#but what aspect? the music was my first thought but there's also more global themes like humanity or hope ....

[rapha-reads]

You ever have to write a short paper on a material that's just so dry and empty and uninteresting you'd rather give yourself papercuts between your fingers?

[milkpumpkin96]

Minds Beneath Us Review

I don't often play games on my PC . . . but damn, I cannot stop myself from playing and writing about BearBone Studio's first ever release.

Needless to say, I am quite impressed with Minds Beneath Us, released not too long ago yet remains obscure. If you are into narrative-based gameplay with elements of dystopian sci-fi, deep philosophical questions, and emphasis on complex relationship navigation, then this is the game for you.

I have a surface-level review at Movies, Games & Tech, but I am digging a little deeper here, now that I have completed all the endings (and the post-credit scenes have updated as of August 29th).

[MASSIVE SPOILER WARNING]

OVERALL SCORE: 9/10

It honestly pains me not to give this game a perfect score, but I know for sure that some aspects could have been better.

Minds Beneath Us performs brilliantly at addressing the current implications of A.I. and what this means for humanity.

"It is no secret that A.I. and its capabilities are igniting a fierce global debate. The future of this rapidly developing technology has stirred a myriad of concerns for people, not only in terms of employment, but it also adds to the existential questions of human purpose and exceptionality."

Everyone has their own opinions on the pros and cons of A.I., but I am sure Tumblr is at the forefront of anti-generative A.I. You know, with it stealing digital art and music from pre-established humans. Minds Beneath Us takes these issues a step further. The game takes place in the year 2049, not too far from our current reality, where automation runs the world in its entirety: data collection, security, housing, employment, transportation, the food and beverage industry . . . I mean, I guess this is happening now too.

Overall, this title conveys their story quite meaningfully and provides a surplus of well-thought-out characters, intriguing (albeit hefty) dialogue, engaging QTEs, and the power for players to alter how the plot unfolds. I appreciate the immediate story hook in the prologue as well.

Perhaps some people may dislike the inherent lack of actual action-based gameplay, but I think it works for what Minds Beneath Us is trying to do. And, get ready; this game is not meant to have a happy ending per se.

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GAMEPLAY: 8/10

Minds Beneath Us lacks in the "gameplay" department, acting more like a visual novel. I cannot complain though. Steam tags it as an "emotional, sci-fi narrative."

The game itself is quite hefty to my surprise, taking a whopping 6.25 gigabytes to download. But, the game runs smoothly and beautifully as of its latest updates. When I first began playing near the initial release date, I had several issues with lag and my save file would occasionally disappear. All of the problems have been resolved.

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For one, I must talk about the art style. It is reminiscent of Playdead's Inside: simple, dully, 2D-shaded with an eerie overlay. The most prominent aspect, like Inside, is the lack of human facial features. Characters are identified by their gait, hairstyle, stature, and gesturing for the most part. To some people this may seem odd or uncomfortable because facial expressions are key to human interaction and understanding.

But, I think that this stylistic choice works amazingly. I may be reading too much into it . . . but aligning with the game's theming, at first glance the lack of face individuality insinuates humans being solely considered a "number" in the society of late-stage capitalism. Just an asset; a cheap commodity compared to the superior A.I. A.I. itself does not inherently need a face, it just does what it needs to do or "thinks" needs to be done. Without a face, a piece of humanity is lost.

On the other hand, one thing that Minds Beneath Us does highlight is character movement. The people noticeably breathe, and motion with their hands and posture and heads. The way the game is animated (which BearBone Studio says is hand-drawn, by the way) is so impactful that I can almost hear them and feel their emotions, despite the lack of face and audible voice. When a disgruntled person slams their hand down on the table in frustration, I feel myself jerking back in anxiety. When the character Wayne erupted in anger at Justin following the proposed shutdown of the farm . . . the way the dialogue slammed onto screen and how Wayne's body arched in an attack-like stance put me on my toes. I could feel it.

That breathing animation though! Again, I might be reading too much into it, but as opposed to the lack of facial features, the pronounced breathing reminds me that these characters are indeed humans. Living creatures. A.I. does not breathe, but humans do. This becomes even more upsetting at the end of the game, when project "Sleeping God" is revealed to be mass experimentation on synthetic, manufactured humans. By legal and scientific "standards," these things are not considered fully people, implying that it is okay for them to be unethically utilized for a sole purpose. However, you can see these creatures murmuring . . . breathing . . . distinguishing them from the automation around you.

This has been a bit of a tangent, but I am mesmerized by the art and animation style. It feels so alive.

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The game is 2D with some three-dimensional elements, and players can walk or run in the directions of left or right. There will be lots of traveling around but towards the end of the game, it will automatically skip over unnecessary travel time.

For the most part, you can choose who you want to talk to outside of the main story, and players can click on certain items to take or learn more about them. For example, the player can click on a water bottle in Jason and Frances' bedroom and perform a classic bottle flip. Or, you can click on this flyer in the White Scorpion hideout and Jason himself will give you background knowledge on the fate of the building you're in. Or, you can click on the "MycoCept" medicine bottle and a text blurb will tell you that it "reduces implant rejection and soothes pain," and also tell you its serial number.

Some of this seemingly irrelevant information can give the players incredibly important knowledge, whether for world-building purposes or by granting the player "new pathways," meaning that you will receive new dialogue options you otherwise wouldn't have. These dialogue options can affect the overall game, or at least warrant special responses from others.

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The star feature of Minds Beneath Us is the fact that it is a choice narrative, meaning that your dialogue choices may and will effect how the story unfolds.

Essentially, you are controlling the main guy Jason Dai. Well, you are controlling the entity that is controlling Jason Dai.

I cannot say for certain that the MBU in Jason Dai's body is supposed to be the player themselves, I really do not think that is the case. But regardless, this is who you are playing as and with it you'll make decisions.

The decisions you make will influence Jason Dai's future and the relationships around him. Players will receive thoughts and opinions from Dai himself, and you can choose to abide by it or ignore it completely. Ignoring Jason's desires may not make him very happy, though. Overall, do as you may. The MBU can be kind and curious, or mean and neglectful--the important thing is, however, not to expose yourself as an MBU to the world. You have to act as Jason Dai.

Some dialogue choices will have indefinite time. You can take your own pace choosing what to answer, considering all the information you might have. Other times, there is a time limit to response, sometimes slow and sometimes insanely quick. Always be at the ready to make a fast decision, because it can cost you Jason's life in a real sense or metaphorical sense. Sometimes there is no telling whether the choice you make is inconsequential or will have dire consequences later on.

Having unlocked new pathways from clicking on objects, or by being investigative and probing during conversations, will open a lot more options for you. You can open up side quests (more like side conversations), which its purpose is to flesh out the characters more. For example, choosing to talk to your coworker Paxton on day two will unlock the "Showdown is Nigh" side quest. He recruits you into talking to Quentin from the screening sector into having a "showdown" with him, as they are both "chubby nerds" (his words, not mine). However, you'll learn that Paxton is just kind of bashful and wants a friend, but hardly knows how to engage in peer conversations.

Other specific dialogue options can do a lot of things, from mending relationships between coworkers Jeff and his adoptive father Mr. Liao, which Jeff will then thank you and Mr. Liao will invite you to dinner in response. Or, you can hound Justin Wu into acknowledging his lack of empathy and apologize to Cathy, as he had hurt her feelings and forced her to backstab the screening division. All Cathy wants is for Justin to recognize her capabilities and independent choices. You can even convince Cynthia from the logistics department to hook up with Wayne Zheng, as they both are crushing on one another. Essentially, the player has the option to get involved with all the drama and act as a peace-keeper therapist.

Some decisions will carry a lot more weight to them. At the very end of the fourth chapter, if you do not head straight to bed and instead knock on the neighboring door, you will reveal a massive underlying plot element. There is no apparent in-game indication to even do this, so you, the player, must be curious enough to try out anything and everything. If you knock on the door repeatedly, you'll reveal the true intentions of the character 23, which then will 100% influence the dynamic between Situ, 23, and Lawrence.

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Some choices are innocuous and do not do too much. Like, the MBU has the option to say "goodbye" to people at the end of conversations, or instead say nothing. You can say "I love you" to Jason's girlfriend, Frances, but no matter what the story will not be influenced.

This may be a bit of a negative for Minds Beneath Us. There is not enough game-changing decisions. I would have liked it a little more if each and every option had a semblance of impact . . . but I think the biggest issue is is that no choice you make influences the actual ending you receive, aside from the final decision.

There are four possible endings the player can get. It does not matter what the hell you do, these ending options will always be there, only determined by the last decision you make. There is only one exception though--the ending that focuses on Jason Dai getting out of dodge and joining the Moonflowers under a new identity. This ending is actually unavailable unless you make a very specific choice in the PROLOGUE. If you manage to keep Albert Tsai alive, the character Ivan Zheng will feel indebted to the MBU inside Jason and pitch him the idea of joining the Moonflowers to protect Dai from ultimate harm further down the road.

There are other massive game changers, just not ones that impact the end. Most notably, in chapter three, the player must decide whether to join the screening sector or the ops sector. This will affect the people you interact with and a lot of story elements henceforth, each having their pros and cons. Joining a specific side will also influence the fate of Silencio, the flops farm you work at. Unless you are actively working towards the "bridge builder" achievement, where Dai is able to bring both sectors together for a compromise, lots of people will be upset.

Most other decisions only effect relationship dynamics. But, the ways the characters interact are great, and probing them only gives more depth.

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Minds Beneath Us is not particularly difficult. There will be QTEs, which I will discuss later, but they are brief and even if you mess up, there is an instant redo.

The hardest part of the game is probably just not using a guide. It may be hard to determine what choices are going to make things happen. Really, just do anything and everything possible. Knock on every door. Enter every room. Talk to everyone. But, try to be nice for the most part--dialogue will depend on the character's personality, but being friendly mixed with an assertive inquisitiveness gets the job done. Never skip out on asking further questions, but avoid unnecessarily brash responses . . . like asking a contractor why she decided to have kids if she's struggling to take care of them. Yeah, that will not go well.

The game says it will take about 12 hours to finish the first playthrough. Um, it took me like almost 30 hours. Why? I don't know. I did everything I could, and discovered every side conversation, hidden secret, and in my opinion, I selected the "better" ending. I also redid a chapter so I could play in both the ops and screening sector.

The saving mechanic used to be a bit buggy but has been fixed. Though, players cannot save the game at will. There will be autosaves that happen after every setting change or important conversation. If you are upset with your choices, you can select a chapter and redo it. The game supports multiple save files.

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I think the biggest mechanic disappointment was with the tab button. There was an insinuation I would be able to read minds or something as an MBU? But that is not true. The tab button pulls up this cool, techy-looking display but only tells you your main objective and sometimes other minor objectives. You are just kind of looking inside the MBU's thoughts. I think this function could have been neater somehow.

This is especially so with the potential that MBUs are able to detect other MBUs. Woody Chen is a character possessed by one of these things, and seems to know that Jason is too, and knows Jason's full name without us telling him. Why couldn't I do that?

**This is a wild theory . . . but the fact that Woody knew the full name "Jason Dai" and blurted it out without us telling him; the player can do the same thing to the security guard named Michael Hsiao. Jason can blurt out Michael's full name, which will catch the latter by surprise as they had never met before. Is he an MBU as well, perhaps? He seemed nervous and confused the entire game.

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MUSIC: 8/10

I cannot say that the music is the most memorable, but it is perfectly fitting for the game itself. It sounds atmospheric, eliciting a somewhat nervous yet curious vibe. I am an MBU discovering the world and its horrors so freshly, and the reclused Jason Dai must face the reality he tried to hard to be ignorant of. Yeah, that is what the music feels like. Unsettling, techy, with some piano work, and lots of synth.

There are occasional tonal shifts: sometimes a track is excitingly dangerous, as when combat ensues or massive horrible information is leaked. The intensity of the music will amp up. Other times, tracks are light-hearted bops, like when roaming around the city of Wanpei in the night.

Every sound just felt so woven into the settings themsevles.

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You can watch this video, or purchase the soundtrack DLC on Steam.

Within the soundtrack, my favorites are . . .

Frances' theme (bittersweet, loving, and homey and cozy like a Minecraft track. After all, she is the loving girlfriend of Jason Dai)

City of Light (a lighthearted bop, giving me the sensation of amazement)

Nin's theme (a bit somber but powerful; she is a respectable but perhaps unreliable figure)

Let's Fight (when this song would play, I knew to get my ass ready)

Ops Division (It just . . . gave off the vibe that something fishy was going on, before this knowledge was revealed to us)

Ghost Protocol (I associate this song with the game itself)

The Sleeping God (ahhhhhhhhhhhhhhhh)

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STORY: 10/10

Minds Beneath Us features a storyline whose themes are becoming more common as of late . . . but it is for a good reason. I do not think plots revolving around artificial intelligence has been overdone quite yet, and I think it will take a while. This is what science fiction is all about: a play on, a mockery of, or a metaphorical callout to current or impending societal issues. Even with games like Cyberpunk and Detroit: Become Human, Minds Beneath Us manages to stand out.

Perhaps unlike a lot of media (even though this is changing), the game doesn't end . . . good. There are four possible ending sequences, in which are all rather gloomy. Jason only wanted a simple, quiet life, which this desire was soon adopted by Frances as well after coming to face with reality. However, these dreams are nigh. The duo has been roped in to a world they cannot escape, simultaneously being powerless to stop all the societal ills they've uncovered. Ultimately, Jason doesn't get his happy ending, but the player can at least mitigate by providing him safety and a source of income.

Minds Beneath Us is not a fantastical escape from reality. It is a cold reality check of sorts. And on another note, the game does not answer a lot of questions players may have, provoking us to challenge our own morality, philosophies, and self-worth in a world so far ahead.

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Minds Beneath Us has five chapters, and a prologue. It is rather tricky to summarize the plot, due to its complexities as well as the fact the players' choices can make such a difference.

Here is a link to an excellent guide, if you would like to follow along and reap the fullest game experience: https://www.neoseeker.com/minds-beneath-us/walkthrough

Overall, it is a story of conspiracy, betrayal, unethicality, and faction-based thinking. . . yet also truth-seeking, building friendships, seeking justice, and compromise. Each and every character is splendid, having their own separate character arcs whether featured in the main story or as a side plot; everyone's mind is so complex, human, and facing dualities that the player may help to resolve.

Despite the game's heaviness on the dialogue, I could never bring myself to skim through it. Every little detail is either relevant or interesting, making the world so lifelike and relatable.

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The prologue swoops in with a vehement bang, asserting its uncomfortable, dystopian motifs immediately. However, much of these will not be unraveled until later chapters. Minds Beneath Us has intriguing pacing; a bit of a slow-burner, but never a slow-down. The plot hook is immediately strong.

The game begins in a confusing frenzy: an older man named Ivan Zheng violently bangs on the door to a hospital room. Shortly thereafter, the player's screen begins to glitch, and Zheng abruptly ceases as we take control of him.

Throughout the game, the player will be controlling an "M.B.U.," some sort of assault-type silencer artificial entity created in lab. Humans who have had chipped brains, either during birth or unwanted surgery, will be susceptible to being "possessed" by MBUs. These entities are controlled at "the source," which is the area in the prologue, by a man named "The Calibrator" and the alien-tech scientists around him (I am unsure if they are actually aliens, but they are certainly quite advanced).

However, in the prologue, as Ivan Zheng tries to fight off the MBU and The Calibrator after making him harm his drugged underling, Albert Tsai, this being called "The Anomaly" invades the place. It kills everyone, except Ivan, Albert, and the MBU.

The Anomaly then mumbles to the player, you are free. Something like that. It asserts that the MBU potentially has its own free will and consciousness.

It then forces us far away into the body of Jason Dai, a seemingly average man who lives with Frances Cheng, his girlfriend, in a simple apartment in futuristic-city Wanpei.

This will be our main guy for the rest of the game. The point is, you are playing as the little man: Jason is just some guy who finally got employed as a large company, and all he wants is to survive and live a "cozy, quiet life" with his girlfriend. However, Dai is living in willing ignorance and refuses to look deeper into the societal ills around him. Can't blame him, though. In our modern day, as we have 24/7 access to the atrocities of the world. We must all must feel rather fatigued and powerless. There is bliss in ignorance.

However, Jason and Frances unwittingly get roped into some dark information and threatening circumstances.

The two work at Silencio, a flops farm under the Vision Corporation. "Flops" are computational power generated by "farms' in order to operate all of Wanpei's A.I. systems. This industry is literally the main pillar of society--if something happens to the A.I., or the cloud, everything falls apart. There are several flops farming companies, like Vision, Growell, and Tendril. The business Sunrise provides these corporations with necessary equipment including A.I.-powered security cameras and listening devices.

Flops farming seems weird, but it is a double-edged sword. On one hand, this provides job opportunities to many. The middling class, like Jason Dai, can work at these corporations for good benefits and decent pay. And . . . where do these farms get their flops from? Human brains, of course. People who are unfortunate victims of society, living in the "slums," the "shithole," or otherwise these "evacuation zones" because suburbs of Wanpei are prone to intense flooding (thanks, climate change), these poorer class individuals need money fast.

At the farms, those in need of cash are interviewed by Silencio's screening division to make sure they are able-bodied and relatively healthy. Once signed onto a contract, these "shithole dwellers" go down to the cellar, are tranquilized to be sedated, and are hooked up to these devices to transfer their brain power into "flops" to fuel the city's A.I. systems. They are then suspended from the ceiling. Literally, minds beneath us.

This seems . . . rather cruel and unusual. But, the contractors get a lot of money, health insurance, and all. The procedure is typically only weeks at a time and they are put into a deep, nourishing sleep via tranquilizers and feeding tubes. Its not very cushy. But, it pays the bills I suppose.

However, Silencio is very old in model, and not appropriately funded. There is risk when it comes to "juicing," and even more so with the industry's sketchiness. In chapter two of the game, Jason Dai (and the MBU) will witness mechanical malfunction, where an automated tranquilizer is repeatedly jabbed into a "juicer" in lethal dosage. And, one juicer will plummet from the ceiling.

However, there is more than meets the eye. Minds Beneath Us features topics of late-stage capitalism, profit over ethics . . . these threats do not only come from lack of funding, but internal sabotage, division warfare, and disgusting secret experimentation.

Players will learn that Silencio is producing an insane amount of flops, despite the farm not running at full capacity. The ops division accuses screening of sending down unqualified candidates, and the screening division accuses ops for recklessness with the machines. Jason Dai will ultimately get wrapped up into the darker recesses of corporate greed after Silencio's boss, Eva Yeh, sends a secret, disturbing hard drive to Frances containing alarming information about Vision. Having this knowledge that Frances and Jason should not have, an attempt at Frances Cheng's life occurs after confronting the CEO. Unfortunately, the company has close-knit connections to gang mercenaries, resulting in conspirators' untimely demises.

The couple get rescued by a subgroup within OWL, a secret police organization. These members include Nin Situ, 23, and Lawrence Chang. Situ, the lead, is very much like Jason--an individual that can be possessed by MBUs, and also someone who was genetically modified to be stronger and faster at birth. Jason Dai is this way too, unbeknownst to him until know, which makes sense. You are playing as this guy, and he can almost supernaturally kick ass during fights.

Not a surprise. I mean, here in 2024 we have the CRISPR gene-editing coming our way.

Jason and Frances have no choice but to join this ragtag group to ensure safety. Plus, genetically engineered individuals are typically hunted down and killed by OWL due to being (on average) mentally unstable or overly powerful foes to society. According to Situ, Jason will have to join OWL eventually to secure his life.

Jason Dai and his girlfriend have been roped into a world they do not desire. Goodbye to a peaceful life, and Jason will rely on you, the MBU, to protect him and Frances at all cost. A beautiful metaphor, not only does Jason not have any control over his circumstances, but literally no control over his body. You are talking and acting for him, like a puppet. But, since this game is all about the choices you make, you can either be a true asshole puppet master or a genuine friend for Dai.

The OWL group will go through lots of hoops to obtain critical data and discover the source of the flop output surge. You will come to realize the the gang of three is not exactly reliable, as they are literally operating without OWL's own awareness (or so they think). Despite the secrets, unreliability, and dangers of these missions, you all grow close to some degree.

The thing about Minds Beneath Us is despite the world's traumas and greed, most characters within the game, on a personal level, are good at heart. They all abide by their own morals and definition of "justice," either wanting to protect themselves and their loved ones (e.g., Jason Dai, Mr. Laio, 23), or do their best to benefit the community around them (e.g., Wayne Zheng, Eva Yeh, Frances Cheng).

The source of the extra flops is beyond sinister, however. The final chapter reveals an ungodly "Sleeping God" project happening behind the scenes: Vision's Red Room has conducted mass experimentations on these synthetic humans. They use manufactured tissues and nerves, like stem cells, to create a body and brain, and then they implant replicated/copied memories and egos of real human subjects onto them to give them a degree of consciousness, which outputs brain power. This is apparently a cheaper alternative than hiring contractors from the slums . . . you know, because they do not have to offer benefits and life insurance. Yuck.

They can be procured at a mass scale at will too. The scientists cut off the limbs and remove unnecessary organs to conserve energy for the brain. They insist that they are sub-human, inferior . . . even though Nin, Jason, and Lawrence witness the humanoids talking and breathing, mumbling "it hurts."

The production is beyond imaginable. There is a whole room full of hundreds of these guys. Turns out the extra flops had been outsourced from this facility. On the bright side, there is no extra unethical practice going on inside farms on full-fledged humans . . . but on the downside, who is to say that these synthetic people are not human? Who is to say this is not unethical and cruel?

Regardless, not much can be done about it. It has already kickstarted, and blowing up the place would only result in a major setback and kill a bunch of people, and cause havoc among an A.I.-powered society. OWL's little secret mission is--in all--hopeless. This is furthered by the fact the government privately legalized Vision's practices . . . because in the latest stages of capitalism, corporations control the government, right?

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As stated, it is incredibly difficult to summarize the story because so much happens. There is never a quiet moment. This expands further by the fact that the player's choices will affect the unfolding of the story. So, lots of different conversations and quests might happen, and there are scenes and critical information the player may not get because of a simple choice of dialogue.

As mentioned earlier, the only choice that affects the ending is the final one.

OWL accosts Jason, Lawrence, and Situ on Silencio's rooftop for committing "terrorist attacks" at Silencio and crimes with meddling, hacking, defamation, and violence. At this point, the MBU has become so embedded in Jason's mind, that Jason Dai himself will become pretty much "extinct" from his subconscious. The player cannot speak to him anymore, but he gave his opinion before hand--do not trust Situ, and/or if things go awry (which they did), use a stun bomb and escape the facility.

It is up to the MBU to determine the ultimate fate of Jason Dai. The MBU, surprisingly, will recount a lot of pleasant memories for some reason. Rather than think of the fear and horrors, the MBU will recall all the friends he made with his coworkers, and with the OWL agents, as well as Jason's love for Frances. I feel like this nostalgic trip is pushing the player into making a particular choice (which, in my opinion, is probably the "best" one), but it is all up to what you click.

No ending is good. Frances and Jason will never get their own life back, harboring this intense knowledge and faced with illegal crimes. Jason and Frances can never work at Silencio again, and seemingly the only guarantee for bodily safety is to join OWL.

The first option is to give in and join OWL, whilst keeping connections with Situ. Situ will hold out her handgun, awaiting for you to hopefully grab and take it, as an offering of trust. Choose this option, and she will seemed almost touched (but will not show it). Jason is now under the care of OWL . . . but now must forever engage in dangerous missions, unfortunately partake in the protecting of large corporations, and will never have the "privilege of dying in a bed." At the very least, Jason gets to keep all the relationships he made aside from his former coworkers.

Another option is to join OWL, but refuse the gun. Jason Dai has stated he wanted to sever ties with the untrustworthy Situ, and you have that option. Nin will state that she understands. A bit sad, but makes sense. She prioritizes her safety above all else, and will not hesitate to abandon Jason and others if her life is on the line (although, she protected you time and time again during the past few days).

Whether you stay with Situ or not, these two choices are likely the "best." Some cutscenes will play, featuring Lawrence and 23 packing up the operations room, and attempt to rekindle their friendship after 23's treachery. Back at Silencio, the office will celebrate their new boss and the new fate of the farm. This scene is highly dependent on the MBU's actions in chapter three, whether he chose to work for ops or screening . . or, regardless of the choice, if the MBU tried to fix Wayne and Justin's friendship, there will be a lovely compromise. Overall, it is somewhat happy, and the workers will reminisce about Jason Dai's kindness, but feel sad about his sudden departure. There will be other scenes of the former CEO being forced to step down after the Red Room got attacked, making way for Yuna Hsu to climb up the corporate ladder. "Sleeping God," sadly, will still go on.

A scene that the developers just added not too long ago is absolutely wonderful: Frances proposing to Jason Dai. They hug, kiss, and simply exist as a happy couple.

There will be a final scene dependent upon whether you severed ties with Situ. They are kind of similar, because Jason does not fully trust Situ anyways, but still views here as a "friendly acquaintance." She will apologize for what happened to you. And, still, nobody knows that Jason was possessed the whole time.

The third ending can only be unlocked if you chose to save Albert Tsai in the prologue of the game. Jason Dai can use the stun weapon, and cause everyone on the roof to become temporarily paralyzed while he makes his grand escape. Earlier, Ivan Zheng told the MBU that the only true way Jason's body can be protected is if he gets the hell out of dodge and join the "Moonflowers," where he will be given an entire new identity. Jason Dai seriously considers the offer. If the MBU chooses to do this, Jason must leave everything behind . . . including Frances.

There will be a scene alternate to the proposal. Nin will be on the phone with Situ, swearing up and down that they will locate her boyfriend. Bittersweetly--well, more bitter than sweet--Frances will continue to devote her life to finding Jason. This is sad . . . because likely she never will. So, ultimately, you may have protected Jason and avoided sending him to a militant career, but you have distressed Frances Cheng's life for all eternity.

When Jason meets up with Zheng, he will insist that he has "no regrets" and is ready for his new, safe, quiet life, despite the "Frances-shaped hole in [his] heart." I can almost feel the pain emanating from those words. Perhaps there is a sliver of regret.

Lastly, the MBU can choose to go ahead and blow up the sickening facility, despite Situ's change of plans. Jason Dai is in possession of the detonator, so one click--it's all gone. This seems to be the choice of justice at a surface level, but it will result in soooo many consequences. With this option, players may feel that they have ended project "Sleeping God," fulfilled their mission, and had the privilege of getting the last laugh at Vision . . . but . . .

Blow it up, the CEO will scream and go bonkers. The lead of OWL, "Grandma," will tell him to calm down. She will ask Jason if he has any last words. The best option to say is probably "Tell Frances I am sorry, and that I love her," then all of the OWL agents will shoot Jason dead.

Not only will this forfeit Jason's life, going against his desires, but this ending is definitely the most upsetting and dark. It will cause a mass outage in the city, inciting derailing of trains and ship wrecks (as everything is run by automation). Once the cloud is down, the world is down. Instead of the proposal sequence, the scene will feature an empty apartment with the television blasting: mass causalities, evacuations in place. Blowing up the facility is killing a lot more people outside of the Silencio than you may realize.

This also will not stop the Red Room's project. Yuna Hsu will assure that "Sleeping God" will go on and be built from the ground up. So, yeah, it was literally all for nothing.

And, a final scene will play, with a sobbing, disgruntled Frances, screaming at Situ and blaming her for robbing Jason's life. Everyone is just . . . sad.

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SETTING: 9/10

The game takes place in December of 2049, just over two decades from the current present. The setting is in the city of Wanpei, inspired by the potential future version of Taipei, Taiwan. BearBone Studio is a Taiwanese indie developer after all.

I like how Minds Beneath Us does not take place atrociously far into the future, and it maintains semblance of modern times too. I think I could walk out into Wanpei and not be overly shocked, but instead uneased. The thing about Wanpei is that the district where Jason and Frances live, there are still local "ma and pop" shops, but other characters explain this is very much not the case elsewhere. Only several huge, dominating companies own and control everything. Seems accurate.

Everything in Wanpei, and I assume a greater portion of the world, runs on artificial intelligence. If the cloud were to suddenly fail, chaos ensues. For example, on the news, it is said the a glitch or shutdown happened with the cloud, causing cargo boats' self-steering systems to fail, resulting in a collision.

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All the scenes are gorgeous. The game takes place mostly indoors or at night--since the main characters work the night shift--so there is forever a looming dimness, even though Wanpei is illuminated by blue light. The city is a vast array of techy neon colors, bright and bold people, with an overlaying nightly purplish hue. It is all very fitting.

The game alternates between several settings: the initial simulation room, Frances' apartment complex, the streets of Wanpei, Silencio and its floors (the rooftop, the main room on 1F, the screening offices, the consultation floor, logistics, the cellar, and the flop core). You will spend like 80% of your time in these places. Later in chapters 4 and 5, Jason will go to the White Scorpion gang hangout, and the ultimately this secret Vision lab where horrors await. The game does a great job at making the laboratory settings feel devoid and anxiety-inducing.

While you spend most of your time in the same places, there is always something new, usually extra side conversations and drama. You may go through the cellar completely fine one time, but another time you will witness a "juicer" plummet from the ceiling to the ground.

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COMBAT: 7/10

It is hard to give this section a full rating because there isn't really true combat. The game features 6-7 QTEs, or quick time events, scattered throughout the game. The QTEs are infrequent and not the most involved, but I think they work well in general. I mean, Jason Dai is not some sort of warrior superhero (even though Situ wants to be the Batman) despite being genetically modified. He considers himself an average guy, and usually avoids physical confrontation.

The MBU is programmed to be a "silencer" combat unit. But, the MBU ends up kind of being a peacekeeper if you want it to be.

The QTEs involve the "E" key to punch, the spacebar to dodge, and occasionally the "A" and "D" key to move forward or backward. These events usually start and stop quickly so you must be at the ready.

The first one happens in the prologue, when a drugged Albert charges at Ivan Zheng. You press "E" to grab him by the neck (which will break and kill him if you choose to inject the blue liquid). Other QTEs include a stabbing incident at Silencio, gang members at the hospital, White Scorpion mercenaries at the flop core, these strange medieval-sounding gangsters at the White Scorpion hideout, among others.

They are damn quick, yet scarce. Nonetheless, the QTEs are exciting and pulls you right into the scene, reminding players that you are indeed playing a video game. Jason will have a small health meter, but it will take several hits and missteps to put him down. Dying will only restart the combat anyways, and does not impact the fate of your game. The QTEs are fairly easy overall, but there is a difficulty spike around chapter 3, and I did mess up a few times. Perhaps I am just not used to PC gaming.

My favorite part is the combat animation. It is incredibly fluid and I can literally feel the ungodly force of Jason Dai's punches and grabs.

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Other QTEs might be something like quickly catching a blade Situ throws behind your neck, showcasing Dai's quick reflexes. There is also a running sequence towards the end of the game where Jason has to jump over obstacles and avoid the flurry of bullets coming at him.

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ENJOYEMENT: 10/10

Minds Beneath Us is sticking to my brain in vehement amounts. It really got me to introspect even hours upon completion.

In an in-game E-Zine, it says,

Humans learn. Advanced learning capability is what sets us apart from animals. Sadly, the oversupply of knowledge can sometimes be a curse. With the aid from state-of-the-art AI, we are unlocking secrets of the human brain faster than ever. This process, however, gives birth to a new kind of existential crisis called "Anthropocentric Dismay." Scientists tapping into the potential of AI are finding that computers work, fundamentally, eerily like human brains. If so, is there really such thing as the human soul, or free will? Meanwhile, life science is seeing a revival, as researchers work extra hard to find a new way to establish the uniqueness of humanity."

I think that this conversation is insanely appropriate now more than ever. What truly makes humans unique? What makes us special, exemplary, more capable than other species?

I also enjoyed this conversation between Kaylee and Jesse:

Jesse: What is the human mind? Layers upon layers of noises, is what it is. The life of an average human is utterly distracted. Focusing on one single thing is impossible. There are random factors affecting our thinking, such as the weather, the mood, so on and so forth. All these factors combined makes each of us unique. But ultimately, this uniqueness has no meaning. We're just constructs made unnecessarily complicated. Still, we worship this complicatedness, inventing names for it. We call it the soul, the free will. Does it have any value?

Kaylee: I say this will to live is the result, not a reason. Who is in a position to give a definition to the meaning of life? We many not be in a position to give a verdict, but we do believe it nonetheless. Humans, though, are not one single being. Humans differ, especially over things that are pure speculation. They exist because they already exist. There's no prescriptive meaning to it. If there's no assigned meaning, we should invent our own meaning. AI doesn't have such mental faculty. It's focused and efficient, yet not a living thing. Does the invention of automobiles make the existence of horses meaningless?

Even as of now, human laborers are facing quite the crisis. A.I. has entered the realm of employment, sifting through our resumes, and taking both manual and artistic jobs alike. It is easy to tell a robot what to do, to save ourselves some "precious time and resources," but as Jesse says, humans for the most part don't even know what they want, or at the very least cannot articulate is. What does this say: humans are too complex, indecisive, emotional? Or, in Kaylee's terms, the human life has more value because we have to figure it our ourselves and proceed by our own will?

We are in times where capitalism is becoming late-stage, where massive companies can take the world over whilst finding ways to mitigate being defined as an illegal monopoly. Corporations affect the government and law, thus society at large. Human labor already is unfortunately cheap, and that is why we have issues with modern day slavery, and why companies prefer to hire people regardless of experience for a little of a wage as possible.

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Companies can get a way with a lot, despite increases in surveillance and data leaks. Who knows what is occurring today? In Minds Beneath Us, it is seen that efficiency and profit is taken to the extreme and the treatment of these "humanoids" is utter, horrific torture. But, as said by Grandma, these experiments had just been legalized.

Science is not specifically a moral practice. Gather a bunch of intellectuals and sociopaths (and simultaneously both) in a laboratory setting and boom: the Holocaust, the Gulag, Unit 731, unethical animal testing, among others. It makes those individuals with a good heart feel powerless. That is what Situ and the gang felt, knowing that all of this dangerous activity is ongoing secretly, but nothing can be done about it without disrupting and displacing the entirety of society. The world is built upon corruption.

We can see with the ops and screening sectors that a majority of folks do have good intentions, whether it be wanting to protect their loved ones or serving a greater, positive purpose for the community at large. However, everyone is unintentionally adding fuel to the fire due to what jobs are available and the standard of living . . . and as Justin said, sometimes you just got to go with the lesser of evils, unfortunately. Everyone, including higher-up positions, are just trying to keep their head out of the water. We have made an uncomfortable society for ourself, haven't we? And whether you think the world is on the upward or downward spiral, there are deeply ingrained societal ills among us.

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I just love a good game that makes me question my own morality and worldview. Minds Beneath Us does its job so well; the world feels alive, dystopian, but realistic. The characters are wonderful and the visuals are stunning. I can play this game again and again and again.

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**I will say, there are a lot of questions that go unanswered. Some things are meant to be ambiguous, to challenge the players' own thoughts.

Such as . . . what is an MBU? How were they made, what do they all do? Just why? Regardless of the ending you get, all players get this bonus ending scene where the MBU is sent back to the simulation room, facing the Anomaly. It asks you just that: what do you, the MBU, think you are? A human? AI? A being that just exists?

I also wonder about some other things. For one, we never got to learn the meaning of 23's name. She said she'd tell us . . . but never did.

Finally, what the hell was Edith Yeh's role? 23 found her to be suspicious, and she certainly was to me. She also kind of looked like both Eva Yeh and OWL's "Grandma." She was the only member of screening who was upset at the increased communications between divisions. She was entirely absent from the end-game credits at Silencio. Hmm . . .

TOTAL TIME SPENT: 28 hours

OVERALL SCORE: 9/10

PLATFORM USED: PC

DATE OF COMPLETION: August 2024

[bts-weverse-trans]

210104 Weverse Magazine ‘Be’ Comeback Interview - Suga

SUGA “I'm grateful that there are still unvisited areas in the world of music” BTS BE comeback interview 2021.01.04

SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music.

How is your shoulder? SUGA: Good. I think it’ll get even better once I take off this brace. Apparently, it takes several months for a full recovery, but I'm trying to get better as fast as possible.

How does it feel like to have resolved a problem that has distressed you for long? SUGA: First of all, I'm glad. The pain is one thing, but when my shoulders got worse, I couldn't even raise my arms. But when I heard that this might recur when getting the surgery at a young age, I waited for the right time and had decided to get it done early next year regardless of the COVID-19 situation. I had planned to get the surgery after the year-end stages, but I got it done this year (2020) because my doctors advised me to start preparing early for next year’s promotions and activities.

How does it feel like watching the other members doing promotions? SUGA: I can't say it feels great. I could see the emptiness because we've been together as a group of seven for so long. Not necessarily because I'm not there but because something that should be there is missing?

Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery.

You must feel restricted not being able to go on stage. SUGA: The thing is, it's only been a month after I got surgery, but my absence on stage is so apparent. But my doctors keep telling me that I shouldn't be impatient and in fact, many athletes get a resurgery when they return to the field without proper rehabilitation. So I'm working on trying to care less. For the first two weeks after surgery, I felt so frustrated that I tried out new things. I even watched movies I didn't watch.

What movies did you watch? SUGA: I watched ‘Samjin Company English Class’ as it happened to be on IPTV, and now I have ‘Tenet’ on my list. ‘Parasite’ was the last movie I saw at a cinema. As the social distancing measures became stricter, I haven’t been going outside, except going to the hospital. I even eat at home. I'm also watching a lot of TV nowadays. Watching music shows like ‘Sing Again’, ‘Folk Us’, and ‘Show Me The Money 9’ made me think of what I should do in the upcoming days.

Could you elaborate on that? SUGA: A lot of candidates on ‘Sing Again’ are very talented but hadn't had the opportunity, and on ‘Folk Us’, I noticed that many took their own guitars on stage. I started playing the guitar lately and I'm having this urge to broaden my scope of music. And since my interest in the music industry in the U.S. grew, I'm getting prepared, studying English and all.

What fueled your interest? SUGA: In some ways it’s the most commercially developed market. You could lose the industry attention in a flash if it's not feasible. So in this system, you would try everything and that would be an efficient way. I want to do music for a long time, and to this end, I always want to learn more about the global music industry because I want to do music that’s loved not only in Korea, but also in the U.S., Japan and Europe.

Speaking of which, it seems BE was influenced from music of the past rather than today's trends. SUGA: I especially like impromptu music. I love the songs that were made in one take instead of being recorded several times. In this era of crossover genres, the desire to do better in music is growing inside me.

As the genres become more blended, the melody you use must be more important. Does starting to play the guitar affect your composing in any way? SUGA: I always liked using guitar sounds. And I have always liked the Eagles. If you play the guitar, it’s way easier to write songs because you can carry it along wherever you go, pluck on the strings to create melody lines. Keyboards are difficult to carry around. (Laughs) I usually work on my laptop but I had this thought that I definitely needed an instrument. It accelerates my work and improves my understanding of chords.

It makes me think you could intuitively make melodies. SUGA: It’s easier to write a song because you can intuitively make a progression and try many different things. During my work on ‘Eight’, IU had recorded and sent me a song from her phone. At the time I couldn’t play the guitar, so we tried to make sure we’re working on the same page when keeping track of each other's progress. That made me feel the need to learn an instrument.

This is actually before you started playing the guitar, but I found ‘Telepathy’ in BE very interesting. The varying melodic progressions between hooks for each member made me wonder if you wrote the melody intuitively for each part. SUGA: I tried writing a melody for the first time this year (2020), and as I started knowing the fun of music, it opened a lot of new doors for me. So it was kind of easy working on it. I just played a beat and wrote from the beginning until the end. Done. I wrote it in just 30 minutes. The song almost wrote itself. The trends of pop and hip-hop these days cross boundaries between vocals and rap. I like this trend.

When I listen to your singing, it feels like you’re hitting the beats rather than singing along the notes. So I thought perhaps you're singing as if you're rapping. SUGA: When you're rapping, you just think of the rhythm, so it’s like simply putting on a melody to a rhythm. To define which comes first, I think melody adds to it while writing the rap.

In ‘Life Goes On’, the lyrics ‘Thankfully between you and me, nothing’s changed’ are somewhere in between. It's not rap but it’d be mundane to say it's a mere melody. SUGA: There are obviously songs where the rap needs to be highlighted. For example, in ‘Dis-ease’ or ‘Ugh!’, you have to be good at rap. But in songs that should be easy to listen to, impressive raps are not always the way to go. Sometimes, you want smooth transitions without obstacles.

In that sense, the rap flow of ‘Blue & Grey’ was impressive. Rather than a dramatic effect that emphasizes each part, you extended the rap just as much as the slowing beat. SUGA: To be honest, this beat is difficult to rap to. The beginning of the song only has a guitar line, which made it even more difficult. I participated when we wrote lyrics for ‘Blue & Grey’ and I've always wanted to work on a song like this. It was because verse 1 talks about the theme of the song.

It seems you achieved almost everything that you wanted in BE. SUGA: I think it took less than a week to make my part in the album. After having written one or two melodies for ‘Life Goes On’, I wrote a version complete with rap, and liked it that I even worked on a separate arrangement and lyrics. Rather than pondering over the ways that might work, I choose to simply play the music and write.

Many creators are unsure even after they’ve produced good work. How do you get the conviction to release your work? SUGA: Many musicians are unsure whether they should release their music or not. It was the same for me, but the thing is, you’ll never release anything if you nitpick everything. For example, if we release 10 songs, we have a chance to unveil them in concerts or fan events. And sometimes, as we listen to the song, we think, ‘Why does this part that had bothered me no longer bother me?’ Some things might feel awkward at some point, but in time, it no longer feels awkward. Even I forget about it. So it's more efficient to fine tune, looking at the big picture, rather than thinking too much about the details. On top of that, during promotions, I don’t have the time to pick tracks that others have sent for 10 hours. It would be a success for all of us if each of us play and write a melody in their own time and collaborate with others on the details. So the way of songwriting has evolved in many aspects.

What motivated such evolution? SUGA: I think it evolved naturally. I've changed in personality this year (2020), as well as in terms of my interpretation and attitude toward life to the extent that I almost thought I've been rehearsing. How would it feel like if there were no stage to go to or anyone looking out for me? This thought made me realize the value of these things.

In ‘Dis-ease’, you sing ‘I don’t know if it’s the world that's sick’. Was it this lifestyle that changed your thoughts about your work? SUGA: Yes. When I was young, I had embraced the belief that ‘It must be my fault’, but as I got older, I realized that this is not always true. Most of what I had thought was my fault was in fact, not my fault. On the other hand, there are things that I did well and times I had been lucky.

‘I NEED U’ came out during a time when you were still thinking, “It must be me”. After the members put on a stage with ‘I NEED U’ in KBS' ‘Song Festival’, you wrote on Weverse, “It’s the same as five years ago.” How would you compare with back then? (This interview was held on December 19, 2020.) SUGA: We've matured quite a bit. And our stage performances have become more natural. I still like ‘I NEED U’. Just listening to the beat makes me sentimental, and above all, the song came out nicely. So as I was watching this and that when I stumbled across old videos. Watching them made me think that we haven’t changed much.

In what aspect haven't you changed much? SUGA: Before the social distancing measures got stricter, I talked with the photographer for BE, whom I had met four years ago. The photographer was surprised that we hadn’t changed much after all the success, even though he had assumed we’d be very different.

I'm amazed personally. I’ve had the chance to meet the members before your debut, but from your way of talking with members or others, it seems you haven't changed. SUGA: I think it's because we don’t give it a big deal about success. For example, it's incredible to be ranked first on the Billboards, but there’s also this sense of, “Okay, and?”

Even the Grammys? (Laughs) SUGA: When we got nominated for the Grammy Awards, we thought, ‘Is this real?’ (Laughs) Of course we were delighted, but it didn’t make us think, ‘We're singers nominated for the Grammy.’ If you're nominated, you're nominated, and if you get the award, you get the award. You don't get shaken by that. I know it's a great award and would be so grateful if we receive it, but we know that nothing is possible without the tremendous support of our fans. What’s more important is that the fans are more flattered than us when we receive a great award. So everyone's rejoicing, but it’s like, ‘Let's do what we have to do.’ We've been training ourselves to keep finding our places, so no one remains overexcited.

In ‘Fly To My Room’, there are lyrics that say, ‘This room is too small to contain my dream’, and ‘Sometimes this room becomes an emotional trash can, but it embraces me.’ I had this feeling that the room had been such a place and that you were accepting that you have changed. Then the essence must have remained the same. SUGA: It wasn’t easy to accept that we eventually change. But I think it's a good thing that we changed. What we did back then was possible only at that time, and we could change because of the things we had accomplished.

Then, what new things are you dreaming about? SUGA: I'm eager to continue doing music. Since all performances were canceled due to COVID-19, I had a chance to talk to so many musicians in Korea. I talked with legendary singers as well as people who are my contemporaries. Talking with them once again made me realize that I love music so much. Because music is my profession, I can’t imagine myself not doing it. I'm grateful that there are still unvisited areas in the world of music.

What kind of music do you think you’ll be engaged in in the future? SUGA: I was greatly motivated when I saw the concert of Na Hoon-a last Chuseok . I wondered how many musicians would actually be able perform and write music for so long like he has. At that moment, it occurred to be that ‘I want to be like him’. He has passion and desire, and most of all, he is a superstar. A few years ago, I took my parents to a Na Hoon-a concert, and when they watched the performance last Chuseok, they said it was way less impressive to see him perform through the TV. (Laughs)

That must explain your interest in a broader spectrum of music from instruments to composing and musical genres. Because you want to be doing this for a long time. SUGA: My goal is to continue doing music in any shape or form. In that sense, I have this great respect toward Cho Yong-pil. He takes the best sound there is and reinterprets it into his own. I think that’s something I want to emulate and keep changing and evolving so that I can continue doing music for decades to come.

The lyrics ‘Thankfully between you and me nothing’s changed’ must sound more meaningful for the fans because they will be listening to your music for a long time. SUGA: A month and a half in the current times must seem like a lifetime for the fans when we're far apart. I feel the same. But I think that's proof that we worked hard for the past seven years and that the fans have been passionately reaching out to us. I'm striving to get to them as fast as I can, and I'm eager to go on stage. I'm going through this because I want to be better on stage in a better condition, so don't be sad, and please hang in there a little longer.

Trans © Weverse

[tomorrowxtogether]

The Boundless Dreams of TOMORROW X TOGETHER

With artistry that serves as a balm to the heartaches of youth, here’s why this rising South Korean quintet are the voice of a new generation

In 2020 I watched my father, an Indian man currently in his late fifties, find TOMORROW X TOGETHER, a South Korean boy group who are barely out of their late teens. He heard them via my Spotify playlist one day and was instantly intrigued, asking me for song recommendations and music video links. It was undoubtedly one of the hardest years of his life, so there was magic in the way he found joy in their uplifting sound and comfort in their message, even if he didn’t quite understand all the lyrics. It’s a story I share with the five members of TXT when we connect for our conversation in 2021, and they’re thrilled to hear it.

“The subjects we’ve addressed have been relevant for many people who live with us in the current generation, regardless of age,” says the quintet’s leader and vocalist Soobin. “We’ve especially had a lot of teens and youth tell us that they were able to listen to our music and see themselves in our songs, so for us, that’s a very touching statement to hear. We’re extremely happy and thankful that people all over the world have been able to relate to our songs. We want to continue to make music that can move people and reflect their thoughts and emotions.”

When Soobin, Yeonjun, Taehyun, Beomgyu and HueningKai debuted as TOMORROW X TOGETHER in 2019, they were the first artists from HYBE Corporation’s Big Hit Music (then Big Hit Entertainment) to follow global pop mega stars BTS. After the massive worldwide success of their brother group, expectations around what a new group would bring to the table were high; there was a lot of speculation around what TXT would sound like and what message they would impart. In an interview earlier this year, HYBE’s Global CEO Lenzo Yoon told Rolling Stone India that while the label knew BTS would be a tough act to follow, the key to TOMORROW X TOGETHER’s success was focusing on who they were as artists rather than pushing them into a mold. “When preparing for TOMORROW X TOGETHER’s debut, we tried not to get influenced by BTS,” Yoon explained. “In fact, we made it clear that these fellows are different from the previous group. We focused on TOMORROW X TOGETHER’s distinct musical colors, each individual’s tendency, and peer culture.”

While BTS’ work explored the connection between youth and society, TOMORROW X TOGETHER’s goal was to examine the coming-of-age journey itself, diving into a time of our lives that is integral to the formation of our personalities, but also seem rather dreamlike in retrospect. It was fresh, personal and powerful, drawing from metaphors and imagination to present a new take on life as a young person. “Our intent has always been to tell stories only we can tell through our music,” vocalist Taehyun says about their message. “So I think it was only natural that we told narratives of growth from the teenage perspective.” Vocalist Beomgyu explains further, “Our music has always been about the youth who are living through this generation, including ourselves. We were teens when we started, so naturally, our earliest releases dealt with teenagers living through a complicated and confusing era of their lives.” TXT’s message is timeless, yet wholly their own.

Divided into various chapters, each of TOMORROW X TOGETHER’S albums map a different aspect of growing up and dive into fantastical visual dreamworlds while doing so. They started with more innocent, childlike themes that hovered around imagination and growing pains — their first EP The Dream Chapter: Star and its lead single “Crown”were fresh, youthful and bright, exploring stories about friendship, self-discovery and understanding the world through the lenses of youth. Their second record The Dream Chapter: Magic and its lead single, “9 and Three Quarters (Run Away)” moved on to the next stage: high school, the complexities of friendships/relationships and the need to escape from reality as the process of understanding the world gets more difficult. The album also drew heavily from global pop culture to build its core — like most of us tend to do in our teens. The third installment in the The Dream Chapter series, Eternity, tackled the darkest aspect of life yet: breaking the bubble of youth to confront realities like broken friendships, conflict, a search of your own identity, and even fears like uncertainty, loss and death. The harrowing short film format music video for “Eternally” from the album outlines this journey spectacularly, blurring the lines between dreams and reality to showcase the growth of a young person’s mind and emotions in 19 minutes.

“They’re changing both physically and mentally, but nevertheless they have other teenagers who are experiencing the same emotions as them,” Beomgyu says about the members’ characters in the storyline throughout their music videos. “These teens develop a rapport and friendship, and they dream together… hence The Dream Chapter.” As they move into The Chaos Chapter of their artistic era, TOMORROW X TOGETHER’s work takes another shift with their latest EP. “Now, we have The Chaos Chapter: Freeze, which features these same teenagers who have grown up a bit and are now facing relevant issues for our current time,” continues Beomgyu. “It’s a universal story of growth, and I believe this album is a narrative that hits home with many young people all over the world.”

The Chaos Chapter: Freeze details the lives of young people who are on the verge of adulthood and experiencing emotions of the real world. They’re unprepared, scared and there’s no turning back, but perhaps refuge can be found in the form of the relationships they build along the way. “The Dream Chapter series is a tale of growth. It follows a boy who finds his identity among a group of friends,” explains Soobin about the connection between this era and the last. “The Chaos Chapter: Freeze is about a boy who feels fear and emptiness as his life loses all sense of normalcy due to the onslaught of the world. Within this story, the boy finds someone special to him, and he discovers the emotion of ‘love.’” One of the key themes the record touches upon is, of course, the Covid-19 pandemic and the disruption it brought to all our lives, making us question everything about our collective and individual existence as human beings. Rapper and vocalist Yeonjun further expanded on this meaning during a press conference for the album, stating, “So we have our ordinary days, but our experience of the ordinary is being shaken and these are boys who are powerless to do anything.” Certain tracks draw references and continue the story from previous releases, building upon the group’s fictional storyline and outlining their growth trajectory: “What if I had been that Puma” looks back to “Puma” from The Dream Chapter: Eternity, while “No Rules” references “New Rules” from The Dream Chapter: Magic.

In addition to the growth of their fictional storyline and onscreen characters, Freeze is also a testament to the members’ evolution as artists; all five took part in the songwriting and conception process while the youngest of the group, 18-year-old HueningKai, also flexed his production skills on the track “Dear Sputnik.” Soobin co-wrote “Ice Cream,” while “What if I had been that Puma” features songwriting credits for Yeonjun, Taehyun, and Beomgyu. “No Rules” saw the most number of members participate in songwriting, with credits for Yeonjun, Beomgyu, Hueningkai and Taehyun, and “Frost” saw lyrical contributions by Yeonjun. “We were all very eager and wanted to be part of the process from the very beginning of our careers,” says HueningKai. “As we honed our abilities, we gradually gained more opportunities to expand upon and present our ideas.” With Big Hit Music’s encouragement to guide more of their artists into songwriting and production, all the members regularly present their lyrics, production and concepts to the label to incorporate into their albums. HueningKai shares that the anthemic, synthy, rock-influenced “Dear Sputnik” was years in the making, born of a sample he created before he joined the group. “I sent it to our label with the file name ‘it’s just a sample’ and I got a good reaction, so I developed it from there and got the final result.”

The lead single “0x1=Lovesong” is about believing in love even though the world is dissolving into chaos and there are thousands of doubts and sorrows in your mind. Co-written by HYBE’s founder Bang Si-Hyuk, BTS’ leader RM, American artist Mod Sun, and produced by Big Hit Music’s Slow Rabbit, the track is one of the most powerful and emotional releases from TOMORROW X TOGETHER and also marks their first official collaboration with another artist — South Korean singer-songwriter Seori. It features grunge rock and gritty vocals to convey maturity and desperation we haven’t seen from the quintet previously and contrasts this heaviness spectacularly with Seori’s soft, breathy voice. An acoustic version of the track released on June 25th sees TXT add rappers pH-1 and Woodie Gochild to the collaborative lineup, ramping up the rawness of the original with new verses from each artist. “It was a great honor to work with such incredible artists,” Yeonjun says about the entire lineup of collaborators, producers and songwriters who worked on Freeze. “I’d like to thank them for their contributions.”

The Chaos Chapter: Freeze earned TXT their highest position on the Billboard 200 yet, clocking in at an impressive Number Five and making them the only fourth generation K-pop group to do so (they had previously peaked at Number 25 on the chart with their 2020 EP Minisode1: Blue Hour.) Some of their accolades in their early days as a group include The Dream Chapter: Star becoming the highest-charting debut release by any male K-pop group in history, and selling out a six-city U.S. tour — both achievements almost unheard of for a rookie K-pop act. When I ask about their goals for the future of TOMORROW X TOGETHER, the answer is simple and unanimous: “Our goal is always to deliver the best music and performances we can. We can’t wait to get on stage and perform for our MOA [the group’s fandom] all over the world.”

Over the past two years, the quintet have become a guiding light for many young people around the world who are dealing with growing up, while also reminding millions of adults about their time as teens. There is a feeling that you’re not alone while holding the weight of life’s trials, and it is this the feeling that has garnered the group their massive fanbase, as well as their outstanding chart success. It’s a lot to put on their young shoulders — the members are aged between 18 and 21 years — but it’s a task TOMORROW X TOGETHER are prepared to take on. “We aren’t completely without pressure, but we’d like to say this becomes our motivation to present more good music,” says Yeonjun. They see the process of inspiration as a two-way street; while fans grow up with them, it’s important to remember they’re growing up with their fans as well. “Our relationship with MOA definitely goes both ways,” assures HueningKai. “We share our own stories that many people, including MOA of course, can relate to through our music, and thankfully our fans feel empathy with the music and give us love and support. That’s how and why our fans and TXT can see ‘selves’ in each other.”

On the subject of inspiration, we move on to discuss how each of them were motivated to pursue a career in music. “I always thought there was a special power in performances, even when I was just a part of the audience,” shares Soobin. “Singers and performers can really give people great joy. I also used to enjoy performing at my school festivals when I was a student. I enjoyed hearing the cheers from the crowd.” For Yeonjun, the journey to becoming an artist began with a passion for dance. “I was part of a dance crew as a student, and I naturally had a lot of opportunities to perform on stage,” he says. “Being on stage thrilled me like nothing else had. I fell in love with dance. I’d continue to rehearse on and on, and I came to realize the amount of passion I held for performing.” Beomgyu has very early memories of music. “My father would always play music while driving. I was also in a band in middle school, and performing in front of crowds really gave me a glimpse into the future I could have in music,” he explains. “I wanted to chase this dream, and I’m happy to say I am living it right now.” Taehyun also found a love for music through his family. “My sister was very into K-pop,” he recalls. “Naturally, I picked it up as well. I remember watching a music video of SHINee and thinking they were very cool. Then, I had an opportunity to join HYBE in middle school and was able to broaden my horizon to more diverse music all over the world.” HueningKai can’t remember a time when he wasn’t thinking about a career in music. “I think I’ve always been surrounded by music. Quite a few people within my immediate circle play instruments. I think pursuing music came naturally to me. I just really enjoyed singing and playing the guitar.”

What have they found to be the key to developing their powerful chemistry after coming together as a group? Taehyun doesn’t hesitate to answer. “It’s a big deal to know for certain you have four people who will be there to pick you up when you fall. I have every confidence in our team,” he says firmly. “We see eye-to-eye when it comes to the path and goals we envision for our group, and I think our strong rapport among one another is what allowed us to come this far. We were definitely able to hone our teamwork in the time we spent together. We’re one team and family working together to make better music and performances.”

We begin to break down what makes TXT so unique in today’s pop landscape, and the members take a moment to gather their thoughts before diving into it. “I think that our music tells the universal experience of youth everywhere,” begins Taehyun. “This is why so many people have been able to relate with our music, no matter where they’re from or what language they speak.” Yeonjun believes it’s TXT’s overall aesthetic and expansive artistry that draws in so many fans from different walks of life. “I’d say that we have trendy music, choreography, and style,” he says. “We’ve had the fortunate experience of being able to work with a diverse range of genres through our albums so far. In the future, we hope TOMORROW X TOGETHER can become a genre in itself.”

While the premise of ‘tomorrow’ etches itself into the face of TXT’s concept, they’re more determined to focus on the ‘together’ part of the message. For them, it all circles back to doing their best to be there for whoever needs them the most today–whether it’s my father here in India or a teenager somewhere across the globe. “We define ‘artists’ as people who can deliver empathy, comfort, and good energy to the world,” says Beomgyu. “We also wish to become artists who can give strength to people everywhere.” Yeonjun agrees with the sentiment, voicing his hope for the legacy they want to leave behind. “The biggest thing we want people to take away from our music and performances is energy, comfort, and empathy,” he says. “We receive much strength from you, MOA, so I hope we can be a source of strength for you too.”

Go behind the scenes of TOMORROW X TOGETHER’s June 2021 digital cover shoot for Rolling Stone India:

[sugadaily]

SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music. How is your shoulder? SUGA: Good. I think it’ll get even better once I take off this brace. Apparently, it takes several months for a full recovery, but I'm trying to get better as fast as possible. How does it feel like to have resolved a problem that has distressed you for long? SUGA: First of all, I'm glad. The pain is one thing, but when my shoulders got worse, I couldn't even raise my arms. But when I heard that this might recur when getting the surgery at a young age, I waited for the right time and had decided to get it done early next year regardless of the COVID-19 situation. I had planned to get the surgery after the year-end stages, but I got it done this year (2020) because my doctors advised me to start preparing early for next year’s promotions and activities. How does it feel like watching the other members doing promotions? SUGA: I can't say it feels great. I could see the emptiness because we've been together as a group of seven for so long. Not necessarily because I'm not there but because something that should be there is missing? Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery. You must feel restricted not being able to go on stage. SUGA: The thing is, it's only been a month after I got surgery, but my absence on stage is so apparent. But my doctors keep telling me that I shouldn't be impatient and in fact, many athletes get a resurgery when they return to the field without proper rehabilitation. So I'm working on trying to care less. For the first two weeks after surgery, I felt so frustrated that I tried out new things. I even watched movies I didn't watch.

What movies did you watch? SUGA: I watched ‘Samjin Company English Class’ as it happened to be on IPTV, and now I have ‘Tenet’ on my list. ‘Parasite’ was the last movie I saw at a cinema. As the social distancing measures became stricter, I haven’t been going outside, except going to the hospital. I even eat at home. I'm also watching a lot of TV nowadays. Watching music shows like ‘Sing Again’, ‘Folk Us’, and ‘Show Me The Money 9’ made me think of what I should do in the upcoming days. Could you elaborate on that? SUGA: A lot of candidates on ‘Sing Again’ are very talented but hadn't had the opportunity, and on ‘Folk Us’, I noticed that many took their own guitars on stage. I started playing the guitar lately and I'm having this urge to broaden my scope of music. And since my interest in the music industry in the U.S. grew, I'm getting prepared, studying English and all. What fueled your interest? SUGA: In some ways it’s the most commercially developed market. You could lose the industry attention in a flash if it's not feasible. So in this system, you would try everything and that would be an efficient way. I want to do music for a long time, and to this end, I always want to learn more about the global music industry because I want to do music that’s loved not only in Korea, but also in the U.S., Japan and Europe. Speaking of which, it seems BE was influenced from music of the past rather than today's trends. SUGA: I especially like impromptu music. I love the songs that were made in one take instead of being recorded several times. In this era of crossover genres, the desire to do better in music is growing inside me. As the genres become more blended, the melody you use must be more important. Does starting to play the guitar affect your composing in any way? SUGA: I always liked using guitar sounds. And I have always liked the Eagles. If you play the guitar, it’s way easier to write songs because you can carry it along wherever you go, pluck on the strings to create melody lines. Keyboards are difficult to carry around. (Laughs) I usually work on my laptop but I had this thought that I definitely needed an instrument. It accelerates my work and improves my understanding of chords. It makes me think you could intuitively make melodies. SUGA: It’s easier to write a song because you can intuitively make a progression and try many different things. During my work on ‘Eight’, IU had recorded and sent me a song from her phone. At the time I couldn’t play the guitar, so we tried to make sure we’re working on the same page when keeping track of each other's progress. That made me feel the need to learn an instrument.

This is actually before you started playing the guitar, but I found ‘Telepathy’ in BE very interesting. The varying melodic progressions between hooks for each member made me wonder if you wrote the melody intuitively for each part. SUGA: I tried a melody for the first time this year (2020), and as I started knowing the fun of music, it opened a lot of new doors for me. So it was kind of easy working on it. I just played a beat and wrote from the beginning until the end. Done. I wrote it in just 30 minutes. The song almost wrote itself. The trends of pop and hip-hop these days cross boundaries between vocals and rap. I like this trend. When I listen to your singing, it feels like you’re hitting the beats rather than singing along the notes. So I thought perhaps you're singing as if you're rapping. SUGA: When you're rapping, you just think of the rhythm, so it’s like simply putting on a melody to a rhythm. To define which comes first, I think melody adds to it while writing the rap. In ‘Life Goes On’, the lyrics ‘Thankfully between you and me, nothing’s changed’ are somewhere in between. It's not rap but it’d be mundane to say it's a mere melody. SUGA: There are obviously songs where the rap needs to be highlighted. For example, in ‘Dis-ease’ or ‘Ugh!’, you have to be good at rap. But in songs that should be easy to listen to, impressive raps are not always the way to go. Sometimes, you want smooth transitions without obstacles. In that sense, the rap flow of ‘Blue & Grey’ was impressive. Rather than a dramatic effect that emphasizes each part, you extended the rap just as much as the slowing beat. SUGA: To be honest, this beat is difficult to rap to. The beginning of the song only has a guitar line, which made it even more difficult. I participated when we wrote lyrics for ‘Blue & Grey’ and I've always wanted to work on a song like this. It was because verse 1 talks about the theme of the song.

It seems you achieved almost everything that you wanted in BE. SUGA: I think it took less than a week to make my part in the album. After having written one or two melodies for ‘Life Goes On’, I wrote a version complete with rap, and liked it that I even worked on a separate arrangement and lyrics. Rather than pondering over the ways that might work, I choose to simply play the music and write. Many creators are unsure even after they’ve produced good work. How do you get the conviction to release your work? SUGA: Many musicians are unsure whether they should release their music or not. It was the same for me, but the thing is, you’ll never release anything if you nitpick everything. For example, if we release 10 songs, we have a chance to unveil them in concerts or fan events. And sometimes, as we listen to the song, we think, ‘Why does this part that had bothered me no longer bother me?’ Some things might feel awkward at some point, but in time, it no longer feels awkward. Even I forget about it. So it's more efficient to fine tune, looking at the big picture, rather than thinking too much about the details. On top of that, during promotions, I don’t have the time to pick tracks that others have sent for 10 hours. It would be a success for all of us if each of us play and write a melody in their own time and collaborate with others on the details. So the way of songwriting has evolved in many aspects. What motivated such evolution? SUGA: I think it evolved naturally. I've changed in personality this year (2020), as well as in terms of my interpretation and attitude toward life to the extent that I almost thought I've been rehearsing. How would it feel like if there were no stage to go to or anyone looking out for me? This thought made me realize the value of these things. In ‘Dis-ease’, you sing ‘I don’t know if it’s the world that's sick’. Was it this lifestyle that changed your thoughts about your work? SUGA: Yes. When I was young, I had embraced the belief that ‘It must be my fault’, but as I got older, I realized that this is not always true. Most of what I had thought was my fault was in fact, not my fault. On the other hand, there are things that I did well and times I had been lucky. ‘I NEED U’ came out during a time when you were still thinking, “It must be me”. After the members put on a stage with ‘I NEED U’ in KBS' ‘Song Festival’, you wrote on Weverse, “It’s the same as five years ago.” How would you compare with back then? (This interview was held on December 19, 2020.) SUGA: We've matured quite a bit. And our stage performances have become more natural. I still like ‘I NEED U’. Just listening to the beat makes me sentimental, and above all, the song came out nicely. So as I was watching this and that when I stumbled across old videos. Watching them made me think that we haven’t changed much.

In what aspect haven't you changed much? SUGA: Before the social distancing measures got stricter, I talked with the photographer for BE, whom I had met four years ago. The photographer was surprised that we hadn’t changed much after all the success, even though he had assumed we’d be very different. I'm amazed personally. I’ve had the chance to meet the members before your debut, but from your way of talking with members or others, it seems you haven't changed. SUGA: I think it's because we don’t give it a big deal about success. For example, it's incredible to be ranked first on the Billboards, but there’s also this sense of, “Okay, and?” Even the Grammys? (Laughs) SUGA: When we got nominated for the Grammy Awards, we thought, ‘Is this real?’ (Laughs) Of course we were delighted, but it didn’t make us think, ‘We're singers nominated for the Grammy.’ If you're nominated, you're nominated, and if you get the award, you get the award. You don't get shaken by that. I know it's a great award and would be so grateful if we receive it, but we know that nothing is possible without the tremendous support of our fans. What’s more important is that the fans are more flattered than us when we receive a great award. So everyone's rejoicing, but it’s like, ‘Let's do what we have to do.’ We've been training ourselves to keep finding our places, so no one remains overexcited. In ‘Fly To My Room’, there are lyrics that say, ‘This room is too small to contain my dream’, and ‘Sometimes this room becomes an emotional trash can, but it embraces me.’ I had this feeling that the room had been such a place and that you were accepting that you have changed. Then the essence must have remained the same. SUGA: It wasn’t easy to accept that we eventually change. But I think it's a good thing that we changed. What we did back then was possible only at that time, and we could change because of the things we had accomplished. Then, what new things are you dreaming about? SUGA: I'm eager to continue doing music. Since all performances were canceled due to COVID-19, I had a chance to talk to so many musicians in Korea. I talked with legendary singers as well as people who are my contemporaries. Talking with them once again made me realize that I love music so much. Because music is my profession, I can’t imagine myself not doing it. I'm grateful that there are still unvisited areas in the world of music.

What kind of music do you think you’ll be engaged in in the future? SUGA: I was greatly motivated when I saw the concert of Na Hoon-a last Chuseok . I wondered how many musicians would actually be able perform and write music for so long like he has. At that moment, it occurred to be that ‘I want to be like him’. He has passion and desire, and most of all, he is a superstar. A few years ago, I took my parents to a Na Hoon-a concert, and when they watched the performance last Chuseok, they said it was way less impressive to see him perform through the TV. (Laughs) That must explain your interest in a broader spectrum of music from instruments to composing and musical genres. Because you want to be doing this for a long time. SUGA: My goal is to continue doing music in any shape or form. In that sense, I have this great respect toward Cho Yong-pil. He takes the best sound there is and reinterprets it into his own. I think that’s something I want to emulate and keep changing and evolving so that I can continue doing music for decades to come. The lyrics ‘Thankfully between you and me nothing’s changed’ must sound more meaningful for the fans because they will be listening to your music for a long time. SUGA: A month and a half in the current times must seem like a lifetime for the fans when we're far apart. I feel the same. But I think that's proof that we worked hard for the past seven years and that the fans have been passionately reaching out to us. I'm striving to get to them as fast as I can, and I'm eager to go on stage. I'm going through this because I want to be better on stage in a better condition, so don't be sad, and please hang in there a little longer.

[fyeah-bangtan7]

SUGA “I'm grateful that there are still unvisited areas in the world of music”

SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music.

How is your shoulder? SUGA: Good. I think it’ll get even better once I take off this brace. Apparently, it takes several months for a full recovery, but I'm trying to get better as fast as possible.

How does it feel like to have resolved a problem that has distressed you for long? SUGA: First of all, I'm glad. The pain is one thing, but when my shoulders got worse, I couldn't even raise my arms. But when I heard that this might recur when getting the surgery at a young age, I waited for the right time and had decided to get it done early next year regardless of the COVID-19 situation. I had planned to get the surgery after the year-end stages, but I got it done this year (2020) because my doctors advised me to start preparing early for next year’s promotions and activities.

How does it feel like watching the other members doing promotions? SUGA: I can't say it feels great. I could see the emptiness because we've been together as a group of seven for so long. Not necessarily because I'm not there but because something that should be there is missing? Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery.

You must feel restricted not being able to go on stage. SUGA: The thing is, it's only been a month after I got surgery, but my absence on stage is so apparent. But my doctors keep telling me that I shouldn't be impatient and in fact, many athletes get a resurgery when they return to the field without proper rehabilitation. So I'm working on trying to care less. For the first two weeks after surgery, I felt so frustrated that I tried out new things. I even watched movies I didn't watch.

What movies did you watch? SUGA: I watched ‘Samjin Company English Class’ as it happened to be on IPTV, and now I have ‘Tenet’ on my list. ‘Parasite’ was the last movie I saw at a cinema. As the social distancing measures became stricter, I haven’t been going outside, except going to the hospital. I even eat at home. I'm also watching a lot of TV nowadays. Watching music shows like ‘Sing Again’, ‘Folk Us’, and ‘Show Me The Money 9’ made me think of what I should do in the upcoming days. Could you elaborate on that? SUGA: A lot of candidates on ‘Sing Again’ are very talented but hadn't had the opportunity, and on ‘Folk Us’, I noticed that many took their own guitars on stage. I started playing the guitar lately and I'm having this urge to broaden my scope of music. And since my interest in the music industry in the U.S. grew, I'm getting prepared, studying English and all. What fueled your interest? SUGA: In some ways it’s the most commercially developed market. You could lose the industry attention in a flash if it's not feasible. So in this system, you would try everything and that would be an efficient way. I want to do music for a long time, and to this end, I always want to learn more about the global music industry because I want to do music that’s loved not only in Korea, but also in the U.S., Japan and Europe. Speaking of which, it seems BE was influenced from music of the past rather than today's trends. SUGA: I especially like impromptu music. I love the songs that were made in one take instead of being recorded several times. In this era of crossover genres, the desire to do better in music is growing inside me. As the genres become more blended, the melody you use must be more important. Does starting to play the guitar affect your composing in any way? SUGA: I always liked using guitar sounds. And I have always liked the Eagles. If you play the guitar, it’s way easier to write songs because you can carry it along wherever you go, pluck on the strings to create melody lines. Keyboards are difficult to carry around. (Laughs) I usually work on my laptop but I had this thought that I definitely needed an instrument. It accelerates my work and improves my understanding of chords. It makes me think you could intuitively make melodies. SUGA: It’s easier to write a song because you can intuitively make a progression and try many different things. During my work on ‘Eight’, IU had recorded and sent me a song from her phone. At the time I couldn’t play the guitar, so we tried to make sure we’re working on the same page when keeping track of each other's progress. That made me feel the need to learn an instrument.

This is actually before you started playing the guitar, but I found ‘Telepathy’ in BE very interesting. The varying melodic progressions between hooks for each member made me wonder if you wrote the melody intuitively for each part. SUGA: I tried a melody for the first time this year (2020), and as I started knowing the fun of music, it opened a lot of new doors for me. So it was kind of easy working on it. I just played a beat and wrote from the beginning until the end. Done. I wrote it in just 30 minutes. The song almost wrote itself. The trends of pop and hip-hop these days cross boundaries between vocals and rap. I like this trend. When I listen to your singing, it feels like you’re hitting the beats rather than singing along the notes. So I thought perhaps you're singing as if you're rapping. SUGA: When you're rapping, you just think of the rhythm, so it’s like simply putting on a melody to a rhythm. To define which comes first, I think melody adds to it while writing the rap. In ‘Life Goes On’, the lyrics ‘Thankfully between you and me, nothing’s changed’ are somewhere in between. It's not rap but it’d be mundane to say it's a mere melody. SUGA: There are obviously songs where the rap needs to be highlighted. For example, in ‘Dis-ease’ or ‘Ugh!’, you have to be good at rap. But in songs that should be easy to listen to, impressive raps are not always the way to go. Sometimes, you want smooth transitions without obstacles. In that sense, the rap flow of ‘Blue & Grey’ was impressive. Rather than a dramatic effect that emphasizes each part, you extended the rap just as much as the slowing beat. SUGA: To be honest, this beat is difficult to rap to. The beginning of the song only has a guitar line, which made it even more difficult. I participated when we wrote lyrics for ‘Blue & Grey’ and I've always wanted to work on a song like this. It was because verse 1 talks about the theme of the song.

It seems you achieved almost everything that you wanted in BE. SUGA: I think it took less than a week to make my part in the album. After having written one or two melodies for ‘Life Goes On’, I wrote a version complete with rap, and liked it that I even worked on a separate arrangement and lyrics. Rather than pondering over the ways that might work, I choose to simply play the music and write. Many creators are unsure even after they’ve produced good work. How do you get the conviction to release your work? SUGA: Many musicians are unsure whether they should release their music or not. It was the same for me, but the thing is, you’ll never release anything if you nitpick everything. For example, if we release 10 songs, we have a chance to unveil them in concerts or fan events. And sometimes, as we listen to the song, we think, ‘Why does this part that had bothered me no longer bother me?’ Some things might feel awkward at some point, but in time, it no longer feels awkward. Even I forget about it. So it's more efficient to fine tune, looking at the big picture, rather than thinking too much about the details. On top of that, during promotions, I don’t have the time to pick tracks that others have sent for 10 hours. It would be a success for all of us if each of us play and write a melody in their own time and collaborate with others on the details. So the way of songwriting has evolved in many aspects. What motivated such evolution? SUGA: I think it evolved naturally. I've changed in personality this year (2020), as well as in terms of my interpretation and attitude toward life to the extent that I almost thought I've been rehearsing. How would it feel like if there were no stage to go to or anyone looking out for me? This thought made me realize the value of these things. In ‘Dis-ease’, you sing ‘I don’t know if it’s the world that's sick’. Was it this lifestyle that changed your thoughts about your work? SUGA: Yes. When I was young, I had embraced the belief that ‘It must be my fault’, but as I got older, I realized that this is not always true. Most of what I had thought was my fault was in fact, not my fault. On the other hand, there are things that I did well and times I had been lucky. ‘I NEED U’ came out during a time when you were still thinking, “It must be me”. After the members put on a stage with ‘I NEED U’ in KBS' ‘Song Festival’, you wrote on Weverse, “It’s the same as five years ago.” How would you compare with back then? (This interview was held on December 19, 2020.) SUGA: We've matured quite a bit. And our stage performances have become more natural. I still like ‘I NEED U’. Just listening to the beat makes me sentimental, and above all, the song came out nicely. So as I was watching this and that when I stumbled across old videos. Watching them made me think that we haven’t changed much.

In what aspect haven't you changed much? SUGA: Before the social distancing measures got stricter, I talked with the photographer for BE, whom I had met four years ago. The photographer was surprised that we hadn’t changed much after all the success, even though he had assumed we’d be very different. I'm amazed personally. I’ve had the chance to meet the members before your debut, but from your way of talking with members or others, it seems you haven't changed. SUGA: I think it's because we don’t give it a big deal about success. For example, it's incredible to be ranked first on the Billboards, but there’s also this sense of, “Okay, and?” Even the Grammys? (Laughs) SUGA: When we got nominated for the Grammy Awards, we thought, ‘Is this real?’ (Laughs) Of course we were delighted, but it didn’t make us think, ‘We're singers nominated for the Grammy.’ If you're nominated, you're nominated, and if you get the award, you get the award. You don't get shaken by that. I know it's a great award and would be so grateful if we receive it, but we know that nothing is possible without the tremendous support of our fans. What’s more important is that the fans are more flattered than us when we receive a great award. So everyone's rejoicing, but it’s like, ‘Let's do what we have to do.’ We've been training ourselves to keep finding our places, so no one remains overexcited. In ‘Fly To My Room’, there are lyrics that say, ‘This room is too small to contain my dream’, and ‘Sometimes this room becomes an emotional trash can, but it embraces me.’ I had this feeling that the room had been such a place and that you were accepting that you have changed. Then the essence must have remained the same. SUGA: It wasn’t easy to accept that we eventually change. But I think it's a good thing that we changed. What we did back then was possible only at that time, and we could change because of the things we had accomplished. Then, what new things are you dreaming about? SUGA: I'm eager to continue doing music. Since all performances were canceled due to COVID-19, I had a chance to talk to so many musicians in Korea. I talked with legendary singers as well as people who are my contemporaries. Talking with them once again made me realize that I love music so much. Because music is my profession, I can’t imagine myself not doing it. I'm grateful that there are still unvisited areas in the world of music.

What kind of music do you think you’ll be engaged in in the future? SUGA: I was greatly motivated when I saw the concert of Na Hoon-a last Chuseok . I wondered how many musicians would actually be able perform and write music for so long like he has. At that moment, it occurred to be that ‘I want to be like him’. He has passion and desire, and most of all, he is a superstar. A few years ago, I took my parents to a Na Hoon-a concert, and when they watched the performance last Chuseok, they said it was way less impressive to see him perform through the TV. (Laughs) That must explain your interest in a broader spectrum of music from instruments to composing and musical genres. Because you want to be doing this for a long time. SUGA: My goal is to continue doing music in any shape or form. In that sense, I have this great respect toward Cho Yong-pil. He takes the best sound there is and reinterprets it into his own. I think that’s something I want to emulate and keep changing and evolving so that I can continue doing music for decades to come. The lyrics ‘Thankfully between you and me nothing’s changed’ must sound more meaningful for the fans because they will be listening to your music for a long time. SUGA: A month and a half in the current times must seem like a lifetime for the fans when we're far apart. I feel the same. But I think that's proof that we worked hard for the past seven years and that the fans have been passionately reaching out to us. I'm striving to get to them as fast as I can, and I'm eager to go on stage. I'm going through this because I want to be better on stage in a better condition, so don't be sad, and please hang in there a little longer.

[neocatharsis]

The Brilliant Members of World Renowned NCT 127 Share Their Thoughts Fashion, Music, Lifestyle, Favorite Things… What Their Individual Styles Are　#009 MARK

Some Excerpts

To know the world, to be a writer. What are your thoughts on that?

MN: Now then, after thoroughly reading your questionnaire, how to put this, it’s not that often that you see so many amazing responses in one place that happen to be philosophical in nature. That’s how amazing we thought your responses were, MARK-san.

M: Woh~!!

MN: For the question, “If you were to introduce yourself to the readers of MEN’S NON-NO as if you were doing so to someone you just met for the first time, what would that be?”, you answered, “I’m a young man who is still learning about the world”. How concise yet such lovely words. Please tell us in what way you are coming face-to-face with the world right now.

M: Wow, thank you very much. I often feel how scary it is the way time just flies by. Like time is flashing by in an instant. However, I feel that the “youth” of each person is exactly when that person feels like “it is right now”. Of course, it depends on the person, but I think that there is a sense of youth that I can feel at any given time, whether I’m in my 30’s or my 40’s, and I think that will change depending on how I feel and how I perceive it. What I can say now is that somewhere inside, I feel like, “I still have yet to know the world”. That’s why I always feel that I’m in still the process of learning more about the world, and that I have a lot of new things to learn with so many different aspects. There is so much wisdom, information, and knowledge in this world, and it’s as if I’m digesting these things one by one within my mind without rushing the process, and I’m shaping my identity by selecting what I need. I feel like I’m amidst this process.

MN: It feels like facing the vastness of the outside world is also connected to facing yourself. Also, to the question, “What is your source of inspiration for creative work?”, you wrote, “EVERYTHING”.

M: That’s true. I’m currently trying to understand so many things and ingest them within myself. So, well, I guess I’m in the middle of my lessons.

MN: You talked about how you perceive the world, but the concept of the group is exactly “TO THE WORLD”. For the question, “What is important to you in expressing yourself and conveying your style as a global artist?”, you wrote, “I believe that we should know ourselves and be honest with ourselves”. To the world, to know yourself. It seems that “to know” is important you.

M: With regard my policy of being honest with myself in order to know myself, I believe it is necessary with all aspects. For example, as an artist, “I wasn’t honest with my previous performance, but this time I am”, just doesn’t cut it. After all, I think that in order to absorb various things, you should always be honest with your feelings and with yourself. Inspiration often comes from the outside, but I think it’s important to think about how you interpret it, what types of emotions you are willing to accept, and how you are going to express them. I feel like I’m always trying to figure out how I interpret a song and its concept with honesty, and then how I’m going to perform that song. I think the other members are the same, but TAEYONG-san, who also writes lyrics as I do, likely has many opportunities to feel the same way when writing poetry.

MN: Since you brought up writing lyrics, I’d like to ask you a couple of things accordingly. To the actual question, “What dream would you like to achieve in your life other than music?”, you responded, “To write literary work”. We can tell that you like to write from the questionnaire that was jam-packed with words, but please tell us what is important to you when putting your feelings into words, and if there is anything you would challenge yourself to try.

M: Let’s see… Though I mention writing, it’s mostly lyrics these days. However, in order to complete those lyrics, I need to keep writing down my ideas. Those ideas become the source of everything I write and I start from there. Each letter/character and sentence always are the basis of my lyrics and other works, and I think that they contain my various viewpoints as well as perspectives. I also try to express these different viewpoints and perspectives in words.

MN: That’s a vital essence on how to create works of art.

M：For example, even if the theme is the same, the interpretation will change depending on how you look at things, or rather, your point of view, and I think this will appeal differently to people. So, the lyrics then are taken further as they fit the music. Thus, the way it is conveyed will then change depending on the beat and sounds. I rather enjoy that part of it. As far as things “I would like to challenge myself to” in the future… Of course, right now, I think that writing lyrics is already a good way for me to express myself in terms of writing itself, and it’s very gratifying as well, but… If in the future, really further into the future, that is, once I have achieved a lot of experience, it would be wonderful if I could publish a book.

MN: Wow! We look forward to that!

M: My original dream was to become an author! And I am really satisfied that I am able to write lyrics and sing those lyrics, but it would be something if I could publish a book someday when I’m older….

MN: As a young man still in the process of learning about the world, we hope for the day when you, MARK-san, have seen and listened to more things, will be able to share your experiences with us.

M: One day, eventually. Whether it be a novel, or some kind of autobiography, or even something that’s philosophical…or something that represents my thoughts… As of now, it is all up in the air, but I do hope to be able to write a book of that sort one day.

MN: So, your passion for writing something is being devoted to the creation of lyrics.

M: Well, to be honest, I don’t’ really think I’ve been able to express myself fully yet. As I mentioned earlier, I’m still in the process of learning and absorbing various things, and in many ways, I feel my writing skills are still in its infancy as well. However, the important thing to remember is that it’s often not until you write down what you’re thinking about that you realize what it is that you were thinking about. When I write, a lot of things come to mind, and they then naturally becomes letters/characters and then sentences. So, I didn’t notice it before I began writing, but as I continued to write, I realized, “Oh, I had this idea in me” and “I had that idea in me”. The thoughts and feelings that were hiding within began coming to light. Right now, I find that process very stimulating”

MN： And what we hear is what has been output from that process.

M: I guess that’s how it works. And there’s one thing I know without a doubt. I am currently trying to express myself on a daily basis while feeling how “interesting” everything is. Besides, I think that if you don’t have fun yourself while experiencing all these different things, it simply won’t be able to write and express yourself well. That’s why I feel that, in addition to “writing”, it’s important for me to experience more interesting and different things.

MN: Well put. We will introduce the songs written by you, MARK-san, and TAEYONG-san, who came up earlier, at the end of this topic.

What kind of place is NCT 127 for MARK?

MN: We would like to ask what NCT 127 means to you, MARK-san?

M: Yes, certainly!

MN: There was one thing that was deeply impressive and we’d like to share that with the readers first. Two years ago, YUTA-san gave his first solo interview with MEN’S NON-NO and that article became a record-breaking hit. After it posted, when we told him about it at the Saitama Super Arena concert (NCT 127 1st Tour ‘NEO CITY:JAPAN‐The Origin’), you were next to him and we were surprised that you jumped up before him. We felt your deep affection for the other members.

M: Ahh~, thank you for looking over me with such warmth!

MN: We can’t forget how you shook YUTA-san’s shoulders and said, “You did it!”, while YUTA-san was still in shock, saying, “What? Really?” (laughter). All the staff members were talking about how “MARK’s response was the fastest~!”

M: Haha! First off, I mean, YUTA-san is just so adorable. I really do love him. It is of course important to be happy when someone important to you has had something good happen to him, and I’m sure YUTA-san would do the same for me. So, right now in that way, for me, the members mean a lot to me and I want everyone to be happy, and to be really happy all the time.

MN: It shows how you care about one another.

M: Since we are friends who have truly shared various things together and have experienced both joy as well as hardship, we’re so close that we can almost always tell what each other is thinking about. I think that it is more comfortable for each and every one of us to be each other than to be with anybody else, which I’m sure is the same for everybody else.

MN: In contrast, to the question, “What is behind the coolness of NCT 127?”, you responded, “I find it cool to be able to accomplish something difficult, so I think it is cool how I challenge myself and my team challenges itself in order to do so!”

M: We as NCT 127 are an ambitious group. We strive to pursue that ambition and are constantly trying to upgrade our own capabilities. I think these activities have made me a smarter person, and when they look at one another, I feel that we as an entire group are becoming more mature and blossoming through that effort. NCT 127 has really become an indispensable part of my life now. It’s a place in which I am able to grow and where happiness exists.

What are your thoughts about communication?

MN: To the question, “Please list three things that make up who you are, MARK-san”, you wrote, “Family, members, fans”. It appears you’re all about “people”, MARK-san. Due to the impact of the coronavirus pandemic, it is becoming increasingly difficult to see our loved ones. With group activities, not being able to do offline concerts or events. Under these circumstances, what do you find is important, MARK-san, when it comes to connecting with your family, members, and fans?

M: I find it truly “unfortunate and sad” that we are unable to do our regular activities and unable to see each other. But since there’s really nothing we can do about this situation, I think we have to accept it. On the other hand, in times like these, I think it’s really important to “communicate” with your loved ones and to find a way to communicate with them. For example, even between husband and wife, it is often said that it is not good to rely too much on “knowing without saying”. I mean, I’ve heard that there are some things that you simply can’t know unless you put them into words… Although, I don’t know about that kind of thing yet (LOL)

MN: Yes, we hear that a lot (LOL).

M: Even I used to nebulously think that my fans likely knew how much I wanted to see them and that I miss them when I can’t see them. However, I have come to realize that it is definitely necessary for people to communicate with each other and to properly express their feelings. I feel more aware of the importance of expressing my feelings in words without assuming that they will understand. With this in mind, I’ve been trying to express my feelings in words through SNS and online content as much as possible, so that my fans can think, “Oh, I’m so glad I waited for you.” I’d like to communicate with my fans through the use of my own words, so that I can stay connected and in a good relationship with all my fans for a long time to come.

MN: Your feeling are already clearly conveyed in those words.

M: If that’s the case, I am happy!

MN: The questionnaire we received back from you was positive overall, and full of strong willed words, but there was one particular answer that was really striking. It was the answer you wrote, “I would like others to see me as a happy person, but in fact, I have a lot of things to worry about.” to the question, “What kind of gap is there between the real you and how you want to be seen by others?” To the question, “What would you like to overcome?”, you responded, “Worrying too much about unnecessary things.” Of course, nobody is fine all the time, but you have an image of being cheerful and energetic, MARK-san. So, the question is, how do you fill in the gaps when it comes to that?

M: Ugh~. That’s partly due to my personality. When I meet people, when I come face-to-face with them, whether it’s the fans or people who are normally around me, I don’t like to show them that I’m not doing well because I’ve had a bad day, for example. I mean, I don’t think it’s in my nature to show my negative side. The reason is that there is nothing wrong with the other person. So, to express the problem I’m having in front of that person is… well, I think it’s just wrong. That’s why I always want to bring as much positive energy as possible to the person in front of me, and to be in a cheerful state.

MN: It’s common to take your anger out on others when you are in a bad mood, but you are making an effort to control yourself there! With regard to, “a memorable piece of advice you received from somebody”, you responded, “TREAT OTHERS THE WAY YOU WISH TO BE TREATED.” There feels like a connection here.

M: Yes, there is. In particular, for my fans, I want to show a good image of myself. They always support us, and even for our concerts and events, they often come from afar to meet us. Why would we want to take the trouble to show our negative side under those circumstances? If we did, we would wind up in regret after getting off the stage. That’s why I always want to deliver energy to my fans, and even if I do have worries or concerns, I do what I can to not to show them. There’s always another place where I can release it. So, if I’m in a bad state, I tend to shift my emotions. I try to eliminate my worries and concerns as much as possible, but if I find it difficult or impossible to do, I think it’s something that should be resolved by talking to the members of the group, talking to my family, or talking to the people around me.

© https://mensnonno.jp/post/58067/

[letterboxd]

Life Detained.

The Mauritanian director Kevin Macdonald talks with Jack Moulton about researching Guantanamo Bay’s top secrets, Tahar Rahim’s method-acting techniques, the ingenuity of humanity during the pandemic, and his favorite Scottish films.

“You’ve got to understand that for a Muslim man like Tahar, this role has a much greater significance than it does for you or me.” —Kevin Macdonald

It’s not uncommon for a director to release two films in one year, but Academy-Award winning—for his 1999 documentary One Day in September—director Kevin Macdonald is guilty of this achievement multiple times. Ten years ago, he released his first crowd-sourced documentary Life in a Day and the period epic The Eagle within months of each other. A decade on, he’s done it again.

The Scottish director (and grandson of legendary filmmaker Emeric Pressburger) released both his Life in a Day follow-up and the legal drama The Mauritanian this month. The latter tells the story of Guantanamo Bay detainee Mohamedou Ould Slahi (sometimes written as Salahi), who was held and tortured in the notorious US detention center for fourteen years without a charge. The film, adapted from Slahi’s 2015 memoir Guantánamo Diary, features Jodie Foster and Shailene Woodley as his defense attorneys Nancy Hollander and Teri Duncan, with Benedict Cumberbatch, who also signed on as the film’s producer, playing prosecutor Lt. Stuart Couch.

Benedict Cumberbatch as prosecutor Lt. Stuart Couch in ‘The Mauritanian’.

The Mauritanian also introduces French star Tahar Rahim to a global audience, in the role of Slahi. “The ensemble is excellent across the board,” writes Zach Gilbert, “while Tahar Rahim is best in show overall, bringing honorable heart and humanity to his role [of] the titular mistreated prisoner.”

Much of the story is filmed as an office-based legal thriller involving thick files, intense conversations, and Jodie Foster’s very bright lipstick. Macdonald expertly employs aspect ratio to signify narrative shifts into scenes recreating Slahi’s vivid recollections of torture and his achingly brief conversations with unseen fellow detainees.

Qualifying for this year’s awards season due to extended deadlines, The Mauritanian has already earned Golden Globe nominations for Best Actor and Best Supporting Actress for Rahim and Foster respectively. Slahi remains unable to travel due to no-fly lists, but he was a valuable resource to the production, providing an accurate and rare depiction of a sympathetic Muslim character in an American film.

It was the eve of Life in a Day 2020’s Sundance Film Festival premiere when we Zoomed with Macdonald. Behind him, we spied a full set of the Italian posters for Michelangelo Antonioni’s classic Blow-Up. As it turns out, he’s not a fan of the film—only the posters—so we got him talking about his desert-island top ten after a few questions about his new film.

The attention to detail on Guantanamo Bay in The Mauritanian is impressive. There are procedures depicted that you rarely see on-screen. How did you conduct your research? Obviously Guantanamo Bay is a place which the American government spends a great deal of effort keeping secret. It was important to Mohamedou and me that we depicted the reality of the procedures as accurately as we possibly could. That research came primarily from Mohamedou who has an incredible memory. He drew sketches and made videos of himself lying down in spaces and showing how he could stretch half his arm out [in his cell]. There are a lot of photographs on the internet of Guantanamo Bay which are [fake] and others are from a later period because the place developed a lot over the years since it started in 2002 and Mohamedou was able to [identify] which photos were rooms, courtyards and medical centers he had been in.

Director Kevin Macdonald on set with Jodie Foster.

How did you approach creating an honest representation of the graphic torture scenes, without putting the audience through it as well? Whenever films about this period are [made] they’re always from the point of view of the Americans and this time we’re with Mohamedou. You can’t underestimate the fact that there have really been no mainstream American cinematic portrayals of Muslims at all, so in portraying a sympathetic Muslim character who’s also accused of terrorism, you’re pushing some hot buttons with people. It was important that those people who are uncomfortable with him understand why he confessed to what he confessed.

Everything you see in the film is what happened; the only difference is that they weren’t wearing masks of cats and Shrek-like creatures, they wore Star Wars masks of Yoda and Luke Skywalker in this very perverse fucked-up version of American pop culture. Obviously, we couldn’t get the rights to those. Actually, I don’t feel that it is graphic. There is more violence in your average Marvel movie. It’s psychologically disturbing because you’re experiencing this disorientating lighting, the [heavy-metal] music, and he’s being told his mother’s going to be raped and he’s flashing back to his childhood. To be empathizing with this character and then to see them to be so cruelly treated is so deeply disturbing.

How did you prepare Tahar Rahim for his convincing portrayal of such intense pain and suffering? Tahar went through a great deal of discomfort in order to achieve it. He felt that to give a performance that had any chance of being truthful, he needed to experience a little bit of what Mohamedou had suffered, so throughout the movie he would insist on wearing real shackles which made his leg bleed and give him blisters. I would plead with him to put on rubber ones and he would say “no, I have to do this so I’m not just play-acting”.

He starved himself for about three weeks leading up to a torture sequence—he had lost an awful amount of weight and he was really unsteady on his legs. I was very worried about it and I got him nutritionists and doctors but he was determined to stick with that. You’ve got to understand that for a Muslim man like Tahar, this role has a much greater significance than it does for you or me. He felt a great weight of responsibility to do this correctly, not just for Mohamedou, but he was speaking for the whole Muslim world in a way.

Jodie Foster and Shailene Woodley as defense attorneys in ‘The Mauritanian’.

What compels you to study this period in time? Mohamedou was released a couple of weeks before Trump came to power in 2016, so the story is still ongoing for him. He’s still being harassed by the American government and he’s not allowed to travel because he’s on these no-fly lists. I didn’t want to make a movie that was saying “George W. Bush is terrible”. We’ve been there, we’ve done that. This is looking back with a little bit of distance and saying “here’s the principles that we can learn from when you sidestep the rule of law”—what it takes to stand up like Lt. Stuart Couch did when everyone else around you is going along with something that’s really terrible.

You see that around Trump with the choices within the Republican Party to stand up and say they’re going to sacrifice their careers to do the right thing. It is a hard thing when there’s this mass hysteria in the air. The basic principles that the lawyer [characters] are representing is not about analyzing and replaying what happened after 9/11, they’re directly related in a bigger way to the world we all inhabit.

Did anything surprise you in how your subjects for Life in a Day 2020 addressed the pandemic? One of the most affecting characters in the film is an American who lost his home and business because of the pandemic, so he’s living in his car. He seems very depressed when you meet him for the first time, then later he’s telling us there’s something that’s giving him joy in his life. He brings out all these drones with these cameras on them and puts on this VR headset and loses himself by flying through the trees. I thought that was such a great metaphor for the way that human ingenuity has enabled us to survive and thrive during the pandemic.

I get the feeling of resilience from [the film]. This is a more thoughtful film than the original one. I see this as a movie of [us] being beware of our susceptibility to disease and ultimately to death and mortality, [and] how we’ve found these consolations as human beings. To me, it’s a really profound thing. It also speaks to the main theme of the film which is how we’re all so similar, same as The Mauritanian. It’s confronting you with all these people and saying we fundamentally all share the basic things that underpin our lives and the differences between us are much less important than the things we have in common.

Let’s go from Life in a Day to your life in film. What’s a Scottish film that you love but you feel is very overlooked or underrated? That’s really hard because there aren’t many Scottish films and there aren’t many good ones. Gregory’s Girl is the greatest Scottish film ever made—it’s the bible for life for me. That’s very well-known, so I would have to say Bill Forsyth’s previous film That Sinking Feeling, which was self-funded and made on 16mm black-and-white. It has some of the same actors and characters as Gregory’s Girl in it. Or my grandfather Emeric Pressberger’s film I Know Where I’m Going! which is a rare romantic comedy set in Scotland.

John Gordon Sinclair and Dee Hepburn in Bill Forsyth’s ‘Gregory’s Girl’ (1980).

Which film made you want to become a filmmaker? I think it was Errol Morris’s The Thin Blue Line, which is one of the top five documentaries ever made and in my top ten desert-island movies.

What else is in your desert-island top ten? Oh god, don’t! I knew you were going to ask me that. I’ll give a few. I would say there would have to be something by Preston Sturges—maybe The Lady Eve or The Palm Beach Story. There would have to be a film written by my grandfather, so probably The Life and Death of Colonel Blimp, which is the best British film ever made. There would have to be Singin’ in the Rain, which is the most purely joyful film I’ve ever seen. There would probably be The Battle of Algiers, which I rewatched recently and was an inspiration on The Mauritanian. Citizen Kane I also rewatched in anticipation of watching Mank, of which I was very disappointed. I thought it completely missed the point and was kind of boring.

Which was the best film released in 2020 for you? I thought the Russian film Dear Comrades! was really stunning. It was made by a director [Andrei Konchalovsky] in his 80s who first worked with Andrei Tarkovsky back in the late 1950s. He co-scripted Ivan’s Childhood. I would love to make my masterpiece when I’m 86 too!

Related content

Films with Muslim characters

Movies that pass the Riz test

Scottish Cinema—a regularly updated list

Follow Jack on Letterboxd

‘The Mauritanian’ is in select US cinemas and virtual theaters now, and on SVOD from March 2. ‘Life in a Day 2020’ is available to stream free on YouTube, as is the original.

[doomedandstoned]

Mothman and The Thunderbirds Take Us ‘Into The Hollow’

~By Tom Hanno~

Album Art by Drahma R.

This solo project has one of the coolest names I've heard in a while, and the music matches that coolness before multiplying it tenfold. That project is manned by Alex Parkinson, goes by the name of MOTHMAN AND THE THUNDERBIRDS and the debut album, 'Into the Hollow' (2021), drops on May 21st.

One of the biggest things that I hear is a Mastodon influence, and that rides throughout this album. However, there is so much more than just the Mastodon influence, creating an extremely diverse album that effortlessly blends several genres into one.

On top of me hearing great music on this release, I also am attracted to the name for reasons other than coolness. Breaking the moniker down, we discover that there are the names of two cryptids contained therein.

Into the Hollow by Mothman and The Thunderbirds

First, we have the Mothman, which is a cryptid seen in the West Virginia area of the United States starting in November of 1966. It is heavily believed that a Mothman sighting is the precursor to some kind of tragedy, which began after the December 1967 Silver Bridge Incident The bridge connects West Virginia and Ohio, and it collapsed under the weight of rush hour traffic, killing 46 people; thereby instigating the bad omen myth that follows the Mothman to this day.

Second is the extremely dangerous Thunderbird, which dates back to the Native Americans, and are capable of altering the weather; creating storms and lightning. Both of these cryptids still have sightings, and captivate the imaginations of many people across the globe.

The first track is called "Mothman Takes Flight", and the layering of the vocals in the intro section are extremely cool sounding; not to mention that the first riff has a slight Slipknot vibe to it. Those layered vocal parts really grabbed my attention, and that attention only grew stronger as this track moved forward.

One of the elements that I really latched onto was the diverse feel of each part of the song. It seems as if everything has its own influence, but they all fit together perfectly to create this awesome piece of music.

As we move onto track number two, we get a Mastodon-heavy song called "Hollow Earth", which gets my nod for best vocal effects for a verse; they really bring to mind Static-X's "Chemical Logic" from the Cannibal album. I asked Alex how he was able to create that sound, and he told me this; "For Hollow Earth I did the regular clean vocals and then ran them through a Korg vocoder a few times, so it's a couple different vocoders on top of each other, on top of the clean vocals."

"Indrid Cold" is another banger, and keeps the Mastodon vibe alive and well. The main riff has a gallop and a well placed emphasis on the right notes to make this track sound even better. The vocals are executed with a burly rasp, and an almost agonized tone in certain spots; they match the heavy feel of the music expertly, and the lyric that says, "Smile through the pain" helps add to that agonized idea even more.

Up next is possibly the best track on the album, "Infinite Ocean", which features Breaths' Jason Roberts on verses 3 and 4. I love everything about this song, but it's the vocal melody and performances that really stick out; they are perfectly executed, well written, and memorable.

The section that hits around the 2:30 mark is very interesting, almost progressive in nature. The guitars display a lot of movement, and the bass just hangs back to subtly hold the whole thing together. I really love this one, it's my personal favorite in the album.

One of my other favorite tracks is called "Cloud Giant", which could have just as easily been on the latest Devin Townsend album. His influence is very strongly felt in the music, as well as the flow of the vocals; which are performed by special guest vocalist, Joe Sobieski. Even with all of that I think my favorite aspect is the tribal nature of the drumming, which makes perfect use of the toms to really propel things forward. The whole vibe of this song is positive and uplifting, which fits the lyrical context nicely.

Before I end this review, I'd like to include Alex' thoughts on his record:

I started Mothman and The Thunderbirds in the middle of 2020, when quarantine-pastime curiosity in cryptids and conspiracy theories came to a head with my creative indecisiveness. I think Into the Hollow is a strong first outing at that, showcasing a range of styles -- some metal, some not -- that I had been itching to record. Rather than starting several different "solo" projects, I decided that this album was going to be a vehicle for all things weird and wonderful.

While the album deals in cryptids and conspiracy theories, I've tied in many real-world themes of war, global warming, anxiety, paranoia, and manufactured consent. But to transport the listener in and out of the world of Mothman and The Thunderbirds, the album is bookended by two songs that deal in pure escapism. I think my varied approach to both vocals and song styles helps convey the dichotomy between the real and surreal.

I'd like to thank the four Guest Thunderbirds (in order of appearance: Jason, Kirby, Sam, and Joe) for their guest contributions, which make this album truly special. And I'd like to thank you, the listener, for embarking on this crazy journey with me Into the Hollow!

In closing, as I quote from their press release, "If anything, Into the Hollow is a stoner metal album for people who are bored of stoner metal." That line really sums up why I love this album as much as I do. The amount of eclectic diversity in the songwriting really helps to set Mothman and the Thunderbirds apart from other bands in the genre, not to mention that Alex has been able to obtain guest musicians that really add their own spark to the tracks they're featured on.

May 21st is coming soon, so go to Bandcamp, hit that pre-order button, and feel free to let us know what you think of this excellent recording. Enjoy!

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[theastrophilearchitect]

Falcon and the Winter Soldier series commentary.

It’s currently 07.28am on Friday the 19th of March 2021, and the first episode of Falcon and the Winter Soldier is now on Disney+. For WandaVision, I re-watched the series for a review when it ended, but for this one, I’m going to go as I watch them the first time.

This isn’t going to be run-down, or a play-by-play, just any comments I happen to have. I’ll give some context, but this will generally make more sense if you’ve seen the show.

I’ve actually avoided most of the trailers for this show, but it follows Sam Wilson (AKA Falcon, played by Anthony Mackie) and Bucky Barnes (AKA the Winter Soldier, played by Sebastian Stan) after the events of Avengers: Endgame, after the (death?) of Steve Rogers, the original Captain America, who passed the title to Sam.

Let’s get into it.

Episode One: ‘New World Order’ I hate this title, and I’m scared. This episode is 49 minutes long, and I’m expecting the series in total to have roughly the same six-hour runtime of WandaVision, but that’ll be in fewer episodes because WandaVision started in a comedy format, with shorter episodes. Let’s go.

Cue the Marvel intro.

No, no, no, no, no, no. He’s dressing for a funeral. Fuck.

Nope, no funeral. At least not right now.

And he jumps out of a plane with no parachute. Steve Rogers who? I mean, at least he has wings. Steve’s just an idiot. Where’s Bucky?

Okay, this plane break-in is a really fun sequence. Yes, shields, thank you. Sam’s already smarter than Steve. He’s rescuing a Captain Vascant, and I honestly thought he said Captain Croissant. It would make sense. The people on the plane French.

This sequence, flying through a gorge, really reminds me of a game I used to play at a bowling alley arcade. These damn swerves. They’re so satisfying.

I can’t get the WandaVision episode three theme song out of my head. This show was meant to come before WandaVision, but I saw a chronology timeline that claimed this takes place after it.

I’m really not into huge action sequences--I find them to be the most boring part of any superhero movie, but this is a good one. It is, however, ten minutes long. Still no Bucky.

Ahhhh Rhodey!!! Rhodey’s here! (From Iron Man, but then he’s also in the Avengers movies, so you should probably know who he is.)

Oh, Sam’s giving the shield to the Smithsonian. 

Excuse me, he chose not to become Captain America??

Welp, there’s Bucky. Being murderous. EXcuse me??? What did he just say???? Fuck off. I thought the Wakandans helped him :(

Never mind. It was a nightmare. So he’s meant to be being a law-abiding citizen, and failing. He’s in therapy, and she is calling him out. 

Bucky just asked out a girl, and it feels so wrong, but that just shows how immersed I am in the #stucky ship.

So Sam’s widowed sister is trying to get a bank loan, and they’re real idiots. The bankers, that is. They’re having a go because Sam didn’t have any income in the last five years--gee, I wonder why.

Sam just got a text from Torres--a member of the air force, who he’s working with--and the text ends with ‘#important’. I get the feeling the writers don’t understand no-one uses hashtags in texts.

Newsflash, and the mayor’s announcing a new Captain America, and it’s...  show me the face. Show me the face. Who the fuck is that?

Alright, well, and cut to seven minute-long credits. Well. I have questions. A good episode, though nothing exceptional. And just like the early WandaVision episode, no credit scene.

Episode Two: ‘The Star-Spangled Man’ Released March 26th, this episode also has a 49 minute runtime, and the title is clearly referencing the ‘new’ Captain America. I say ‘new’ because even though I don’t know who this guy is yet, fuck him. Anyway.

There’s a guy in some kind of locker room, who I’m assuming is the new Captain America, who was apparently a football player. I just want to know if they pulled more super soldier shit. The captions say his name is John Walker.

Cue the Marvel logo... with some weird-ass music. Okay, it’s just a... dancing marching band, at the Captain America presentation. They’ve given him a new symbol, like an A turned into a five-pointed star. Apparently he’s the first person to ever receive three Medals of Honour, run missions in counterterrorism and hostage rescue, and he has some fancy-ass physicality. This guy seems alright, but I’m just mad they didn’t tell Sam what they were going to do with the shield. At least he likes Steve.

God, Steve would be pissed. Ay, Sam and Bucky are finally in a scene together!

My favourite trope: ‘I’m doing this with you!’ ‘No, you’re not.’ [cut to them doing the thing together]. 

Bucky followed Sam on a mission to Munich, Germany, to do with the Flag Smashers, a free border organisation mentioned in episode one. They’re just glaring at each other, and I love it. God, I love their dynamic.

This has ‘What’s our plan of attack?’ ‘The plan? Attack’ vibes. And Bucky just jumped out of a fucking plane without a parachute. Steve Rogers who? (I think I made that joke in my episode one commentary about Sam. They take so much after their father.)

Sam made a joke about Bucky becoming White Panther after Wakanda, and apparently he’s now the White Wolf. I’m pretty sure that’s a comic book alias, but this is its first MCU mention.

OOOOh, the action sequences in this are fun. And there’s a kid in the back of the bad guys’ truck. Why’s she smiling?

And she just blasted Bucky out onto the road. Wonderful. She’s also a Flag Smasher. Yes, Sam! Yes!

Maybe don’t drive your lorries side by side in the same direction on a two-way road? Just a thought?

And roll in John Walker. You’d think they’d be having a harder time staying stood on lorries travelling this fast.

And Captain America has a fucking gun. No. No. Steve just used a frisbee! Don’t do this, Walker, you bastard.

So apparently the Flag Smashers are all super soldiers. That doesn’t bode well. I don’t think Walker is, though. 

And this suit does nothing for his ass. It just isn’t America’s.

So they all rolled off the lorries, and the bad guys got away. Walker rolled up beside Sam and Bucky in a military vehicle, and they’re just refusing to get in.

‘Just ‘cause you carry that shield, it doesn’t mean you’re Captain America.’ THANK YOU.

‘You ever jump on top of a grenade?’ ‘Yeah. Actually, I have. Four times.’ You fucking what? Why? That doesn’t sound like Steve’s dumbassery, this sounds like genuine heroics. Disgusting. 

And they finally got in the car. So the Flag Smashers want to put things back how they were during the Blip.

‘Does [Bucky] always just stare like that?’ ‘You get used to it.’ !!!!!!

‘I’m not trying to replace Steve.’ Really? Because it sounds like you are.

I hate that the subtitles are calling him Captain America. He seems like a fine guy, but really?

So apparently there was a super soldier in the Korean War. 

Great. Police racism, demanding to see Sam’s ID but not Bucky’s, until the other policeman points out they’re Avengers. Wonderful. And they’re now arresting Bucky for missing his court-mandated therapy.

Also, I didn’t even acknowledge the fact Bucky got a haircut somewhere before the show stars. I was conscious of it, but I didn’t even think to say anything because I’m just used to seeing Sebastian Stan with short hair.

So John Walker got Bucky out. And Bucky’s therapist is forcing him and Sam into a session. HA, she’s giving them couple’s therapy. This is intense. She made them do some soul-gazing shit, and they started having a staring contest!

AND they’re going to go see Zemo, the villain from Captain America: Civil War. I knew he was in this show, but they’re just going to willingly have a conversation with him?? And again, no credit scene.

This was definitely a better episode than the first--the first honestly felt kind of unnecessary, and I think they just wanted to put the new Captain America at the end of an episode to build tension as a cliffhanger, which is a little annoying but does make sense.

I’m going to be constantly comparing this show to WandaVision, but it’s a lot less mysterious than WandaVision. Mystery isn’t necessary for a show to be good; there’s just a stark contrast between the two shows in that aspect.

Episode Three: ‘Power Broker’ Released April 2nd, this episode has a 53 minute runtime. We open with an ad for the Global Repatriation Council, apparently an organisation focused on helping those who were Blipped reintegrate, though I’m really confused what this has to do with anything--it’s not like the ads in WandaVision, because this is the first we’ve had. I guess the GRC must show up in this episode, but I don’t really think the ad is necessary.

I don’t want to give a rundown of this show like I did with WandaVision, so I’m just going to mention which scene each comment is for.

They’ve really given Zemo an atmospheric cell. Also, this bitch, saying the words that turned Bucky into the Winter Soldier. This bitch and his audacity. Now he’s sorry? That’s hilarious.

Why in fuck’s name does Bucky want to break Zemo out??? I’m really with Sam on this one. What is Bucky’s point here?

And now they’re breaking him out. Wonderful. Nope, never mind, just a... imagining? Nope. He did it. Zemo’s out. This seems like a bad idea. He’s going to betray them. That’s just how stories work.

Ah. Snake gut cocktail. Lovely.

I hate that Bucky’s pretending to still be the Winter Soldier. Hate it. And now Zemo’s trying to sell him. No. Good writing, sure, but still.

Love the ‘kill them’, then gets shot. Love it.

SHARON! YAY! I don’t even like Sharon that much, mostly because her romance with Steve was weird, but yay!

Sam: *takes off his shirt* Sharon: Much better.

‘The bionic staring machine.’ I mean, Sam’s not wrong, but still.

I can’t tell if this song, where they’re walking through this place with pistols, is just background music or actually playing, but I love it. Okay, it’s real. It has Umbrella Academy vibes.

Nope. Zemo has his mask. I don’t trust this. There he goes. Wait. He didn’t betray them? Why? It might just be poor comprehension, but I’m confused.

‘You’re not gonna move your seat up, are you?’ ‘No.’ Bucky gets his revenge on Sam. 

So a woman showed up at the end, head shaven, and, according to the subtitles, spoke Wakandan. I think it’s the woman who came with T’Challa in Captain America: Civil War, but i’m not completely sure.

But, hey, that’s episode 3. I didn’t enjoy it as much as episode 2, because, mad as I am they replaced Cap, so far, I quite like John Walker’s character, and I think it’s a really interesting plot line. This was still better than episode 1 though, which just felt like set-up.

Episode Four: ‘The Whole World is Watching’ This episode was released April 9th, this morning, with a 53-minute runtime, and I’ve already been told John Walker does something unredeemable in this episode, so I’m scared. Let’s go.

And we have an explosion, kids. It’s a previously on, never mind. I don’t remember the explosion, but it’s fine. Okay, yeah, the woman at the end of the last episode was the woman from Civil War. I need to look up her name.

Oh, yep, her name’s Ayo, and she’s a member of the Dora Milaje. Lovely.

Jesus, we’re in Wakanda. Why am I scared? Six years ago. Bucky in Wakanda. Right. With Ayo. I hate seeing him cry, God. 

Back to present day. Of course she’s mad about Zemo. I’d also be mad about Zemo. I am mad about Zemo. She gave him a time limit--I think time limits are fun. Build tension. They’re great.

God, Zemo walking down a street full of children singing Baa Baa Black Sheep is so... 80s. Maybe don’t offer sweets to children you don’t know?? Like?? I mean his tactic’s working. Unlike Sam’s. This bitch just turned the children against Sam and Bucky. As you do.

And they have more serum. I’m going to be honest, the supersoldier thing’s pretty elitist, unless they intend to make everyone in the world a supersoldier. I can’t help but see a capitalist versus socialist metaphor here, but then I find those in literally everything.

I do like Walker’s character--he’s entertaining--but as a person, no thank you. I also really like the fact Karli Morgenthau is British, but not quite in the way most British characters in US shows. I fit the stereotypical accent, but you don’t really see other English accents in American shows.

Walker you little bitch, you said he had ten minutes. No, no, no, no, no, no, no, no, no. Don’t guilt-trip Bucky, you shit. And here we go.

I hate the fact this episode mean’s we’re already 2/3 of the way through the series.

And Zemo’s absolutely going to take that serum. Nope. He’s smashing it. I mean, that’s one way. Not the way I expected, but still. And he missed one. Walker’s going to take it. I know he is. And he pocketed it. Yep.

Okay, I would absolutely take the serum if I were offered it. I bet Walker’s going to take it at the end of the episode, though. Who has a bow??

And he’s the Dora Milaje. Pff, it wasn’t even an arrow; it was a spear.  I’m with the Dora Milaje in this scenario, absolutely. Love that Sam and Bucky are just stood there, doing nothing. What’s the point of Lemar Hoskins? He doesn’t do anything.

Don’t unbolt Bucky’s arm, you ass. 

And Zemo’s gone. Now, who could’ve seen that coming? 

Why the hell is Karli calling Sam’s sister??

Sharon put a tracker on Walker? Smart. 

Well, we found Zemo. God, I miss Steve. 

Did Karli just kill Hoskins??

And Walker just smashed this guy’s head in. Lovely. What a Captain America thing to do.  Ooh, the bloody shield’s kind of a vibe though.

So that’s episode 4, and oh my lord.

Episode Five: ‘Truth’ 16th April, and... crap, it’s 07.26, of course, the episode’s not up yet. Will return in like half an hour.

Okay, it’s past 8am, and the episode is...up. Lovely. It’s 60 minutes long, and I’m terrified, because someone told me about a theory that Bucky was going to die in this episode.

Lemar does seem to be dead, which is disappointing, because that would mean his entire character existed solely to motivate Walker to kill that guy, which isn’t very satisfying. Lemar Hoskins is a comic book character though, so who knows.

I mean. At least murderous Captain America is in anguish. He deserves it. Serious credit to the actor, by the way. Wyatt Russell got a lot of hate about his character, and I get why people don’t like the character, but he’s hugely interesting and Russell plays him so well.

So Lemar Hoskins is not dead. Doesn’t exactly put Walker in a good light. He’s obviously not going to give Sam the shield, for God’s sake.

Bucky just looks amazing with the short hair and the blue coat. It’s great. Love it.

And now Walker’s trying to kill Sam. Great idea. Did he take the serum already? Because that would explain why he’s become so brutish. Hold up. No, I don’t think he has. But who knows. Clearly not me.

Yep, trying to choke Sam. Very Captain America of you, John. And he tried to smash his head in. Thank God for Bucky. And Sam got the shield. Good.

There’s cat hair everywhere around me right now.

Well, that intro was very, very fun.

Did Sam just give up the wings...? Why...?

Glad, at least, that Walker’s no longer Captain America. Yep, yelling in a courthouse. Great way to warrant lenience. It’s the good-man-perfect-soldier balance again: Steve was always a good man first, where Walker’s first a soldier.

So Walker did take the serum. That makes sense. It exaggerates personal qualities, so Walker’s anger and... vengefulness.

Is Bucky actually going to kill Zemo? No. No, the gun’s empty. I’m not sure I get why Bucky would take out the bullets intentionally, but alright. 

Hope Zemo has fun with the Dora Milaje.

This storyline with Sam’s sister is so wholesome compared to the rest of the show. So Bucky brought Sam something in a case, and I just want to know what is is. He said is was a gift from the Wakandans, so obviously tech of some kind. New wings?

I’m really confused as to whether or not Lemar Hoskins is dead. He seemed dead. Walker thought he was dead. Then this woman said he isn’t, but now Walker’s going to his family, so... yeah, I guess he is, and I just have really poor comprehension. 

Sam’s nephews playing with the shield is adorable.

Aww, Sam’s learning how to use the frisbee. I know it’s more intense than that, but it’s literally a frisbee.

Soooooo the Flag Smashers are attacking the UN. As you do. 

Credit scene! Credit scene! Walker’s hammering, making... something. A shield. Great. Wonderful. love how he thinks he can make a better one than Tony Stark. Sure. And that, my friends, wraps up episode 5, and marks us as 83% of the way through the show.

Episode Six: ‘One World, One People’ It’s April 23rd. And the last episode is up. Just going to finish the chapter of my audiobook first.

This title is very exciting, and the episode’s 51 minutes long. Let’s go.

Honestly, I’m not huge on shows this intense, but I am enjoying this, which I think is because a) I know the characters, and b) it’s only one episode a week.

Oh, hell yes. Falcon America. Honestly, costume looks kinda dumb. Awww, the subtitles are calling him Captain America. 

This show hasn’t been nearly as exciting as WandaVision, because it lacks the mystery aspect. It’s definitely more for Marvel fans than the other series. What’s next? Loki? Yeah. I just googled it, and Marvel’s really putting out a lot this year. Which is probably because we had a year of nothing, but we’re getting four shows (WandaVision, FatWS, Loki, Hawkeye--which doesn’t yet have a definitive release) and four movies (Black Widow, Shang-Chi, the Eternals, and Spider-Man 3, which I wasn’t expecting until at least next year).

I feel like I just don’t have much to say about what’s happening, because it’s basically just a battle, which I’m never hugely interested in. I’m not really an action person.

Oh, and apparently Ms. Marvel’s this year, too.

Going through a list, clearly, and you mean to tell me we’re not getting Guardians Vol. 3 until six years after Vol. 2??

And fuck. Hey, Walker. In a costume that isn’t yours. Christ, Karli. 

Honestly, I’m really fidgety because all I want to do is watch Shadow and Bone, because the entire series has been out for nine damn hours--I could’ve watched it all by now--but I’ve been busy, and I promised I’d watch it with somebody, and godddd.

We got a far-out shot of Walker dressed as Captain America just then, and I honestly thought it was Nebula. Anyway, offended that Walker dares to think he gets to wear that costume and follow up Steve Dumbass Rogers. Uh-uh.

GOD I just want to watch Shadow and Bone. Christ. I’m desperate. it’s on my Instagram, it’s on Tumblr... that’s it, but oh my God. I so hope it’s good. If it’s bad I’ll literally be distraught.

Oh, thank god. It has 94% on Rotten Tomatoes. Good.

No. Christ. God, I just want to watch it.

Screw it. I’ll finish this episode tomorrow. Byeeee.

Okay, I’m back. I watched all of Shadow and Bone. Let’s keep going!

So I did get about halfway through, yesterday, bar credits, so there’s that.

I love the symbolism of the new Falon/Captain America costume, but that doesn’t stop it from being really, really ugly.

Appreciate the speech about society being screwed up.

Why are they showing the prisoner transport? Something’s clearly going to happen. Did they just blow up the prison van??

And Walker got a new costume. That’s concerning. Give me the name, honey. US Agent. That’s bullshit.

So it is apparently his actual comic book name, but it’s still terrible.

And it said Captain America and the Winter Soldierrrrrrrr. Which is already a film. I mean, the film doesn’t have ‘and’ in it, but still. Anyway. Positive symbolism. Shall we check for a credits scene?

They’re pardoning Sharon. Huh. Nice.

There’s something ominous at play here. Great, so Sharon really is a villain here. That’s fun. 

And that, my friends, wraps up Falcon and the Winter Soldier. I didn’t enjoy it as much as WandaVision, partly for the mystery, but mostly for sheer tone--this was much more your typical darker action film, where WandaVision was more light-hearted, even towards the end.

Regardless, this was a really interesting addition to the MCU, though may not be worth it if you’re not already invested.

[iyliss]

Amongst many narrative tools, there’s one that ygo spin offs often use and that I like to call « unreliable narration ». In fiction, and in anime, we (spectators) assume everything we see/hear is supposed to be true. Things shown must have happened in some kind of way, and unless the character is pictured as lying, we supposedly can trust anything they say, even if they aren’t necessarely omniscient. This is a tacit rule in fiction, mostly there because second guessing everything would make the story pretty pointless. But sometimes, this rule is broken. A character can be sincerely deliver a wrong information (usually during exposition), a scene we directly saw can have been fake, and so on. Yugioh has many exemples of that (Zexal and Vrains comes to my mind but I can probably find more), and the point is usually mostly to create a surprise, a twist, or produce a strong emotion, and also create a bigger identification to the main characters (the viewer usually knows more than the heroes, this is a good way to have him feel as powerless within the story as the protagonists). Right now , I’ll be talking about one exemple of unreliable narration from GX. The two flashbacks Edo have of meeting Saiou, separated by around 30 episodes and much character development. The two shows the exact same scene, but the dialogues (and other visual aspects) are different, showing that the one was a fake memory Edo had of that moment. Even if both scenes show the same thing, they have very different meanings and utility in the story. The first one happens in the 67th episode, after Saiou reveals that Judai might be able to overcome his prediction, and right before Edo and him duels for the third time. It mostly is there to show Edo’s relationship with Saiou, and how important his destiny is for Edo. But it’s also the first time we have a little more information about Saiou (so far, he has mostly been a strange and kinda creepy fortune teller going around brainwashing people and talking about the light. We do not know his real motivation, his past, or anything else). The second scenes happens in episode 100. Edo just had defeated the D, accepting his father’s death and learning the light of destruction has possessed Saiou. Many things have changed at this point. Saiou has been shown as a good person, and his relationship with Edo as much more complex than simple manipulation. This new look of this moment, still from Edo’s point of view, show how much he changed the way he saw Saiou, but also serves as a good comparison point of how Saiou’s characterization changed from the earlier episodes.

I’ll first do a compared review with screenshot to focus on detail, then talk more broadly about that both scenes mean for Edo, Saiou, and their relationship.

Both scenes starts off with this same shot of Edo under the rain.

Beyond the scene being from his point of view, this first image immediately makes us situate the place (his father’s funeral) and have a first feeling toward him. A sad little boy alone unders a rain, we are supposed to feel empathy and care towards him.

Saiou enters with this line. The first thing to notice is the use of his name. The main point being, it prouves that this flashback is fake. Saiou could hardly know Edo’s name by that time, and wouldn’t act so familiar, except if it came from Edo’s memory where Saiou has always been very important. As for the rest. We have the key element here, fate, being thrown as an answer to Edo’s sadness (and will later become a strong support to Edo’s emotional stability), and kind of minimization of Edo’s feeling. Showing up like this, Saiou doesn’t really appear as a likeable character. He sounds sur of himself, and pretty much means that Edo’s sadness is meant to be which… isn’t a nice things to say to a crying kid.

Now, this same images but in the second flashback.

The first thing to notice is how differently Saiou talks here. I like to think that the Saiou from Edo’s memory doesn’t talk as strangely as he actually does (especially since Edo understands him well). Metaphors and indirect explanation sounds much more like him.

Beside that, we have a massive change in meaning. Sure, both refers to Edo’s sadness and are meant to help him overcome it, but here we have something much softer and positive, while uncertain. Saiou doesnt say « you are sad because destiny said so » (destiny isn’t even mentionned) but acknwoledge Edo’s sadness, how hard it is, but also that he may recover. All that through indirect comparison, that makes it even more soft. Saiou didn’t just come to talk about destiny, he first tried to be there for Edo while he was alone.

The difference between the Saiou Edo imagined and the real one is even more clear here. First, notice the time where he turns to look at Edo (and looking at each other is important for them, but that’s another topic). In the first flashback, it’s when talking about Edo’s talent (which isn’t even mentionned in the second one), then it’s when affirming that he will be there for Edo. There’s also a difference in uncertainty. The first Saiou knows about Edo and destiny, better than himself, while the other litteraly says he doesn’t know. We also have here the whole difference between their relationship’s basis (supporting each other in hard times and protection) and how Edo ended up viewing it as (Saiou guiding him, and revealing how special and talented he is).

When Edo had his first flashback, he still thought Saiou would give him a simple path to follow in order to be important. When the second one happens, he realized that they actually brought each other emotional support, but also that Saiou isn’t omniscient and that he was at that time just as lost as he currently is. Also, a little word on pronouns use. I haven’t rewatched all the episodes taking notes of that (and i by no mean know enough japanese to be sure of myself), but I can still say there’s an evolution of how Edo and Saiou talk to each other throughout the season. Edo uses kimi toward Saiou as a child, in both flashbacks, then later switch to anata during most of season 2, and goes back to kimi during the last few episodes. It’s a bit hard to say if the use of anata is to be interpreted in terms of distance (it’s typically used in polite forms) or as a sense of devotion/vulnerability (since it shows much respect). It’s especially important because when Edo uses anata, he mostly goes by omae for everyone else, such as judai (which he doesn’t respect at all), but changes to kimi as he softens (and around the time he changes for Saiou as well).

Meanwhile for Saiou. He tends to use anata only in very respectful situation (Saiou often uses completely polite forms, toward the teachers/directors but also toward Manjoume when he first meets him for exemple. I think it’s mostly about sounding professionnal and mature). As a child, he used kimi towards Edo, and uses that again when he talks to himn while they face the light in the last episodes. Before that, when they talk in that white room, and Saiou isn’t separable from the light, he uses omae towards him. And, in the fake flashback, child Saiou uses omae as well. This change of pronouns is probably mostly the light showing distance in another way, but it also further proof how Edo projected on his memories of Saiou his current situation with him, and how he doesn’t feel as close to him as they used to be. Also, the fact they ended up reverting to how they talk to each other as children (which is much more equal and close as such), is rather cute.

And the first flashback ends on this. Saiou’s purpose in Edo’s life (guiding him in fate), and this smile. Right next to that last line, it really gives the feeling that he was smiling because he had taken control of Edo’s life or something. It feels like an evil, gloomy smile, with surely bad intention behind.

And it doesn’t show that the reason why he’s smiling, is actually because the sun is coming back. This even further change the feeling of the scene. The first one had a sad conclusion on the ever pouring rain, while this one shows the sun coming back. And the creepy smile turns out to be much comforting and hopeful.

This is the one time Saiou talks about fate.  And, unlike the first time, it’s not something he puts on Edo rights away, but only for him, and also not something he controls (it’s his guide).

The last shot of Edo, no longer crying, and looking at Saiou in awe concludes the scene with a very positive feeling. It very much him feeling like he just witnessed a holy apparition or something (and that is also meaningful), but also leaves a good impression of both Saiou and their relationship. It also makes a transition with Edo looking also very shoocked after his flashback, realizing even more things about this moment.

So now, time for a little sidenote on the sound aspects of these scenes. Two things mainly stands out. First, the music. In both scene, we have themes that are strongly associated with Saiou through the series (and sounds… very mystical). They both have similar elements, but the first one is much more oppressing and gloomy, while the second one sounds more calm and sad. It’s a small detail, but just changing the music makes the scene shift from « meeting a mysterious and maybe dangerous personn » to « meeting a strange but helpful friend ». Second, Saiou’s voice. The first time, he sounds very assured and serious, like he knows and is in control, without much emotion. The second time, he sounds both more sad and comforting. The feeling we get from him is immediately different, and also makes him sounds more vulnerable.

We’ll have now some more global talk about what those two memories mean for both Edo, Saiou, and their relationship. I’ll probably repeat myself. But if you’ve come this far, I guess you don’t mind it. Also, I will mostly talk about the meaning of having this fake flashback in there, the real flashback alone is super interesting but on different ways.

So, Edo. These two flashbacks pretty much opens and closes his development and concludes how much he changed. The first flashback, on it’s own, is important in how us, spectator, view Edo.

Until then, Edo was shown as a rather unlikeable character. Dismissing others, disrespectful, just generally all proud and all, and even if we already know that his father died and he’s looking for revenge, it’s still written more as a tragic antagonist backstory than anything else. There’s one obvious message brought through that flashback. Protect Edo. Even if he was so unfair until then, the first shot reaches a level of pathos quite undefeated through the series. Even more meaningful when considering that, first off, this scene is right when Edo start distancing from Saiou (so, being a part of the group of antagonists) and just before he starts smoothing up to Judai and changes his way. This flashback marks a transition between « famous and mean antagonist » to « tsundere yet helpful deuteragonist », all that needing him to be shown as something we may want to support. Beside that, what Edo imagine Saiou saying mostly comes from Edo’s desires. When he says « you have an extraordinary talent sleeping within you » it may means two things.

First, Edo has kind of strange status as fairly important gx character : he’s normal. He’s surrounded with people having magical powers (seeing the future, talking to spirits, turning into a dinosaur…) or associated with some supernatural things (an antique and dark deck from a mountain, cards possessed by demons or aliens, people being possessed themselves…). Meanwhile ? Edo is normal. His card were made by his father, through a normal tcg process. He has no power, is never possessed or use some special things, and even bloo-d ‘s supernatural aspects are less used in his hands. Edo is completely normal, he just is so talented he can compete with exceptional beings. And, I believe imagining Saiou says « you have an extraordinary talent » is kind of his own wish to be as exceptionnal as Saiou (in a supernatural way). That he has something special too, something making him worthy  of being the most important in Saiou’s destiny. Especially since, at this point of the series, he grows very jealous of Judai being more special than him. At the same time, the lines is reminiscent of Edo’s obsession of following his talent (realizing his talent, in the same way). He wants to believe that, back then, he was already exceptionnal not just because of his abilities but for his future.  He wants to believe he has the potential to be a hero. It also explains his attitude as a pro duelist. He doesn’t think he’s there because of his hard work, training, love of duelling, no. He’s there because he’s much more talented than anyone else, that he’s inherently superior. Then, Saiou saying he will guide his fate. It feels even more ironical considering the hierophant is guidance, that Saiou met Edo hoping he would guide him. At this point, little Edo is lost, alone, without anyone to rely on. Even if Saiou didn’t say nor meant it, he saw him as the one thing that could protect and help him in this world. He needed to be sure of things, to be sure that it’ll be okay and that he had a destiny that someone would guide him toward. Edo strongly built himself and his belief on destiny, essentialy because it was his way of not being completely lost, and that includes a blind trust in Saiou and thinking he would always be right. Overall, it’s expressed in how assured Saiou sounds in the flashback. Edo saw him as a friend, but also as someone who « knew » and has some kind of power on things. Edo rewatching that moment after his development also shows his deconstruction and growth. Deconstruction because fate is no longer central in the discussion (and he realized it wasn’t a good think to base his life on), growth because he no longers sees Saiou as absolutely rights and in control. Actually, he might have realized at this point how Saiou was just as lost as him when they met.

It also shows a change in how he views his life. The first sequence has a very depressing conclusion. The rain keeps on, sadness is fate, implied that it will just go on and he may never lose the pain of his father’s death. Edo sees that memory in a new light, also because he has gain that hope. Now, it’s about how times are hard but won’t last forever, how mutual support is important, and it concludes with the sun coming back. And, the Edo who has that flashback did accepted his father’s death. He also became much more hopeful (especially upon meeting Judai), and realized focusing on only the bad things isn’t good nor what his father wanted. And, as he remembers, not what Saiou wanted either.

Now, onto Saiou. You probably realized it by now, the main thing from this fake flashback that is important about Saiou is what character he’s written as, how we’re supposed to view him, and the evolution from « wow he’s strange and creepy he surely is the villain here » to «he too is a child and should be protected ».

I won’t fully develop that aspect here but, in a way, Saiou didn’t had a big evolution throughout season 2 (or at least not as radical as it was for Edo, or even Judai). Most of his good actions are more proof of him gaining courage than gaining morals. By the end, it’s clear he was never evil, just very desperate and possessed, but also is behind some of the most important opposition against the light. The main evolution he goes through is rather on how people, characters, and us views him. To make it simple : Saiou is first shown as a typical evil villain, not just the light, just him as a whole. And that’s because he’s strange, talks weirdly, says creepy cryptic things, and apparently can know the future. Funnily ? That’s exactly why he suffered and grew desperate in the first place. Out of all of gx’s twist, one of my favorite has to be making us feel for a character something both kind of unfair, but that also he directly unfairly suffered from (and all the set of fun comparison i can make with that). Anyway.

Through small details , the first and second flashback gives us widly different impression of Saiou. I won’t review them all again, but it goes to a point where the same things have entirely different meanings just from a change of music and surrounding (this smile, Saiou turning to look at Edo after a few seconds….). But this first flashback also leaves room for interrogation. Why he cries, why he started talking to Edo like this, what is that talent, the scene brings much more questions than answers. The second one, it’s only answers. At the same time, we can compare the first few moments of the first flashback with the second part of the second one, which we do not see, where Saiou uses tarot. His tone, his speech, is similar to how he talked about Edo’s talent the first time (serious , prophetic, talking about Edo’s future). Yet, with what we’ve seen of Saiou before that, it feels much more heartwarming. But the fake flashback is also interesting from Saiou’s side because, while it is made up by Edo, it is likely how Saiou remembers that scene too. How they view themselves is extremely important for Edo and Saiou, and plays a big role in why they aren’t immediately on the good side despite not being bad people. Edo views himself as this vengeful heroes, with little concern for others and a lot for justice, destined to save someone important to him. He only breaks out of this when an exterior person (Judai) calls him out of it and he understands that it won’t bring him, nor Saiou, any happiness. Saiou is the same. He thinks himself as the same manipulative, dangerous, and uncaring monster that most people sees him as, and that we are meant to see at first too. It’s one of the reason why he takes so much time to separate from, and confront, the Light. He kinds of does that as a last resort, but he only truely realize it when Edo directly talk to him about it. And they do so by referring to that very moment. Saiou says that when he met Edo, he only thought about escaping his fate and used him too. He too felt like this moment was just him forcing « fate » onto Edo for his own benefit. The image Saiou had of that moment was probably the same as Edo at the beginning.

So, it’s the end of the part focusing on Saiou. Now onto some conclusion about their relationship, since I could hardly talk about one without having it about the other.

Their relationship itself is portrayed very differently in each time. In the first itteration, it’s mostly about Edo’s obsession, how Saiou apparently needs him for some kind of project, and how it is heavily based on manipulation. When the second flashbacks happen, their relationship had already changed, but mostly in what information we had about it and about both Edo and Saiou. And, just in that moment, their relationship feels much more heartwarming, based on mutual emotional support. Within the series, their location also has much different uses. The first one is when the questions are raised, when the mystery is brought, and the flashback comes from Edo’s doubt. Meanwhile, the second one happens when all things were revealed, and the final battle is coming. It is a reassurance. For Edo, it’s what assures him of what Saiou represents for him, who he is, and who he isn’t. Despise having destiny as a guide, they both were still very lost at the beginning of the series, and breaking out of it gave me actual convictions in life and themselves.

The real meaning of comparing these two flashbacks is to show the shift in how Edo viewed Saiou, consequence of his own character development. Many themes entertwins, many of them being strongly related to narration itself. Indeed, both Saiou and Edo had this vision of themselves based on typical characters that they weren’t exactly, but was also what season 2 was portraying them as. « Viewing », projection, is major throughout the season (how they are viewed by themselves, each other, other people, and us). In a way, the first flashback is much more simple, it’s a basic presentation of two archetypal characters. The second one is much more true to both what they became and what they were. In a way, « destiny » was also this narration. What, as character, they’re meant to be and do. And using a narrative trickery to show that evolution is pretty nice. The future isn’t sure, but the past isn’t either. Something like that.

[fykimtaehyung]

[ARTICLE] Break the Internet: BTS

PAPER: What's the greatest challenge you've faced as a group, and how did you overcome it?

RM: Seven grown men always staying close together and experiencing work and life at the same time means that we come face to face with numerous contradictions and differences. But I think we overcame that by working on understanding and caring for each other over time.

Suga: Seven men with different values living together was not easy. It was difficult for all of us to focus our thoughts on one single point, but looking back, they are all good memories.

J-Hope: There was a time when we fought each other quite a bit because we all came from different backgrounds and our personalities were so different. But we were able to overcome that after frequently talking to each other and living together for a long time. We now know what each of us are thinking just by looking at each other.

Jimin: Because each member was so different, I think it was hard for everyone to understand each other. But we didn't give up, and now we are a team where each member is irreplaceable.

Jungkook: When something I said or did caused an issue or made people feel disappointed, I realized that I should think twice before I do anything, and not forget where I am, no matter what situation I may be in.

If you could switch talents with one of your bandmates for 24 hours, who would you choose and why?

RM: I would like to dance like J-Hope just for one day. What would that feel like?

Jin: V's ability to memorize choreography. I want to say to RM, "Have you already forgotten [the moves]?"

Suga: RM — I want to be good at English.

J-Hope: Suga's amazing producing skills!!!

Jimin: J-Hope's smiley face. Looking at J-Hope, I think his smiley face is really adorable.

V: I want to borrow RM's brain and make a whole bunch of songs.

Jungkook: RM. I want to write really nice lyrics and have deeper thoughts.

Do you ever feel pressured, in the face of global fame, to present yourselves a certain way to the world? What do you do when you feel overwhelmed to be “perfect"?

RM: It would be untruthful if I said there was no pressure. Still, on stage I want to do really well.

Jin: I try to keep myself on the right lane.

Suga: I would not be telling the truth if I said there's no pressure. But what can you do? Pressure is also one part of life.

J-Hope: I can't say we don't. These days, I feel like I live with a sense of mission. Rather than thinking, “It has to be perfect!," I do what I have to do, making sure I remember the really important and fundamental things and trust that the results will follow.

Jimin: All things aside, I always think that I have to show a performance that is at least close to perfection for everyone who comes to see our performance.

V: I feel the pressure of showing a performance that is close to perfection, but I also think that being natural is important, too.

Jungkook: The pressure is always there. But I want to show them that I am improving.

Is there any advice you wish you could give your younger selves?

RM: If you're debating whether to go or not, go.

Jin: Jin, study English!

Suga: Please study English.

J-Hope: When things get tough, look at the people who love you! You will get energy from them.

Jimin: Silence is golden. Don't waste time.

V: You worked hard! [Pat on the back.]

Jungkook: Don't lose the people beside you because of your mistakes and wrongs. And live [your life] to the fullest.

You recently took an extended vacation in order to rest and get some relaxation after a long span of releases and promotions. How did you spend your vacation?

RM: I slept, worked out and went to art museums quite a lot. I went to Jeju Island, Venice, Vienna and Copenhagen.

Jin: I played games at home. I also went fishing with Suga.

Suga: I focused on resting and worked on some songs. It was a time [for] looking back at myself.

J-Hope: I went to film the music video for "Chicken Noodle Soup." I felt and learned a lot of things! I can't call it a rest time, but it was a meaningful time. After that, I came back home, I had good food and rested well. I also played with my puppy.

Jimin: I just kept on the move and went to a bunch of places. It was an opportunity to think about [the group] in the past and in the future.

V: I took a good rest. It was an eat-play-sleep routine.

Jungkook: I worked on music.

Are there any music styles you haven't tried yet as a group that you're excited to dip into in the future?

RM: I want to show our various sides that reflect the progression of our age as well as our emotions and sensibilities.

Jin: I want to try something in the genre of rock. I think it will come out great because our members are pretty charismatic.

Suga: There are so many I don't know which one to say. There's plenty of things to show you, so please look forward to it.

J-Hope: Now it feels like BTS is just BTS. Whichever [style of] music or performance, it comes out in BTS style.

Jimin: There are so many things I want to try, but I don't want to be too specific about it.

V: I want to try doing music in the style of Conan Gray or "All Tinted."

Jungkook: It's different from time to time. I just hope I can widen my vocal spectrum regardless of what that might be.

Your fans, ARMY, are one of the most passionate, mobilized music fanbases in the world, especially on social media. How would you define what makes your fanbase so special?

BTS: It's an honor that people around the world love our music and messages. It seems like there's no language barrier. We think that ARMY helped us spread our music across the world. All of this would have not been possible without ARMY.

Another theme in your music is dreams. With all the heaviness of the world today, do you think dreams help people find meaning and ambition to move forward amid uncertain times?

RM: We just hope that we can be of help. We did say that you don't have to dream, but living a life without dreams or hope would be quite dim, wouldn't it? I think everyone needs motivation and milestones in order to move. Whatever that may be, we want to be of help, even a little, for them to move forward.

So many of your dreams have come true since you'd made your debut: No. 1 albums around the world, sold-out stadium tours, Grammys and U.S. award shows, becoming the first Korean music group to perform on Saturday Night Live…What new dreams have sparked for each of you now that you have these accomplishments crossed off the list?

RM: I want to head in a straight path without losing sight of what I feel now. [I want to] keep our passion burning bright and walk straight.

Jin: I talk to Producer Bang quite often about how we should work together for a happy life. How to live happily...I think about that frequently.

Suga: I would like to have a hobby since I never had one. I would love to have a lifelong hobby.

J-Hope: To stay healthy! So that we can keep doing what we're doing now!!!

Jimin: I know that many people are cheering for us for who we are now. I think about how those people would love seeing our new, better music and performances. What I'm trying to say is, my dream is to show them more performances and better music for a long, long time.

V: They're not new dreams, but dreams that we never imagined could achieve. I'd like to keep them going.

Jungkook: I wouldn't want anything more than to keep doing music and performances just like now.

What do you hope to get better at or improve upon?

RM: Dancing! And knowing "myself."

Jin: I hope that the team always gets along and everyone is happy.

Suga: Without a question, English.

J-Hope: Our team's health! And happiness! They are the path to growth!

Jimin: I want to be good at what I am currently doing.

V: I want to widen my spectrum and become an artist who has a variety of talents.

Jungkook: If I had a chance to improve every aspect of myself, then I would work hard to make it happen rather than just sitting idly by.

Your fans, ARMY, are one of the most passionate, mobilized music fanbases in the world. How would you define what makes your fanbase so special?

BTS: It's an honor that people around the world love our music and messages. It seems like there's no language barrier. We think that ARMY helped us spread our music across the world. All of this would have not been possible without ARMY.

What music is exciting you right now? What's on your personal playlists?

RM: I'm listening to Post Malone's latest album.

Jin: Taylor Swift's “ME!" The song has a bright energy, so my mood is lifted when I listen to it. I want to try that kind of music, too.

Suga: Post Malone's “Circles."

J-Hope: I listen to older songs these days: The Fugees' “Killing Me Softly" and Cheryl Lynn's “Got to Be Real."

Jimin: I prefer songs that fill me with emotions. Nowadays, I listen to our song “Jamais Vu."

V: I'm listening to DaBaby's new album.

Jungkook: I'm listening to Jang Beom June's songs these days.

What did it mean for your album to be nominated at the 2019 Grammy Awards for Best Recording Package?

BTS: It truly was an honor. We were happy to be invited as presenters to such a big show, with such great musicians. We also became members of the Recording Academy this year. We hope to be invited to the show next year as well.

The importance and power of “loving yourself" is a cornerstone of the BTS message, in your lyrics, speeches, music videos and beyond. But when and how did the notion of self-love become something you were all so passionate about?

BTS: Our LOVE YOURSELF series bears the message that “loving yourself is the beginning of true love." The “love" that we aim to convey can be both the individual experience and a message to our society today. We once saw somewhere that “being able to love is also an ability. If you don't love yourself, you can never love anyone else." Reflecting on the ways you love yourself, we thought that this question could give the answer for many different aspects. We wanted to focus on that searching process and find the answers. [We] think LOVE YOURSELF has a positive impact. [We] also ask ourselves, “Do I really love myself?" So, [we] looked back one more time and put that notion into the lyrics.

What are the key differences in performing for audiences back home vs. elsewhere in the world?

BTS: Fans all over the world are cheering for us. We get on stage with the mindset to give them the best performance. Every occasion to meet our fans is important and meaningful.

How has social media and the Internet impacted the way you're able to reach listeners?

BTS: We like communicating with our fans. We communicated [with them online] even before our debut. Fans enjoy it and so do we. Our Weverse app was launched recently, which is a platform for our fans. We can see their messages and leave comments there. We feel that the whole world is truly connected as one through social media. Language is not a big barrier anymore, and we think that with good music, sincere messages and the effort to communicate, fans from all around the world will show their love.

What can you share about any upcoming new music?

BTS: We are currently practicing and working on new songs so we can show you the best sides of ourselves. Please look forward to it.

[inspector-montoya-fox]

#7 - The Black Chateau

Setting: this is surprisingly one of my favourite hubs from the game. this is Paris at its prime: the music, the details, the cafes in the street, the little boats, the whole aesthetic is a mood. yeah, there’s danger around every corner, but it’s still the most romantic city in the world and we get to explore it. even its nightclub aspects give it that turn of the millennium, euro club let’s do coke in the bathroom scene. the interiors in this episode give me life, honestly. stoney, candle-lit underground tunnels that are connected to the nightclub is so Scooby-Doo but also France, and the theatre-related interiors showcase a certain grandeur and stand out on their own. i’ll also remind you that this is Sly’s home. we never get a definitive reason or backstory on the gang’s switching from railroad car to that huge safehouse they couldn’t possibly pay rent for, but this new version makes an appearance in Sly 3, so it’s safe to say that this is the gang’s home (although the concept art indicates that SP had plans for something else: https://inspector-montoya-fox.tumblr.com/post/182678860237/inspector-montoya-fox-cool-concept-art-for-band). anyway, having the first proper episode take place in Paris is perfect for the tutorials because there’s the comfort of failing whilst being at home. and this is what The Black Chateau truly is: a tutorial. as jam-packed with action and bedazzlement! as it is, it’s a crash course. and it works because it’s a perfect hub for learning the ropes with Bentley and Murray gameplay. other than that, i’d like to add that Sly 2 takes a new approach with its hubs. instead of having Sly make his way to the baddies by literally blasting himself to their lairs via canons or rockets (...), the gang tries to lure the baddies outside. you’ll notice that Dimitri, Rajan, the Contessa, Jean Bison and Neyla all make appearances before their bossfights, the former 3 also coming into close contact with us within the hub (eavesdropping, following, pickpocketing). this all being said, the gang’s way of luring the baddies outside is altering the hubs and the peacock’s collapse kicks it all off majestically (we then move on to bridge bombings, shooting planes, demolishing dams, etc.). amazing stuff.

Characters: i won’t be referring to Sly and the gang like i did with Sly 1 except if they have a turning point/revelation, so the Characters section will mostly be reserved for the baddies and Neyla or Carm. nonetheless, i would like to acknowledge Matt Olsen’s voice acting because he perfectly captures Bentley’s anxiety when out in the field. and now..... Dimitri. where to fucking start? the lizard is a star. his sleazy posture, how he’s a gay heterosexual, how strongly i’m able to imagine his scent of cheap cologne and Marlboro Golds. and the crime of using a demonic, robot owl’s tailfeathers to print counterfit cash suits him perfectly. he might not be your favourite character, but you have to admit the pimp is as well fleshed out as Mz Ruby, and that’s all because of the dialogue and the voice acting. fucking perfection. the dialogue is so well written, full of his nonsensical phrases and mannerisms, he literally engraves his mark onto the player’s brain, like i can hear him talking about clocks or whatever at will. having him go first was such a good choice because he makes a lasting impression whilst keeping it very ‘neighborhood crime’ with the counterfeit, in comparison to global drug networking. as we’ll find out by the end of the game, he too played a part in the Klaww Gang’s plans, but having his own counterfeit sidegig (which he prioritised, surely) is so him. however, what never made sense to me is his power, that static shock he shoots during his bossfight? is he a mutant lizard? like, Rajan controlling lightning i get, Contessa mastering hypnosis i get, but this is..... what?? i’ll let it slide because of his sick dj mix but still..... and then there’s Neyla. she retains her mystique even if she gives us a reason behind her assistance. the whole thing hits different when you know what she’s up to because lines like ‘Now, legally I can't enter Dimitri's nightclub without a warrant... but I happened to have obtained a key to his backdoor... which a person like yourself can use however he pleases.’ come across as seductive and evil, and we watch Sly fall for it (all of it) because she knows how to pamper his ego. prior to her big reveal (the first one at least), the way with which she moves and handles herself has us think that she’s Sly’s female counterpart, and therefore competition for Carmelita (as outdated as that sounds...). Carmelita’s presence in The Black Chateau is muted, almost non-existent. she only pops up at the end cutscene and SP masterfully uses her absence in order to play up Neyla as a potential ally and girlfriend, despite my thoughts on Carmelita having a bigger presence in the Monaco extension which was scrapped.

Themes: the theme of duality, first and foremost. Dimitri is complete and utter gutter trash, but is supposedly a high-class artist as well. he’ll scream and screech but is also one heck of a host, even if the world perceives him as a washed out artist. the level’s interiors are separated into two categories: underground and non-underground. the underground parts represent Dimitri’s true nature, a sleazebag and a crook, whereas the theatre and the club present him as a pristine pimp and professional nightclub owner. the two clash because of their nature, stoney and shady rooms for crime vs grand and majestic rooms for art. duality can also be seen in the Sly and Neyla partnership, the birth of a (short-lived) alliance. Paris as a theme instead of a location, because of such a dominant presence. this is not just any city we’re in. SP respects Paris and this is further proven by the fact that it’s the beginning and the end of the game. the fact that it’s a catalyst belongs in the final episode’s analysis, but in The Black Chateau the city is also a theme because it embodies humble beginnings, the warm comfort of going through trial error whilst at home. and it’s not exaggerated and pushed into kitsch, à la Sly 3′s Holland where the cheese acted as trampolines... what i mean by Paris as a theme is the emphasis on art and charm, showcasing Europe (because Prague is also a European city but is used as a basis for the trademark spooky level). nighttime and pleasure are two that go together. nighttime is used differently in every episode, or location. you’ll notice that this is the only episode in the game where the night sky is the traditional navy, dark blue (instead of purple, green, red or baby blue as seen in later episodes). it’s a traditional night for a heist, nothing out of the ordinary. it goes together with the theme of pleasure because Dimitri’s establishment is a nightclub and defines the episode to a certain degree. pleasure is interpreted as danger disguised as oblivious fun. the nightclub isn’t the common criminal base and the funky pink walls and disco balls come into contrast with the threat of the Klaww Gang’s operation. even the gang falls for it, trusting Neyla without second thought and failing to pick up on the greater scope of things. they think of it as easy fun, joking around while on the job. lastly, the motif of lights. Paris is known as the city of lights and all of the hubs (interiors included) capture this. the opening cutscene even mentions ‘the flashing lights’. it circles back to the pleasure theme because it can be seen as a distraction and a malicious trap to fall into oblivion (yes, i’m a writer).

What I Like: i freakin love Paris. everything about the setting’s execution, its detailing, the music and the hubs. all of it. i love how the hub is a circle, allowing you to run around in an endless loop, the rat guards striped shirts and red berets, that water tower Bentley enters. everything is just so European and petite and cute, like a well constructed Playmobil set.

What I Don’t Like: hmmmm............... although i love the title’s enigma, i’d really like to fucking know what the ‘Black Chateau’ represents or is connected to??? also, i wish we could explore more of the nightclub? like while it’s open? the episode’s strength lies in its interior missions, the best of the bunch being Theater Pickpocketing, where we get to explore the stage, the balconies, backstage, the dressing rooms, etc. i fucking love that mission and wish we could get more, instead of Murray throwing rats at those annoying security alarm machines that just happen to be violet.....

Quote: either Behold the majesty of gravity and inertia! or I have no idea what you're saying. And your suit sucks or anything Dimitri says because... Dimitri

[gamingchase185]

What internet speed do you need for gaming

‘Mortal Kombat 11' Director Shares Shaggy ‘Mortal Kombat 11' Meme TWO BEARD GAMING

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[sugadaily]

TIME: You’ve now spent seven years as part of BTS, and your last solo mixtape came out back in 2016. Time, change, and growth are on your mind in this mixtape, particularly in the first track “Moonlight.” As you reflect over the past few years, what’s changed to you?

MIN: My life is the same. My ways of work and day-to-day patterns haven’t changed much. Perhaps my position within the music industry? From a musician’s perspective, a change could be that I’ve had pretty decent outcome with BTS albums or with other external works. Personally, I have become more mature compared to 2016.

Songs like “Daechwita” include Korean traditions both in lyrics and in musical form, using pansori storytelling and Kkwaenggwari percussion. Why is it important to you to continue to include Korean musical influences in your music?

The theme “Daechwita” was already on my mind when I first started working on this track, so I sampled the sound of a real “Daechwita.” The first thought I had was that I wanted to sample the music that is played during the ceremonial walk of the King, so naturally, Korean elements ended up being an essential component to the track as well as the music video.

You’ve collaborated with a wide range of artists this year, appearing on Halsey’s album, putting out a new single with IU, and now bringing in voices like MAX, NiiHWa, Kim Jong-wan and RM for your own project. What makes a collaboration work successfully for you?

I’m grateful that everybody had good things to say about my music, especially Kim Jong-wan of NELL who told me he enjoyed listening to my first mixtape from 2016. My work philosophy is “what’s good is good,” so I think I’m pretty good at leveling with each individual’s standards.

What’s the difference between Agust D the solo rapper and Suga the BTS member? What remains the same?

The difference is that there is a lot more that I can openly express and that I can show a more raw side to myself [with Agust D]. What’s similar is that both sing of dreams and hope.

On “Strange,” you express concerns about certain aspects of society, and the loneliness that can come from having a different opinion. Do you think it’s important for public figures like you to challenge norms and raise questions about how we live?

I just throw the question mark; it’s up to each individual to decide. In my personal opinion, it’s often better for those who have such influence on others to be wary of loudly voicing their biased views.

Trap, hip-hop, rock, pop and R&B all appear on this mixtape, often in the same songs. This mixing of styles is a signature of BTS, and was present on your first mixtape as well. It’s also become normal across the global pop landscape. As a producer, how have you tried to innovate or try something new on this mixtape?

It’s more that I made the music I wanted to make, rather than fixating on attempting something new. I’m not too picky on genre or crossovers between them. What’s good is good, and it’s up to the listeners to judge. I just do what I want to do.

Is there anything else you’d like listeners to know about this project, your experience creating it, and how you’re managing with the unexpected changes of this spring?

It’s good to know that it’s fine when things go in an unintended direction, because you can always start over again. Keep calm, take the next-best option and move forward.

[theprojectschool]

The Circularity of Time

The Infinitesimal and The Monumental Duration Spin & Weave: An Exploration of the Themes of Nationalism, Social Fabric & the Circularity of Time �� 

- interview with architect and interior designer Aarushi Kalra.

AM - Could you give a bit of context about the Gandhi project of using the hand spinning of cotton as an instrument to raise awareness of the independence from England? 

AK ‘ In 1909, in an anti-colonial move towards Indian self- sufficiency, against the British, Gandhi decided to revive a craft many saw as already dead: the hand- spinning of cotton into thread, using the Charkha - the Spinning Wheel of India. He saw spinning as an economic and political activity that could bring together the diverse population of the country and was a defining symbol in the struggle against the British rule. It was a symbolic call towards a self- sufficient India, highlighting the ‘Swadeshi Movement’ - a part of the Indian independence movement that contributed to the development of Indian nationalism. This movement aimed to make Indians rediscover their sovereignty and strengthen their pride in Indian heritage, while also disengaging with the imposed British norms and boycotting all British goods. Gandhi claimed that spinning thread in the traditional manner could create the basis for economic independence and the possibility of survival for India’s impoverished rural multitudes.  His choice to stand in solidarity with the poor of the country, while East India company was systematically exploiting them became a powerful symbol that then became the face of the movement and urged his more privileged followers to copy his example, and discard, or even burn, their European-style clothing, proudly returning to their ancient, precolonial culture. This simple act of spinning pierced through the varied Indian community, uniting all classes, caste, gender and creed into one cause and fabric. However, today it seems to be reduced to a static symbol; as a part of history and as a part of the India national flag. It lost its efficacy once its dynamic performance ceased to anchor a political movement. We retain now only the echo of its circular rhythm. 

AM - How did you come up with this idea of exploring the idea of the spinning wheel as a tool for reflection, almost crafting through time? 

Having grown up in India, Gandhi’s presence is all around us. Not necessarily as the figure we have studied throughout history, but as an integral subconscious symbol in day to day life – on the currency notes, names of the streets, etc. Moving out of India, for the first time, to pursue my post-graduation in London made me acutely aware of of my heritage. Moreover, at the time the news was flooded with updates on Brexit, the election of Donald Trump as the president, the building of the wall between US and Mexico and more news of the same nature from Russia, India etc. When we were presented with the brief that asked us to expose a political space of production that spanned the ‘infinitesimal to the monumental’, the symbol of the spinning wheel almost instantly came to my mind, as it was a simple machine and a simple activity that united the entire nation. I wondered how today the term nationalism has been broken and twisted to divide rather than unite. And as an extension of this thought, can it be argued that the spinning wheel that once spun the fabric of unity now spins the fabric of division? What once symbolized inclusivity now takes pride in furthering exclusivity? And that for me was the starting of “Spin & Weave”- a project that explores the theme of Nationalism, Social Fabric & the Circularity of Time. I was interested in investigating how a symbol, so intrinsically part of my own culture, can be revived to interact with present-day political, global occurrences. How a symbol of unity, can now represent boundaries? Based on my new insight into nationalism, this project was a way to explore whether this symbol out of its original context remains the same static image while showcasing the change of ideologies, or does it take on a new form and new meanings? The end piece was envisioned as a scaled model of an experiential installation which showed the two sides of the wheel. One, where a multitude of threads converge at its centre, representative of the people that would once come together to unite, while the other showed the same threads diverging into multiple directions disrupting the spectator's path and field of vision. To be able to traverse this space you might have to go over the strings or under them, cut them, tie them up, loosen them; but you have to make an effort to navigate this stretch. At the centre of all, is this spinning wheel, entangled in the boundaries it continues to weave. A wheel that cannot spin any longer but continues to monumentalise the act of spinning. 

AM - Did you consider/imagined the meditative properties of spinning when you created your project? 

“Take to spinning. The music of the wheel will be as balm to your soul. I believe that the yarn we spin is capable of mending the broken warp and weft of our life…”   – Mahatma Gandhi 

The process of spinning yarn is inherently meditative. It’s not something I originally considered at the beginning; however, it was hard to ignore it as I sat for days threading yarn, creating scaled models of the final output. There is a rhythmic cadence to it. It is monotonous, repetitive, but just as when you’re meditating it allows you lose yourself into it. It is a wonderful process to instil patience, stability and peace in an individual. Which in my belief had been of utmost importance at a time when the people of India needed to be level headed and find the strength to stand against the colonial rule. One of my biggest takeaways from this project was the lesson of patience and discernment. I learnt the importance of each individual’s effort in fuelling a collective power; which during the colonial time, created this beautiful, peaceful and unified fabric of my country. 

AM - Do you think that there is a connection between crafting/identity and narration? 

AK - In terms of physical and tangible materials, for sure. Every region, city and village boast of its own handmade traditions and skills, the ancestral knowledge embedded deeply in our cultures. The geographical location, environmental factors, and the available local materials initiated certain ancient practices that slowly got imbibed within the fabric of the place, which inherently defines its identity and a specific cultural viewpoint. Local materials are used to tell local stories in a particular cultural context. The way of using them only further adds to that. Anything that becomes tangible has an identity, and everything that has an identity has a narrative. Crafts are a way of giving shape to new forms, building a whole new database of identities and narratives in design. It enables the piece to embody the history, culture, socio economic political expression and the various personal stories and aspirations of the designers/ craftsmen. Art and design by nature are a form of storytelling. In no two cities or zones can the same art or craft be practiced in the same way. It is always adapted, and with this adaptation the story changes immensely across boundaries. This is the beauty of context in art, design and narratives. Any small change brought to any one aspect has a ripple effect on all the others, leading to a completely new personality of the base identity. An example of this is how from Japan's kimonos to Scottish tartan, and from Uzbekistani Suzani to Gandhi's push for Indian khadi, the culture of the world is woven, quite literally, into local fabrics. Though the machinery and techniques have been similar, yet throughout human history one look at a man’s clothing could tell you more than his words: his social standing, wealth, class, military rank and more. Historically cloth was unique to its region and country, sometimes literally tying in elements of the land and the people that live there. Even today in a globalized society where one can swipe through countries in no time, all groups of people have secrets hidden in patterns, dyes and fabrics that are waiting to be explored. - How do you think that we could share ancestral forms of knowledge without commodifying them? This is a very difficult conversation to have in the world today. There is a very fine balance between conserving and commodifying. We have lost so many art-forms simply because we haven’t been comfortable in the idea of commodifying them. There are various ways to share knowledge but as soon as they become quantifiable, it becomes a commodity. It almost seems to me as though we might need to change the way we understand commodities and become more mindful of the exchange of these. As a designer I believe in sharing ideas and culture, and I see no harm in others doing the same even if it comes at a certain cost. One can’t ignore the fact that one needs an income to enable these storytellers to run their own lives while comfortably dedicating their lives to the craft. This constant debate between conserving and commodifying, impacts the simplicity and the purity of exchanging stories and emotions through craft. 

AM - How do you deal with the idea of orality associated with tradition? For instance, in African countries, many times traditions are never recorded, so, we lose them, but on the other hand that is how they evolve naturally... so, if we record them, we somehow kill them in the sense that they no longer transform/evolve... 

AK - India has a very rich oral tradition. Take Indian Classical Music for example, where the original tradition of imparting knowledge over thousands of years was through recital with a minimal use of the written word. Recorded and written material developed, but only as a key to absolute basics. Beyond that, Indian classical music is still almost entirely improvised, improvisations based on these certain written ground rules. The same is true for most of our forms of Art, Dance and Scriptures. The oral tradition is in a sense trapped within the confines of a culture’s collective value system. It is first and foremost a group activity, and reinforces bonds within the culture, but it also depends on that group’s willingness to further keep the art of practicing and sharing alive. Writing, on the other hand, is an individual pursuit. Writing transmits ideas from other cultures that reside outside the local sphere and allows the individuals to interpret those ideas for themselves. Written or documented references not only cater to a wider audience, but also to a more distant generation; enabling them to enjoy, learn and reinterpret past stories, leading to a natural evolution that keeps these traditions relevant. The only drawback being the loss of understanding, guidance and the radicalizing of the written knowledge. I feel, this documentation must allow the artist to freely interpret and improvise this knowledge. The need of the hour today is also to learn the subtle language of symbolism and essence, not only to keep the traditions and rich stories alive as they were, but also to strengthen our understanding of each other’s thought processes and maintain a better harmony. 

AM - Do you think that it would be possible to create a project that would connect young artists with old craft studios to create sustainable projects in India? What is missing in terms of business channels that could render these local projects visible worldwide? 

AK - Every craft form is based on shared information that is continuously evolving. Formulating more and more collaborations where old traditions and skillsets are funnelled into the younger artists, along with a freedom to reinterpret them through their own experience and insight, might help bring these traditions to new light. Take for example how a khadi wheel works - the wheel is a form of analogue technology and weaving is a cultural idea. The practice pushes the technology and cultural idea embedded in it forward. Now, for a ‘young’ artist, some of these technologies or cultural practices may present a space of possibilities that may connect to their own practice; or a possibility where they can combine it in with the latest technologies - retaining its roots but giving the product a more global and widely accepted appeal. This may perhaps be a way to find a common ground and explore further. To a certain extent this has already started to happen. However what concerns me is that in the collaborative effort between the designer and the artisan, the designer gets all the credit and possibly the profit while the artisan has gained nothing more than what they always had. The need of the hour is to evolve the stature of the craft and the craftsman enough to give the artisans an incentive to believe in what they do, and for the younger generation to be willing to learn and continue this process. Now as far as contemporising the traditional crafts go, I believe it requires work in two divergent directions. One is that art forms and crafts become a natural part of life again, as they once were. An extremely simple example is how in parts of the country and world over plastic plates are being replaced by banana leaves. This was a common traditional way of eating in southern parts of India, and now again there are people working on spreading it across the country, not as a tradition or luxury, but as an absolute basic awareness. On the flipside, craft must also be innovated and made a part of high-end design. One that celebrates the craftmanship for its glory, and adds an aspirational ramp value to these ancient crafts. An example of that is furniture designers today are reviving and reinventing the dying craft of making utensils and artefacts by hammering brass—traditionally practised by a community of Assamese artisans, to create high end, contemporary and innovative products that are highly global in their appeal while the manufacturing techniques belong to the Indian handicrafts’ tradition of the country. Government, innovators, investors, crafts organisations and designers need to come together and work closely with the craftspeople; listen to their voices, build on their strengths, think out of the box and possibly create a regulatory body that connects various craftsmen to designers all over the world, almost like an open source. However, it needs to have its own regulations in place to ensure that artisans and craftsmen are not exploited, and can also gain from the exposure and the innovation, giving them a reason to believe in the craft they have spent their lives mastering, again.

AM - Ana Mendes

AK - Aarushi Kalra

Aarushi Kalra is an architect and an interior designer, recently graduated from the MA Interior Design at Royal College of Art. Currently she is in the process of setting up her own design wing based in New Delhi, India, by the name of I'mX - that aims to work fluidly between multiple disciplines. One that challenges and immerses viewers into provocative, layered and experimental environments.