are complicated... so I've heard" bit could refer to either the loom thing or the Doctor having actual parents or the Doctor being a shitty dad themself XD

Graham was so excited to show off the TARDIS! Like he's just going, "How cool is this?!"

There were some legitimately funny moments! Graham's chair, "I suppose... we'll have to have a... conversation?", "Junkyard chic"... UNIT was killed by Brexit like that's so awful but. But in a kind of funny way.

Okay, now the unsure. Ryan, Graham, and Aaron. Ryan and Graham have sorted out their issues - but Aaron is still such a big overshadowing part of it that it's a bit of a shock when he comes back in. As someone with a similarly shit biological father, I was completely empathising with Ryan in the coffee shop conversation. And I do understand why they wanted reconciliation, so they showed Aaron as acknowledging his bullshit and Ryan ultimately choosing to forgive and save him.

But it's just... not that easy. It's not all going to be perfect just because they stopped a Dalek together. Aaron's neglect hurt Ryan really badly, and it just felt... too easy? Like it helped that Aaron was genuinely contrite, and that he had that good stepfather talk with Graham, but just... yeah, not sure how I feel about it, honestly.

The Doctor's first words to him being, "You weren't at Grace's funeral. Ryan waited for you, you let him down" were so, so good. Like the Doctor is just going "fuck you I'm his father now". Like tbh I think she was 100% prepared to yeet him off the TARDIS and be done with it. Like damn don't emotionally hurt one of her crew.

Some wonderfully savage lines, though. The Doctor's, "You're almost making up for your parenting deficit!"; Aaron and Ryan's, "Is that how you talk to your dad?" "I don't know, he's not been around"; Graham's fucking smirk when Ryan pointedly calls him 'Gramps'.

I did see a suggestion that would have made it much better - instead of the Dalek capturing Aaron, it captures Ryan. First, it ups the threat in the mind of the Doctor and Team TARDIS - this isn't some dickhead, this is one of them. And instead, it's Aaron who reaches out to Ryan, Aaron who risks his life, Aaron who has to come through for Ryan, instead of the other way around. Also would have tied in beautifully with, "Family isn't about DNA, or a name. It's about what you do, and you haven't done enough."

Also, 'srs tech skillz'. With a Z. Doctor why.

In conclusion, I am going to fight Nigel Farage for killing UNIT.

Spyfall part 1

Current response to Doctor Who: making a near-literal SDKFJHGSDASDKFH sound, grabbing a cushion, nearly throWING THE CUSHION.

More intelligent commentary when my brain comes back online.

Okay. Am calm. Am good! We're good.

MAJOR SPOILERS for Doctor Who: Spyfall, part 1!

So yeah I actually literally screamed (kind of... scream-laugh-holy-shit-yes). Like, even before Dhawan finished speaking the, "Or should I say spy... Master?" line because of the way he had said 'spymaster' in full in the line before and there's nothing that grabs my brain like that one word in that one context. It wasn't quite as mindblowing as the Utopia reveal, since, let's face it, it's only been a season since we last saw that magnificant arsehole, but still.

(Actually, since I didn't watch Twelve's run, the last time I saw them was exactly a decade ago in The End of Time, broadcast New Years Day 2010. And I still fucking cry over, "Get out of the way." So. That may have been why I literally screamed lmao)

I mean. It's the Master. I can't not. They're my favourite jerk. This is probably slightly concerning.

Anyway. Comments!

The good

Episode was just flat-out exciting. It reminded me both of the Three and Ten eras, a bit? Fun gadgets, fancy suits, and what ends up being a giant game! Did start wondering when they were talking about spies and codes and stuff. It's basically a puzzle that's been set up for the Doctor to solve. Plus, the way she was pretty much enlisted into it! Thirteen and Dhawan!Master might end up having a more Pertwee-Delgado-esque dynamic, maybe? I would be down for that!

(My introductory episode to the Master was The Mind of Evil. Let's just put it that way XD)

"I'm her best enemy." <3

I mean, in retrospect, isolated house full of high-tech stuff and a wall full of books about the Doctor... oh honey. Long, looong game of playing Spies and Conspiracies just for, apparently, the sheer funsies of it. Oh, honey. They're such a disaster and I love them.

The reveal scene, Jodie's acting. The way she just... freezes and hunches in on herself. She's been hiding her past more than other Doctors have in the past, and suddenly, here is her past!! Right here!! Laughing and joking and right there in front of her! And she's just like, "Ohhh shit, I was not ready to have this conversation again..."

Yasmin and Ryan's dynamic. I do like that they split up the usual combos of Thirteen-Yasmin and Graham-Ryan for once, because I do like seeing the way they play off each other! It makes them feel more cohesive as a group. I liked Ryan trying to comfort Yasmin after her experience.

Post-reveal, I'm now wondering if the weird zappy forest thing is the Master's TARDIS? Something to do with changing and processing DNA into something else? Something based around neurons, with the electric travelling system? Am also wondering what happened to Yasmin while in there, since she seemed to be processed in some way, and I'm wondering if she had part of her DNA rewritten as well - or maybe if she's been replaced entirely, like she's currently piloting an alien version of her own body while her actual self is still in there. They did already do that with Flesh!Amy, though.

Once this arc is over, I think Thirteen is definitely going to have to sit down and tell the Fam who the hell she actually is. Graham is having some serious questions, and the Master was definitely egging that on, pre-reveal.

How much do I love that even in a tux, the Doctor still has the culottes and boots? A lot, that is how much. Also, how much do I love the Doctor in a suit and on a motorbike? A lot, that is how much.

"I've had an upgrade." <3

Thirteen playing Snap. It's okay, Thirteen, you still win my heart <3

"Worst! Uber! Ever!!"

"Kisses!" Yes, we know ;) They've been texting! Someone write me a WhatsApp chat fic with plenty of subtext and double meaning, I require it. Also, memes. You know it's true. The Master isn't a Time Lord, they're a Meme Lord.

"Everything you think you know is a lie." Season hook? :o

The hmm

Main concern is how they're handling the Master's characterisation? Last we saw, they were so ready to jump the Doctor ship. Now it's back to games. Kind of wondering if that means the Master is just at the point of being resigned that they and the Doctor just don't work and so is going back to games because at least it makes them happy, but I'm happy to wait until next week to see how things play out!

Did see a suggestion that this is the Master from one of the alternate universes (or at least that seems to be the general consensus on why there were multiple maps), so not actually necessarily the same version as Missy. Alternatively, this could actually be a pre-Missy version! Maybe between Simm!Master and Missy, since we never actually see that regeneration?

Actually, if this is the one immediately before Missy and this two-parter ends with the Master regenerating and we actually do get Thirteen and Missy together on screen I may cry.

(Like I'm aro-ace and agender but I'm still so gay for both of them. There is no word other for this emotion other than 'I'm gay'.)

I kind of wish someone had double-checked the name of the company because VOR running the world is. Is. "Right now, VOR is more powerful than most nations." Just. *pinches bridge of nose* Like okay you know how we say 'oh yeah just google it' 'yeah I googled it' are they really gonna say 'yeah I just VO

'I'm going to V

I can't say it. I can't.

Apparently the Australia scenes were filmed in South Africa. Kind of assumed it wasn't really Australia as soon as I saw actually greenery in the background h e h.

Highkey wish I could have seen Missy and Thirteen together. Dhawan!Master is very fun so far but. Missy and Thirteen. See comment above about the Master's characterisation!

...ABC are you really going to keep to Thursday night broadcasts even after the UK switches their Sunday nights / our Monday mornings? Well that's a good way to guarantee I'll be watching them online first! I was happy to wait twelve hours or so so I could watch it with Mum, but like hell I'm going to wait three and a half days!

In conclusion, am dead, send help, is it Monday morning yet?

Spyfall part 2

Thoughts on Doctor Who: Spyfall, part 2!

GALLIFREY LOOOOORE.

Oh man I'm hyped. We got a teeny teaser to the Timeless Child way back last decade but now we may actually get to see what the fuck is going on. And hell, if nothing else, at least the discovery is being teased to be so devastating it did undo Missy's characterisation. If this incarnation of the Master is after her, at least. Still not necessarily anything to suggest that. The Master will likely be recurring over this season, so we'll find out more, at least!

God, the Master is so fucked up. Like. He's seen something apparently so massively traumatic that he had to destroy his own planet and legitimately does look broken by it? Unless he was acting, but I did not get that impression from the message at the end. And the only way he can think of to get the Doctor's attention is to start his old tricks? Not sure if it's better or worse for him to be pre-Missy tbh.

It's just... such an interesting dynamic. Also I really want to read into the whole... scene where the Master asks the Doctor to kneel and call him 'Master' in front of everyone - then, when she does (defiantly! Stubbornly!), he... kneels to be at the same level as her. Like, "I'm going to play these BDSM-esque power games with you but when it comes down to it, I still consider us equal."

Anyway the Master is def a service top.

This comment from Tumblr user upslapmeal:

"'why would it stop? I mean how else would I get your attention’ what did I say about the Master being like a cat knocking things off shelves"

I mean. Yeah.

"Contact." Old school.

The Companions! They get a capital C because they were rad as hell. I love them all deciding that what they do next is: carry on to save the world. Like they're all heroic af without the Doctor and it's so good.

"Don't make me do a soft-shoe shuffle!"

And questioning at the end, oooh man. There are some Implications there, yeah. They've found out some surface information, yes, but no real hint at the deeper trauma. And given what this coming season is hinting at, I strongly suspect we will indeed be getting that deeper trauma and maybe even Dark!Doctor. Gallifrey does tend to bring it out of them...

The whole on-the-run thing seemed to definitely be a callback to Sound of Drums. Uh, what's that going to do long-term? Send out a worldwide message saying, "Sorry, our bad, they're fine"? I mean, last time that happened... okay, Jack was already with Torchwood and so is used to Not Really Existing, but Martha definitely couldn't go back to fuckin' medical school. She ended up at UNIT and then went independent. They did not return to their normal lives.

Barton: needs a goddamn punch. He killed his mother what the fuck. On the plus side, at least he seems to have thoroughly destroyed his career? Be interesting to see if he reappears later, you don't go from the most powerful person on the planet to massive pariah overnight without Repercussions.

On to our guest characters! I hate to brag but I guessed who Ada was as soon as I heard her first name and saw her outfit. I mean the computers theme was already there, who else would she be? :D And I admittedly didn't know who Noor Inayat Khan was except in passing, but still. Little upset about the erased memories (Donna ;_; ), but I can see why the Doctor did it and like... this way, I'm glad they were able to avoid the implications of, "Ada only developed computing because she had already seen the future." Like people said that with Rosa Parks even though the Doctor said explicitly to only ensure there were enough seats filled and the act itself was all Rosa, so they may have wanted to play it safe.

I... really want to comment on how Ada definitely was crushing on the Doctor (and really, who wouldn't?), but she was a real person so I shall avoid those implications. (But really though!)

Doctor how many times have you been in someone's liver. This is some Magic School Bus Inside The Human Body bullshit and I love it.

Doctor's recording: "First of all, you're not gonna die! Second of all, don't talk back to the screens, obviously I'm a recording and I can't hear ya. Third, don't panic. Especially you, Graham."

Graham, panicking: "I'M NOT PANICKING!"

Doctor's recording: "Yes, you were! And I did just say, don't talk back to the screens!"

Graham: "????!?!!"

I want an entire series of the Master having a really infuriating seventy-seven years on Earth. Please.

Comments on continuity issues regarding that, "It's worse than Jodrell Bank!" "Did I ever apologise for that?" "No." "Good." exchange XD;; Like people are going, "Continuity error!! It was the Pharos Project, not Jodrell Bank!!" and like. Pharos was a project. Jodrell Bank is an observatory. You can do projects at observatories. Also, you can refer to projects by location, too. Am I referring to the Canberra Deep Space Communication Project or Tidbinbilla Station? Both! They refer to the same thing! In the Whoniverse, they likely did the Pharos Project at Jodrell Bank, and just had some lighthearted bantz about that time where the Master killed the Doctor, no biggie.

So, onwards to... an apparently unrelated episode for next week! Also, the Kassavin? Still there. Like. The Master only gave suggestions. They still have all those agents everywhere! They're still ready to act! And yeah, now they have the Master in their hands, so... I wonder if they'll make the Timeless Child a long, ongoing arc, and have the much more immediate threat of the Kassavin as the season finale?

Orphan 55

Thoughts on Doctor Who - Orphan 55!

...whew.

First thought: anvilicious, but some anvils need to be dropped, because, uh, have you seen the world lately.

It feels like quite a brittle episode? Even beyond the immediate tension of 'there are large angry creatures trying to kill everyone', there's just this sense of... like, tension. There's the tension between Benni and Vilma, which at first is kind of a sweet tension then becomes a life-threatening and sad tension. There's the tension between Roger Parslow Silas and his dad, with Silas not being taken seriously (although I do think him running out while they're in life-threatening danger is a bit much). The obvious and major tension between Bella and Kane that drives the whole episode, yes.

And there's also the tension amongst Team TARDIS! The episode starts with the Doctor still in Some Kinda Way about last week, and I felt a bit of tension between Yaz and Ryan? She seemed rather unimpressed by Bella, at any rate. I do like how organic the relationship between Ryan and Graham feels, at least. "It ain't the aliens that are gonna kill me, it’s worrying about you!"

Set and costume building, I felt, was kind of... eh? I liked how Tranquility itself looked, but the tunnels looked Very Generic, and some of the looks I felt didn't really work. Silas and his dad's green hair just looked very obviously fake, and I saw a description of Hyph3n-with-a-three looking like a cross between a Jellicle Cat and John Candy in Spaceballs (which... yeah, honestly). And I'm not sure about the Dregs, although I did initially have the thought that whatever the original inhabitants of the planet were, they must have been humanoid was amusingly accurate...

"I just pulled this out of a friend of mine! >:("

"Oh! ...We do not make any judgments on our guests and fully support any way you choose to enjoy yourself here at Tranquility Spa! ^_^;;"

"... ... ...It wasn't recreational! o.O"

God you could feel Hyph3n-with-a-three's embarrassment...

"If I had crayons and half a can of Spam, I could build you from scratch!" Excuse me I am at least Tofurky.

Also a logical issue on the whole journey to find Benni, because frankly, it just wasn't... sensible. Okay, bring a kid. Father of the year right there. Okay, bring an old woman. Granted, she could have insisted because it was her man-friend they were looking for, but surely she would have known she would slow them down? Her 'heroic sacrifice' felt very wasted, because dammit, she could have survived if she had stayed in the Dome where it was at least a bit safer!

"At least three eighths of a plan, right here! ...Two eights. I'll be honest, all I've got is the letter 'P'..."

So the Doctor is almost at the point of passing out from oxygen loss but hang on, let her first indulge her curiosity...

The sheer existence of orphan planets is very depressing. The sheer fact that there's at least fifty-five is very depressing.

There's an interesting comment about how straight after discussion of the reveal, the first shot of the preview is the Statue of Liberty. Very Planet of the Apes! (No apes next time, just Tesla vs Edison!) Also feeling a strong connection to Midnight (stunning resort on dangerous planet with a very personal enemy), and I saw a comment about Thirteen unintentionally The-End-Of-The-World-ing the Fam (and making a connection between 'very angry trees' and the Forests of Cheem). Bit of Ravolox. Bit of... fuck what was it... Curse of Fenric.

Although, we know that the Earth will eventually be consumed by the sun, and it was done in a way that was like... it was its time. This was not its time, was a colossal fuck-up on a planetary scale (and the Doctor continues to be 'eat the rich'), but it's also only one potential future. Which is good, because that got dark. Even more than The End of the World, even more than Utopia, even more than fuckin' Frontios, because this is the near-future. The shots we saw of the destruction were modern day! That was the Dome of the Rock you saw getting bombed!

"Be smarter than what made you." PAGING THE GOVERNMENT...

Going to put it on a solid... maybe 7/10? Some really good elements in there, but also some clunkers, and unfortunately not a patch on the same writer's It Takes You Away, which was one of the strongest of the last season.

Nikola Tesla’s Night of Terror

Thoughts on Doctor Who - Nikola Tesla's Night of Terror!

Opinion before episode: man, Tesla's cool. Opinion after episode: man, Tesla is fuckin' cool! :D That was a well-done personality-based historical, absolutely - I think it's my second-favourite personality-based historical only to Rosa (there are other pseudo-historical based ones set in the past that I love, but they're not personality-based; the Human Nature duology is a good example).

But yeah, Tesla just came across as a really, really cool character. Genius and he knew it, yes, and the real Tesla did have some questionable views (sexism, mostly), but otherwise the archetypal Idealistic Genius who wants to change the world for the better. Contrast with Edison, who was... a businessman. With, like, a really punchable face. Still pretty intelligent, but... very, very punchable. I've read about the Tesla-Edison feud before and always sided with Tesla, and let's face it, so did the writer XD

Good mix of character combinations - with a lot of characters, it's easy for someone to get sidelined, but this managed to handle Thirteen and the Fam, and Tesla, Dorothy, and Edison, pretty well. There were some neat combinations, like Ryan and Dorothy bonding over the sense of adventure, and Graham and Edison's confrontation; I also really loved the whole conversation between Thirteen and Tesla on the joy of just... creating. There's actually a very nice overlap between arts and sciences.

Antagonists - not bad? I feel a lot of people were expecting the Racnoss, and there was such a similarity that I would have liked at least a throwaway line about how the Skithra were related or something. Ooh man she definitely brought out Dark!Doctor, though. Teleporting the queen back to the ship, specifically so she can be fried? I mean, she might have survived it. Might. And just that fantastic little change of expression when the queen asks the Doctor if she's ever seen a dead planet before! Whittaker pulled that one off.

There's a very interesting compare and contrast between the Skithra and Edison, I found. Thirteen has her speech about how once the Skithra are gone, they won't be remembered. Caput. Forgotten. They left nothing behind. Compare and contrast to Edison, who was openly accused of using other people's work, but who's able to learn from his mistakes, end on an even(ish) setting with Tesla, and who does get remembered. Which kind of stings, honestly, if you look at Tesla's actual history.

Like. Apparently that, "The man just didn't understand the American sense of humour," line was an actual historical line, according to Tesla's own records. The absolute main reason for the difference in fame and recognition is that Tesla was a genius who didn't know how to market. Edison was a marketer who could invent a bit. So in conclusion Edison is a dick and Tesla needs more respect, the end.

Favourite lines and scenes:

Tesla: "Is - is this your own design?" Thirteen: "I made it! Mainly out of spoons! :D" Tesla: "You're an inventor! :D" Thirteen: "I have my moments." Tesla: "I knew it! So you... so, you can understand how it feels, you know, when you have an idea, and - and to make it real. I don't think there's any greater thrill!" Thirteen: "I couldn't agree more." Tesla: "You... you spoke of aliens. People here laugh at the very idea." Thirteen: "But not you." Tesla: "Well, apparently I'm not like other people. It can be difficult, you know, to feel no one else sees the world the way you do. It's like you're, uh..." Thirteen: "...out of place."

Graham: "Yeah, still. I bet you'd jump at the chance to have him back working for you, wouldn't ya?" Edison: "Yeah?" Graham: "Yeah!" Edison: "How d'you figure that?" Graham: "'Cause I had a supervisor like you at my old depot. And men like you don't pay a bloke that much attention unless you think there's a payout comin'."

Thirteen: "I wouldn't go killing me and Yaz. 'Cause Yaz... can tell you what this is." Yaz: "It's a camera!" Thirteen: "Bingo!" *FLASH!*

Edison: "I couldn't figure it out either." Tesla: "The internal dimensions transcend the external." Thirteen: *GRIN* Edison: ._.

Thirteen: "You do realise, it's killing Edison that they want you and not him? ;D"

Graham: "Don't worry. This ain't our first rodeo!" Ryan: "We've never been to a rodeo." Graham: "...you're not helping, Ryan..."

Thirteen: "And what are you queen of, exactly? A stolen ship and second-hand guns? A queen of shreds and patches. You're not a ruler, you're a parasite." Queen: "And what are you? So clever, stealing onto my ship, taking what I claim as mine. But where has it got you? No weapons. No armour. No escape. Just the desperate hope you might change my mind." Thirteen: "No, we are way past that. I gave you your chance." Queen: "A chance to be like you?" Thirteen: "A chance to evolve. But you were too stupid to take it. When you die, there'll be nothing left behind - just a trail of blood and other people's brilliance. No one will even know you existed."

(Side note: I love that this speech was actually in front of the companions. They're starting to see that things are Not Okay.)

Thirteen: "Don't give up." Yaz: "Whatever anyone says." Tesla: "Well, let them talk. The present is theirs. I work for the future... and the future is mine."

Favourite incorrect lines:

Thirteen and Tesla, firing at the ship: "VIBE CHECK!"

Fugitive of the Judoon

I'M GONNA... NEED A HOT MOMENT TO PROCESS THAT...

WELL I. UH. OKAY.

lmao I'm serious I don't even know where to begin.

Uh, some very disorganised comments on Doctor Who - Fugitive of the Judoon!

I squealed when I heard Jack's voice then saw him in the flesh. I gasped audibly when 'Ruth' broke the glass. I yelped when we saw the buried TARDIS. I MAY HAVE SCREAMED A LITTLE WHEN 'RUTH' INTRODUCED HERSELF.

(Also can we talk about her outfit. That was on point.)

I'm getting a very... very early vibe? She didn't know what the sonic screwdriver was, and that was introduced with Troughton. Since we saw the Hartnell-Troughton regeneration, she must be pre-Hartnell? Maybe a Doctor whose memories were rewritten to the point that they thought the Hartnell incarnation was the earliest? Not to mention that was a pretty old-school-looking TARDIS!

Alternatively, maybe between Troughton and Pertwee? Either option has some inconsistency - if she's post Troughton, she should have known what the sonic was, although it admittedly did look very different. Plus, her TARDIS is already its police box shape, which was implied to have set in the junkyard. Also, we never actually do see the regeneration between Two and Three, and it could explain why Gallifrey was after her - she escaped after her trial after The War Games!

Definitely early, though.

Alternatively alternatively, Thirteen actually does say 'time is swirling around me'. Maybe an alternate timeline. Something to tie back to the Timeless Child?

"I've lived for thousands of years, so long I've lost count. I've had so many faces. How long have you known me? You don't know me. Not even a little bit."

That wasn't just aimed at the companions. I feel that was aimed at the Doctor themself.

(Related: the response from the fam was flat-out beautiful. Doesn't matter who she was or who she'll be. They know her now, and they love her.)

Just. Wow. Wow.

Really cool note from Twitter - disguised name was Ruth Clayton. Ruth = 'friend, companion'. Clayton = 'of the Earth'. She literally named herself 'friend of the Earth'.

"You're probably a bit confused right now."

I mean. Yeah. Confused and intrigued and what.

"Don't do points! I do points! Points are my thing!"

Jack. Jack. Smooching Graham, hitting on all the companions, getting into Shenanigans! The Lone Cyberman - I wonder if that's a totally different crisis that isn't even related to the current Gallifrey-Timeless Child one? The more important part is Jack's presence - the presence of another time traveller with a... unique relationship with the universe. The actual warning could be a red herring, but Jack showing up anywhere in the first place is a sign that something is happening with time?

Orphan 55 had a timeline that may or may not have been the 'real' one. Being only a potential future kind of doesn't work with what we know of established DW continuity, so I'm liking the 'alternate timeline' theory, maybe?

Ryan: "I liked him. Kind of cheesy."

Yaz: "But good cheesy."

Thirteen, smiling: "That's Jack."

Graham just standing there going, "He kissed me tho? ...Wasn't bad, actually."

"Is she safe?" Jack, honestly, is she ever safe?

"When she needs me... I'll be there." Oh yeah, he's so coming back later this season.

Also, Judoon, chameleon arch, the Master, Jack - getting big season 29 vibes here and that's a big thumbs up for me because that's my favourite season. We just need Martha to make an appearance now!

...hehe honestly, between Jodie's entire existence, and now, in the span of five episodes, introducing Dhawan!Master, Gat, and now Jo Martin as the first black female Doctor, and reintroducing Jack, one of the most overtly and openly queer characters on the series, the 'Doctor Who is too PC!' bunch are going to be so mad XD

"A platoon of Judoon... near the moon." / "Look at you, your platoon of Judoon near the... that lagoon..."

Man. The close-up in the very first shot of the watch. Nice tie-in.

"The Doctor never uses weapons!" "I know! Shut up! >.>"

Where do the Kasaavin come into play? Is this something they've done by integrating themselves throughout time and space? Maybe they're fraying the fabric?

My mind is blown. I can't wait for the rest of this season :D

[Part 2 - Praxeus to The Timeless Children]

#doctor who #companion love #best enemies #long post

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l-loneybun · 5 years

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♡ 2019 Art Summary + updates/plans for 2020

(25/01) sorry for the late update,, I meant to post this on the 1st,, but,, stuff happened;; u_u

TLDR: I’m going on hiatus. I’ll also be privating a lot of my posts here if they’re text posts, or art I just don’t like. I really want this blog to look like a proper portfolio for when I come back;; Probably won’t be back until May or even later,, might go fuq off to a new account just to see how well I can do on my own for a bit,, Ty for support + have a nice year~ _______________________________________________________________

*big sigh I have to rewrite a lot of this bc my computer died and I was to stupid to draft this before*

So basically, this year’s art summary is surprisingly better than last year’s. I didn’t really notice since I’ve actually been feelin p shit about my progress until I put this together. Definitely more variation in style compared to 2018 (can’t believe I said that “I got to experiment a lot” that year haha guess I was really grasping). The second half of this is pretty much just me going over my 2019 (not just art), so feel free to stop reading here!! Thanks for all the new support, I hope you all have a good 2020. _______________________________________________________________ This is just me really wanting to vent/express my thoughts somewhere, and I just find tumblr the most comfortable place to do that since it’s sort of more hidden and people don’t really read personal posts!! So here we gooooo

I can’t really remember most of January - April, just that I was really stressed about not finishing a portfolio for one of my classes hgjfkdls,, I also quit my job near the end of April since management changed for the worse;; Little did I know how it’s harder to get a job while unemployed,, (seriously what’s up with that?? I get that many people need to work 2+ jobs,, but I would like to live too;; qxq) So I gave up on looking for work, since I didn’t think anyone would want to hire me if I would be gone for over a month right in the middle of summer.

May - June consisted of trying to generate enough art pieces to meet my 1 piece per 5 days art schedule. I also started to fall out of the FE fandom while really getting in to Sonic again. I’m pretty sure I wanted to draw a lot of Pokemon and Zelda fanart as well,, but I was (and still am) at the point where I hate my human art, and being able to draw Sonic art — which I'm more comfortable with — was just much more appealing;; uxu I feel more familiar with these characters, and so many creative ideas just come to be (other than memes, like my FE stuff).

From August onward, though,, I just feel like things turned for the worse. I had (what I would assume was) my first panic attack during my exchange program. It’s feels so fucking pathetic that this would happen at 20 years old;; I thought I was so much better off compared to middle/high school when it came to keeping my anxiety in check, bu t guess not,, ahhahhahhahah,,,, and it wouldn’t be the only one this year;; :’)

I still wouldn’t have found a job after my return, but would still have enough money to pay off my first semester with some left over. Unfortunately, due to vet bills, I wouldn’t have enough to pay for a full course load for my second semester. This was also due to some poor planning on my part regarding commissions/adopts,, so oop;; I’m only taking one course this sem, so I’m looking for full-time work, but damn ! ! no job ! ! esp sucks since my mom is the only one paying for things atm;; soooo great

ugh;; I don’t want to talk about this anymore,, so I’ll just go onto plans/bucket list for 2020/2021, since I keep forgetting:: _______________________________________________________________

If you didn’t read the TLDR, basically I’m taking a break from all my art accounts and such. Even though I can see a lot of improval from 2018-2019, I’m still disappointed in my lack of anatomy/technical skills in my art, especially since I believe I told myself I would improve last year;; So I’m going to try avoid going online as much as possible since it’s really just too distracting,, I really want to dedicate all the time I have now to improving/adopting new skills, so my bucket list/new year’s resolutions for 2020 will be:

Improving human anatomy/developing a good artstyle for human art

Developing assets for RPG Maker XP games (???) (I actually forgot about the pkmn one I started in 2018 until I looked through my archive. I don’t think I’m actually going to make any playable games, just some nice things to look at.)

Learning how to use Blender + making many plant assets

Creating designs/inventory to sell at an anime convention for 2021

Saving up for a Canon EOS M50 Mirrorless Camera to document Artist Alley experience

Becoming ~ambidextrous~

That’s all I can remember for now, but I’m sure I’m forgetting some,,, um,, thanks if you read this for far?? I don’t really have much more to say;; ,,,,,, bye :x

#art summary #update

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brendancorris · 6 years

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Thundercats Roar thoughts...

So a friend of mine showed me this trailer a few weeks ago, and for a second I didn’t believe it was real. But, before I get further into my thoughts on this thing everybody else on the internet has already covered, let me go into my history with Thundercats.

Despite never drawing much fan art for the series, Thundercats is a property I love, and one of the biggest parts of my life in my earliest years. Born in ‘86 with three older siblings, I was just in time for the original Thundercats. My family already consisted of die-hard fans, so it was naturally one of the first franchises I got into. From the time I was born to when I was about 4, Masters of the Universe and Thundercats were what it was all about. It wasn’t until ‘89 that I got my first TMNT toy, and about a year later that was literally all I cared about.

But before my TMNT obsession, there was Thundercats. While I do have many fond memories of watching the show, my most beloved memories of it are simply being a fan. Collecting the action figures, listening to my siblings talk about the show, and playing Thundercats. Not a video game, though. On nights when my Mom was out, my Dad would host He-Man or Thundercats games where he’d be either Skeletor or Mumm-ra, my oldest sister and brother would be She-Ra and He-Man or Lion O and Cheetarah (while my other sister would be... somebody) and I, being the baby, would always get stuck being Orko or Snarf. All us kids would wrestle our dad and beat up on him as he’d try to defeat us. Epic stuff. Some how the younger of my two sisters would usually end up horribly injured after each game, though...

Simply put, Thundercats was the real deal with my family when I was little. The action was great, the evil beasts were awesome, the toys were a blast, and Cheetarah, along with the He-Man girls, made me feel things my tiny self wasn’t yet ready to feel.

It wasn’t until I was in high school that I revisited the show, and, honestly, I was surprised how much it held up. Especially considering in high school I was “too cool for everything” yet I still acknowledged its quality. Yes, it was corny in the way all old children's’ shows were at the time (I have nothing but love for that tone, but I can see how it would be hard to digest for later generations), but it still had great, smart, sophisticated writing for its time, amazing animation and artwork, good characters, and one of the most hype intros ever.

In 2011 a reboot was made. This reboot was far darker and more built on political commentary. It was an understandable progression. The fans had grown up, so the franchise did too. While I wasn’t a huge fan, I can respect the quality of the writing, art, and over all work that went into it. It was a sophisticated piece of art. I felt it went a bit too extreme with the tone it was pushing, and as a long time fan of the original, found lots of the changes and design choices hard to digest. But again, it was a good show, and I respect what it attempted to accomplish.

However, the show was canceled before season 2 could air. This left a lot of fans mad, confused as to whether it was low ratings, low ratings as a result of its switched time slot that was far from ideal, or just a business decision to sacrifice a popular show just to make way for a potentially more popular future show. While I can understand the upset from fans 100%, I didn’t feel it as I wasn’t a regular viewer.

So, fast-forward to earlier this month when my friend shows me this trailer. As I said, at first I thought it was a joke, like College Humor or something. Then when the realization sunk in that it was real, I hated it. But, quickly I told myself that I don’t know enough about it yet to fully judge. I haven’t seen an episode. Sure, it looks awful from what I’ve seen, and I can clearly see the “monkey see monkey do” going on here with the copying of other successful modern cartoons. But, again, I haven’t seen it. Before I get into my final thoughts thus far, I need to address the elephant in the room...

...the similarities everybody has seen in this and Teen Titans GO!

While I wasn’t a die hard or anything, I did watch the entire first two seasons of the original Cartoon Network Teen Titans series when it was new, and I did like it. I thought it was very well-written, well-acted, had great characters, great character development, great stories, and great action. The characters worked off of each other beautifully. However, I’d be lying if I didn’t admit I had some issues with it.

UNPOPULAR OPINIONS AHEAD - PREPARE TO HATE ME

Since its release I have always found the art style to look very under-developed and unappealing. It looked like an awkward imbalance of the (already bland in my mind) Justice League cartoon style and a newbie anime style. The best way I can describe it was it resembled the artwork of a junior-high kid who just started drawing anime. Also, I found a lot of the anime-inspired elements to feel forced. When characters would mutate into chibi disasters or tropes like sweat drops scrolling down their faces would happen, it was always a bit cringy and out of place. It felt like it was shoehorned in rather than rightfully fitting in.

But the most notable thing about the show was it was a pretty huge departure from the original DC comics. Gone was the realistic art style of the comics. Now the characters all had big, round heads, twig-like limbs, huge hands and feet, and big anime-eyes. Everything was very simplistic, sharp, and jagged. There was far more comedy, some great, and some that cringy chibi stuff I mentioned. The integration of anime tropes and far more kid humor was a huge departure from the comics. So, basically, despite being a good show, Teen Titans, the show, was a huge departure from its source material.

Then comes Teen Titans GO! and overnight it becomes one of the most hated (and most popular) cartoons of this age. I didn’t quite hate it, but wrote it off as crap without seeing it. It is a shame that the original show was canceled before it got to be finished, but putting fans’ anger towards that aside, the creation of TTG makes perfect sense. The characters proved extremely popular and marketable, largely because how comedic they could be when bouncing off each other (and the original show had been canceled. Continuing a canceled show years later is a difficult task, regrouping the team, dancing through the legal BS, and finding enough staff and people to fund it to be on board, as well as a network to accept it). More simplistic art styles were becoming more popular, and after the post-Adult Swim days, hyper, wacky, odd comedies have become the norm.

To be honest, any time I have seen Teen Titans GO!, which has only been about three episodes or so, I laughed. I don’t care what people say, the show is legitimately funny. Is it the greatest show ever? Not by a long shot. Is it better than the last TT show? Probably not. Is it a shame it exists while the original never finished? Kinda. But is it a bad show? Honestly, no.

TTG knows exactly what it wants to be and delivers. It may not be the sequel show old fans wanted, but if you put aside the hatred, you’ll see it’s not only a funny cartoon bursting with energy and very well-defined and appealing character designs reminiscent of shows like Dexter’s Lab, but also a huge love letter to the Titans, the last show, and all things DC. It is clearly made by DC fans. I may be biased because I love Weird Al and The Golden Girls, but, man, this is funny right here:

https://www.youtube.com/watch?v=3ICmOMLX3rQ

Admittedly, even the movie trailer looks funny, and I’ll likely see it, despite not really being a fan of the show. Just like the 2011 Thundercats, I see what the TTG team is intending to do, and I appreciate how well they do it, despite not being a regular supporter of it.

And, well, that brings us back to ‘Roar’. Will I like it? Based on what I’ve seen so far, likely not, but who knows. It could end up being the next Sonic Boom. I do strongly dislike the art direction for Thundercats Roar, and the footage shown thus far did not make me laugh (except Mumm-ra learning about the cats being on Third Earth by reading it in the newspaper. That actually got a chuckle from me). But, as much as my gut is telling me to hate this show, I won’t pass judgment until I’ve at least seen a couple episodes. It’s definitely not the Thundercats I love, but to be honest, I didn’t want a TC reboot. I was fine with it just being as it is. So if somebody’s going to reboot it for a new generation, I’ll be glad to see my favorite franchises get passed down, so long as it is done lovingly. If the show truly is a love letter to the history of the franchise as it claims to be, and if it’s a decently quality product that obvious care went into, I’ll be fine with it.

It would be so easy to tear it apart and hate it, but as I get older I find myself growing more accepting of such change. I’m not EXPECTING to like it, but who knows, I also wasn’t expecting to like Sonic Boom. Basically, so far I’m not digging what I’ve seen, but I’ll keep an open mind and stay hopeful. Here’s hoping they can change my mind with the final product.

The End

#thundercats #thundercats roar #reboot #Brendan Corris #BrendanCorris

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nyalisa-landale · 6 years

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in which i accidentally 2000 words about goddamn phantasy star

i ended up pulling up the phantasy star page on wikipedia to win a discussion with my brother wrt video game prices, and ended up finding out that

1) you can unlock it on the ps3 sega’s ultimate genesis collection (super easily, too) and

2) apparently it’s actually considered an Important Game and shit, ranking at 26 on a “top 200 videogames of all time” list as recently as 2006 - and i’m talking specifically phantasy star 1 the master system game, not the series as a whole. like, being one of the first, if not the first, rpgs to not be a dungeons and dragons clone and/or take place in a generic fantasy setting; “event scenes” which are basically the precursor to cutscenes; actual characters with, like, names and backstories and motivation and shit; and, also, one of the first games with a female protagonist. metroid did it first, technically, having come out two years earlier, but while everyone knows samus is a girl now, back in 1986 you only found out if you beat the game fast enough and got to see her out of her suit (in a bikini, because 8-bit graphics); in phantasy star you knew right up front and center that you were playing as alis, younger sister of nero, whose tragic death the game literally opens with. also pseudo-3d dungeons, animated monster battles, and three fucking planets you could travel between.

(there’s a read-more after this; apparently i have a lot of feelings about phantasy star. rip anyone on mobile... including myself.)

don’t even get me started on phantasy star 2. you know what came out (in america) two months before final fantasy? this fucking shit. you know what pulled an aeris nine years before final fantasy 7 ever existed? this fucking shit. final fantasy was busy pulling a fifty shades on dungeons and dragons while phantasy star 2 was throwing characterisation and introspection and self-discovery and fantastic fucking worldbuilding and reversing the usual “humans vs aliens” plot (spoiler: we’re the invaders here) and just generally being amazing, well before final fantasy would start even thinking about it. did the sega genesis have a killer app? yes, and it wasn’t fucking sonic the hedgehog.

it’s not even fair to compare phantasy star 2 to final fantasy, what with them being from two different console generations and phantasy star 2 also being the largest game ever released at the time on any console (six megabits!), although for american audiences that’s the comparison they’d be making, since final fantasy came out so goddamn late here. ps1 vs ff1 is a fairer comparison, except that it isn’t, because everything i just said about ps2 vs ff1 still applies. (also - in japan, at least - ps1 came out literally two days after ff1.)

the worst goddamn thing i can say about this series is that it is, afaik, super obscure now. if you look up phantasy star stuff now, most of what you’ll find is probably going to be phantasy star online-related (let me get to that in a bit). much like everything else about sega, phantasy star was too goddamn ahead of its time and ambitious. EXAMPLE: fucking phantasy star 3, widely regarded as the worst game in the series - so much so that when sega was attempting an updated ps2 rerelease it was a phantasy star trilogy consisting of 1, 2, and 4 - had multiple generations, branching storylines, and four different endings. IN 1990. it was a gaiden (side story) game before the actual phantasy star: gaiden came out, let alone fire emblem: gaiden (although not, i don’t think, before the phantasy star 2 gaiden games, of which there were several; i could be wrong on that but it’s within the same series so it doesn’t really matter). i was going to call zelda 2 a gaiden game as well - fe2 apparently got compared to it a lot, both of them being the second game in a series and both of them taking a decidedly different approach to gameplay than the first had - but zelda 2 is actually literally a direct sequel, so it’s not gaiden in the slightest.

ANYWAY, ps3 appears at first entirely unrelated to anything in the previous two phantasy stars - dark force, the series Big Bad, gets referenced near the beginning but i don’t know if they actually call him by name until much later - and appears to be a fairly basic fantasy romp, except then you get a fucking robot party member (followed shortly thereafter by a second) and the “passages” to different “worlds” are inexplicably mechanical-looking, and then in the second generation you GO TO THE FUCKING MOON (which moon depends on which 2nd gen character you’re playing) and find out that actually, your home with its tiny “worlds” and weird fucking “passages”? IS A GODDAMN SPACESHIP.

you know what other game starts out super fantasy but, in the end, you go to the goddamn moon? final fantasy 4. a year later. my knowledge of super famicom games doesn’t extend that much farther than final fantasy and fire emblem with a side order of zelda, so i might be entirely off the mark on this one, but as far as i know the next game of that era to do a multiple generation thing was fe4, genealogy of the holy war, in 1996. six fucking years later.

unfortunately phantasy star 3 spent a bit too much effort being super innovative, because it literally is objectively the worst of the quadrilogy, but it is by no means a bad game? phantasy star 2 set a high fucking bar and phantasy star 4 picked up where ps2 left off (only not really, because it’s 1000 years later); 3, with its barely-there tie to phantasy star 2 (in an entirely optional town, at that) and weird-ass mechanics that only it has, gets forgotten pretty easily in the middle of that. you know. like a fucking gaiden game.

and speaking of phantasy star 4, it expands even more on the “event scenes” of previous games, as well as the script, and guess what? it did combination attacks two years before chrono trigger did. (or a few months, for us americans. still.) this is the phantasy star i have the least experience with, so i can’t comment as much on it, but i do know that it is a long fucking game, and not because it’s grindy as hell. because plot. STORY! (also apparently, in the us at least, it retailed for ~$100. yikes.)

also, i lied, because ps4 is not the phantasy star i have the least experience with; that would be everything that came after.* i, personally, love the quadrilogy to pieces and pretend that nothing else came after it, ever (which is really easy to do, because none of it is fucking related to the quadrilogy except for set dressing), but I CAN’T NOT MENTION PHANTASY STAR ONLINE, not if i’m talking about sega being tragically too ahead of its fucking time. it was literally the second online console game - i think the first mmo - and the first online console game - chu-chu rocket! - was made literally so that sega could figure out how the fuck to make pso work. chu-chu rocket! came out for the dreamcast in 1999; phantasy star online followed in 2000. ps2 online multiplayer wasn’t a thing until the year after that; followed another year later by the xbox. (final fantasy xi also came out in 2002.) attempts at online console capabilities were made as early as - i want to say as early as the snes and the genesis, with stuff like downloadable games, and a whole host of companies attempted to produce consoles with online capabilities, to compete with the pc market, but nothing actually took off until the dreamcast.

( * actually it’s gaiden and adventure, the two game gear titles. i have literally never touched anything related to them at all, ever, and i actually forgot they existed until i started looking shit up for this post. i do at least own a copy of phantasy star universe; i missed the bandwagon on pso, though as i understand it, if i were to emulate it, i could still play online with other people.)

hey, guess what phantasy star online was a direct inspiration for? the .hack series. SURPRISE, MOTHERFUCKERS.

unfortunately sega seems pretty content to forget that this franchise even exists; the most recent release was the japan-only phantasy star portable 2 infinity in 2011 (phantasy star portable 2, regular version, hit english-speaking audiences in 2010), but is part of the phantasy star universe line, a... spin-off, i guess? of phantasy star online, but for ps2 and 360, well after sega dropped out of the console race for good. the original quadrilogy? well, 2-4 get included on basically every genesis collection sega shits out for any console whatsoever, but ps1, having been for master system, usually gets left out - sonic’s ultimate genesis collection, mentioned way back at the top, is the outlier here, but even then you have to unlock it. (by... beating the first boss of sonic 2 with two active controllers - that is, with a second player joined but not actually in two-player mode. so two controllers. it’s not hard to unlock; you can do it in like five minutes. you still have to do it, though.) there were attempts to remaster them - i mentioned the updated ps2 rereleases, and ps1 and ps2 were actually released in japan; ps4′s never happened, though¸ and so neither of the first two were ever localised, though there are translation patches. (as i understand it, ps2′s is still kind of a work in progress.) apparently these new versions ended up scrapped in favor of a ps2 port of phantasy star collection for the saturn, both of which were released in japan only. the saturn version (1998) had all four games (and a few unrelated ones); the ps2 version (2008), phantasy star complete collection was... uh, exactly what the name implies: all four main games, all of the ps2 gaiden games (text adventures, apparently, previously exclusive to the sega meganet network service and also japan-only), and both game gear entries (gaiden and adventure); it also added the ability to make the games even harder, if you wanted to, as well as several different graphical filters you could use or not use as you preferred. this compilation was apparently also released over psn for ps3 in 2012. have i said “japan-only” enough times yet? it was japan-only.

there was also a phantasy star collection for the gba, in 2001/2; this consisted of the first three games - but not the fourth, as it wouldn’t fit on the cartridge - and no extras or improvements other than what was required to make them run on the gba. this version is notable for being the only goddamn one released outside japan. i have two cartridge copies and it is consistently the first game i play on any given gba emulator.

...and that’s how i ended up spending two goddamn hours writing way the fuck more about the phantasy star series, and specifically the original quadrilogy that is older the fuck than i am, than i ever actually intended to. idk, maybe there’s a huge active cult following for these somewhere on the internet that i haven’t found yet - yes, i’m aware of most of the fansites, they’re old as fuck and afaik mostly inactive, so they don’t count - but it sure as hell feels to me like everybody’s sleeping on these. what do people remember from the genesis? sonic and fucking ecco the dolphin. sega could totally pull a square enix and ff7-remake the shit out of these (except for real), but they could barely do it for the playstation 2; they’re sure as hell not going to do it for the playstation 4. so instead, all i can do is dream of what we could have had. (and, uh. play phantasy star generations 1 with the translation patch, the closest there is to “what we could have had”.)

i guess when sega saddled ps4 with the subtitle “the end of the millennium” they fucking meant it.

#azu plays phantasy star #or at the very least TALKS A GODDAMN LOT about phantasy star #look i grew up on this shit okay #ps2 was literally my first video game #...assuming art alive doesn't count which it doesn't

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davyrush · 7 years

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Tag Thingy!

The one who tagged me: The paw-some @youronetruepotatocat

Those who shall bear the tagged sigil: @giraffealamode @fussy-prince @furry-gamer17 @littlejavi @psi-daydreamer @nekosquidboy @thenekopastel @fabiolaheartilly

Disclaimer: No need to do this. Do as you please or if bored XD.

1. Name/Nickname: Name’s David, although no specific names are given outside a few friends from which I get a nick or two; things like kirby guy, mankey and such.

2. Gender: Male

3. Star sign: Butterfly, Star Butterfly~ (In reality, Leo).

4. Height: 1.68cm, 5′5″ for mah american friends.

5. Hogwarts House: Sssssssssslytherin <3.

6. Favorite animal: Foxes, Monkeys and cats.

7. Hours of sleep: About 7 I think; it’s becoming a new standard.

8. Dogs or cats: Cats are the greatest pet to grace our existence, as we came to the world not to be served, but to serve ;P.

9. Number of blankets: *The Count’’s voice* Three, three blankets for a twin bed, ha ha ha~. It’s the thin sheet that serves as a layer between the bed and the warm blanket, the previously mentioned warm blankets, and the thick one used to cover everything. Think of it as the top of a burger bun; fluffy and made to be instagrammed a lot (since I take my game pictures there XP).

10. Dream trip: Considering I somehow became the heir to Scrooge McDuck fortune or something, I guess I would visit France along two or three friends. A trip is nice and all, but having someone to share it with is what makes it really magical X3..

11. Dream job: School counselor, I would love to help the younger generations on their path to become better people and on their academic success. If not, a librarian; I may not read a lot, but my neatness would keep a library in perfect order. Sadly, both of those require a master’s degree and I can only go the distance so far... Teacher assistant shall be the next best thing I suppose, or working at a hospital ^w^.

12. Time: 12:00PM.

13. Birthday: August, the 17th. The day the sun shined upon my humble hometown and made narwhals fly too.

14. Favorite bands: Daft Punk and Crush 40 are the only bands I recall getting more than two CD’s from so… I’m more of a remix / orchestra / solo artist kind of guy.

15. Favorite solo artists: Owl City, Troye Sivan, Toby Fox, String Player Gamer, Pogo, Mary Elizabeth McGlynn; insert others XD.

16. Song stuck in my head: “Big Band! Kirby” (The smooth jazz rendition of Aqua Star from Kirby 64 and Save Point from Super Star are just sooooo good <3.)

17. Last movie I watched: High Speed! -Free! Starting Days- if we count what I see in home, for theater releases please see Black Panther.

18. Last show I watched: Sonic Boom -Season 2- Finally catching up to it! XD

19. When did I create this blog: May 2012, and the people who introduced me to it left it 5+ years ago XD.

20. What do I post/reblog: Personal opinions, aesthetics, gaming favorites, yaoi ships, the nintendos, Game Grumps, Kingdom Hearts, Sonic the Hedgehog, other SEGA IP’s, sh*tposting, NSFW yaoi/shota, occasional shots of IRL me and my gaming addictions, coffees, psychologies... basically, anything that I want to share or express, along with things I hold dear <3. I’ll give it points that most of the NSFW stuff is something I wouldn’t talk to you about IRL, but here’s like the only place I can loosen up a bit XP.

21. Last thing I googled: “Butter Building.” I was looking for good fanart of the famous Kirby level. Did not find much visually speaking, but musically it was a treasure of remixes galore <3.

22. Other blogs: Nope. Everything is in one place only, hence why I post NSFW here too XP.

23. Do I get asks: Mmm, usually when I do ask games only. Once every blue moon I get an ask out of the blue, but hey, if you want to ask me something, feel free. I don’t bite, not even growl XD.

24. Why I chose my url: DavyRush has been an online nickname I have since high school. I wanted consistency on that sense (and also, to not have someone claim the name and people confuse me with them X’D).

25. Following; 832 b-blogs! I’m calling out a purge soon, omg XD.

26. Followers: I’m racking 286! Out of them I probably like now on a more personal level about 20 at most XD. Thanks to all the sempai for noticing me ///w///.

27. Lucky number: 6. No less, no more.

28. Favorite instrument: Piano is probably the only instrument I know of that can cause fear and joy, sadness and happiness. Violins are cool too, but piano, mmm~.

29. What am I wearing: A Kirby Planet Robobot shirt, a blue sweater and brown pants. Either I’m a color palette gone wrong or I am making Van Gogh proud right now XDDDD.

30. Favorite food: Sushi, pastas and chicken. Basically anything with rice, chicken or fish (except mole cause... chocolate and spicy on chicken? I have mixed a few odd things in the past but... c’mon XD).

31. Nationality: 100% Mexican; the only American thing I have is a passport, really XD.

32. Favorite song: Press Garden Act 2. Listen to it with your eyes closed and you’ll see, no, FEEL it <3.

33. Last book read: ... does “The Legend of Zelda: Oracle of Seasons/ Oracle of Ages Perfect Edition” manga counts? XD

34. Top 3 fictional universes I’d like to join:

Kingdom Hearts: Traveling through various Disney worlds, living in Daybreak town, trying to unravel the secrets of the universe, fighting heartless and more importantly, a way to be in The Grid without taking a slot on this list. Yeah, I would love to do that, please XD..

Animal Crossing: Literally a tiny paradise, filled with friendly animals and plenty of things to do. Sometimes I still pop the game open just to take a virtual coffee and see the ocean. It really feels like a break from reality, and to live in such a serene world would be a bliss <3.

Any Tales world: A place where magic exists, the world seems ever expanding, and everything ain’t as black and white as in other video games. Sometimes we are forced to fight, sometimes the bad guys have good intentions, but we can always count on the good times, the jokes, looking awesome and drama, drama galore XD.

CONGRATS! on making it to the bottom. If you would like to do this ask yourself, please feel free to do so and don’t feel left out of the tags, please ;w;!

#dav tag

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zefive · 7 years

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Animated Webseries Recommendations

a (hopefully) consistently updated rec post for animated webseries. rec index here. if you know of a series that’s not on here, please feel free to rec it to me!

criteria: • no live-action/real life humans, except, if it’s for a bit. (example: south park s16e6) • no abridged series, or fananimations. (which is an animation featuring already existing characters, like Sonic or Mario) • no one shot shorts. has to be part of a series (or planned to be) • no cartoons, i.e, animations that is also airing on TV, or is made by a big name company. • has to be completely free!

edit (sept): added 3 new recommendations!

and so, onto the recs:

No Evil by Betsy Lee (on-going) follows a group of spirits, as they fight back against an evil known as The Black Tezcatlipoca, that has mysteriously returned after being sealed away fifteen years ago.

a wonderful and unique series, there’s nothing quite like No Evil out there. the story is inspired by mythology and folklore, specifically American, and is, seriously, something special. i highly recommend it, both for it’s story, characters, animation, and music. starts off slow, so please stick with it up to episode 10.

Khonjin House by Khonjin (completed) follows Khonjin, the son of a powerful mob guy, and his antics as his father, and associate Gino, try to teach him the ropes.

a random and dumb series, that manages to be completely hilarious. fair warning for Loud Noises, a ton of yelling, and just.. really dumb humour. however, the whole series is 113 minutes, so it’s definitely worth checking out! the story starts out seeming very self-contained, but it eventually reveals a complex lore, and a story arc. currently, the creator is working on two sequel series: Khonjin, and Supermental.

Eddsworld by Edd Gould (completed/hiatus) follows Edd, his friends, and their adventures through supernatural events, real life taken to the extreme, and Christmas perils.

an older series that will, without a doubt, remind you of the early days of the internet. while that might sound like a bad thing, the ‘classic’ Eddsworld episodes are nostalgia at its finest, with early internet humour that still manages to make, at least me, laugh. the creator, Edd Gould, sadly passed away, but after a while the series returned with ‘Eddsworld Legacy’, which has since then finished. currently on-going with a comic, though it’s been stated the animated series will return.

Mystery Skulls Animated by MysteryBen (on-going) follows a trio of supernatural investigators, and their run in with a ghost, and the fallout of that encounter.

an animated music video that became such a big hit, it became it’s own series. currently slated to be five parts, all animated to Mystery Skulls songs. while there’s no dialogue, the animations still manages to tell a story, and while it’s still in it’s early stages, it’s shaping up to be a downright treat. the characters are interesting, the animation is wonderful, and, of course, the music is catchy. definitely worth checking it out!

Don’t Hug Me I’m Scared by Becky & Joe (completed) follows a trio of puppet children as they learn about the wonder of STUFF.

a weird and surreal series that is, at times, horribly disturbing, and at others, really dang funny. while it’s not actually animated, it still fits all of the criteria, with cool hand-puppets (and a guy in a puppet suit), and ordinary objects given life. fair warning though, it is a rather... horror-esque series, with the trio of puppets getting hurt and traumatized. also there’s gore.

TOME by Chris Niosi (completed/hiatus)

follows Alpha and his friends, as they deal with a hacker problem in their MMORPG, Terrain of Magical Expertise

a series set in a made-up MMORPG, vaguely reminiscence of .hack. i’m currently still watching this myself, but so far it’s BRILLIANT. (i’ll expand on this when i’ve actually finished the series!)

Bloody Bunny: the first blood by 2spot studio (completed) follows the Bloody Bunny, as they try to take down an evil organization. (i. think?)

a collection of 15 shorts, made to advertise this series of (very cute) merch. however, it’s really gorgeous animated, with some nicely done gore and action sequences. it’s also just 11 minutes long, so.

Animator vs. Animation by Alan Becker (completed/on-going) follows an Animator, as he fights against his own creation.

if you haven’t already seen these, you’re kind of missing out. an old internet classic, Animator vs. Animation is a gorgeously animated series of shorts, all of which are just, kind of really fucking neat. they’re a fun little thing to watch, and has some really clever scenes.

Law of Talos: Karl by Unknown-person follows the living statue Karl, as he enters into a tournament called the ‘Law of Talos’

if you’ve ever been on DA back in the day, you’ve probably seen at least one of these animations. unknown-person’s entries into the artist vs artist tournament ‘Law of Talos’ was one of the coolest animations i had ever watched as a kid. the story around Karl was interesting, the animation was so cool, and to this day, i’ll forever have a huge soft spot for Karl and his borderline evil hijinks. it’s just pure, undiluted fun.

by Roosterteeth here’s something to break the mold: a general warning about RT, and the shit they’ve done (link is down). personally, i have a lot of issues with RT, and even though i enjoy their series a lot, i’m still well-aware that they’re kind of awful, and i personally don’t support them in any way, except the bare minimum. (which is watching the series on youtube)

• Camp Camp (on-going) follows ten year old Max as he tries to escape the Summer Camp he’s stuck at.

a comedy series that’s pretty damn good. it’s kind of in the style of Rick and Morty, in that it’s not actually for kids- more adult humour than anything. most of the humour is wrapped up in the characters, and all of them are pretty unique! fair warning that one of them is, basically, a Hitler joke. the finale of both seasons get more serious, and while there is actual character beneath the jokes, it’s not the focus.

• RWBY (on-going) follows a team of four girls as they become Hunters, and eventually ends up fighting a threat much bigger than themselves.

an ‘epic’ series that is seriously popular, and is also seen as an anime by some people. while the writing is... shaky at best, the characters are all interesting (if under-developed) and it’s very easy to get attached. it starts of as a light-hearted show, but eventually gets darker. there’s also a side-series called World of Remnant that expands on the world building.

• Red vs. Blue (on-going) two teams, one canyon, and a lot of twists.

a series that starts of hilarious, but eventually develops a serious plot, while still keeping its humour. while i haven’t seen beyond season 6 (because i’m too heartbroken) i’ve heard they’re pretty good, so.

#show recommendations #series recommendations #webseries recommendations #recommendations

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returnerofthesky · 7 years

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tbh i never knew you were a fan of starfox since you like never post about it lmao

Sorry for taking so long to answer this. Again, trip, staying off of Tumblr, etc. :V

I’d say I’m a fan of Star Fox the same way I’m a fan of Sonic - they were both big influences on me when I was younger (and not just the whole furry angle either), but nowadays I’m only really a fan of... “part” of the series, despite still enjoying the franchise and wanting to see it keep going. Star Fox 2 is my favorite of them all, and the only one I’ve gone back to play more than just once or twice, which probably speaks for itself.

For me, Star Fox feels a lot like how Zelda did in that it feels like the series simply has not been allowed to evolve. It’s gotten so mired in a lot of old traditions (gameplay-wise or story-wise) that it doesn’t seem like a lot of people know really what to do with it, and this becomes a lot more glaring with how few games there actually are in the series. In a lot of ways I’d say that the series has been “suffering from success” for years, and I think it’s going to take a BotW-style shift in order for the series to truly survive.

Most of that probably sounds vague, so let me put it another way - there’s two things that I think the developers really need to realize:

One, shmups are a really, extremely niche genre nowadays. Maybe back in the 80s and 90s shmups were all the rage, whether they were 2D or 3D, but nowadays shmups basically seem to be interchangeable with bullet hell. Linear corridor-esqe shooters really aren’t a thing anymore, even in indie circles; Star Fox Zero was the last space shooter game that I can remember coming out with a lot of fanfare in a long, long time.

The thing that made me realize this was Dan Ryckert’s review of Zero back when it came out, in which he stated that he liked the game alright aside from the motion controls issue and some minor stuff, and that it felt like the sequel to 64 that everyone always wanted... but nowadays, that still felt incredibly outdated. Like it would have been a really well-received sequel if it had been released back in the 2000s, but nowadays the industry had simply moved on after so many years.

Two, Star Fox 64 is... just kinda alright.

Like, it’s a good game. I’m not going to say something stupid (and untrue) by calling it bad, because it’s not bad by any stretch of the imagination. But there’s no denying that much of the game has aged, even with the 3DS rerelease. The bump in grahpics and sound quality was desperately needed (even if I think I prefer the older voice acting, as it sounds a bit more natural), but, as I said, shmups are a genre that’s fallen out of favor, and a large chunk of 64′s gameplay consists of rail shooter levels. And since the all-range mode, while good, mostly consists of fairly barebones maps with few obstacles or details...

I’m perfectly willing to admit that part of that is personal bias - I’ve talked before about how more arcade-y games and genres (like shmups) generally don’t grab me very well, as they’re usually much more stressful and frustrating for me to play. I find the all-range modes to be a lot more my style, even though they have their faults in 64. But the rail shooter sections in Star Fox have never bothered me as much as, say, Thunder Force (where I repeatedly lose track of everything happening at once and die on the first stage). That said, they’re still not that interesting, and as I mentioned last paragraph, all-range doesn’t fare much better in 64 either.

Of course, despite all that, SF64 is still a really iconic game that commands a lot of weight and respect - but despite being awed by the game when I was a tiny five year old tot, I think that most of what people remember about SF64 doesn’t stem from the gameplay itself. Instead, most of what’s kept the game so well-remembered comes from its presentation; the voice acting, the script full of memorable lines, the scenarios presented for each level, so on and so forth.

That’s not to say that the gameplay itself isn’t good, just that none of it feels like it really... “sticks”. Despite Sector X being about the robot boss destroying the base, I don’t really remember much of the level itself, just the boss fight. Despite Titania being about going to save Slippy, it’s mostly just a slog of fighting birds and other junk before actually reaching the interesting bit (it’s worth noting that Titania in Zero is much improved in this regard, with more variation in terrain and obstacles). All-range mode usually is a lot more memorable to me.

So of course, if 64 is more memorable for it’s presentation than most of the actual gameplay, and if half of its gameplay (shmup) has slowly turned into a niche genre, what happens? Well, as you might expect, I think the series needs to start putting more focus and care into the other half of its gameplay: all-range mode. And funnily enough, I think the developers(es), at least on some level, realize this as well.

If that sounds weird, let me point this out: after Star Fox on the SNES, the sequel immediately shifted gears from a rail shooter to an outright dogfight game, with some small strategy elements thrown in to add nuance to the space shooting. Star Fox 64, despite having shmup gameplay, also included a number of all-range levels and sequences. Star Fox Assault expanded on this with half-shmup, half-all-range, with on-foot sections and more detailed levels since you could go on foot. Star Fox Zero did the same, reintroducing the Walker instead of on-foot sections and making a lot of all-range sequences with impressive details and obstacles.

Do you see what I’m getting at here? The series has always, always, been drifting more and more towards emphasizing the all-range mode, expanding on it in many different ways and in a lot of ways improving and polishing it to the point where it easily could be a highlight. In fact, the reason it isn’t a highlight usually isn’t because of all-range mode itself, but because of other factors. Gyro controls, wonky cameras, iffy third-person-shooter gameplay, etc etc.

Take, for example, Zoness, in Zero. In it, you’re teleported to an enemy base on Zoness and have to infiltrate it without being detected, by sneaking through a main corridor, flying into power generator rooms and disabling the power shield so the place self-destructs (and then you have to escape while it crumbles, obviously). Unfortunately, you’re flying the Gyrowing, making the whole level this slow, annoying slog, and that doesn’t even take into account the aiming controls themselves.

However, there’s an alternate version of the level where you visit in the Arwing instead, and you have to do the same mission but on a seven minute time limit. Utilizing the Arwing/Walker in order to explore and escape the base is an incredible improvement on the level; it’s faster, smoother, and more fun to play - if they stripped out the time limit (keep it, just as a challenge level) and made it the default level instead of the Gyrowing, I bet the level would have been much more well received.

Another example of a really good all-range level from Zero is, of course, Sector Beta, and not just because it basically crams every named character from 64 into one giant love letter. It essentially consists of dogfighting between Andross and Cornerian forces (like Katina from 64), eventually getting through a giant battleship’s shield and infiltrating it in Walker form, and then battling Star Wolf while the rest of the battle keeps going on. There’s no frills or exploration like in Zoness, it’s just pure space shooting, and it’s an excellent level because of it.

For one that isn’t from Zero, anyone remember Sargasso Space Zone from Assault? It’s kind of a combination of both styles of all-range mission, where you have to get inside of the base and destroy some teleporter things while fighting enemies inside, but then after destroying them, Star Wolf pops up and you finish off by having a dogfight with them and other normal enemy fighters.

All of these are solid examples of how all-range mode works, and I feel like focusing more on these levels is where the series needs to head. I wouldn’t necessarily say that shmup gameplay should disappear forever, and I wouldn’t do away with absolutely all arcade-y aspects of the series, either (the high score counter is perfectly fine, for instance, and linear segments can work as small one-offs).

The games need a major shake up in order to survive, and I think making a game focused more around the dogfighting aspect rather than the corridor shooting would work quite well. That’s the reason I compare it to Zelda; it might not have nearly as many games under its belt and be quite as much of a staple, but Star Fox really needs its own Breath of the Wild to catch up with the times. Whether it goes the route of essentially becoming like a Rogue Squadron game, or if it takes Star Fox 2′s concept of light RTS elements and designs a game like it, something needs to give, and considering Nintendo’s recent habit of reviving their games with the right modern touches and the old, less-necessary traditions tweaked or changed, I think they could do it.

(Stick with the Zero aesthetic, though - the mixture of elements from SNES and 64 work juuuuuuuust right to me)

#star fox #sky rambles #Anonymous

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mint-sm · 7 years

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LOS CAMPESINOS! REVIEW/ANALYSIS: Sick Scenes

Note: I haven’t found a full album post video and some of the songs aren’t available on Youtube for me to cite like with my other reviews, sadly. Listen to it on Spotify or something lol

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So... that was a long time, wasn’t it? Not just the gap between my last review, but between albums. There was a four-year gap between “Sick Scenes” and the band’s last album, “No Blues,” a product that I could see some appeal in but was personally unsatisfied with, but I was still eager to hear another record from them. Unfortunately, we had to wait this long gap, since things have changed, and simply put: the band has grown up.

Not necessarily in just a literal or maturity-level sense, but the fact that the world we’ve been living in has kind of grown unkind to everyone in the last few years. Not only has the music scene the band was affiliated with been changing to something else that’s -- for the lack of better words -- kinda boring, and not only has it also become less profitable, with the band resigning to day jobs for a while (thank God for commemorative football jersey sales!), but this has been a long stretch of time where everyone’s gone much more weary, especially as the world starts bombarding you with crappiness.

Worrying about a quarter-life crisis, fighting physical and mental illnesses, watching all the things from your youth slowly crumble away while past generations trivialize and demean your current problems, watching all your current interests go to shit, and also becoming increasingly uneasy with how crappy and seemingly suicidal the world at large has become, especially with the US presidential election, the Brexit vote, and most importantly, Euro 2016 being largely terrible.

I bring this up because it finally seems to provide the backing for something I desperately missed from “No Blues”: Context. I’ve went over the musical issues I had with “No Blues” a bit more in-depth in my review of it, but lyrically and thematically, there was just a sort of vagueness and a lack of a definite focus that also really turned me off from liking it very much. “Sick Scenes,” however, feels like it’s much more of a return to form in that finally, we do have a more concrete approach to the album, in that we actually know what went behind its philosophy, and now there’s actually more to latch onto and relate to other than vaguely pretty, overly-precise and clean production.

ALL THESE / SICK SCENES PLAYED OUT IN MY MEMORY / WAKE UP / I'LL TELL YOU EVERYTHING HONESTLY /

The album has actually toned down a lot of that overly pristine mixing and production of “No Blues,” and there’s actually a lot more grit, texture as well as tightness to it. It’s not “Romance Is Boring”-levels noisy, but there is a certain rawness and thump to a lot of the instrumentation again; one standout thing is the snares and kicks like from the song “Sad Suppers,” which feel a bit more crackly, but also god-loads tighter, and in a way that actually has a sort of “dirty” quality to it that I’m a huge fan of for this type of music.

“Sick Scenes” has also been a step-up compositionally as well. The melodies feel a lot catchier, with many of the bangers feeling a lot faster and more driving than those in “No Blues,” and they tend to have a consistent or growing momentum to them that actually feel powerful. “Renato Dall’Ara (2008)” is an awesome opening track because of this, starting off with like these awesome “spiralling-down” backup vocals, a really catchy chorus and more definitive sonic evolution as it goes on, it’s just great (as of this writing, there’s now word this song’s getting a music video next week! Can’t wait!)

THEY WOULD PLAY MY REQUESTS AT THE GUESTLIST’S BEHEST / ANY DISCO ALL ACROSS TOWN / BUT THINGS CHANGE, NOW STELLA’S A LAGER / AND BOY SHE IS ALWAYS DOWNED /

Los Camp have even much improved most of their slower ballads, or at least their sort of “breather” tracks, which now actually have a lot more going for them musically and lyrically. “5 Flucloxacillin” and “The Fall of Home” are especially surprising since basically, praise heaven almighty, GARETH CAN ACTUALLY SING! Like I don’t know what the hell happened in these last 4 years, but holy god Gareth can actually pull of being gentle and melodic, and in a way that actually conveys a lot of emotion and isn’t boring, especially with the subject matter.

Like I said, “Sick Scenes” feels like much more of a step up from “No Blues” and even “Hello Sadness” in that it definitely feels more about actual definite things, but a lot of the mentalities that I did think could’ve made both of those two albums much more interesting than they ended up being are still present here. It took me a while to figure out what made it so different, but I think the early days of “Hold on Now, Youngster…” fell more along the lines of being more actively emotional and visceral, trying to thump these feelings of weirdly upbeat melancholia into your head, whereas things like “No Blues” and this album seem to want to treat it more playfully, look at it with contemplation and humility, trying to find a dryer sense of subtle wittiness to it.

In that sense, “Sick Scenes” feels like it’s sort of blending the best of both worlds by approaching the focused definition, viscerality and sound of the “Youngster” days, but mixing it with a much more self-reflective and mature philosophical method. It’s a reasonable approach for the album considering its subject matter and consistent sense of fond nostalgia, and while it does tread a bit more of older ground as a result, it feels a lot more comprehensive and less overly stuffed or boring, while giving a bit of a wink back to the days of old. Hell, “Renato Dall’Ara (2008)” seems to directly reference “Youngster,” not just with the general feel and attitude (and it’s snarky as hell and I love it), but also that title (hint hint, the “2008” in the title is NOT referencing the Renato Dall'Ara).

PICTURED READING KARL MARX BESIDE HIS PARENTS’ POOL / FACING RIDICULE HE BLEATED / “THAT DOESN’T MAKE ME RICH, NO WAY, / IT’S ONLY OUTDOOR AND IT ISN’T HEATED” /

Unfortunately, a bit of a strike against this more grown-up-approach is that it means some parts of the album fall into the same trap as with “No Blues,” in that sometimes the lyrics can get a little too witty for their own good, and can get a little too obsessed with esoteric referential wordplay rather than actual content or coherence. “For Whom the Belly Tolls” (couldn’t find a video for this) to me feels like one of the weaker links on the album, in that the music isn’t particularly dynamic nor all that catchy for me, and would be ultimately rather unremarkable if not for that spontaneous choral bridge at the halfway point... which to be honest, transitions AWESOMELY.

Also, there are just some occasionally “No Blues”-esque deadpan moments on this album, which again, I can totally find appreciation for, but for me tend to end up kind of samey-sounding and a little boring, especially later on the album with “A Litany/Heart Swells,” or “Got Stendhal’s.” I dunno what to really say about these tbh, not only do they just kinda get repetitive after a bit, but they also feel like retreads to stuff Los Camp’s already done before, like with the “Heart Swells/Pacific Daylight Time” from “Doomed” or “What Death Leaves Behind” from “No Blues.”

However, with all that said, just about every other song on the album has something to offer as I’d expect from Los Camp’s standards, in that the music and subject matters feel diverse and intricate, eliciting conflicting yet consistent feels, and I do mean “feels,” since while this album is mostly much more vibrant than these last few albums, it’s actually still very gloomy and impending at times. Honestly, while that cover art above is still that popular pastel-y pink color that I kinda hate, it actually does feel rather indicative of the album in a good way: This kind of vacant, slacking and tired, nearly zombie-like person that’s so utterly fed up with how life and the world is playing out that they just want to lay there in the middle of a supermarket like an idiot who’s been up all night thinking about how shitty the world is. It’s indicative, interesting, kinda bleak, but also really funny.

(IT SEEMS UNFAIR) TO BE A ROTTEN HORN OF PLENTY! / (IT SEEMS UNFAIR) TO BE CADAVER FOR A CURSE! / (IT SEEMS UNFAIR) TO BE AN OVERFLOW FOR EMPTY! / (IT SEEMS UNFAIR) TO TRY YOUR BEST BUT FEEL THE WORST! /

Tracks like “I Broke Up in Amarante” and “A Slow, Slow Death” manage to encapsulate a lot of complete and utter frustration in an incredibly bombastic and grand veneer. Even though they do feel like they’re about completely different EXACT subjects (which I’m pretty sure are the aforementioned Euro 2016 and Brexit, respectively), they manage to feel oddly cathartic, but in a weird, kind of restrained but still natural-feeling way. There are also a lot of references in the songs like with “No Blues,” but overall it doesn’t feel as overbearing with these tracks, since the lyrics feel like perfectly comprehensible metaphors as is, and I find them pretty charming and relatable, as well as accessible.

“Here’s to the Fourth Time” (couldn’t find a link for this one) is also pretty humorous but also kind of awesome, and it honestly feels like the closest the album gets to “Romance is Boring”’s sound. The melodies are pretty poppy and catchy and have like this sort of just “grooving” and textured flow and feel to them that I love, and the last third of this song goes onto like this really noisy but badass-sounding breakdown with looped drums, distorted guitars and vocals, but in addition to that, the lyrics manage to be probably the most charming on the record, in that obviously the situation is cringey as hell (it’s about sex, and sex in a Los Camp song can never end well) but also kind of awkwardly hilarious and sympathetic, especially given the context the bandmates, now being 30-something-year-olds contemplating their quarter-life crises.

“5 Flucloxacillin” and “The Fall of Home,” once again, do feel the most indicative of that mentality of “I’m so fucking done with this place”-ness, but they approach it in such unique ways to what you’d expect from typical Los Camp fare. “5 Flucloxacillin” is kind of like this livelier indie rock ballad, with again, Gareth’s great vocals, but it’s surprisingly more “mellow” than “gentle”: the vocals are smooth and lively, but there does sound like a bit of deep-seated resentment hidden as the lyrics go into the frustration and bitterness that one would have with taking a lot of medications for things like acne or depression, and growing up in a world of utter chaos while being shittalked to by the people who made it that way whilst undermining your problems, and how even though years have passed and you probably should’ve grown out of them… you still haven’t.

(Hint hint! This song is about baby-boomers being assholes! Do you like this song yet?)

AM I A PIGGY BANK OF OBSOLETE CURRENCY? / AN ORDER OF MERIT FROM COUNTRY KNOWN FOR TYRANNY? / ANOTHER BLISTER PACK POPS, BUT I STILL FEEL MUCH THE SAME / THIRTY-ONE AND DEPRESSION IS A YOUNG MAN'S GAME /

“The Fall of Home” takes a much more intimate approach to these subjects in a way that feels rather basic, but gut-wrenching. It’s a guitar ballad, and while this could’ve easily been boring, it just sounds so nice, with like these great piano and violin accompaniments, and Gareth’s gentle, almost kind of fragile-sounding but beautiful singing, basically listing all the miserable losses of everything you once loved, locally and nationally, going down to shit by simple virtue of time having passed by and the present not being kind to them. It manages to be the simplest, but most poignant track on the entire album, and is honestly probably one of Los Camp’s newest classics.

BATTERY DIES ON YOUR MONTHLY CALL / BUDGET CUT AT YOUR PRIMARY SCHOOL / ANOTHER FAMILY FRIEND FELL SICK / GAVE THE FASCISTS A THOUSAND TICKS /

The ending track, “Hung Empty,” is alright. It’s got some great flow to it and a very catchy chorus hook, and it ends in a way only Los Camp can really get away with, valiantly shouting “Feels like I've been waiting on it, nearly all my life, but what, if this is it now, what if this is how we die!?” in a way that almost feels defiant or daring. It’s a creditable finisher, but at the same time it kind of feels… expected, you know? It feels like a typical Los Camp finisher, but it’s also just kinda basic. It’s actually kind of a microcosm of the entire album for me: it’s good! But some parts of it feel like they’ve been done before.

Like I’ve said, this album does feel like a much more pleasing return to form for the band’s earlier works but approached with a more grown-up, more exposed-to-the-world and vaguely “doomed” mindset, and for the most part, it’s very compelling! It’s got some great songs, and its feel feels a lot more definite and impactful than their last albums, it’s just that there’s a bit of crows feet here and there, and it kinda feels like even with the new perspectives it explores, some of it feels a little by-the-numbers at this point.

Not in a ruinous way, but I hope that for next album they do go even more adventurous than they did here. Again, I do think they already made a good effort; I was going to give this more of a 3.5/5, but after being given more time to appreciate the little intricacies of this album and realizing where a lot of it is coming from, it’s grown on me pretty well, it’s just I kinda wanna see more in the future, y’know? Who knows? Maybe they actually will, and I’m kind of excited by that prospect. We’re just going to have to wait and see.

Maybe if they manage to sell another thousand more of those “Doomed” football jerseys. I don’t care much about football, but goddamn I kinda want one anyway.

LC!4LYF (4/5)

FAVES: “Renato Dall’Ara (2008)”, “Sad Suppers”, “I Broke Up in Amarante”, “The Fall of Home”, “5 Flucloxacillin”, “Here’s to the Fourth Time!”, “Hung Empty”

aaaaand there you have it! Reviews of all the major Los Camp albums! Ahh… fuck

I might do more reviews of different albums in the future, but maybe not. Iunno, maybe I’ll do a few one-shots of albums I wanna talk about, like Gorillaz or something, but I don’t really know what I can really offer for that lol. We’ll see.

#music review #los campesinos #sick scenes

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musiccosmosru · 6 years

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From the opening hook of Trip Carter’s “True” you get the sense that the rapper operates differently than his peers. After all, how many artists would begin what may well be their breakout track singing from the perspective of a girl calling them out for misrepresenting the truth?

Carter, who studied jazz at USC and moonlights as a session bassist, is a thorough songwriter both sonically and thematically. While many modern rappers laze in and out of melodic phrases, he pivots between sung and rapped cadences with confidence and precision as you can hear on tracks like “Finito” and “Glide” from his 2017 project Oasis.

The visuals for “True” force us to confront the idea that perception isn’t always reality, as the rapper flits across different digital landscapes, and in the end is left shrugging in front of a green screen. Directed by Glassface, who also helmed Tobi Lou’s “Troop” and Lil Yachty’s “BOOM!” the video unravels in time with Carter recounting the argument at its center.

There’s a definite sense of California cool with the lightness of his singing, but Carter’s flow is malleable enough to ride heavier beats when called upon. Never one for facades, Carter’s music is vulnerable and occasionally self-effacing, and on “True” he shows his breezy charisma and muscular delivery atop sparse drums and tiny clusters of bright guitar.

“I try to be as transparent and honest as I can in my music, and I really just can’t sit where I live, or be as broke as I am or have been, and then pretend like I’m really on,” he explains. “It guts me in the soul a little bit. I want to be relatable, too, because I feel like it’s way more relatable.”

With more new music on the way, we talked to Carter about his brand new video, how his jazz chops have helped him as a songwriter, and his goal of crafting left-field tracks that still knock on the radio.

You play bass professionally and studied music in college, right?

Yeah, I went to USC on a scholarship for jazz, graduated—which was crazy—and I’ve been working like that ever since. I went in studying jazz because it’s basically the foundation of music in general, I wasn’t trying to be a jazz musician. I’ve never been like, “I want to be a jazz musician.” But I knew that if I knew enough about it I could play and make anything musically, so I was really just trying to get my bars up on music.

You and I were born around the same time, and in the early 2000s there wasn’t as much going on in hip-hop on either coast, so it feels like now there’s a generation of artists from New York and L.A. who don’t make music that sounds very regionally specific.

I think it’s a weird middle area to be born, because it’s at the tail end of the ‘90s, and then the early 2000s weren’t fully where music is right now. And then as like, Drake and Cole and Kendrick and all them came up we were still kids, and they’re definitely influential to this generation as well, so it’s kind of crazy.

When did you start making music that you feel is consistent with what you’re putting out now?

I started rapping casually in high school, then I started recording and really taking it seriously when I was 19 or so. That was when I really started making songs and stuff, so it’s been three or four years since I’ve really been doing it like that.

You obviously have a lot of technical musical knowledge but you don’t really produce your own tracks, correct?

I’m really more of the songwriter than the producer type. I let my homies who have the producing chops really get in there, I just think that my music background helps me be able to articulate better what I want when it comes to making production changes and what kind of vibe I’m going for and stuff like that. I’m not out here really producing all my stuff like that. I focus on the craft.

What do you mean when you say that it helps you articulate better? Could you expand on that?

When I was first starting to write songs, I was 16 or 17. I was in a band, so I was writing with instruments, and I think that’s where my writing ability comes from, is because I just wrote hundreds and hundreds of indie and soul songs, playing bass and playing piano or guitar—not that I’m really good at those instruments. I think that really helped me hone my songwriting ability so much, that aspect of actually being able to play an instrument.

On songs of yours like “True” and “Shirtless” I think it’s notable that you rap about relationship issues while making sure to hold yourself accountable for the situations you describe. Not just in hip-hop, but in all genres really, there tends to be a degree of one-sidedness.

I want to show that there are two sides to every story and I can be a scumbag sometimes, I feel like, it’s not all one way or the other. It’s usually somewhere in the middle. So I definitely try to see things from the other perspective when it comes to things and try to incorporate that, because I also don’t want to come off as too much of an asshole, too. [LAUGHS.]

The different textures and backgrounds in the “True” video were really fascinating, could you tell me how they help tell the story of the song?

The point of “True” is that she’s really trying to peel back the layers of who I am—said-anonymous female counterpart. She’s trying to figure out what’s going on, and I’m being very straightforward in my responses, but at the same time, there’s probably a little more to the situation [than I’m revealing]. She’s going to have a little more to feel about it, and I’m probably going to have more than what I’m saying to her to feel about it. I think the point of this video is really to be like, how real are you being? How true are you feeling about this? That’s the point of the green screen and all that kind of stuff, just playing on the idea of what you say versus what you mean versus how you feel.

“Primetime” is a track of yours that really resonated with me. The fact that you’re willing to admit that you’re grinding and don’t have it made yet is still refreshing.

I try to be as transparent and honest as I can in my music, and I really just can’t sit where I live, or be as broke as I am or have been, and then pretend like I’m really on. It guts me in the soul a little bit. I want to be relatable, too, because I feel like it’s way more relatable. I feel like more people are like, “Oh yeah, [some other rapper] is flexing. That’s dope. I’m not going to take away from that at all, but at the same time, here’s this rapper who’s probably in a similar situation that I’m in right now and is being super honest about it.” I think that shit is what really hits people.

Another song I dug was “Wristwatch,” which deals with that very universal feeling of trying to accomplish your goals while feeling the pressure of time. As someone who’s maybe a little older than a lot of rappers coming into the game now do you feel any added pressure?

I still have a lot of friends who are younger than me and are doing similar things to me, but it’s hard to not compare yourself to other people, and that’s something I really struggle with and try to keep in my lane. I’m 23, I’m not old. But then I’m like, There’s kids who are on and still in high school.

That shit definitely makes me feel old, definitely makes me feel pressure to get on, because there are some people who are just done by 23 in this day and age. They come in super hot at 16 or 17, but by the time they’re my age they’re not with it anymore. I’m definitely feeling that pressure, but at the same time trying my best to look at my path and I know that everybody’s path is different. That’s something my mom always tells me, just to try and stay focused on my own wave.

How would you compare yourself to the current crop of music coming out of Los Angeles? How do you think your sound differs and what do you think you add?

I don’t think that I sound much like anything in L.A., though I’m sure there’s a little bit of West Coast influence subconsciously. I think that what I really try to aim to make is unique sounding hits and bangers. I’m trying to carve that lane out of picking eclectic beats, but still writing radio-ready tracks. I’m trying to make the big jams, but make them unique. I don’t want to follow a wave or try to do anything that’s hot right now, I just want to create a sound that is unique in its own right, but still universal enough, especially with the songwriting, to carve that little lane out. [I want to be] somewhere between the mainstream and the Soulection-type shit that’s coming out and how everybody is getting on the R&B wave.

If you had to recommend one Trip Carter track to bring someone up to speed who hasn’t heard your music yet, which would you choose?

I think you should just listen to “True” and the rest of the songs I have coming up this summer. “True” especially though is a great sum of everything that is Trip Carter in terms of my vibe sonically and my vibe conceptually.

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The post L.A.’s Trip Carter Raps and Sings Both Perspectives of a Couple’s Confrontation on “True” appeared first on MusicCosmoS.

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