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transistor-rhythm-909 · 5 months ago

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Arcade Child - Nothing Left But Vengeance (Final Boss: Hell Chaos)

originally composed by Katsuro Tajima

DOWNLOAD HERE

This was a long time coming.

I love the original Splatterhouse- particularly its initial arcade incarnation. This is probably not a surprise- I like horror, I like arcade games, I like horror arcade games, you do the math. But Splatterhouse is special. I've written at length about how much I love the game several times over the years, how influential its been on me creatively, so I'll try my best to be brief: in addition to being a very violent and visceral video game, it has stellar art direction and design with some seriously creative enemy designs, really solid and desceptively simple gameplay with more depth then you might expect, and a story that whilst fairly simple serves up a for-the-time-uncommon-in-the-medium and particularly cruel (if kind of dated) twist, with no happy ending for Rick- the player character- or his girlfriend Jennifer no matter what you do.

In addition, Splatterhouse is host to a fantastic and very forward thinking soundtrack. Written by Katsuro Tajima and Yoshinori Kawamoto, none of it sounds particularly videogamey, instead drawing from the highly synthesized and often experimental horror movie scores of the 80s, to create a very specific and effective atmosphere. As a general rule, Tajima handled the more typically melodic tracks, whilst Kawamoto created the more ambient or outright outsider-music-esque pieces.

And one of my favourite pieces on the soundtrack? The final boss theme, composed by Tajima (I was unable to find a non-1hr/not shite audio quality version of the song under its correct title- we'll come back to that- so I apologise).

(Continued below)

It's such a beautifully melancholic piece- not really very scary sounding nor very triumphant, and frequently dropping its uptempo nature in favour of more contemplative sections, it doesn't sound like typical final boss music. But for a game in which you have to fight the woman you were trying to save as a boss- the woman the player character loves enough to take an obviously one-sided deal with a supernatural force and dive headfirst into hell for- two stages before this point, it fits. Though the PC Engine port of Splatterhouse would flesh out more of the story by bringing in other elements of intruige, and Splatterhouse 2 would undo this twist, Jennifer doesn't magically revive at the end of the game. For those last two levels, and for this final fight against the very essance of the titular (and apparently living and sentient) Splatterhouse and/or the spirit of its prior inhabitant Dr. West (depending on which version of the lore you go by), Rick has nothing but vengeance to fight for. That's a relatively nuanced and complex emotional core for a final boss fight to have even now, let alone at the time, and the presentation of the fight- including the music- does so wonderfully. Obviously, killing a woman off to give a male character Main Pain™ is and was even then an enormous unflattering cliche, and Splatterhouse isn't above criticism for indulging in it, but I think it's handled at least slightly better then some of the more overtly sexist Fridging I've seen happen to female characters in many forms of media.

I mentioned above that this remix was a long time coming; whilst that's partially because I started working on it early last year (I think? I forget), it's also because this is actually my second time remixing this song. I first made a remix of it back in the late 2000s when I was a teenager- long before 103 Records existed, back when the TIMGUL forums were still active, I used a long-gone youtube channel to host my music for listening purposes, and I stuck my songs up on filesharing sites like zippyshare or 4shared for downloading. It's long gone, now- its one of many of my early songs that I either never properly backed up or lost to hard drive failures, and everywhere it was hosted has since gone defunct. It's not a lost a masterpiece, I assure you- from what I remember, I struggled to get the timing and placement of the notes during the "chorus" section right, so the melody was really off, and I don't think I really bothered with either the "verses" or the "bridge". It was also made at a time when I didn't use direct line-in recording for my music, and instead used the recording function on a battery powered MP3 player, so the actual sound quality was complete shite.

As much as I cut myself some slack- I was like, 14-15, and had even less of an idea what the hell I was doing then I do now (which ain't much)- but I always felt a pang of regret that my tribute to music I love so much was severely lacking. This remix is me attempting to right that wrong. And whilst I could nitpick it- and probably will eventually- I feel teenage!Decon would be thrilled to know he'd one day be capable of pulling off something like this. Whilst mostly based off of the arcade version of the song, the melody in the "verse" section pulls a little bit from the PC Engine's rendition of the final boss theme, which emphasises slightly different notes. I also included a brief portion of the game's ending theme in there (again, have to use a 1hr looped upload, sorry about that), as said motif both appears earlier in the game (tied to cutscenes before and after the boss fight with Jennifer), and in adverts for the PC Engine port, so it could be considered Splatterhouse 1's main musical theme.

Which brings me to why I arranged the sound in this high energy breakbeat techno style. Partially, that's a callback to that original remix I made, which was similarly styled- and indeed the inetial impetous for that stylistic approach came from wanting to, essentially, do what I did the first time, but Better™.

Whilst working on it tho I realised the end result kinda reminded me of something. Stick with me here, this is gonna seem off topic; way back in the early 90s, the original Castlevania was remade and expanded for the Sharp X68000- a japanese computer with a strong gaming scene/library, vaguely anologus to something like the Amiga in the UK. It's a very good version of Castlevania. Later, around 2000/2001, this version of Castlevania would be ported to the playstation under the name Castlevania Chronicles, which contained both the original version of the remake completely unaltered, and an Arranged Mode with a number of changes both cosmetic and gameoplay oriented, one of which was a new arranged soundtrack- with many of the songs being redone in various styles of electronica. This included it's final boss theme, You Goddamned Bathead, which got turned into a hard acid techno banger with some dramatic organs for flavour- though in fairness, its original incarnation was already fairly rave-oriented in composition.

So I leaned into that idea; this is, basically, the final boss theme from the arranged mode of a hypothetical PS1 re-release of a Splatterhouse remake that initially dropped on the X68000- hence why it has a loop-n-fadeout ending. Why? Because god forbid I make something that doesn't have some ridiculous high concept metafiction bullshit attached to it. I would imagine that in this hypothetical Splatterhouse remake (and then re-remake), the fight against Hell Chaos is considerably expanded or at least even harder, given the length this remix winded up being; the original Hell Chaos fight can be beaten in under two minutes if you're good at the game. Or you cheat.

Additional fun fact; I considered naming the remix "You Goddamned Melt-head" initially, as a one-two reference to the Castlevania Chronicles song and a rip of Splatterhouse's soundtrack that gave all the songs obnixously unfunny fan titles which circulated back in the day; in this rip the final boss song was given the name "The Requiem of Captain Mozzarella", a name so egregiously unfunny I want to find whoever came up with it and give them a clip 'round the ear (this is also why I had to link to a 1hr upload above; most of the non-shit-audio-quality uploads of the song on youtube use that fucking name, and a) I didn't want to give the impression that that was its official name to the unitiated, and b) it would have deflated my talk of how the game has quite an effective score/story etc. I decided against the Melt-head name for much the same reason- I didn't want my earnest attempt to capture the emotion of the fight to be undone by a too-in-jokey reference. The remix also briefly went under the name "Stulti Hominis Finalem Votum"- pigin Latin for "The Foolish Man's Final Wish"- mostly as if memory serves right, my initial remix from all those years ago had the suffix "Venenum Sanguis Mix" (also pigin latin, this time for 'poisonous blood'), because Latin Is Kewl!!!!!!!!!!!!

#decon's music #arcade child #Bandcamp

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maximuswolf · 1 month ago

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Lies of P is absolutely one of the best video games that I've played and a new favorite.

Lies of P is absolutely one of the best video games that I've played and a new favorite. The highest compliment I can pay this game is that if FromSoftware were emblazoned on the cover I wouldn't question it. It's as if Round 8 Studios studied the FromSoft Souls games and created a perfectly distilled experience based on them. The world is wonderfully crafted and combat, music, art design, tone and atmosphere are all stellar; I still adore the FromSoft Souls games but Lies of P is special. Something in particular that I absolutely adored is how it embodies the spirit of Bloodborne with a hint of Sekiro, engaging with the Perfect Guard mechanic makes combat significantly easier but you can also play less aggressively and still enjoy the experience. I actually have the urge to start New Game+ already but there are too many other games which I'm currently anxious to play. I've played through all seven FromSoft Souls titles and the Demon's Souls remake so relative to my familiarity with the genre this is how I fared: -I was on King of Puppets and Green Monster longest (around 1hr each). -Laxasia had the most challenging moveset of the rogues gallery that I faced despite not being stuck on her for long. -Both Simon and Nameless Puppet were satisfyingly easy and fun. I nearly eliminated them on my first attempts but Simon took three and NP two; NP's narrative purpose and design are really cool (his sword being a scissors that can split is clever), I love that Phase 1 has him on strings that become severed in Phase 2. *I got the Rise of P ending.* As an aside, if the studio's intention for a sequel is to use The Wizard of Oz source material then that could be a really good setting for this genre especially with how terrifically they reimagined Pinocchio. Submitted April 30, 2025 at 11:54AM by gruesomesonofabitch https://ift.tt/GLW4ytD via /r/gaming

#reddit

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nottonki · 3 years ago

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Mirage men

#Mirage men full

#Mirage men trial

#Mirage men tv

#Mirage men full

This is a special, extended 2-disc version including the full length feature, 8-page booklet with essays by the filmmakers on ‘The Genesis of Mirage Men’, ‘Tricksters, Saucers and Cyber Magicians’, ‘The Enigma of Richard Doty’ and ‘The Unreliable Narrator’, and over an hour of previously unseen additional material, comprising of 22 short films giving background history, extra interviews and an exclusive Urthona music video. Now, for the first time, some of those behind these operations, and their victims, speak out, revealing a true story that is part Manchurian Candidate and part Close Encounters of the Third Kind. Anomalist and a host of other magazines and journals. Mark Pilkington and John Lundberg, based on their best-selling book, uncover a 60 year-old story stranger than any conspiracy thriller. Mirage Men draws viewers into a saucer-shaped hall of mirrors, a shadow-world where every lie contains elements of the truth, and the truth is far stranger than the UFO believers, or their detractors, would have you believe.

#Mirage men tv

In doing so they spawned a mythology so powerful that it captivated and warped many brilliant minds, including several of their own. Mark Pilkington has written for the Guardian, Fortean Times, Sight & Sound, the Wire, Frieze, the. Mirage Men on Pluto TV Documentaries 1hr 25 min MIRAGE MEN takes you on a journey through the badlands and backwaters of America. UFOs: weapons of mass deception… For over 60 years teams within the US Air Force and Intelligence services exploited and manipulated beliefs about UFOs and ET visitations as part of their counterintelligence programmes. In UFOlogy today, the term Mirage Men is understood to signify supposed shadowy government agents who, for inscrutable reasons, are allegedly tricking the. How the US government created a myth that took over the world. Wonderfully weird and provocative – Boing Boing Our famous fish and chips restaurant brings people to the Helmsdale from all. La Mirage Restaurant is opened by Nancy Sinclair and become very famous with pink decor and novelist Barbara Cartland as seen on TV. With a fresh, funny and objective approach, Pilkington is the ideal guide to steer us through these strange territories, where nothing is quite as it seems and reality is just a matter of managing perceptions.By John Lundberg, Mark Pilkington, Roland Denning, Kypros Kyprianou The North’s Premier Restaurant teamed up with proprietor Haydar Baran, headchefs Don Sinclair and Elma Booth.

#Mirage men trial

(Tom Thorne Novels) Paperback 29 July 2010 by Mark Pilkington (Author) 104 ratings See all formats and editions Kindle Edition £3.99 Read with Our Free App Audiobook £0.00 Free with your Audible trial Paperback £9.09 9 Used from £5.18 15 New from £7. Meanwhile he has to deal with his own uncertainties, the suspicions of the UFO community and a partner who is starting to believe that conspiracy theorists might be right after all. Mirage Men: A Journey into Disinformation, Paranoia and UFOs. As a result he began to suspect that, instead of covering up stories of crashed flying saucers, alien contacts and secret underground bases, the US intelligence agencies had actually been promoting them all along. Along the way he discovers that the truth about flying saucers is stranger and more complex than either the ufologists or debunkers would have us believe.Īs he crossed the US meeting intelligence agents, disinformation specialists and UFO hunters Pilkington was confronted with a dizzying array of ever more outrageous claims and counter claims. Through the fascinating account of their quest Mark Pilkington reveals the long history of UFOria and its parallels in little known tales from the murky worlds of espionage, psychological warfare and advanced military technology. Seeking the truth about UFOs in America, Mark Pilkington and John Lundberg uncover a 60 year-old story stranger than any conspiracy thriller.

#Mirage men

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luxlisbonblog · 8 years ago

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10 Things you didn’t know about a DIY band Tour...

N.B Our UK tour starts very soon >>>>>GET YOUR TICKETS HERE

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10 Things you didn’t know about a 100% DIY Band Tour…

On our tours we are the band, support band, promoter, booking agent, band manager, roadie, tour manager, financiers…you get the idea….all in one. No-one else is involved. So there’s alot to it and a few people have suggested I update a little thing about i wrote about it. Let's dive in!

1. Recording songs to play

Of course the FIRST thing to do is to record some new songs to play! We'll have a new EP out very soon called 'Change (To Stay The Same). This is our latest single 'When You Need Somebody'.

2. Planning the tour dates

It takes a fair amount of time to research appropriate venues for each City, especially if we have never been. I’ll tend to try and take recommendations from our lovely fans in each City. The size, cost, facilities (stage, PA, projector/screen), proximity to the city centre.

Then we send out an email to our fans in nearby postcodes asking if they’d pay in advance for the show. If there are enough people to make it work - we’ll book the show. This is cool.

We do all the booking, promoting etc ourselves, so then it’s a case of contacting the venues, finding suitable dates, booking, arranging payment, signing contracts, planning a tour schedule and listing and promoting all the shows - this needs a fair bit of website/graphic design huffing and puffing for a non-techie like me who doesn't know what he is doing. Youtube tutorials are your friend I find!

3. Selling the Tickets

We setup our own site to sell the tickets ourselves rather than use a big ticket site.

Basically this is because it is the only way to charge no ticket fees.

I detest them. And so do you. Urgh. They are the absolute worst part of the gig going experience in my book. Put you in a right bad mood.

Also, doing it this way also means we can communicate with folks ahead of time, making sure they know all the songs by sending them over, even unreleased ones, when gig day comes. This helps the enormously we find.

4. The Soundperson

We can’t afford our own "Soundperson" to travel everywhere with us (this is a very important role - someone who controls the levels and the quality of the sound using the mixing desk while you are playing, some people call them the extra member of a band) - so we have to liase and talk to the Venue’s Soundperson as best we can. That means more conversations and making documents…like this one…

Because essentially we have quite a complex set up and bank of equipment to re-create our songs live.

5. Band Equipment and Setup

We have 4 vocal mics, 3 different guitars feeds, 3 seperate keyboards, a digital sampler and jamies drum kit to set up (as well as Trumpet, Saxophone, Violin and extra backing vocals when budget allows on bigger shows) - in addition to in-ear monitors radio feeds to hear what we are playing best we can. So 2 hours or so is needed to set up and test all of this (and there will always be a problem, you can bet your house on it!).

There’s also bit and bobs of stage equipment like Tom’s Electronic Drums, Keys and Mic Stands, Spares, Projectors, whole sports holdalls of wires and adaptors of differing colours and uses (sometimes we need 50m+ to rig up the projectors at some reticent venues!)

…and you can always bet on something going wrong. Tom’s trying to remember whether it’s the Red or the Green wire he shouldn’t cut here…

6. Projections and Visuals

The projections and visuals we use (syncing up with the songs as we are playing them) are also a vital and non-negotiable part of our show.

Anyway…for each tour there are new visuals to prepare/amend. Chris Tongue from Dead Ready who does all our videos has already done the lion’s share here, but I also have to employ hours of some abysmally slow Final Cut Pro “skills” to adapt them for the live show.

The hire and set up of the extra equipment required to make that happen can be tricky, as not an awful lot of bands use this sort of thing, but it’s cool. It’s worth it.

For example, here is Charlotte with wor friend Daveyboy hovering and taking his projected bow!

7. Lighting

Sometimes there are also lights to consider, and as it is normally only for certain shows, and venues mostly don’t have specific lightpeople - hiring and liasing with a freelancer to handle that side of things.

8. Merchandise

I guess there is research, design, finance, pack/price up and transport of the merchandise for the show too, where we'll set out our proveribal (and literal). Bit like this.

More often we have to arrange to pay someone local to actually do the selling on the night too - we’re normally too busy packing up and down, but we try to man the stall ourselves when we can - it’s cool to meet everyone!

We’re in negotiations to make this little guy our full time merch dude, but he is a bit reticent at this point. That’s Bruce the cat. He’s named after Springsteen, not Forsyth in case you were wondering.

9. Rehearsal

We tend to tour in chunks. So some time may have passed since our last show. A rehearsal is needed! We take a good few days over it. Although it would probably take less time if we didn’t always devote the first day to 5 hours of “throwing rock shapes”.

For bigger shows we also rope in some good friends to play extra parts with us, so we’ll need to rehearse with them too.

Alex on Sax (in a new song ‘When You Need Somebody’) :-

Elliot on Trumpet and Basia on Violin :-

and Dickon, Rob and Ben from that band Careless Sons on BV's (who will also be supporting us on the tour on these dates below, thanks for info boyz :)

Decide the setlist. And away we go….It’s often a bit of a squeeze.

10. Right...the Tour is on! - A typical day

9 = Wake in whatever accommodation we’ve arranged. Surrounded by equipment. It’s usually a Travelodge*. I think Charlotte is on commission or something :)

11 = Have now sourced and consumed a decent breakfast** - like this one at the Long Play Cafe in Newcastle. Ace Coffee. Average Ringo Starr Solo albums.

11.30 = Pack 2 Travelodge rooms of gear into 2 cars. This picture obviously isn’t outside a Travelodge.

12ish = Set off a'driving.

3ish = Arrive at Venue. Often venue has no parking. Unpack all gear onto pavement. 2 Drivers head off to find parking. 2 of us stay and move the stuff inside.

3.30 = 2/3 flights of stairs done. Gear is all in the venue.

3.35 = Set up. The stuff. Put on a cuppa. This’ll take a while.

4.30 = Deal with whatever problem has reared it’s head today. There is always one. Or nine.

5 = Soundcheck. Looks a bit like this.

6.15 = Remember that we haven’t eaten. Get that sorted. Gotta be back at the venue by 6.45.

7= Doors open. Nervous. It’s not always quite like this, but this was one of our our Scala Show. Deal with ticket/gueslist ‘issues’. Always fun.

7.30 = First Act. Charlotte usually opens for us, playing her own songs. Normally 3 bands. Normal curfew 10.30ish. So 3 hours on call.

9.15pm Gig Time! Lux Lisbon Set time 1hr 25m

10.35pm = Offstage. A total blur until about 11.45pm but during that time, chatting with folk, merch stuff, celebratory drinks, packing down what took us 3 times as long to set up earlier, reverse stairs trip, re-locating/driving back cars, loading up and setting of to next Travelodge will all have been ‘achieved’

Midnight-1am = Arrive at Travelodge, unpack gear into rooms again. Look forward to realising what essential piece of equipment we left behind in 6 or so hours time.

And Breathe!

PHEW!

As I said at the start we are doing this all again in April 2017.

In Glasgow, Newcastle, Manchester, Brighton and London.

Here is a little poster. It has information on it. Like a typical promotional poster. It’s self explanatory in almost all respects. OK, in all respects.

>>>>>>>>AND YOU CAN GET YOUR TICKETS HERE

That’s enough of that now.

Take care and as ever you can hit reply and I’ll answer any q’s.

Stu (from that band Lux Lisbon).

————-

*In the interests of 2016 BBC-esque balance….‘other budget hostelry option are available’.

**Note: Essential. And enjoyable. I love a breakfast and very much subscribe this this Thomas Babington Macaulay quote -

“Dinner parties are mere formalities: but you invite a man to breakfast because you actually want to see him”

P.S Tell your pals. They can get our music free to DL/Stream here - http://luxlisbon.com/listen or point send them to our latest single (http://luxlisbon.com/whenyouneedsomebodyvideo)

#lux lisbon #diy band #diy tour #touring #logistics #scala

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kaylafromiowa · 5 years ago

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final thoughts on project 3 and the semster

I was excited at the opportunity to try forms of media that I am either not familiar with or marginally familiar with - though I thankfully have gotten a lot more familiar with video through both studios this semester. However, upon reflection I have realized that user experience was the underlying current through the projects. While I try to think about how a user would look at a thing and how/why they would use that thing, I definitely don’t think of myself as a UX/UI designer. This is mostly because I haven’t self taught myself UI/UX best practices or have taken any classes to learn about it. That being said, I learned a lot by looking at an array of formats that recipes can be explained or talk about and felt like I learned a lot about how a user interacts with different types of media and content. While online formats, especially short-form blogs or recipe based website are more widely used due to the expense of buying a cookbook. While they can be checked out from a library, I always find myself writing down the recipe for personal use as to not get whatever ingredient I’m using on the pages.

With project one, while I didn’t hit my learning goals with code, I definitely learned a lot about what people are looking for in how and why they want a recipe blog to work a certain way. While it isn’t always possible because some websites don’t necessarily have the resources for thoughtful web design. Or they have more content without a way to jump to the point of interest so they gain more revenue from ads seen and screentime. Sometimes the content between the title and the ingredients is relating to the making of the recipe. However, in personal baking blogs there is a lot more personal preamble. This could potentially be a format that worked better when people were trying to show their personality as well as recipes with others that were also interested in cooking and or baking. Now, especially with those that gain revenue for the blog, that process just seems unnecessary and creates a negative experience. The unanimous response I got was that they wished the recipe had more direct access, some noted that it would make grocery shopping easier to check which ingredients were needed. I thought it would be a good time to focus and learn a coding language I had very little experience in, but I quickly realized that wasn’t possible in the timeframe as most beginner classes and courses were 7 weeks long as a minimum, which was not feasible.

As for project 2, I had only published one e-pub before. A lot more had changed than I thought from when I made my first (and only) E-Pub in 2014. I’m not totally surprised since a lot has changed in technology since then and some things that were popular were streamlined for an ease of publication and to minimize production time and cost. There are also plenty of paid and free ��do-it-yourself” websites that you can format or e-pub or go with a premade design through them or a PDF that you’ve made yourself. With this, I had to think of why e-pubs are made if their production costs can be as much, if not more, than print publications. As for accessibility and usability, anything that is a reflowable pub is preferred. It lessens production costs because the typeface is going to change based on the epub the user is reading. This is great for usability because the user can change the type, the size of that type, and the contrast on the screen. Though I wasn’t able to take pictures for this project, I am not sure the images would have changed that much since I haven’t gained any new props since those images were taken. And I think adding graphic elements would have cluttered up the pages. Looking back, I wish that I would have changed the tab colors so you knew which one was active. But it was a weird transition time for me since I was doubling my hours and training remotely. I was having a lot of emails come in and meetings/visits that would take up most if not all (or more) of the hours I needed to fulfill. That on top of the adjustments that were made quickly and I had to learn all the information was given, the changes to online visits and experiences while organizing the visits. During this I got behind on the project and I feel like I didn’t fully catch up. While I was able to get a final product, I felt like I could have tried more things and tightend up the design a bit. These sentiments go torwards the next project as well.

Finally for project 3, It was great to be able to create video and image content that was specific for this project. Though there were elements that did not go as well as I hoped, it was great to learn about how different media formats can change how a recipe is explained. My initial plan for the video was to have a mix of overhead shots and front shots with a macro lens (mostly to try and minimize background noise, but still add an element of texture that I like to have. I think in the way I shot my video, it made sense. It gave it a sense of place, but it would have been more ideal if that was in a kitchen rather than my living room. Unfortunately, there was no good way to use my kitchen as the space to have me go through a recipe capture the process was just not possible due to the lack of counter space and the width and length of my kitchen. I also need to look into what the lag in after affects is and how i can counter act it while I’m editing. For that I may need to export a video, save a copy, and play it without other programs loaded. As for user experience, I found Instagram Live was best with one person for instructions, or an interview with two. I was baking in my kitchen and had to set my phone on my microwave, which was right next to my mixer. This was problematic for sound, because I couldn’t hear what my mom was saying, which is an important thing to have while you are having a discussion. I also knew that live to IGTV can be a bit of a struggle, I knew I had to work through it to show the end result. However, after trying multiple platforms to upload, I had to upload it to box. That was a process that took over several hours hours (about 1 hour to record the video, 1hr 30 min x2 trying to upload to youtube, and 3 hrs trying to upload to instagram live. this is all not including rendering time, which took about 30 min each time I needed to make file size adjustments.) As far as creating content goes, I am just thankful I could make something out of the take I had. I have found that even when I do plan what do and record changes from what I decided as a story board. It could be a mix of the production (or people) that I was limited to, or I just need to do better prep in between ideation and going for the final recording session. As for the final piece, I added the music through the Youtube editor to save time in finding the royalty free song that I wanted to use to set a mood for the video. I thought this process would be easier, but the longer songs that fulfilled the length of the video were too sad for me to use. The one I wanted to use was too short, and I wasn’t allowed to add a song to the timeline more than once. Overall I think Youtube (though there can be ads if you don’t have Premium or adblocker) can be a great way to make information more accessible. Captions are easier to add and your audience can submit captions for multiple languages. Though I liked having the steps right next to the process, I’m afraid I wasn’t able to use every clip (even if it needed to be shortened) related to all of the steps. I want to explore other formats, such as a voice over, or having readable but more subtle text integrated in the actual video. These all serve different functions and levels of accessibility, so I think it would be a worthy endeavor while using the same content to give a good base to compare and contrast with. The full recipe can easily linked through the endscreen, in a card that can be placed at any point in thee video, or in the description. Through the description the full recipe and easily be copied and pasted to the user can digitally keep it for their records or to paste it into a Word Doc so they can adjust it what they need and print it out to make notes if they’d like. Despite the limitations, I am happy with what I produced despite the flaws of the final. I think the results taught me more than if I created something that was ‘perfect’.

Through all these projects I learned a lot about why and how the process of cooking (in this case 2) recipes was done and what use they could have. It also helped me learn about things that I didn’t think should be a focus through these project because I was looking at them as a means to an end to explore an aspect of a route I could take for my portfolio, but also gave me a larger skill set in the types of jobs I want to look for after graduating.

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