#complete creative bankruptcy............

[lowrezbonuslevel]

sketch dump

just what it says on the tin. no new art and kinda tired, but i can offer some oddities from the archives...

(more under the cut)

anyways i hope you guys had a good week. i appreciate y'all

[physalian]

11 Underexplored settings of post-apocalyptic worlds

Inspired once again by my recent binge of abandoned explorations.

The greatest hits of the sprawling city scapes and farmland that feature in everything from post-alien invasions to zombie takeovers to just worlds gone by in a not-so-distant future tend to be:

Generic office buildings

Churches

Schools

Water parks

Suburbs

Famous monuments

Cruise ships

It’s come to my attention though just how many architectural abnormalities there are, in their own current post-apocalyptic states, that would absolutely befuddle archaeologists centuries from now trying to figure out their purposes.

So whether you want to go hard into “this new world has completely forgotten what came before it” or your very own and unique road trip through desolation, here’s some suggestions for cool and/or practical settings!

1. Disney/Iconic Theme Parks

2000 years from now after X disaster strikes, survivors completely removed from historical context stumble upon…. Disney World. They presume Mickey really was a giant mutant mouse, or a mouse-shaped deity worshiped by the local populace (and I mean… are they wrong?). People who might have never left the local area without planes and feasible transport, or knowledge that land across the ocean even exists, might be astounded by the buildings of Epcot’s World Showcase, or any of Disney’s themed resorts.

Water parks are done to death, but not enough emphasis is put onto how bizarre these places would look without context, even to a younger generation that has no idea what it used to be.

Orlando has a hotel with its own rainforest in a massive atrium, with ponds and boats and boardwalks inside. But, you know, I guess strolling through Chicago or New York City is cooler. It may be unfilmable, but it’s not unwritable.

2. The foundations of unfinished construction projects

The remains of an office building that never was, a veritable modern Stonehenge with how little would survive an apocalypse. Inexplicable areas of land with massive pits for unbuilt parking garages, or sprawling swimming pools and lazy rivers.

Or massive, skeletal towers that would have been the monument to a much larger estate that just lost funding. Buildings still surrounded by scaffolding, only half-complete with their windows.

3. Survivor’s encampment landmarked by a monument/hotel/theme park that was never built

In one of those abandoned videos, a company in China was trying to build a discount Disneyland and all that remains is an unfinished Cinderella Castle with steel shells of the gables… behind a modern shopping mall.

Any structure that would have been deeply out of place either in the country it’s built in, or the newer buildings that surround it, immediately looks more creative than just ‘generic strip mall’ or ‘generic high school’. And it’s also realistic, as projects like this fall through constantly, as a unique piece of your worldbuilding. Or, it did have its run as whatever the strange building was part of, and through bankruptcy and selling the land around it, it ends up being the only structure that remains.

4. Hotels that are made up as if the staff vanished instantaneously

Or, many, many Covid victims. Having your characters scrounge for resources through a hotel with beds still made, coffee cups on the breakfast tables, serving spoons and plates ready to go by the buffet. Halloween, Christmas, or Valentine’s decorations still on display.

The schedules for the final week of business still hanging in the offices, unopened mail, packages for guests still in the mail room, pallets of new soaps and supplies still in the delivery bay from the distribution center, linens still in the industrial dryers. I worked in a hotel scheduled for eventual demolition and the disrepair the interior fell into because, what’s the point of managing mold and bed bugs when it’s all getting gutted anyway, makes it super creepy knowing guests are completely clueless on the other side.

Places that have been completely ransacked and destroyed are creepy, sure, but places that are almost frozen in time despite the decay around them are both eerie, and rather dark. Cruise ships/confined spaces like ships tend to be used more for horror, but these, too, as if they’re frozen in time.

5. Cargo ships/shipping yards

An easy-ish one to film in. Looters breaking open shipping containers, or building entire communities and homes out of those containers either on land, or on the barges and ships. A community that can weigh anchor and move once resources and scavenging dries up, or another violent group moves in on the land.

Or, in the case of a viral apocalypse, a community relatively spared from the violence out on the open ocean.

6. IKEA/Furniture Warehouses and DC’s

Warehouses especially have few entries and fewer windows to secure, but as their contents (except the showroom floor) are in mint condition at the time of the world ending and probably stored in plastic and crates, they’d be relatively spared from the elements as a good base camp.

Furniture is also too heavy to loot in a panic and absconding with a brand new mattress probably wouldn’t be at the top of people’s minds as doomsday approaches.

Your little community each having their own lavish living spaces with whatever eclectic furniture they either liked or could now get their hands on for free would just be cool to read about.

7. Penthouse suites

Climbing those stairs would suck and depending on the build quality, the safety of the structure over time would degrade, but maybe your community has manual cranks for the elevators. There might be one way down, but there’s also only one way up, and you can see invaders and catastrophe coming for miles.

These places tend to be dripping in luxury your characters might otherwise have never experienced and they could either make a base there, or have a grand old time trashing the place up because the rich are dead and gone.

8. Historical forts

They lasted this long, why not a few centuries more? The fort that comes to mind is the Castillo de San Marcos in St. Augustine, Florida, right on the beach with a built-in defense wall and a huge courtyard for your community of plucky survivors.

Castles, too, though they’d likely be prime real estate for all manner of interested parties. Aging, famous forts are just never in these types of stories, unless it’s a picture of where the military used to be, now overrun or destroyed.

9. Ski resorts

Similar to the made-up hotels and theme parks, this one comes with presumably multiple buildings, potential use of the slopes and ski transports, isolation via elevation and remoteness from major cities, and the threat of bitter winters and blizzards.

Never been to one myself in winter, but remote locations for a post-apocalypse story tends to just be shorthand for “generic farm or small town,” which isn’t super immersive.

10. Luxury malls

Seen in The Last of US, it gives you a microcosm of so many different environments all slapped together and there’s no limit on what kinds of stores you could include, or all the kiosks, all the mini attractions like trampolines, kiddie parks, massage tables, and even VR flight simulators.

Maybe it has a theater tacked onto it, or a double-story book store, one of those rental spaces dedicated to fancy cars or candy stores. Great for the main setting or even just passing through, especially as they’re already a dying breed you can go ham with. ‘Luxury’ and designer items collecting dust right across from the discount store with everything for under &14.99 could strike a powerful message about social constructs.

11. Science museums

Sure you can make some poignant message about priceless artwork being left to rot, or. When I was a kid, I went to a science center with natural disaster simulators like house fires and tornadoes and a whole-ass IMAX theater where I saw Night at the Museum, the only movie I’ve ever seen in a proper IMAX dome.

There was a whole kids section with a ropes course, area for exploring the human body, a NASA-sponsored mock up space module, mock up grocery store, and little exhibits here and there about optical illusions and the physics behind laying on a bed of nails and how it doesn’t kill you. It’s just something unique and fun that your characters can interact with and gives them plenty to play off and give little anecdotes to make them feel more human.

—

Point is, your post-apocalypse doesn’t have to be limited to the usual suspects. We’ve all seen the strip malls and Walmarts and suburban homes and farms. There is no special effects budget or filming restraint in a book and I’d love to read more stories set in unique and descriptive places, or just fresh takes on your standard survival camp that isn’t just “build a wall around a section of neighborhood”.

It’s the apocalypse. All real estate becomes free real estate.

[cornyonmains]

I'm hoping the insane box office take Deadpool and Wolverine had drives Marvel towards targeting adult audiences with more of its properties. I've been reading comic books all my life. The medium is a messy one that started with some standard issue white dudes in the 40s, queer counter culture personalities after Vietnam, and then showbiz writing talents going into the 90s in a desperate move to recover from market saturation.

In this VAST canon of creative works, the MCU's biggest problem is they're trying to give every single storyline this family friendly tone that audiences are starting to recognize as creative bankruptcy. As Marvel and Disney being more concerned with milking families of four for cash than preserving the creative integrity of a product to properly translate that magic to the big screen.

Deadpool and Wolverine reminded me of how great it would be to finally get to see Peter Parker grow up. To get to see him hanging out with Deadpool AND Logan (could you fucking imagine), having finally been given a story that keeps him out of this state of perpetual boyhood the movies and TV shows have always kept him in.

The comic book fandom has never been one where family friendly rules the roost, ESPECIALLY not with Millennials. Marvel is making the audiences who grew up with their movies feel pushed aside for a younger and newer audience, so of course they're not going to show up, which basically takes Gen Alpha with them. That leaves Gen Z and they're broke.

I've said it once, I'll say it again. If Disney is going to continue to buy up every studio under the sun, they need to learn to acknowledge adults exist and are complete exhausted with origin. coming of age, and overcoming adversity plots. We're old. We've learned these life lessons. Now we just wanna see shit get weird, sexual, and frankly, a little gay. Is that too much to ask?

[mostlysignssomeportents]

Sphinxmumps Linkdump

On THURSDAY (June 20) I'm live onstage in LOS ANGELES for a recording of the GO FACT YOURSELF podcast. On FRIDAY (June 21) I'm doing an ONLINE READING for the LOCUS AWARDS at 16hPT. On SATURDAY (June 22) I'll be in OAKLAND, CA for a panel and a keynote at the LOCUS AWARDS.

Welcome to my 20th Linkdump, in which I declare link bankruptcy and discharge my link-debts by telling you about all the open tabs I didn't get a chance to cover in this week's newsletters. Here's the previous 19 installments:

https://pluralistic.net/tag/linkdump/

Starting off this week with a gorgeous book that is also one of my favorite books: Beehive's special slipcased edition of Dante's Inferno, as translated by Henry Wadsworth Longfellow, with new illustrations by UK linocut artist Sophy Hollington:

https://www.kickstarter.com/projects/beehivebooks/the-inferno

I've loved Inferno since middle-school, when I read the John Ciardi translation, principally because I'd just read Niven and Pournelle's weird (and politically odious) (but cracking) sf novel of the same name:

https://en.wikipedia.org/wiki/Inferno_(Niven_and_Pournelle_novel)

But also because Ciardi wrote "About Crows," one of my all-time favorite bits of doggerel, a poem that pierced my soul when I was 12 and continues to do so now that I'm 52, for completely opposite reasons (now there's a poem with staying power!):

https://spirituallythinking.blogspot.com/2011/10/about-crows-by-john-ciardi.html

Beehive has a well-deserved rep for making absolutely beautiful new editions of great public domain books, each with new illustrations and intros, all in matching livery to make a bookshelf look classy af. I have several of them and I've just ordered my copy of Inferno. How could I not? So looking forward to this, along with its intro by Ukrainian poet Ilya Kaminsky and essay by Dante scholar Kristina Olson.

The Beehive editions show us how a rich public domain can be the soil from which new and inspiring creative works sprout. Any honest assessment of a creator's work must include the fact that creativity is a collective act, both inspired by and inspiring to other creators, past, present and future.

One of the distressing aspects of the debate over the exploitative grift of AI is that it's provoked a wave of copyright maximalism among otherwise thoughtful artists, despite the fact that a new copyright that lets you control model training will do nothing to prevent your boss from forcing you to sign over that right in your contracts, training an AI on your work, and then using the model as a pretext to erode your wages or fire your ass:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

Same goes for some privacy advocates, whose imaginations were cramped by the fact that the only regulation we enforce on the internet is copyright, causing them to forget that privacy rights can exist separate from the nonsensical prospect of "owning" facts about your life:

https://pluralistic.net/2023/10/21/the-internets-original-sin/

We should address AI's labor questions with labor rights, and we should address AI's privacy questions with privacy rights. You can tell that these are the approaches that would actually work for the public because our bosses hate these approaches and instead insist that the answer is just giving us more virtual property that we can sell to them, because they know they'll have a buyer's market that will let them scoop up all these rights at bargain prices and use the resulting hoards to torment, immiserate and pauperize us.

Take Clearview AI, a facial recognition tool created by eugenicists and white nationalists in order to help giant corporations and militarized, unaccountable cops hunt us by our faces:

https://pluralistic.net/2023/09/20/steal-your-face/#hoan-ton-that

Clearview scraped billions of images of our faces and shoveled them into their model. This led to a class action suit in Illinois, which boasts America's best biometric privacy law, under which Clearview owes tens of billions of dollars in statutory damages. Now, Clearview has offered a settlement that illustrates neatly the problem with making privacy into property that you can sell instead of a right that can't be violated: they're going to offer Illinoisians a small share of the company's stock:

https://www.theregister.com/2024/06/14/clearview_ai_reaches_creative_settlement/

To call this perverse is to go a grave injustice to good, hardworking perverts. The sums involved will be infinitesimal, and the only way to make those sums really count is for everyone in Illinois to root for Clearview to commit more grotesque privacy invasions of the rest of us to make its creepy, terrible product more valuable.

Worse still: by crafting a bespoke, one-off, forgiveness-oriented regulation specifically for Clearview, we ensure that it will continue, but that it will also never be disciplined by competitors. That is, rather than banning this kind of facial recognition tech, we grant them a monopoly over it, allowing them to charge all the traffic will bear.

We're in an extraordinary moment for both labor and privacy rights. Two of Biden's most powerful agency heads, Lina Khan and Rohit Chopra have made unprecedented use of their powers to create new national privacy regulations:

https://pluralistic.net/2023/08/16/the-second-best-time-is-now/#the-point-of-a-system-is-what-it-does

In so doing, they're bypassing Congressional deadlock. Congress has not passed a new consumer privacy law since 1988, when they banned video-store clerks from leaking your VHS rental history to newspaper reporters:

https://en.wikipedia.org/wiki/Video_Privacy_Protection_Act

Congress hasn't given us a single law protecting American consumers from the digital era's all-out assault on our privacy. But between the agencies, state legislatures, and a growing coalition of groups demanding action on privacy, a new federal privacy law seems all but assured:

https://pluralistic.net/2023/12/06/privacy-first/#but-not-just-privacy

When that happens, we're going to have to decide what to do about products created through mass-scale privacy violations, like Clearview AI – but also all of OpenAI's products, Google's AI, Facebook's AI, Microsoft's AI, and so on. Do we offer them a deal like the one Clearview's angling for in Illinois, fining them an affordable sum and grandfathering in the products they built by violating our rights?

Doing so would give these companies a permanent advantage, and the ongoing use of their products would continue to violate billions of peoples' privacy, billions of times per day. It would ensure that there was no market for privacy-preserving competitors thus enshrining privacy invasion as a permanent aspect of our technology and lives.

There's an alternative: "model disgorgement." "Disgorgement" is the legal term for forcing someone to cough up something they've stolen (for example, forcing an embezzler to give back the money). "Model disgorgement" can be a legal requirement to destroy models created illegally:

https://iapp.org/news/a/explaining-model-disgorgement

It's grounded in the idea that there's no known way to unscramble the AI eggs: once you train a model on data that shouldn't be in it, you can't untrain the model to get the private data out of it again. Model disgorgement doesn't insist that offending models be destroyed, but it shifts the burden of figuring out how to unscramble the AI omelet to the AI companies. If they can't figure out how to get the ill-gotten data out of the model, then they have to start over.

This framework aligns everyone's incentives. Unlike the Clearview approach – move fast, break things, attain an unassailable, permanent monopoly thanks to a grandfather exception – model disgorgement makes AI companies act with extreme care, because getting it wrong means going back to square one.

This is the kind of hard-nosed, public-interest-oriented rulemaking we're seeing from Biden's best anti-corporate enforcers. After decades kid-glove treatment that allowed companies like Microsoft, Equifax, Wells Fargo and Exxon commit ghastly crimes and then crime again another day, Biden's corporate cops are no longer treating the survival of massive, structurally important corporate criminals as a necessity.

It's been so long since anyone in the US government treated the corporate death penalty as a serious proposition that it can be hard to believe it's even happening, but boy is it happening. The DOJ Antitrust Division is seeking to break up Google, the largest tech company in the history of the world, and they are tipped to win:

https://pluralistic.net/2024/04/24/naming-names/#prabhakar-raghavan

And that's one of the major suits against Google that Big G is losing. Another suit, jointly brought by the feds and dozens of state AGs, is just about to start, despite Google's failed attempt to get the suit dismissed:

https://www.reuters.com/technology/google-loses-bid-end-us-antitrust-case-over-digital-advertising-2024-06-14/

I'm a huge fan of the Biden antitrust enforcers, but that doesn't make me a huge fan of Biden. Even before Biden's disgraceful collaboration in genocide, I had plenty of reasons – old and new – to distrust him and deplore his politics. I'm not the only leftist who's struggling with the dilemma posed by the worst part of Biden's record in light of the coming election.

You've doubtless read the arguments (or rather, "arguments," since they all generate a lot more heat than light and I doubt whether any of them will convince anyone). But this week, Anand Giridharadas republished his 2020 interview with Noam Chomsky about Biden and electoral politics, and I haven't been able to get it out of my mind:

https://the.ink/p/free-noam-chomsky-life-voting-biden-the-left

Chomsky contrasts the left position on politics with the liberal position. For leftists, Chomsky says, "real politics" are a matter of "constant activism." It's not a "laser-like focus on the quadrennial extravaganza" of national elections, after which you "go home and let your superiors take over."

For leftists, politics means working all the time, "and every once in a while there's an event called an election." This should command "10 or 15 minutes" of your attention before you get back to the real work.

This makes the voting decision more obvious and less fraught for Chomsky. There's "never been a greater difference" between the candidates, so leftists should go take 15 minutes, "push the lever, and go back to work."

Chomsky attributed the good parts of Biden's 2020 platform to being "hammered on by activists coming out of the Sanders movement and other." That's the real work, that hammering. That's "real politics."

For Chomsky, voting for Biden isn't support for Biden. It's "support for the activists who have been at work constantly, creating the background within the party in which the shifts took place, and who have followed Sanders in actually entering the campaign and influencing it. Support for them. Support for real politics."

Chomsky tells us that the self-described "masters of the universe" understand that something has changed: "the peasants are coming with their pitchforks." They have all kinds of euphemisms for this ("reputational risks") but the core here is a winner-take-all battle for the future of the planet and the species. That's why the even the "sensible" ultra-rich threw in for Trump in 2016 and 2020, and why they're backing him even harder in 2024:

https://www.bbc.com/news/articles/ckvvlv3lewxo

Chomsky tells us not to bother trying to figure out Biden's personality. Instead, we should focus on "how things get done." Biden won't do what's necessary to end genocide and preserve our habitable planet out of conviction, but he may do so out of necessity. Indeed, it doesn't matter how he feels about anything – what matters is what we can make him do.

Chomksy himself is in his 90s and his health is reportedly in terminal decline, so this is probably the only word we'll get from him on this issue:

https://www.reddit.com/r/chomsky/comments/1aj56hj/updates_on_noams_health_from_his_longtime_mit/

The link between concentrated wealth, concentrated power, and the existential risks to our species and civilization is obvious – to me, at least. Any time a tiny minority holds unaccountable power, they will end up using it to harm everyone except themselves. I'm not the first one to take note of this – it used to be a commonplace in American politics.

Back in 1936, FDR gave a speech at the DNC, accepting their nomination for president. Unlike FDR's election night speech ("I welcome their hatred"), this speech has been largely forgotten, but it's a banger:

https://teachingamericanhistory.org/document/acceptance-speech-at-the-democratic-national-convention-1936/

In that speech, Roosevelt brought a new term into our political parlance: "economic royalists." He described the American plutocracy as the spiritual descendants of the hereditary nobility that Americans had overthrown in 1776. The English aristocracy "governed without the consent of the governed" and “put the average man’s property and the average man’s life in pawn to the mercenaries of dynastic power":

Roosevelt said that these new royalists conquered the nation's economy and then set out to seize its politics, backing candidates that would create "a new despotism wrapped in the robes of legal sanction…an industrial dictatorship."

As David Dayen writes in The American Prospect, this has strong parallels to today's world, where "Silicon Valley, Big Oil, and Wall Street come together to back a transactional presidential candidate who promises them specific favors, after reducing their corporate taxes by 40 percent the last time he was president":

https://prospect.org/politics/2024-06-14-speech-fdr-would-give/

Roosevelt, of course, went on to win by a landslide, wiping out the Republicans despite the endless financial support of the ruling class.

The thing is, FDR's policies didn't originate with him. He came from the uppermost of the American upper crust, after all, and famously refused to define the "New Deal" even as he campaigned on it. The "New Deal" became whatever activists in the Democratic Party's left could force him to do, and while it was bold and transformative, it wasn't nearly enough.

The compromise FDR brokered within the Democratic Party froze out Black Americans to a terrible degree. Writing for the Institute for Local Self Reliance, Ron Knox and Susan Holmberg reveal the long shadow cast by that unforgivable compromise:

https://storymaps.arcgis.com/stories/045dcde7333243df9b7f4ed8147979cd

They describe how redlining – the formalization of anti-Black racism in New Deal housing policy – led to the ruin of Toledo's once-thriving Dorr Street neighborhood, a "Black Wall Street" where a Black middle class lived and thrived. New Deal policies starved the neighborhood of funds, then ripped it in two with a freeway, sacrificing it and the people who lived in it.

But the story of Dorr Street isn't over. As Knox and Holmberg write, the people of Dorr Street never gave up on their community, and today, there's an awful lot of Chomsky's "constant activism" that is painstakingly bringing the community back, inch by aching inch. The community is locked in a guerrilla war against the same forces that the Biden antitrust enforcers are fighting on the open field of battle. The work that activists do to drag Democratic Party policies to the left is critical to making reparations for the sins of the New Deal – and for realizing its promise for everybody.

In my lifetime, there's never been a Democratic Party that represented my values. The first Democratic President of my life, Carter, kicked off Reaganomics by beginning the dismantling of America's antitrust enforcement, in the mistaken belief that acting like a Republican would get Democrats to vote for him again. He failed and delivered Reagan, whose Reaganomics were the official policy of every Democrat since, from Clinton ("end welfare as we know it") to Obama ("foam the runways for the banks").

In other words, I don't give a damn about Biden, but I am entirely consumed with what we can force his administration to do, and there are lots of areas where I like our chances.

For example: getting Biden's IRS to go after the super-rich, ending the impunity for elite tax evasion that Spencer Woodman pitilessly dissects in this week's superb investigation for the International Consortium of Investigative Journalists:

https://www.icij.org/inside-icij/2024/06/how-the-irs-went-soft-on-billionaires-and-corporate-tax-cheats/

Ending elite tax cheating will make them poorer, and that will make them weaker, because their power comes from money alone (they don't wield power because their want to make us all better off!).

Or getting Biden's enforcers to continue their fight against the monopolists who've spiked the prices of our groceries even as they transformed shopping into a panopticon, so that their business is increasingly about selling our data to other giant corporations, with selling food to us as an afterthought:

https://prospect.org/economy/2024-06-12-war-in-the-aisles/

For forty years, since the Carter administration, we've been told that our only power comes from our role as "consumers." That's a word that always conjures up one of my favorite William Gibson quotes, from 2003's Idoru:

Something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It's covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth, no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections.

The normie, corporate wing of the Democratic Party sees us that way. They decry any action against concentrated corporate power as "anti-consumer" and insist that using the law to fight against corporate power is a waste of our time:

https://www.thesling.org/sorry-matt-yglesias-hipster-antitrust-does-not-mean-the-abandonment-of-consumers-but-it-does-mean-new-ways-to-protect-workers-2/

But after giving it some careful thought, I'm with Chomsky on this, not Yglesias. The election is something we have to pay some attention to as activists, but only "10 or 15 minutes." Yeah, "push the lever," but then "go back to work." I don't care what Biden wants to do. I care what we can make him do.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/15/disarrangement/#credo-in-un-dio-crudel

Image: Jim's Photo World (modified) https://www.flickr.com/photos/jimsphotoworld/5360343644/

CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0/

[pocima]

My top 10 favorite music projects of 2023 ૢ✧∘* ✧･ﾟ

Welcome to this list that 2 people were mildly anticipating tops, a list where I ramble about note sequences that give me a sense of enjoyment, which is essentially what this blog of mine is dedicated to. I’ve been on this site for more than a year now, I had the pleasure of interacting and chatting with my lovely mutuals who share my silly little interests, both here and on @akaneverse. At the end of last year, I simply uploaded a topster of my favorite albums and EPs, and this December, I’m taking my time to review said projects, and show them appreciation with words and expressions slightly bigger than “the production is so insane” and “BANGER”. This year has been good to me as a music enjoyer, with new releases from my longer-time faves and incredible new discoveries, some possibly becoming all-time faves, which will be mentioned in the post. Pitchfork, your bankruptcy is nearing. And yes, the GIF is a spoiler.

⑩ Ichijikikoku (EP) - Atarashii Gakko!

I can say I somewhat got into Japanese music this year and this anti-idol group with a school leader concept looking camp right in the eye were some of the first artists that caught my attention. Having accidentally come across them through snooping around a beloved mutual’s Spotify profile, the quality of their songs such as Pineapple Kryptonite, Nainainai and Freaks caught me off guard in a great way. Their discography offers various genres such as robotic chant-filled hyperpop, groovy city pop, alternative rock, hip-hop and their latest EP truly showcases their diversity and range. From Otona Blue, the funky pop song that was the push start for the girls to get their rightful recognition, to a revisit to their older rock sound, to their first club banger and more city pop hits, this EP presents what their music has to offer in a nutshell. 2023 treated the school leaders well as they both got their deserved success and delivered a well-rounded project along with other listen-worthy singles.

Favorite tracks: Otome no Bigaku and Giri Giri.

⑨ 3 of Us (EP) - FLO

After taking the Internet’s ‘00s R&B revivalists and girl group appreciators by storm with their first EP Cardboard Box in 2022, this iconic trio went on an ongoing streak to constantly deliver the best and improve their music and skills. 3 of Us serves as lunchables before the upcoming full-course meal which is their debut album, and not so surprisingly considering the consistent high quality of the group’s releases, the snack surely is fulfilling. Two of the tunes were anticipated then-unreleased songs but the title track and the later added-on Suite Life were loved by us FLOlifers as well. The four songs showcase both the group’s incredible vocals and their empowering no-nonsense attitude. The title track is an anthem that shows the world the girls have each other’s backs, through a smooth execution of a humorous scenario of a guy simultaneously trying to toy with the 3 of them. FLO are real it girls, and this mini alone is definitely convincing of that enough.

Favorite tracks: what if I said all of them?

⑧ MY World (EP) - aespa

aespa have long-ago established their cybergirl fighter Kwangya concept and a solid spot in the K-pop industry as a group with one of the strongest group identities, top-notch discographies and powerful vocals. I slowly fell in love with them in 2021 and they have been one of the very few anchors to my interest in K-pop lately. Through mismanagement and complete bs coming from their crappy record label, standing ten toes down with these girls and experiencing the comeback of the summer was 100% worth it. Though the label needs to pull themselves together a little for the creative direction of all of their groups, MY World offered aespa’s two different takes on the summer which somehow felt fresh and unique, still suiting the group and proving aespacore’s wide range. The music, however, gave the signature aespa sound we had missed because of the music drought. Reol and Slayyyter’s souls truly split into two each, possessing the four members and giving us the gritty, in-your-face EDM banger that is the lead single Spicy. Welcome to MY World, the mini’s pre-release single, on the other hand, is an orchestral, alluring alternative pop track, which is a genre I never knew I needed aespa to dip their toes into. Salty and Sweet is a package delivery for the MYs who are especially seated for aespa’s metallic hyperpop releases, while Thirsty is contemporary R&B with a bubbly aespacore twist to it and I’m Unhappy is a splendid hyperballad. No offense but had they left the basic and frankly flow-disrupting ballad ‘Til We Meet Again in the vault, the ranking of the EP would be higher on here, and this is my only criticism of the project music-wise. As I always say on aespa comeback release days: the girls did it again.

Favorite tracks: answer changes every 5 business days but right now I’m gonna go with Welcome to MY World and Spicy.

⑦ Crying in the Carwash (EP) - Lolo Zouaï

I’ve been keeping up with Lolo Zouaï on the low (pun intended, see Encore) since the release day of her sophomore album PLAYGIRL but I might have to pay closer attention to her because of her elevated excellence showcased on this mini. Besides giving her more freedom over her work and artistic direction, returning to her independent artist days allowed her to wiggle more with her own feelings and experiences directly, as opposed to the personas she conveyed the story of PLAYGIRL through. Before the unveiling of the EP, the roll-out fully hooked me in with both the singles and mesmerizing visuals. Encore was the perfect earworm-y invitation to the era, and Crying in the Carwash showed us the rainy panorama none other than Lolo’s mind with soft, melancholic jungle drums as the track’s stand-out point. The rest of the three songs, sitting prettily in the middle, give us soulful R&B blessed with the artist’s gentle vocal runs and UK garage reminiscent of e-motions by Mura Masa and Erika de Casier. All in all, I can’t be the only one who can’t wait to see what Zouaï will have to offer with her future work.

Favorite track: Crying in the Carwash.

⑥ ESFERA DE AMOR - Simona

Esfera de Amor? In “my top 10 favorite projects of the year”? More like “top 10 most slept on albums of the year”. I’m not saying this just because of my personal opinion or just by looking at the streaming numbers either. This project is worth checking out for everyone looking for ethereal, light, bubbly pop à la 4th gen K-pop girl group music. Simona took recent pop micro-trends such as the incorporation of house, UK garage, hyperpop, neo-reggaeton and baile funk, and shaped them up into her very own world of love. The record, while being a relatively easy listen and having the ability to appeal to a wider audience, keeps you attentive and never bored, with an intro that leaves the sense of time and reality behind to make room for dancing and a classy vintage-style interlude. At one stop you unwind, at the second you dance at midnight in your bedroom, and at another you’re an otherworldly romantic. Feel free to do whatever you please, because after all, you’re in a sphere of love where everything’s fine.

Favorite tracks: Adentro de Mí, Polidrama, Plush, Meloni and Llaga Verdadera.

⑤ BB/ANG3L - Tinashe

Tinashe has been an impactful figure in modern R&B for nearly a decade now, with her resumé ranging from choreography material groovy bops to heartfelt, calmer, vocal-heavy songs. BB/ANG3L, in the musician’s own words, combines her past and her present, her darker debut day sound with her faster-paced, catchier, dreamy tunes. The songwriting keeps it real and personal: we go from a dramatic reflection on a toxic relationship, to wanting to be pampered and treated with respect and class, to more reflections and slowly letting go. In the music video for Talk To Me Nice, Tinashe peels away her former self and gets purified with the dripping water, getting down to her essence. (I will further elaborate on my newly found love for water concepts/metaphors in some next entries.) Thanks to producer Machinedrum, garage and dnb rhythms (can you tell those are my weaknesses yet?) are beautifully incorporated in two of the tracks, and the production is atmospheric and tastefully bleak throughout the entire tracklist. Keeping up with Tinashe’s releases for a good while, a couple of years in my case, remains a pleasure with this project of hers.

Favorite track: answer changes often once again and this time I’m picking Tightrope.

④ Raven - Kelela

If there were courses on how to take breaks of long years after releasing a top-tier album and make an even more world-shaking, majestic comeback, Raven would be the diligently studied textbook. Though I personally can’t relate to the 6-year wait as I discovered Kelela at the beginning of this year, my commentary is unnecessary for one to know she is a legend whose impact on alternative R&B, dance music and neo-soul is not up for any questioning. While Raven has even more of a slower and sultrier side than before, the intimacy and maturity stays consistent whether we’re talking jungle, aurora-like synths or soothing orchestration. It’s a true, well-constructed and developed body of fruitful work, with seamless thought-out sequencing, an art that’s being kept alive by artists that rightfully value it. Motifs reappearing in her previous albums such as “all the way down”, “on the run”, “far away” make their returns, but in no way does anything feel repetitive or any less unique. The album cover art and the music videos for Washed Away and Enough for Love present us more water imagery that couldn’t have been any more suitable for the sultriness and haziness of the record. Raven is the deep melancholic ocean that you trust to wrap your body around, where you witness musical scenery that’s so breath-taking that you can barely tell if it’s real.

Favorite track: On the Run.

Let’s get some honorable mentions out of the way before the top 3: Heaven knows by PinkPantheress (literally 11th place, Feelings was on repeat for like a week straight), My 21st Century Blues by Raye (robbed by the Scammys), Unlock My World by fromis_9 (if I make a best ‘23 K-pop b-side list Prom Night has a high spot secured), seOul collection by OnlyOneOf (I ignore the old tracks included in the album and candy bOmb is the K-pop b-side of the year) and Bébe Yana’s singles this year bc even though they’re not a body of work they’re too good not to get a shout-out. 

③ Code Ge4ss - 4s4ki

As I was getting into Japanese music in March, I suddenly wondered whether there was a full-fledged hyperpop or experimental electronic music scene in Japan. After a quick Google search, an interesting artist popped up, with the metallic cybercore aesthetic I’ve been craving more of on the cover art of her latest album called Killer in Neverland. Interesting album name, intriguing song titles too, and as soon as I heard Log Out she took it in my eyes, there and then. Listening to Killer in Neverland as a whole took my shock to another level. Who was this and why did her music satisfy my cravings to this extent? As I went through her discography in a day or two, I fell deeper and deeper in love with her enchanting production (she’s her very own producer, mind you), crunchy autotuned vocals that somehow sound magical, her risk-taking unique concepts, something in between camp and outright beautiful visuals, precisely crafted songwriting and artistry. She manages to be the perfect amount of fun, the perfect amount of edgy, the perfect amount of bright, the perfect amount of sharp, the perfect amount of real, the perfect amount of satirical, the perfect amount of joyful, the perfect amount of sad on each and every project of hers. What didn’t hit me like a truck at first, however, is her tremendous improvement as a musician in pretty much every aspect: production, songwriting, album cohesion, creative direction, visuals. Not until her latest album Code Ge4ss finally got released in late June.

I was confused at first at the Code Geass anime collab thing, I wasn’t exactly sure of the release date and whether 4s4ki was actually releasing yet another scrumptious FULL album not too long after I got into her. The album dropped, I was tuned in right at midnight and my already high expectations were surpassed. Banging (kicking if you will) Jersey club beats, birds chirping accompanying glitchy trap instrumentals, screams followed by almost Machine Girl-level noisy circuit board sorcery, samples of characters’ speeches over electro guitar riffs, a piano interlude paired with opera runs taken from the show, pacifying ballads which are a mix of acoustic guitar and hard-hitting pots-pans and 8-bit synths, all closed by surreal orchestration with the classic electronica touches of 4s4ki and collaborator producer Kotonohouse. I’m sure I’d appreciate the Code Geass-themed lyricism on an even deeper level if I hadn’t paused watching the anime after 5 episodes like the terrible TV consumer I am. What I can be certain about is that everything about this project feels genuine and from within because it IS genuine and from within. 4s4ki couldn’t have been a more suitable choice for this collaboration, she’s been a fan of the franchise since elementary school and very few emit the weird cyber-glitchcore internet baby aesthetics the way she does. The cover art is stunning and references the series once again, and the Shirley MV leaves us with calming visuals that may remind you of Welcome to MY World by aespa, which spoke to the aespa x 4s4ki truther in me.

As I was saying, this album is what really rubbed her major progress as an artist and musician in my face. We’ve gone such a long way from the calmer EDM-pop antics of Your Dreamland, for example, not even to mention the synth-pop balladry in her debut Gender. Every era of hers sonically gets increasingly complex and intense and ethereal, and in every body of work she leaves in a bigger, more intimate piece of her. There’s just so much personality in everything she puts out and presents. She built her sonic and artistic identity from the bottom to the top and even as a fan for less than a year, continuing to witness this makes me feel pure admiration. Words aren’t enough to properly express how I feel about her art but that won’t stop me from typing up paragraphs to try to get someone to understand me on this. People have various opinions on 4s4ki’s experimentation and self-expression, however what absolutely nobody can ever deny is that she’s a true artist, visionary and one of the most skilled producers of this generation. 2023 brought her both achievements and unfortunately some hardships, and I sincerely hope 2024 is kinder and even more generous to her. (She’s not done with taking over the year yet! Stream her new single Continue and stay tuned for winter again coming Dec 15.)

Favorite track: Eleven.

② Fountain Baby - Amaarae

I touched upon my adoration for water imagery on my entries for BB/ANG3L and Raven but as you can see from the title, Fountain Baby took the theme to an entirely different level. The analogy potential of water is infinite as the fluidity, cadence, calmness, riptides, uncertainty, contradictions of water can very well be converted into the multi-faceted human emotion. The same water that you’re dependent on in order to live can poison you at an overload, the same water that rinses your body and soul can drown and choke you up when contacted with the wrong places. Fountain Baby expresses various moods and states of mind not only through concept visuals, but more importantly by sprinkling water euphemisms throughout the entire record: “fountain baby, wash her, make it wet”, “water on my neck, come make it warm”, “water from wine”, “water, it mix with the substance” being prominent examples. Amaarae chats love, sensuality, materialism and lastly, meeting your maker in a way other than passing away. She defines a “fountain baby” as “a person with endless charisma, someone that is abundant in their blessings and ultimately a blessed child of God.” The universe Fountain Baby resides in is essentially rich, delicate, cloudy and raw.

While water is a consistent element of the album, it was far from being Amaarae’s only source of inspiration. She draws on ‘00s pop staples Timbaland and Britney Spears, The Neptunes, Clipse (sampled in Counterfeit), Janet Jackson, Missy Elliott and diverse genres such as Afro-beats, classic and contemporary hip-hop, Americana punk rock and dance. The melting pot of live orchestra, harps, baile funk, tire whirring, R&B-infused shiny Afro-futurism, Japanese folk song samples, Chinese bow violins, Arabic scales, gunshot and cash register clicking sounds, mid-song switches that make you feel like the main character of a coming of age movie, glitter and sax and guitars creates a record that refuses to be boxed into one genre or label. A “clever alchemist” and “a chemist who fuses world music” are titles that are deservingly given to the artist for these reasons. The record has plenty of variety yet the sequence all comes together akin to a satisfying crossword. It’s lucrative and shimmery but has its child-like, playful side that’s a natural result of Amaarae getting in touch with her inner 8 year-old during the cultivation process. The music videos are all different but inseparable approaches to the Fountain Baby-verse. The MV for the first pre-release Reckless and Sweet is based on editorials and has a silky luxurious look, with direct hints at the album’s concept. Co-Star, the second pre-release, casts zodiac signs as racer-models and fast cars come running around in a competition, keeping the high fashion coded color grading and filming style. The music video for the lead single Wasted Eyes is heavily inspired by the film Rush Hour and pays homage to Japanese culture about as much as the song does (it’s worth to mention the song is co-written by the iconic Crystal Kay whose speech you can hear in it). The intricacy and planning of every aspect of this era is pop music at its peak. With Fountain Baby, Amaarae finds the epitome of pop perfection without special dedication to seeking it.

Favorite track: Wasted Eyes.

① Ambrosia (EP) - Namasenda

Some projects make your jaw drop from the get-go, some others grow on you with some time. Ambrosia crept up on me the longer I kept it on repeat, all the way to being my favorite project of this year. I already enjoyed Namasenda’s previous songs such as Black Ops 2, Demonic and the pre-release single maserati. As I later found more about the background of the project, how its concept came together and read the translation of the lyrics to rosa, my love for the it multiplied. Right now if I were to describe the EP in two simple words, they would be “ethereal”, “gorgeous” and “atmospheric”. These words are used with way more power than you may realize this time.

Sonically, the already unique artist stays true to herself but the execution of her vision is somehow… better than her previous work. north star and deathrow bby are unorthodox but celestial perspectives on baile funk, the former being a siren-like intro-lude that lures you in and the latter having a slightly haunting catchy Europop inspired jingle feel, serving as closer out of the 4 songs. maserati is a fresh take on polished but cutting pop, while rosa is a divine ballad that takes you to a dream realm. “Unconditionally here / I mean what I promise / When the sky is completely pink”, she sings in her home language Swedish, over the Casey MQ co-produced blissful synths. Maybe it’s executive producer Simon on the Moon’s musical genius (he’s also to be thanked for his involvement in Natural Brown Prom Queen by Sudan Archives), maybe it’s Namasenda unveiling a more authentic side of herself and therefore causing the music to be the most authentic version of itself. This authenticity drips through the production, the visuals and the lyrics. The stark contrast between Ambrosia and the jeweled, metallic, extreme meta-pop in her previous work, specifically Unlimited Ammo, opens up a conversation on the future of hyperpop.

Besides the heavy, detail-embroidered production, the focus of hyperpop was pretty much always exaggerating the artificial aspects of pop music, such as vocal manipulation, heavy bass, deafening drums, unforgettable melodies and shallow lyrics. How long could one use these funnily unrealistic musical personas before wanting to face themselves and do a deeper, more pure dive on pop? This I-D article on PC Music (the record label pioneering the hyperpop scene) shutting down concludes with “Perhaps it’s time to get off the computer and rediscover the personal.” Indeed, we can’t exactly reach a verdict on whether “hyperpop” will become just another fad or not, but moving on from simply exaggerating pop to expanding, beautifying and authenticating its sound isn’t an inaccurate prediction. 4s4ki and Namasenda (who, by the way, parted ways with PCMus before Ambrosia) are two of the artists that embody the beautiful, complex hyperpop-transcendent sound and experimental electronic pop music is in good hands thanks to artists like them.

To finish off this entry, Ambrosia manages to pinpoint exactly what I like to hear, both characteristics that I mentioned and things you can’t really put into sentences, only listen to and let them sink in. The production is some of the most stunning I’ve ever heard in my life, the EP is cohesive despite the short 9-minute run time, the visuals are simple but creative and the craft is passionate and genuine. Next time somebody asks me about the music I like, I’m sending them this EP with no further elaboration as it summarizes my tastes like no other body of work ever has.

Favorite track: rosa, it also grew on me the most drastically.

Now to end this post, every year gives me brand new outlooks on how I consume music and the details I notice, the things I pay attention to. 2023 was filled to the brim with musicians offering their own outlooks on how they create. I’m keeping my eye on the masterpieces that will come out of 2024 and I wonder how my interests will transform with me next year.

Hey @nayeonline (special thankies for indirectly fueling my writing process) and @timetravellingkitty, I wiggled my keyboard a bit 😗

[jules-and-rue-and-lexi-too]

So there's this post about the new Peter Pan and Wendy movie bemoaning the creative bankruptcy of the movie because of the reason for Tinkerbell not glowing. I can't exactly blame Tumblr for this line of thinking, given most Disney live action remakes are creatively bankrupt, plus the fact the movie wasn't actually out yet. I'd probably also have implicitly agreed with the post and moved on if it were about the new Pinocchio or Little Mermaid or something.

Peter Pan and Wendy is out now though, and I really liked it, which compelled me enough to check up on the context of that quote. And while it's not so different from what the tweet describes, I do think there's some nuance that deserves sharing.

Here's the full quote from SFX:

To me, this doesn't read like somebody who removed this particular aspect of Tinkerbell's visuals out of a completely shallow attempt at realism. Not only was it simply what was arrived at as the most fitting look for her, it doesn't even seem like removing the glow was much of a conscious choice. "That's something that never even occurred to me" doesn't make it sound like something he's taken a super hard stance against, as many seem to interpret it.

I also want to defend the decision as it relates to how this movie looks, both in terms of the movie's themes and just the cinematography in general. David Lowery, the director of the wonderful The Green Knight and the other-apparently-not-terrible-disney-remake Pete's Dragon, has not only done this purposefully, but it's his entire style. Green Knight and A Ghost Story are both acclaimed movies that deal with supernatural and mystical elements, but forgo effects and dramaticism in favour of a more low-key, spare and picturesque visual style. This isn't some $200m movie that Disney has filled to the brim with CGI garbage, as seems to be the case with Little Mermaid, and this isn't Cruella shooting scenes on green screens with flat lighting for no reason; this is a director with a purposeful style achieving such with real locations and practical sets and costumes. And while Peter Pan and Wendy's visuals aren't mindblowing or anything, I do think it manages to look quite nice at times.

Critical to all this, I want to emphasise that Lowery choosing to do a Peter Pan movie with a sense of realism is not merely some outdated idea that realism = more mature or something. It is an active component of the movie's themes. Neverland looks and feels like a random island out in the middle of nowhere because that's what it is in this movie. It is not the perfect paradise of fun and adventure that Peter makes it out to be, and Wendy recognizing this is a part of the movie's core message: that one shouldn't be afraid to grow up, because there is beauty and happiness to be found even in the mundanity of real life, not just in the fantastical ideas of childhood whimsy. Does Neverland seem so much less whimsical than that of the 2004 movie version? Sure. But that doesn't mean it isn't also beautiful. And that's how she realizes she doesn't need Neverland to be happy, that she doesn't need to run away, she can find purpose and happiness in the challenges and joys that growing up will put before her.

Tying back to Tinkerbell, all of this is to say that perhaps the toning down of her magical elements wasn't totally without nuanced thought. Maybe it could have worked, maybe it couldn't, I'm not the director and didn't see what they tried. But given how well I think this movie balances its realistic tone and its magical elements (it's not a complete rejection of anything magical; the fairy might not casually glow, but she is still blowing magic fairy dust on kids to make them fly from happy thoughts) I'm inclined to take him on his word that he knew what he was doing. Maybe trails of sparkling fairy light everywhere she went did come off a little too whimsical for how he wanted Neverland to appear. You may not personally enjoy that take, but I do think it's one born of creative intent, and it's one I like a lot. And isn't movies daring to take a stance over appealing to the widest possible common denominator something we've been yearning for?

I implore people, if you think you might be interested in this movie, go watch it. Pirate it, if you have to. It's a legitimately good movie that's being screwed over by a complete lack of marketing from Disney and internet chuds reviewbombing every online score because they're still mad about a black Tinkerbell. Trust me, even if the movie isn't setting the world on fire, it deserves better than that. Especially when Little Mermaid is gonna make ten bajillion dollars in a month.

[thesitharts]

I wanna know how some of the artists behind such famous paintings as single line on a blank canvas live with themselves

Do you think they take any joy in their work? Feel any amount of pleasure in finishing a painting? Do they ever step back from their two red diagonal lines, paint brush raised staring at it unmoving and unblinking for a concerning amount of time and smile wistfully?

How do you feel anything but empty after completing a painting of creative bankruptcy with people wondering what it represents when you know it represents nothing and means nothing

[winterandwords]

✍🏻 WRITEBLR INTRO

👋🏻 Hi, I'm Winter. I write dark, emotionally intense fiction about queer disaster-people who collide against a backdrop of moral bankruptcy and surf the downward spiral hand in bloodstained hand. It mostly ends well for them though, because I get pretty attached to them and apparently readers do too (which is why I appreciate all you twisted beautiful souls so much).

🌈 I write a lot of LGBT+ characters so it feels relevant to say that I’m an LGBT+ character too. I know that might not matter to my readers, but it matters to me and it impacts my creative perspective as well as my perspective on life in general.

📝 I don't write explicit sexual content because it's not my vibe (not a genital in sight here, folks). That said, if you're uncomfortable with themes around fictional violence, drug and alcohol use, and angsty kink in stories aimed at an adult audience, I might not be the ideal writer for you to follow. Not everything is for everyone and that's OK.

🔗 LINKS

📖 Read my books online, and download them as EPUBs and PDFs, for free at WinterAndWords.com ☕ If you enjoy my writing and would like to offer some support, you can buy me a virtual coffee on Ko-fi 📲 If you want to see some non-writing life fragments, my photo and video diary lives on Instagram and TikTok

💜 My reblogs tend to be writing-related, with a few exceptions. My likes are (mostly) non-writing-related things I got a kick out of, or personal posts that I want to acknowledge but that don't feel appropriate to reblog.

⭐ Encouragement for you Write what the fuck you want Gentle truths and kind honesty for writers Writing advice about 'writing advice'

🌊 NOVEMBER BREAKS (complete)

Genre: Transgressive, literary Audience: Adult Length: Approx 52k words

Working title was Project Storm

VIBE Crime, weather symbolism and questionable life choices. Hurt me, I need to feel alive. Violence is a drug. Also, drugs are drugs. This is a love story like crude oil is a tea. #ThatShouldNotBeHot. Nothing’s real anyway.

INTRO No conscience, no problem.

Noah kills for money. Brett hides a life of crime behind a successful career. Officially, they both protect people from people like themselves. Unofficially, everything is falling apart. Until they meet. And it all gets worse...

Read or download on my website

💀 FIVE (complete)

Genre: Various Audience: Adult Length: Approx 6.5k words

INTRO A collection of short science fiction, experimental, urban fantasy, and horror stories exploring themes of loss, transition, and altered states.

Read or download on my website

🌃 PROJECT FREQUENCY (WIP)

Genre: Cyberpunk, neon-noir Audience: Adult

VIBE High-rise buildings and low-life scum. Everything hurts, but not enough to feel good. Yes, that’s a gun in my pocket and no, I’m not pleased to see you. If mind control is real, why do I still have to make decisions?

INTRO Corruption and cruelty run through the veins of an opulent metropolis, where every side is the wrong side and progress is fuelled by exploitation. Too useful to waste on prison, underworld assassin Rafael Turner is sentenced to military service. When a mission to infiltrate a criminal gang drags his past to the surface and someone he thought he'd lost forever unexpectedly returns, Rafe has a chance at a future he’d given up hoping for. But how much is he willing to risk to make it a reality?

WIP summary Sign up for the tag list

Updates 23 October 2022 05 September 2022 13 August 2022

📇 TAG INDEX

#the shit in my head | rants, rambles and writer life

#project storm | WIP excerpts, updates etc (see also #november breaks for posts about the book after publication)

#project frequency | WIP excerpts, updates etc

#my writing | snippets and other wordstuff

#microfiction | tiny little stories

#your writing | other people's words

#writeblr tags | tag games and memes

#writeblr connect | finding writeblrs to follow

#reblogs | what it says on the tin

#reblogs plus | reblogs with my additions

[mystarwarsmatters]

I don’t really understand people on here who crow over and make gif sets and long diatribes about the “poetry” between arbitrary and desperate yet completely canon-breaking ““““parallels”””” that Disney spat out in their tv series and sequel movie attempts.

What joy does it bring them? How do they distance themselves from the creative bankruptcy in it all? Is it literally all about just seeing pretty images and pretty actors in pseudo-significant situations?

[antiodote]

hi everyone! i am alive! just wanted to give a quick update to what and how i'm doing.

the truth is, i've been struggling since i moved. mentally, physically, financially and the list pretty much goes on. in all honesty, the mere thought of writing has been nothing but exhausting for me since god knows when. also, my financial issues have been keeping me up all night if i'm completely honest. that should be the perfect opportunity to write ! however, i found that the creative juices just weren't flowing. i'm currently in the process of figuring out wether or not i should file for bankruptcy and i am too ashamed to tell anyone lol. you can imagine that writing hasn't really been my first thought in the middle of all this.

however, i will write again! i want to!! i miss it terribly. i just don't know when things will start flowing again, and i ask for your patience more than ever now.

i'm sorry for the wait, but i'm thankful for anyone who's chosen to stick around.

all the love x

[formulatrash]

This might be a weird thing to ask but if you're not writing for work will you write more fanfic? I really love your Star Wars au and I was kind of hoping you'd update it one day!

I mean sure let's do the full gamut of hate-inducing things in one day why not.

I don't really write fiction and I don't think I'm very good at it, tbh. I've never re-read Papaya Two cus people were so fucking loopy about it (a completely non-romantic Star Wars au that was mostly stupid puns, obviously the largest crime anyone has ever committed and I will be serving my well-deserved life sentence) but I suspect it's pretty fucking horrible writing.

idk. I am not really in ✨a good place✨ so. maybe? I am spending a lot of time having to do shit like call credit card companies to let them know I'm declaring a form of bankruptcy so it's not really getting the creative juices going y'know.

[yocalio]

The way the show is rapidly killing itself 💀💀💀 Out of morbid curiosity I'm kinda interested in seeing Liam Hemsworth's interpretation of Geralt since to me, Henry's performance was acceptable but not exactly inspired (too reliant upon game!Geralt). I still won't be continuing with the show though- curious as I am- if just to deliver a message. You know what the rub actually is?

The fact that the writers dislike the source material sucks and as someone attached to the books I resent it, however I understand that you are not always personally in love with the art you are hired to create. It is however, always expected of you to be a professional and to deliver a high quality product. Not liking the story you are working on certainly doesn't help it, but it doesn't unavoidably damage it either- unless you let it. Had they written a good show- had they bothered to understand this story and its characters and themes at their core, identified what people love about it and approached it with professionalism if not love- then I honestly couldn't have cared less about whether they personally like the books or not.

No, it's the fact that they went well out of their way to lie to us about their vision of it. They lied about being fans of the books. They lied about intending to create a faithful adaptation. We were told to expect one thing, then they knowingly delivered another. Every promise Lauren made to us leading up to the release of the show (especially S2) is just straight up fully intentional manipulation and predatory marketing. It's the lack of any respect to us- to our time, energy and wallet- coupled with the visible lack of effort on their end that's infuriating to me. I don't just feel pissed off as a fan, I feel scammed and disrespected as a paying customer. If you want to sell me something, least you could do is let me know what I'm buying.

The only way these people will ever learn is if we just stop giving them our money and attention. They don't care about these stories or respecting any source material, they care about what they want to turn it into and what stories they want to tell. They want to use it as a vehicle to puppeteer established characters into doing things that they would never do so that they can tell a story of their own. They couldn't possibly come up with something on their own and produce new original characters in new original worlds.... That's the level of creative bankruptcy we're dealing with here and I'm just completely done with it. Look at how many franchises have been sold on this same premise. Star Wars, Wheel of Time, The Rings of Power, and of course The Witcher. They've all ended up being massive failures when if done right should've been easy and massive successes.

[thephantomcasebook]

I refused to watch DJATS because I am no longer engaging in media that depicts adulterous affairs as some beautiful love story and not as something horrific and immoral. I obviously don't want to dictate what creatives want to write about, but the fandoms of media like this are always inundated with 18-30 fangirls that think whoring around with married men is peak feminism or whatever and I just can't stand it lol.

It isn't so much the adultery as it is that there is a complete lack of consequences for the female characters engaging in complete moral bankruptcy. Then, are venerated and rewarded for it as if they did their male counterparts a service.

Daisy Jones destroys a family and a marriage. She breaks down a chain of command that keeps a band in order and functioning, she abuses narcotics at shocking levels, and she nearly ruins everything that everyone else has been working for their entire life, cause she doesn't care. But in the end acts as if she had some strange moral clarity that all the things she was doing was wrong ... but it isn't her fault, no, it's everyone else's fault that she did it.

you see, because she had a shitty mom and a black lesbian bestfriend, oh, and she tells little girls that they can be anything they want. All that automatically lets her off the hook and makes her a moral person. That everything she does is all justified.

And that's just a taste of the absolute degeneracy.

[lesser-mook]

Mangaka’s be like:

“Writing is as much a journey for your character as it is for you.”

Despite my confidence, i’m no writing expert, i just know what bullshit smells like and i recognize laziness.

A sexual character in isolation is not a sin, especially if that’s supposed to be part of their presence, and there’s a narrative function for it. (Catwoman for example)

But active sexualization, going out of your way to emphasize what’s already plain as day, that’s when it gets invasive. It’s all in the execution.

Not what you do, how ya do it.

 If your vision for your character is steering toward sexual exploitation or gags to compensate for creative bankruptcy:

Either change the direction for that character

Give them less prominence, so you can think on it, and bring em back

Or give them the almighty turning point 

A turning point is exactly that, a situation that changes the course of a characters thought process, how they carry themselves, makes them question their previous motivations, question themselves; An opportunity for them and YOU the writer to change and evolve.

Number 1 example i can name off rip, and my personal favorite is: Elizabeth Comstock

Favorite character in video games, period.

Despite people’s reservations with the game, she IS the reason why BIOSHOCK Infinite worked on a writing level, when you pay attention to the writing and not the plot points. 

She’s the core piece that links everything, in more ways than one. 

Played this shit 4 times in under a year, and i hated the game at first compared to the first two.

When i started (again) paying attention to her amidst the story, and not the focusing on the story despite Elizabeth. 

It just clicked. She’s not a piece in the game. Bioshock Infinite is Elizabeth Comstock.

And the DLC was an excellent addition for more context to her character too.

I will not say more, play it for yourself.  

Am i shilling, goddamn right.

Lastly, IF you did sexualize or in any way exploit a character for whatever reason, like most of us you could’ve just done for it fun. 

Fact is, It’s not a big deal. 

Point being, it’s not too late to change direction.

Again, Writing is as much a journey for your character as it is for you.

Like said character being a self insert for example, something i wouldn’t recommend doing to begin with- 

Yet the reason why the turning point method is so powerful and OP in writing is because It’s never too late to shake it up and change everything. Just don’t abuse it.

You can liberate a character from self-insert status and make them their own person, a completely different entity. 

Same with sexualization, it’s never too late to turn a Momo Yaoyorozu into a Balsa Yonsa, a character that’s fully realized in strength, tactical ability, all without exploitation.

In fact, the comparison between how then and now is so dramatic in execution & presentation, would be that much more rewarding.

It’s never too late to commit to a rewrite, i’ve done it twice and one BIG overhaul. Best decision ever made. 

[spongebobafettywap]

For the Sabretooth and Wolverine question, the two characters are already two sides of the same coin and have a shared backstory together through the weapon x program and the military. Adding a family relationship on top of that feels like hammering the same things in instead of bringing anything new to the table. If this was revealed before weapon x and everything else, maybe maybe it would have been neat but that's not the case and god knows how stupid it would be to pretend 40 to 50 years of published stories never happened and retcon all of it because you suddenly want an OG concept included that completely contradicts decades of storylines. Marvel did lots of that in past five years and I'm done with them and their creative bankruptcy

For the mutant group question, I'm on the fence. Like the idea, didn't like the execution. Needs genuine reworking. Seen fans say the names were weird and too supernatural, I got confused at that cuz we already got some power sets that border on supernatural already (magic, weather control, lycanthropy, vampirism, possession, reality bending, ...) and most powers have foreign names (they're compound words from either Latin or Greek on average and English is a Germanic language).

Yeah I get that point of view, personally I always liked them as brothers. But the Weapon X connection is more of a later thing compared to the original idea of them being family members. Hey decades of stories being discarded is something Marvel does on the regular! that wouldn't stop them.

Yeah what they need is an actual story that maps it out but I don't think anyone currently writing at Marvel is interested in that.

[notebooknebula]

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