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jonquilyst · 3 months

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Total Drama Sims: Season 2

That's right, baby! We're back. Is your teenaged sim bored and wanting something epic and awesome to do to spend their summer? Does your teenaged sim want a brush of fame and notoriety? Well, you've come to the right place. Total Drama Sims, the freshest, awesomest reality show on simblr, is back for a 2nd season, and I'm ready for you all to send 14 more teenagers to compete in crazy, wacky challenges (safety/lack of danger not guaranteed) in pursuit of the grand prize!

WHAT'S NEW THIS SEASON?

To keep things fresh, TDS2 will be set in a new location and will have new gameplay mechanics! TDS has claimed an abandoned film lot in Del Sol Valley because this season, our challenges will be based off of movie genres, just like the 2nd season of TDS's inspiration!

As for our new gameplay mechanics, TDS2 will be introducing a double elimination (two people are eliminated rather than one), a team swap elimination (someone is eliminated, but instead of leaving the game, the eliminated person joins the other team), and purge challenges (instead of a vote, the worst-performing contestant of a challenge is automatically eliminated) to mix things up and keep the game interesting!

I am primarily looking for people who did NOT participate last season, or their sim got out early. However, everyone may still participate! I just want as many people as possible to get a chance to have their sim play 💖 A lot of people were interested last time and unfortunately spots filled up so fast that some people weren't able to participate because of it (That being said, to promote transparency, I am now REQUIRING RESERVATIONS! That means if you want to participate, you MUST contact me before submitting your sim. You can do this by DM'ing me or sending an ask).

Read on for a refresher on what this competition is all about and UPDATED submission rules (so if you had a sim compete last season, make sure to read them again!)

THE GIST:

This competition is, obviously, based off of the Total Drama series (a show that’s near and dear to me), but you do not need any background knowledge of this show to participate! The show (and this competition) functions similarly to a Bachelor Challenge, where contestants will be routinely eliminated until there is a sole winner.

This competition will also focus on the contestants building relationships with each other (hence the drama part, which is bound to happen when you put 14 teenagers together!)

SUBMISSION RULES:

Reservations for spots are first-come-first-serve. If for any reason you'd like to give up your reservation, contact me ASAP so I can give that reservation to someone else!

Your sim must be a teen

If you had a sim compete last season, you may not resubmit that same sim. I'm looking for an all-new cast!

No occults; contestants must be human only (to prevent unfair advantages)

Contestants must not have high-level skills (they can have some level of skill but nothing above lvl 5; also to prevent unfair advantages)

Any amount and type of CC is fine, just make sure to include it when you send your sim over to me ^^

Only one outfit per category please

Must be okay with slight changes in sims' appearances (as I may use different mods/presets than you do)

Must be okay with me writing dialogue for your sims (for confessionals (example from last season here). I read all entries down to the word and will try my very best to keep everyone in their intended character)

Must be okay with the possibility of your sim entering romantic relationships with other sims (PLEASE SPECIFY THEIR SEXUALITY/ROMANTIC ORIENTATION. Sims with unspecified sexualities/romantic orientations will be assumed to be pan). Nothing NSFW will be shown or mentioned, as of course I'll be portraying minors, but please let me know if you don't want your sim to enter any romantic relationships!

Please give your sims a backstory. The more detailed the better. Describe what they're like, why they're competing on Total Drama Sims, etc.

Your sim can have any traits/aspirations

HERE IS HOW THE COMPETITION WILL WORK:

The 14 contestants will be split into 2 teams of 7

The 2 teams will compete in challenges in attempt to win invincibility (safety from being voted off). The losing team will have to vote someone off (the winning team will not be part of voting)

This process continues until 7 contestants remain. Afterwards the teams dissolve and everyone competes individually (this is known as merge). This means that only 1 contestant can win invincibility; everyone else will be at risk for elimination

When merge occurs, all eliminated contestants at that point will be eligible to rejoin the game through a special challenge. The winner of that challenge will rejoin the game (bringing the number of contestants back to 8)

This process again continues until 2 contestants remain. In the finale, all eliminated contestants will vote for a winner

Challenges will occur half the time. The other half of the competition will be socialization days, where contestants are free to socialize with each other as they please

The competition will start with a socialization day first to establish relationships before the first challenge

If the numbers between teams get too uneven, then a team swap will occur to one random contestant on the larger team

Voting will be determined by relationship dynamics and how everyone did in the challenge. Contestants who do poorly are more likely to get voted. Contestants who have a negative relationship with each other are also more likely to get voted. Conversely contestants who have a positive relationship with each other are less likely to get voted. The contestant with the most votes at the end is eliminated. All of this will be determined by a spinner (in case of a tie I will use a random number generator to determine who’s out). This will also determine who wins at the end of the competition.

REWARD FOR THE WINNER:

This competition is mostly for the funsies, but whoever wins this competition will personally receive an actual reward from me! You have a choice between the following options:

Discord Nitro for 1 month

A tumblr badge

NO DEADLINE! Submissions will close when all 14 spots are filled/reserved. Please provide your sim's tray files as soon as convenient! (Lmk if you need help with this. I will teach you if you don't know how!)

I will be updating the number of spots reserved periodically and will announce when all 14 spots are taken, but if you're ever unsure, don't be afraid to DM me/send an ask!

That should be it! Please comment, DM me, or send an ask if you have any questions, and feel free to reblog or share this with anyone who might be interested in participating!

#TDS2

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radioactive-dragons · 3 months

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How 2 win a fest skin contest on dragon neopets

Hi! So I've seen some discussion on fest skin contests, mostly about how some people just keep winning. I'm not here to discuss about whether anything should be done about that, or whether that's unfair. I'm here to share some tips for people who struggle to get any fest win or honorable mention in.

Some background info: I've won a decent amount of contests so far. I don't win nearly every single time I enter a contest, but I do at least manage to land an honorable mention most of the time at this point. So take this post with a grain of salt, I'm not perfect, nor the best, just here to share what I've noticed from my festival winners as well as others.

So here we go!

Tip 1: Stay in theme

A lot of entries I see don't quite fit the idea of the flight that staff is looking for. Stick with the flight's general theme. For light that tends to be the color yellow, orbs and ancient Greece inspired ruins.

Some flights have very broad themes. Like water ranging from deep sea horrors to sandy shores, or nature both having a feral, wild aesthetic as well as a tropical, flowery one. But other flights, like wind and light, have a more narrow theme.

I've talked with some other skin artists about specific contest entries in the past, that we really wished would win, but doubted they ever would. Not because the art wasn't interesting, but because they fell outside the general themes we see in that flight. Sometimes we're surprised, and they win anyways, though!

Tip 2: study the masters

We're in our 12th festival cycle, which means there's 11 previous years to look through. This is a really valuable resource. Go through the previous years, especially the more recent ones, and take a look at what the previous winning entries were. You'll probably spot some common themes for each flight, as well as specific elements that reoccur in each fest again and again.

Whenever I sit down to make a contest entry, I look at the previous few years. Both to gather inspiration but also to study them. I don't just look at these skins, I pick apart their art style, the composition, the themes that they've used. And then I go ahead and bring my own spin on it.

Tip 3: Make it yours

Okay, yes, I know I just spent a while talking about staying on theme and referencing existing winners, but hear me out. Most of the winning entries I see (as well as most of my own fest winners) manage to walk the tight line between staying on theme as well as adding their own creative twist to it.

This is the part where I'm going to share some of my own examples, since I think some of mine show what I mean pretty well.

Solarium (brightshine 2019) | Starwood Monarch (starfall 2022) | C.A.C.T.U.S. (thundercrack 2022)

These ones still stay relatively in theme, but they also incorporate some of my own twists in it. Solarium's idea was a window to the sky, surrounded by gilded sundial-esque elements. Starwood Monarch is a pink arcane crystal butterfly. And C.A.C.T.U.S. is... well, cybernetic cacti tied into the dragon with some thunder clouds.

None of these are a carbon copy of the flight's themes, but instead incorporate the flight's themes into another concept altogether. Sundial sky, arcane butterfly, robot cacti.

And you can go pretty wild with this in some scenarios.

Fast as the Wind (mistral 2022) | Sunlit Streams (brightshine 2024)

Both of these incorporate something you really wouldn't expect from its flight. Cheetahs and koi fish respectively. I'm actually really surprised Sunlit Streams won since I felt it strayed too far away from light's general theming.

Fun fact, for C.A.C.T.U.S. and fast as the wind I actually came up with the name first, then based a skin around that name. I don't always do it but it's nice to get a cohesive package.

Tip 4: Keep it readable

A common thing I see in festival winners are that it's really easy to tell what they depict at an immediate first glance. A lot of entries that otherwise would be really good candidates fall victim to one of the following pitfalls.

They don't tint the lines and shadows

They don't have any line art separating objects from the dragon

They use a very soft brush for things that should appear more solid

Number 3 I see a lot with artists who are rather novel at (digital) art in general. This isn't a bad thing, but it does make the overall picture blurred and difficult to read.

For number 2, the fix is mostly to add clearer separation between the dragon and the object. The dragon base is a gray, but lighter and darker dragons exist. Having no (or very unnoticeable) lineart will make any very light color blend in with lighter dragons!

As for number 1... please tint your lines and shadows. Often they can be a noticeable deal lighter than what the default PSD has them as. Set your lines to multiply also, to make life less hard on yourself.

This means your art doesn't have to be perfect to win. My first two festival winners make me die inside every time I look at them.

Twilight Oracle (brightshine 2016) | Cinderleaves (flameforgers 2016)

I could list a bunch of reasons as to why I think these aren't too great, the shading being just one of them. But hey, they still won. And that's likely because they still follow these four principles at their core.

Bonus tip: have fun!

It's real cliche to throw this one in, but I mean it. If you're solely making fest entries to win, then not making it into the selection feels incredibly awful. It's art after all, draw what you love to draw. This is just my two cents on how to improve your chances at winning a contest.

I hope this isn't an unreadable wall of text and that someone actually got something out of this, thanks for reading!

#flight rising #skins and accents #fr skins and accents #fr skin contest #fr festival #tutorial #tips #i typed this up basically in one sitting lmao #go and make some cool skins

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simon-roy · 5 months

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We've got one final stretch goal, for the campaign. Given the incredible success of our #Refugium2024 Alien Design Contest, we've decided to print a very limited amount of copies of the very best entries in a 32 page booklet, which will be made available as an add-on if we can get the funds to print it! It contains 28+ phenomenal alien designs, and is a testament to the imagination of the online speculative biology community (a true cadre of mad lads)

Some of the pieces include:

From stunners like @extrajigs @total-convergence @nutspider AJC.CREATES OSSVID and more! So hop on board the campaign, here: https://www.kickstarter.com/projects/grizgrobus/refugium-a-hardcover-graphic-novel?ref=9xfnzg

#simon roy #comics #griz grobus #kickstarter #sciencefiction #image comics #speculative biology #speculative zoology #alien species #specbio #speculative fiction #refugium2024

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love-and-monsters · 1 year

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The Ship and the Alien

5,486 words, GN reader X M alien.

Humanity sends the last of their species in hibernation pods to the stars. When you wake up an unknown amount of time later, you are on a different ship. Surrounded by aliens.

Content warnings: mentions of death and discussions of medical procedures and illness.

The Ship never had a name. People tried to give it one quite a lot. There was a naming contest first, which was a bad idea. You’d think the bigwigs would learn not to give this kind of power to the internet, but it never seems to occur to them until the two top names are ‘SaveyMcSaviorface’ and ‘The Biggest Dick Ever’ and they have to scrap the whole thing. ‘Eden’ was an idea they tossed around, but there were people who said it wasn’t inclusive of other religions and a bunch of Christians who didn’t believe in the concept at all who were pissed about the connotations of the name, so that didn’t work. ‘Destiny’ was another idea, as were ‘Eternal’ and ‘Onward.’ In the end, by the time anyone had even started to come to a conclusion on the name, everyone had started getting used to calling it ‘The Ship’ and no one was willing to change that for whatever sappy shit they engraved on the side.

Maybe they did eventually name it. I don’t know. I don’t know if it mattered, really. Anybody aboard The Ship wasn’t going to be calling it anything on account of being in stasis, and anybody outside The Ship wasn’t going to be calling it anything on account of being dead very soon. So. The Ship was a fine name to me.

The Ship was not actually one ship, at the time- it was technically seven ships, six stationed on different continents and one stationed at the north pole. They were designed to all lock together in one massive structure, but to be able to function independently, in case of a system failure. There were redundancies, ways to transfer assets between different ships if necessary, and about a billion other things that I never understood, but were probably very important for a metal tube hurtling through space. In all honesty, I didn’t pay much attention to its construction. Crushing despair combined with a vicious fight for survival every day takes precedence, you know.

You don’t know how you ended up on The Ship. You know the basics- engineers, designers, and construction workers all got immediate entry. That took up a few thousand slots. Then were the ‘important people,’ the sorts you would want if you were setting up a colony. Doctors, agriculturalists, building designers, all the big thinkers who can make sure that things run smoothly and work like they’re supposed to. Quite a few military members as well. After that, there was some debate as to who else could come on. Limited number of slots, after all. You heard a lot of very right people tried to pay their way on the ship, but it didn’t work so well. Money’s useless to anyone on the ship, and will be useless to anyone left on Earth. Some people traded favors and influence to secure their spots, but a decent chunk of people couldn’t do that and had to subject themselves to the same system as everyone else.

The way they picked candidates for the civilian slots on the ship was the same way anyone picks anything they want to be at least somewhat random: they made a computer do it. All civilians who put their names in a hat, basically, and the computer system drew them. No one could accuse it of cheating, because it was a computer. Well, people could, and they did, but the idea was that at least less people would accuse it of being impartial than if a human picked.

You were one of the picks. Placed into section 3, chamber 2, pod 3247. You didn’t tell anyone- you’d been asked not to, out of fear of retaliation from those who hadn’t been picked. You just left the shelter you’d been living in and headed to the launch site.

There was a brief physical, involving being stripped, shoved onto and into a ton of machinery, drinking some kind of gross shit that purged your body of what felt like everything you’d ever eaten, getting your head shaved, and an IV port implanted into your arm. You saw other people on occasion, going through the same thing before they were whisked away again. There were no opportunities to talk. Everything was brutally efficient.

You were allowed to sleep for a few hours on a hospital-style cot. You ended up just lying there and staring up at the ceiling. There were other people there, also trying to sleep and failing, but nobody talked. Everyone just waited.

In the morning, you were all herded into the body of the ship. It was massive, bigger than any building you’d ever been in, and still quite cramped when you walked into it. The room was cylindrical, with pods lining the whole thing. The walls rotated, allowing the pods to be lowered to the ground, people to be strapped in and put to sleep, then rotated up to the ceiling, ferris-wheel-style.

You were toward the back, so you got a good view of the people in front of you being placed into the pods, injected with the combination of fluids that would knock them out, hooked into the machinery, and then sent into ‘hibernation mode.’ On your turn, you were pushed into the pod, the fluid-filled bags that supported your body adjusting automatically. The fluid was administered through your IV port and the chill of it made your eyelids droop almost immediately. Your eyelids drooped. The world grew colder and colder as the pod lid closed round you and you were left in the pitch blackness of the pod. You couldn’t tell the difference between your eyes being closed and open, but you must have closed them at some point, because you did drift into the dreamless hibernation of spaceflight.

It wasn’t quite like falling asleep. It was more like closing your eyes for a couple seconds and suddenly everything felt like garbage. Your muscles cramped, your mouth was dry as a bone, your arm throbbed where the IV port had been attached, and your eyes couldn’t open. You coughed furiously as soon as you took your first breath.

The air that touched your skin was horribly cold, but your body couldn’t shiver. Despite having basically nothing in your stomach, your body kept trying to retch. Your limbs were locked up, barely able to move from the slightly-uncomfortable position you’d been forced into in the pod.

Something touched your arm and you screamed. Or tried to- your lungs forced the air out with a sound more like a grating huff. The touch was warm, blazing against your bare skin, and even the texture of it was unbearable. Being without sensation for so long seemed to have magnified your senses a thousandfold.

It was hard to tell how much time had passed before moving became tolerable. You tried to open your eyes a few times, but even once you could physically do so, the room was too bright to look at. You flopped helplessly on your back, squeaking and complaining whenever you were touched.

As your brain grew used to processing sensory input once more, you got better at figuring out what was happening to you. You were lying in some sort of thick liquid, with your head supported so your face was free of it. The thing that kept touching you was alive, presumably, because it was moving. It felt like you were being gently massaged. Kind of the massage used to help encourage blood flow in a limb.

You tried your eyes again. They cracked open, just barely. The light wasn’t so bad this time. Not good, but not bad, either. It stung. You could see someone, probably a person, moving around you, although you could barely even make out the silhouette. It was mostly a blur.

The massage was nice. It was sort of a more pleasant awakening than you thought you’d have. They’d briefed you on the awakening procedures- the pods would gradually warm up so you woke up slowly before ejecting everyone all at once. No one should be awake to care for you. Maybe something had gone wrong? But not so wrong that you’d died, so it couldn’t be something you needed to worry about too much.

You took your time to come back to yourself, slowly warming up to your body again. It still felt like you’d spent a week and a half completely sick with the flu, but you were otherwise not so bad.

The room was slowly drifting into focus around you. It was actually quite dim, you realized. There were a couple of pale blue lights set into the ceiling far above you providing illumination for the whole room, so everything was dark and shadowy. There was still the silhouette moving around you, but they were sort of dark and it was hard to make anything out about them.

The silhouette moved closer, still backlit too much to make out features. There was something slightly off about the shape of it, with the head and the shoulders or something, but maybe that was some weird eye effect of the hibernation. Hallucinations sometimes happened after hibernation, they’d said. Nothing to worry about.

And then the silhouette spoke. At least, you thought it was speaking. It wasn’t using words, though. It made a low, sort of thrumming noise with the occasional pop or creak. They weren’t quite noises a human could make, or at least, not without great effort.

You froze. That was… weird. More hallucinations, maybe? Had the hibernation fucked with your brain so bad you’d forgotten how words worked? That wasn’t good- maybe that’s why you were getting woken up separately?

Before you had a moment to ponder that any longer, there was a mechanical click and a voice, sort of neutral and male, said… something. You still couldn’t understand what it was saying, but there was some confirmation that it was, actually, saying something because you recognized the language: Chinese.

There was a pause. The mechanical click repeated, and then the voice spoke again, in English. “Are you conscious and able to respond? Please raise an arm if you can understand what I’m saying to you.”

You raised your arm automatically, though it was a struggle to lift it out of the thick substance you were submerged in. The thrumming and popping noise started up again, followed quickly by a mechanical click and a voice in English. It reminded you of when they dubbed over someone on the news while they were still talking. “Please remain calm. You suffered some injuries to your extremities, as well as hibernation sickness. We’re attempting to stabilize you, but you’re in a delicate condition.”

You tried to talk, but your mouth was so dry your tongue was trying to glue itself to the roof of your mouth. If the person was bothered by that, they didn’t show it. They moved closer to your head, walking alongside the tub you were resting in. Your eyes tracked them. They were moving weirdly. Were they hurt, maybe? Alarm bells kept going off in your head, the uncanny sense that something was wrong, but nothing in your conscious brain could put together what it was.

The person moved so they were in one of the brighter section of the room. You could see more than just their vague shape. Your heart stopped.

They were not a person.

That was why their shape was wrong. You could see their torso, from their head to nearly their waist, and it was human only in the vaguest of shapes. Sort of a vaguely oval head, with a sort of human-like face, except it was flatter, with pointed, almost horse-like ears. Their eyes were a little deeper-set and rounder. Their coloration reminded you of a Doberman, almost, with black across the top of their face and a paler color underneath. Their torso was longer and more slender than a human’s with narrower, more sloped shoulders and long arms that folded up close to their chest. They made a sort of humming or purring noise as they leaned over you.

You struggled to sit up or scramble away, but you couldn’t move much. You couldn’t even scream, just sort of moan helplessly. One of your legs managed to kick out sideways and connect with the side of the tank. It wasn’t much of a hit, but that, combined with you straining the rest of your pathetic muscles to get away from the thing next to you, meant that you partially slid off whatever was keeping your head supported and your face went under the water.

It was thicker than water, but not by too much, so your head slid under it with disconcerting slowness. It was then that you discovered another disadvantage of your weak muscles- the substance was just thick enough to make moving through it, even just enough to lift your head out of the water, impossible.

You thrashed, but not really, since you couldn’t move. There was only about two seconds of panic, though, before hands locked around you and pulled your head out back out. You sputtered as the hands placed your head back on the little platform.

“Stay still.” Something was beeping frantically in the background, and you could both hear and see the creature shifting around to check on some machines. “The fluid is warming you back to proper temperature. You need to remain still and calm to avoid going into shock.”

There was no way you were not going into shock. But you’d used up all your energy in your near-drowning, so you couldn’t do much but lie there. The creature seemed to relax.

“I understand that you’re frightened. I promise, I’m trying to help you.” When you didn’t move, just watched them, they relaxed further. “Remain still. I will conclude the treatment.”

They fussed around for a little while longer, checking on whatever monitors were giving readouts for your condition. You weren’t sure what indicated that your treatment was over, since you didn’t feel much better, but eventually, they pressed a button somewhere and the fluid drained out of the tub. It was cold after the fluid was gone, and you were completely nude and shivering, resting on some pads at the bottom of the tub. The creature, thankfully, offered you warm cloths that you could bury yourself underneath.

Before you could even properly enjoy the warmth, there was the sound of footsteps approaching. A lot of footsteps. Summoning all your strength, you heaved yourself up and looked over the edge of the tub.

There were more of them. Only three, not including your creature, which didn’t seem to match up with the amount of footsteps you’d heard. And then you looked down a little more and realized why.

They were centaurs.

Sort of- their limbs weren’t hooved, and they weren’t really like paws, either. A bit more like bird talons, if birds rested mostly on their fingertips. Talontips. Whatever. They walked with their torsos bent further forward than centaurs, too, and they had long tails. A couple of them had horns, pointing back off their heads. They were wearing clothes that were relatively close-fitting, like most spacesuits you’d seen.

The one in front, with the largest horns and a sort of fancy marker around its neck, stepped froward. “On behalf of the First Branch of the Agrenier, we would like to officially greet your species. And offer our condolences.” This one also had their words picked up by the machine and recited in a language you could understand, though the voice the machine used was different, a little more feminine. Maybe this one was a woman?

The blankets hadn’t really calmed your shivering, but you managed to speak in a semi-steady voice. “Condolences?”

She scuffed one of her forelimbs, her ears lowering to the sides of her head. “Your ship was found drifting, nearly without power. There was some sort of error with major mechanical functions in the ship, which caused serious damage to the inner workings. Upon investigation of the craft, we discovered several hibernation pods, the vast majority of which were damaged.” She paused, still tapping a forelimb against the ground. “Two contained living members of your species, but you were the only one to survive the initial reawakening process. You have our deepest condolences.” You opened your mouth, but you couldn’t think of anything to say. Your brain struggled to process anything. Two pods with living people. Only one survived the reawakening. That was- that had to be you, right? You were- the only-

Dimly, you were aware of the robot speaking again. It seemed to be rapidly switching between two agitated voices. People were having an argument, maybe? You didn’t care. You buried yourself under the blankets and hid in the warm cocoon until everything was dark and floaty and your brain didn’t have any thoughts in it at all.

Someone tried to tug the blanket away. You weren’t sure how long it had been, but it was quieter and your limbs were stiff from being in the same position. You tried to keep the blanket over your body, but there was another firm tug and you lost your grip. Your muscles were pathetic. And, as embarrassing as it was, you couldn’t help but crying out when the blanket was taken away. It was the one thing you had in the world and you couldn’t even hold onto it.

“I’m sorry.” The other voice, the one from your centaur, came again from the robot. It did a very good job at adding emotion to the voices- it sounded anguished. “You’re overheating, I need to take it, but I’m sorry.” You curled up on the bottom of the tub, unmoving. The centaur patted your head. It was a small gesture, but you leaned into it. What else did you have?

The centaur patted your head a few more times before moving on. “I know you’re probably scared, but we’re not going to hurt you. I’m going to help you. Your hibernation pod was the least damaged of all of them, but it still had some minor malfunctions. It was hard to wake you up, and you’re not going to be all there for a little while.”

You racked your brains. It was easier to think about facts. When you’d gotten on the ship, there had been a big disclaimer about the dangers of hibernation pods. They were designed to keep a human in a state of suspended animation, with body functions slowed down to the bare minimum. The upper estimate was that it could keep a human asleep and alive for over half a million years. Not that anyone had ever tested them before you. But they were also risky- even minor malfunctions could lead to an early awakening, damage to the body, or the hibernation process just killing a person outright. Even when they’d gone over that part, though, no one had left. Why would they? Between a one hundred percent chance of death and a twenty percent chance, who would take the former?

So the malfunction had probably been in the sleep-wake system, the part that regulated how the machine knocked people out and woke them back up. It was supposed to run through a wakeup cycle on its own when the main computer signaled it was time, but if that system failed, it could be manually activated, and if the waking system failed entirely, there were ways to safely bring a person out of the hibernation without machine intervention. They were always riskier, though, and even if everything was done perfectly, it didn’t guarantee a successful revival.

That must have been what happened to the other person, the one in the other surviving pod. They’d tried to wake them up and…

Nope. Focus on facts. You took a deep breath. “What happened to the ship?”

“We boarded and searched it, and transferred the central computer system over to ours, as well as the supplies we could budget the space for,” the centaur said. “I’m afraid I don’t know any more specifics than that. I’m sorry.”

“How was it damaged? You said it was damaged.”

“An impact, I think?”

“That doesn’t make any sense. The ship was designed with rotator shields and plating and redundancies to keep everything secure. It was safe. It couldn’t be-” You paused. “How many people were on the ship?”

The centaur paused, then turned to one of the machines and tapped something in. “About 45,000 hibernation pods were recorded to be on the ship.”

That was too few for the main ship, but it had been designed with redundancies. If the impact had left a portion of the ship crippled, it was designed to eject the damaged portion and continue on without it.

Which meant your portion had been spit out and left to drift while the rest of the ship continued on toward its destination.

So everyone on the ship wasn’t dead. They were just continuing on to their destination. Without you.

That should make you feel better, right? That they weren’t dead? But you just felt very, very… lonely.

“I’m sorry about your fellow passengers,” the centaur said. He was leaning over the edge of the tub, sort of draped over it so he was resting his arm and his chin there. “For now, you should rest.” He glanced toward the door and his lips lifted into a bared-teeth expression. “Before our first officer comes back.”

He lifted your arm and slipped a tube into the shunt. It took only a few minutes before liquid sleep was coursing through your veins and you fell into a deep sleep.

The awakenings happened on a more or less regular schedule, at least from what you would tell. Often they would happen in that warm bath again, with your centaur rubbing your limbs to encourage bloodflow. Sometimes there was the other centaur there as well, the female one. You were pretty sure she and your centaur didn’t get along. The robot didn’t often translate for their conversations, but they had the tenor of arguments, and your centaur was always huffy and quiet after speaking with her. You ended up keeping time by the awakenings.

After two awakenings, your centaur gave you food. It was all prepackaged meal sludge, which was designed for people who had awoken from hibernation recently, and it made your stomach cramp, but you ate it. After four awakenings, the cramps stopped and you could move on to a combination of meal sludge and broth. Whenever you could, you engaged your centaur in conversation.

“How’d you know what medicines and foods to use?” you asked as he pulled the line administering some sort of medication out of your arm and closed the shunt.

“We transferred the existing data of your ship’s computer over to ours. I’m using your ship’s guide, translated into our own language, and improvising with our own equipment where yours was damaged- the hibernation pod you’ve been staying in is one of ours.”

“It seems too small to fit you,” you said. You weren’t a small person- you were actually pretty average- but the pod was only a bit too big for you to comfortably rest in. The centaurs were bigger than you by a pretty big margin, even your centaur, and he seemed to be the smallest one you’d seen so far.

“Oh, yes, that one’s for children.”

“You put children in hibernation?” You tried not to make the statement accusatory, but it came out like that anyway. There had been no children on The Ship, for multiple reasons. First was practicality- having a population that could breed and work right away upon making planetfall was paramount, and children wouldn’t be able to do either. The second was that no one knew how hibernation pods would affect children. Would it damage their bodies? Their ability to age properly? Hibernation had only been tested on adults- it was hard to convince people to put children in pods that might kill or cripple them, even when the same people had no issue with adults, especially prisoner populations.

Your centaur seemed unbothered. “For medical purposes. That’s what hibernation pods are used for. Slowing the spread of disease until the person can receive medical attention. It’s highly risky to use hibernation pods for long term space travel.” His ears flicked. “Though under your circumstances, I can’t say I can judge you.”

Ah. If they had the computer’s logs, they all knew what’s happening to Earth. What had probably already happened. The planet had a scant few years left by the time The Ship left, and if you’d traveled far enough to come across real aliens, then you’d been traveling for a while.

The centaur walked around the pod as the entire thing shifted from a horizontal position to a nearly vertical one. “I’m going to unlock the restraints,” he said. There was a faint click and the straps that were holding you in place retracted.

Your legs wobbled. It took all your strength to keep your body upright. It was a strain to stand, to walk, even to sit up sometimes. But your centaur insisted on making you move around.

“Hands in mine,” he said, extending his arms. You placed your hands in his and stepped out of the pod. He supported most of your weight with barely a tremble as you took a few shaky steps. His hands enveloped yours, though that was partially because of their strange shape. Unlike human hands, his were six-fingered and bilaterally symmetrical, with four ‘fingers’ and two ‘thumbs, both of which were positioned closer toward the wrist and pointed further backward than human thumbs. Despite their alien shape, holding his hands felt remarkably similar to just holding a human hand. It was a comfort.

Just as you were completing your second circuit of the room, your legs trembling like a baby deer’s, the door opened. Your centaur glanced up and his ears lowered instantly. The centaur that walked in was the first officer, the female that you’d seen when you’d first awoken.

“Officer,” your centaur said. The machine that translated everything was apparently quite accurate with tone, so you could tell that he was being both polite and annoyed. “Good to see you.” He was not happy about seeing her. “I am in the middle of something, so if this is not a pressing issue, perhaps we could continue this at a later date?” Please, please fuck off.

The veneer of politeness he was using didn’t let her be outright annoyed, but the machine’s tone when it spoke for her suggested she wasn’t very happy either. “It concerns our guest,” she said, turning her gaze to you. “And it is somewhat pressing.”

Your centaur shuffled his back legs and swung his tail. “Very well. Let’s get you back to the pod.” He ignored her, focusing his gaze on you as he assisted you back to the pod. You let out a sigh of relief as soon as you were in it. Your centaur rotated the pod back into the horizontal position and started to fill it with the thick fluid that let you float comfortably.

The first officer approached, claws clicking softly against the floor as she did so. “The human will want to be awake for this,” she said. “It’s important.”

Your centaur huffed a bit, but he didn’t move to put the sleeping drugs back in your system and just folded his arms up to his chest, in a way reminiscent of a praying mantis, and waited for her to speak.

She cleared her throat and turned her gaze to you. “We’re coming across one of our stations. You will be placed on a shuttle to the station, and then sent on another ship back to Tenso-bara.”

You blinked. What was Tenso-bara?

“In my opinion, that’s not a good idea,” your centaur said. His ears were still flattened, his lips curling back from his teeth just a little. “The hibernation causes weakness and sickness, so it may not be a good idea for travel at this point in the-”

“We are not going to come across another station for several-” The translation stuttered here, blocking the word out. “And we are not in compliance with the endangered species accords. We’re required to send endangered species to occupied worlds that hold to the accords for proper categorization and preservation.”

“Those accords aren’t for fellow intelligent species!” your centaur huffed.

“They were initially designed for non-sapient life, yes, but they do not exclude sapient species. Given what we know, we may be sheparding the last member of the human species.”

“There might be others!” you said. The first officer paused, her gaze going piercing-sharp. “The Ship was designed to separate damaged segments to protect the undamaged parts. The part of the ship I was on was only a small portion of the full thing! There are probably others!”

The first officer paused. “How many others?”

“Um. I think there were around two hundred and fifty thousand. Maybe as many as three hundred thousand? I’m not sure- they were trying to add additional pods at the end, but I was put to sleep before that happened.”

“But there is no guarantee that these other people did survive. Nor do you have any idea where the ship is now.” The first officer’s voice wasn’t cold or cruel, but it wasn’t gentle, either. You drooped a little.

“No. There might be information on the computer about where we were when the impact happened, but if it’s not there, then I don’t know where the ship could be.”

“Then I apologize, but unless we have other living members of the species or some confirmation that the others are alive, then you are under the accords and cannot stay on this ship. It is required for you to be returned to a planet.” She stamped her two front feet in a motion you assumed was like a shrug. “There is nothing I can do.”

“If that’s the case, then I want to make a request,” your centaur said. He stepped forward, practically shielding you from the first officer. “I would like to request a transfer.”

The first officer swung her tail back and forth across the floor, making a soft schff, schff, schff sound. “You wish to go with the human.” Your centaur’s ears twitched and he rubbed his wrists together. Maybe he was embarrassed at having been so obvious. “Ah, well. Yes. I think it would be a good idea to stay, since I’m already aware of the medical conditions and-”

The first officer stomped one of her feet firmly against the ground. “I will submit the request. But I cannot guarantee it will be approved.” She turned back to you, expression neutral. That you could tell, anyway. Their faces didn’t seem as expressive as a human’s. Or maybe you just couldn’t understand their expressions as well. “You will be transferred in two days.”

Without another word, she left the room. Your centaur made a noise somewhere between a relieved sigh and an irritated huff. Then he turned back toward you. “I apologize about her.”

“What was she talking about?” you asked. He picked up an IV line of sleeping meds and for a moment you thought that he was going to knock you out so he wouldn’t have to answer your questions. But he just fiddled with it for a moment before speaking.

“There are many species in the known universe, and the gradual colonization of these planets has left many of these species in critical danger, which led to environmental accords. Severely endangered species have laws regarding their transport in space and species in critical danger need to be taken to preserves in order to breed them back to proper levels. Or just keep them until their species naturally goes extinct. Whichever.”

“I’m going to be put on a nature preserve?” you said, trying to sit up. Your centaur immediately tried to usher you to lie back down.

“Probably not for long. I’m sure they’ll work to give you freedom and self-determination and all that. We’re just… required to follow regulations.” He rubbed his wrists together again. “I do want to advocate for you, though, hence why I elected to come with you. And to give you medical care.” He made a series of thumping noises in rapid succession, which the robot apparently interpreted as laughing. “I didn’t get my xenobiologist degree just to hand a medically delicate specimen over to some idiot government worker.” His voice got softer as he continued. “You’re going to be okay.”

It was comforting to hear that reassurance. He slipped the line into the shunt in your arm and you closed your eyes, feeling an unusually peaceful sleep drift over you.

Part 2 here.

#exophilia #alien partner #alien boyfriend #monster romance #monster lover #male monster

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kotori-mochi · 6 months

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Pink Floyd: animated music video contest.

So Pink Floyd had an animated art contest.

"Pink Floyd's The Dark Side Of The Moon 50th Anniversary Animation Video Competition."

There were a fair amount of good entries, some I thought were going to win BUT guess who won? It was an AI bro, this person won an animation contest by putting in some prompts into a program.

The only thing they made was the tittle card, everything else was all done by a program that uses stolen data.

This just was so depressing and especially since there were some well made drawn animations.

Like this one here

I recommend watching their video it's fantastic, it does have nudity but it's nothing sexual. Also go check out the other entries too because these actual artist need the love for their hard work.

Something I also learned is each song was in a category, so there were multiple winners. One of the videos that did lose to that AI one was this one link.

Also very well made and created by a person, not a program but they and others who put in for that song lost.

Overall, knowing that someone won an animation contest and didn't do any animating. Over the people who spent months working on a animated music video, with there own hands and skills.

It just makes me question, what's the point in entering these contest? When it seems an Ai generated entry will always win.

Note: Also they know it's AI generated because the guy who won, literally said he used an AI generator.

#pink floyd #art #artist #animation #art contest #ai issues

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jokeroutsubs · 1 year

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Joker Out interview with magazine Mladina, published on 30th of June 2023

Interviewed by Vanja Pirc

Photos by Borut Kranjc

This year's Slovenian representatives at Eurovision, the five-member band Joker Out, attracted an unusually large amount of attention with their accessibility and playfulness, especially with the song "Carpe Diem." In the days and weeks that followed, it became clear that their Eurovision entry, which only placed 21st, had indeed opened the door for them to go abroad. They started adding new concerts in Ireland, Croatia, the UK, Scotland, Finland, Sweden, Norway, Serbia, and others to the ones they had already arranged in Slovenia and the former Yugoslav republics. They sold out all of them, some in just a few minutes. Well over eight thousand people will see them on the UK and Nordic tour alone. For musicians working in Slovene, that's an incredible statistic.

It's a remarkable milestone to see how they've come from "Špil liga," where they first came to the limelight by winning in 2013 when they were still a high school band, to today, being greeted by masses of enthusiastic fans below the stage, and being selected by the Scottish band Franz Ferdinand to be their opening act at Croatia's Špancirfest festival. We spoke to lead singer Bojan Cvjetićanin, guitarists Kris Guštin and Jan Peteh, and bassist Nace Jordan. Unfortunately, drummer Jure Maček was missing, but we could see that he is a man of many talents by looking at the huge wooden structure with a platform that added another floor to the band's rehearsal space in Šiška, Ljubljana.

After Eurovision, you made no secret of your disappointment at finishing 21st, but your Eurovision song "Carpe Diem," sung in Slovenian, is now one of the most listened-to songs of this year's Eurovision event. It's being played all over Europe, most notably in Finland, Poland, the UK, the Netherlands, Spain... Did you expect this turn of events?

Bojan: The result we achieved at the Eurovision Song Contest was really not the greatest. Not even close. But, as you can see, in the end, it doesn't even matter. What is more important for us is that we managed to achieve the rest of the goals we had set for ourselves. We approached Eurovision in a very organic way, aiming to translate our stage and concert experience from real life to the Eurovision stage. It was clear to us that this is the biggest show stage in Europe, maybe even in the world. We were aware that this is a competition of one song, one comprehensive performance to be presented in three minutes. Our goal was to ensure that the audience would remember Slovenia's performance in 2023, and we have achieved that. We also aimed to connect with other performers, and we succeeded in doing so. But most importantly, we wanted both our Eurovision song and our other songs to be well-received in the real world. The data from radio stations, online streaming platforms, and concert offers confirm that apparently, we have achieved that as well.

Before, you were known mainly in Slovenia, and to a lesser extent in the Balkans. However, your Eurovision song has temporarily climbed to the top 50 most viral songs in the world chart on the streaming platform Spotify. You even briefly surpassed Sweden's Loreen, the winner of this year's Eurovision, in terms of popularity.

Bojan: Just to clarify, we only surpassed her for a day or two. But it's really nice that it happened on Spotify's list of the most listened-to songs in the world.

Kris: Well, she did get a billboard in New York's Times Square as the winner at the time, so it's a matter of who surpassed whom, I suppose (gesturing with his hands).

Well, who did?

Bojan: I believe that what we will gain from this performance will surpass what many other performers will achieve. Eurovision has introduced us to a very large audience in a very short time, and they have really connected with our music. They are now translating our lyrics into their own languages and even learning Slovenian. We were surprised to see how many of them bought dictionaries to learn Slovenian - we know this because we were asked to sign them. Others are learning Slovenian through online platforms, and there are even dictionaries being created on TikTok. These listeners are not bothered at all that we are not creating in English at this point; on the contrary, they would like us to keep it that way. However, we have to be realistic. To truly expand our listener base, it's important to be accessible to people.

That's why you have already prepared an album a few months ago, featuring songs from both your previous albums rearranged in English. The album is now awaiting release. One of your main goals was to be able to translate your concert experience onto the stage.

Bojan: The first real international test after Eurovision was in Zagreb, where we performed as the opening act for the most popular young Serbian band at the moment, "Buč Kesidi", at a previously arranged concert. We performed outdoors in the middle of the day, with the sun still high up in the sky. However, we were greeted by a crowd of 2,500 people and received a phenomenal response. They sang along with us, and later we read in the Serbian media that we probably have the most Croatian fans among Slovenian bands. After this show, when we announced a solo concert in Zagreb's Tvornica for November, which is comparable in size to Ljubljana's Cvetličarna, the tickets sold out in five hours. So, we arranged another concert in the same venue, and that one sold out as well. The response in Croatia has been truly amazing, and they have set a very high bar for the future.

You have been intentionally engaging with the countries of the former Yugoslavia lately. Through songs like "Demoni" ("Demons"), you have approached them language-wise. In addition to Croatia, you have also been booked for concerts in Serbia and Bosnia and Herzegovina. Your Eurovision song also reminds me a little of Plavi orkestar, which was once the most popular Yugoslav pop band, or Đorđe Balašević. It is probably not a coincidence that the line "The game of hatred is your thing, thank you, don't count on us" is reminiscent of his hit "Računajte na nas" ("Count on us")?

Bojan: No, no, it's not a coincidence.

Is it nevertheless more difficult to plan a breakthrough to the rest of Europe? After Eurovision, the Irish were the first to sign you up, did the audience there also know your songs by heart?

Bojan: Yeah, we haven't really gotten used to that yet (laughs). In Ireland, we managed to sell out our first show in 12 minutes. It's true that it was a small venue, comparable to Ljubljana's Orto bar, and it wasn't a solo concert, but a joint performance with this year's Irish Eurovision representatives. However, due to the high level of interest, we arranged another concert in a club twice as big, which is also their most iconic venue. Soon after, other venues started to show interest. We announced a UK tour, with over five thousand tickets on sale for four shows in major cities, and they sold out. We announced a Nordic tour, with around 2,500 tickets available, and it sold out in half an hour, along with three Finnish concerts in just ten minutes. Later, we released an additional 770 tickets, which were gone in five minutes. Offers are also coming in from many other countries, and it is impossible to predict what will happen in the upcoming months.

A number of Slovenian music artists have successfully reached international audiences, from Senidah to Laibach, from Gramatik to Umek, and you were the first ones to consider using Eurovision as a springboard. Would it make sense for our country to continue using this event to promote established musicians who are eager to make an international breakthrough? You were internally selected for this competition.

Kris: It all depends on what we as a country want to achieve from this competition in the future. We have to decide whether EMA is a competition where we find the most suitable representative and expect them to make the most of their opportunity while promoting our country along the way, or whether it is a competition where Slovenian musicians present themselves to Slovenian audiences. Personally, I believe that it is definitely better to choose a performer who already has an established infrastructure in place and a certain support base, because this can enable him to use his potential to the fullest.

Jan: I think that would be the best approach as well. However, since many musicians see EMA as one of the few opportunities to showcase their work to a wide audience through public broadcasting, it would make sense to maintain that aspect too, perhaps as a prelude to EMA, transforming it into a grand finale for carefully selected artists, similar to Sanremo.

Bojan: The main issue with the previous selections was that Slovenia didn't approach it with the intention of winning. Of course, success in such a significant event is not guaranteed. But why not approach it strategically nonetheless? For example, I believe we should send Senidah to Eurovision in 2024!

Senidah is the biggest star in the Balkans, the most listened-to musician. Is she also your role model in that sense?

Bojan: Absolutely. Senidah is the first Slovenian artist, after Mr. Predin and "Lačni Franz", to truly break through in the Balkans. She does write music in Serbian, but that's irrelevant; what's important is that she's made a remarkable breakthrough in a market that has so far been very closed off to Slovenians. And not only has she broken through, but she is topping the charts. However, I would understand if Senidah refused to participate in EMA, at least as long as the current rules are in place. EMA is too close in time to Eurovision. The winner has only one month to submit material. Imagine having to put together the most important performance of your life in just 15 days? We, on the other hand, had more time since we were internally selected—three months—and we utilized this extra time to design our pre-Eurovision campaign, which ultimately played a key role in our success. That's what left the biggest impression.

You managed to invest between ten and fifteen thousand euros of your own funds in this promotion. You have an extensive domestic touring career behind you. In October, you will fill our biggest venue, Stožice, for the first time, where you expect 12,000 people.

Kris: I've always considered it a privilege to have established a music career at such an early stage in our lives and to have quickly reached the point of financial self-sufficiency.

Bojan: It really worked out for us that right after we finished university, we began our professional lives as musicians.

Those who know you say that you are very disciplined, very organized. Bojan, your fellow classmates from Poljane Gymnasium in Ljubljana also say that even back then, you were absolutely convinced that you were going to make a breakthrough. Many people rolled their eyes at the thought, but you had a clear objective. You were networking with the right people, educating yourself, and Pavle Kavec taught you guitar...

Bojan: Yes, Pavle the legend. I knew during my time at Poljane Gymnasium that I wanted to be an artist. I hadn't fully decided whether it would be music or something else because I was also considering studying acting. But my thoughts were always centered around creating. I suppose that's more or less true for all of us. When Jure and Nace joined us, the first question was whether we were fully committed at 1000%, or if there was another one percent pulling us towards a "plan B," such as the directions we were trained in. No, there is no "Plan B" anymore. At some point, we made the decision to cut it off.

So, the high school students at Poljane Gymnasium may very well forget that you were once planning to be their sociology professor? We've also seen you in a few episodes of the series "Gospod profesor" ("Mr. Professor").

Bojan: I've given up on the professorship, but I still find acting very interesting. For once in my life, I would like to be in a film, playing a totally negative character. I would be mean as a snake. And it doesn't even have to be a Slovenian film; it can be from the Balkans.

Kris: I have to admit that I never thought of making a living from music, although I certainly saw it as an ideal. Even when I was deciding on my studies, I wavered between sociology and chemistry, and then preferred the latter because of its greater potential for employability. Well, later on, I did go into social sciences, for a master's degree in international relations.

Yet Kris, you were the one who had the ideal conditions to become a musician. You grew up playing guitar, because your father, Miha Guštin - Gušti, is the co-founder of "Big Foot Mama", one of the most popular Slovenian bands. Today, you are considered to be their successors.

Kris: I really had the ideal conditions to become a musician who does this for a living. Not only because of my dad, but my mum also worked for record labels for many years and has recently embarked on this path again, so I've been in touch with both sides of the music world, creatively and business-wise, since I was a little kid. But I didn't really start playing guitar until I was 14, 15. And nobody else among us is a trained musician either, except our drummer, Jure Maček.

Bojan: Yes, our Maček finished elementary music school, and he also played a lot, mostly with the "Logatec brass band".

Jan: Let's not forget his performances with the "Golaž brass band", and with the Cantabile Symphony Orchestra...

Jan, you are a mathematician. The link between music and mathematics was explored by Pythagoras after he listened to a blacksmith striking a hammer, and from that he developed the study of harmony.

Jan: Yeah, at the moment it's kind of like, if you have an out-of-tune guitar, you can just say you have a Pythagorean tuning (everyone bursts out laughing). To me, maths is relevant because it's the only thing in the existence of human understanding that you can really count on. It can be used to get definitive answers to at least some questions. I see it as something that gives you structure in your life.

Nace: I would have chosen to study veterinary medicine if I had gone to university, but I discovered very quickly that music was my passion. After high school I went out into the world, I played in a band on a cruise ship that more or less sailed the Baltic, somewhere between Russia, Finland and Sweden. You could say I've got a lot of musical mileage from playing abroad. But it's limited to German schlager and German rock. Our audiences were mostly German families (laughs).

You also have the most experience of performing in front of TV cameras, especially as a member of the in-house band of the TV show "V petek zvečer" ("Friday Night"), which gives airtime to more folk-music genres on TV Slovenia. Have you scrapped this "plan B" now as well?

Nace: Officially, I'm still a member of that band; maybe the managers are expecting me to come back to the show in the autumn. But it remains to be seen whether that will be possible. Most probably not.

Today, together with MRFY, you are considered the successors of our most popular rock or pop-rock guitar bands who managed to appeal to the masses, not only of "Big Foot Mama", but also, for example, "Siddharta" and "Dan D". Why hasn't there been a real breakthrough of new bands of this kind in the last few years? Were guitars considered to be outdated, were young people closer to electronica, trap, hip-hop, mixtures of genres?

Bojan: The music of "Siddharta" and "Big Foot Mama" was a kind of basic building block for me from the very beginning. These people have influenced me more than any other world-renowned musicians. So having them support us really means a lot to me. And the Špil Liga, where student bands have been entering for the last decade, has definitely been a very strong factor in the revival of the scene. MRFY are also from Novo mesto, which is considered a mini Slovenian capital of rock'n'roll, as many of the bands that have developed under the patronage of Tokac, the music producer and frontman of "Dan D", originate from there. At the same time, in last few years the Slovenian youth has become hungry for home-produced music of all genres, and this has stirred up a strong wave of creativity, which is being held in the hands of our own generation, as well as those a little younger and older than us. At this point, the whole spectrum of what we need, from clothes to design to photography, is being created by people our age, as well as those a little younger and older than us. Well, with one exception, of course, being our producer Žare Pak, but he's young at heart.

As you reach out to a wider audience, do you also feel the pressure to meet the ever-increasing expectations of both listeners and the music industry?

Jan: I feel that right now, more than ever, we can be confident and sure of what we are doing. We didn't even enter Eurovision with some deliberately made hit-like song to suit Eurovision ears, but we did a Joker Out song that could easily have been on our album last year. Our achievements so far prove that we are doing something right because people at home and abroad like it.

Kris: I also feel like we have more freedom to create now but also fewer inhibitions to go into more experimental waters in terms of music, outfits, visuals, or anything else.

Do you think that's what some people expect from you now?

Bojan: Musicians are often criticized for their style, genre, or sound. But such criticisms are absurd.

In particular, Slovenian rock or pop-rock has always been attacked in this respect for relying too often on tried-and-tested forms and less often, for example, on boldness, innovation.

Bojan: We've been on the scene long enough, and we know that the very concept of what Jokers do bothers some people. And that's why they keep pushing their idea that we don't make authentic music but rather some crap that we invented just to exist. So, they feel it would be good if we would stop doing that. These people want, or even demand, that Joker Out should stop being Joker Out. And we're happy that on the first and second album we were able to make music completely unburdened by expectations of how people would react to it. I think the second album is quite challenging in both its sonic elements and the overall meaning of the lyrics in certain songs. I'm sorry that not one of the critics mentioned "Plastika" ("Plastics") in their reviews. None of these intellectuals who have so much to say against our love songs thought that this could be a harbinger of a different, new direction.

This song was written in response to a study showing that the vast majority of teenage girls today want plastic surgery and other body modifications to meet their perverse beauty ideals.

Bojan: There's a lot of content that people don't want to see. On the other hand, I also don't understand why songs about love, which are in the vast majority in this culture at the moment, should be inferior to those about society. In fact, I hope to be able to sing about love for the rest of my life.

Kris: You will, you will sing "Umazane misli" ("Dirty Thoughts") for the rest of your life (laughs).

You addressed Europe with the words "We'll be dancing all night long, we'll love and play with each other as if there was no tomorrow." You have stated several times that you are not a political band, but isn't that actually very political? What is more political than being able to smile and rejoice even in the worst of situations?

Bojan: I very much agree. I even think that if Tokac had sung our song, the message would have gotten through to a lot more people. But because we sang it, a lot of people didn't take it seriously.

The current Prime Minister, Robert Golob, after learning that the future coalition had brought down the government of Janez Janša, said, "Today people are dancing, I am waiting for you to start dancing too." Do you think that if we had had your song then, he would have said instead, "We'll be dancing all night long"? As some employees of RTV Slovenia did when the depoliticisation of their institution could begin?

Bojan: The song "Carpe Diem" is largely written with the idea of fighting back against the things that are happening today. The fact that we had Eurovision in a country that was not last year's winner, because the event could not be held there due to the war, is quite an indication of the troubled times we live in. On the other hand, our only defense as musicians is to spread positive energy among the people and send socially relevant messages. We cannot do more than that. We do not want to take up arms, and we won't. Our only weapons can be our songs.

Culture and art can certainly be weapons too, especially in situations where people are suffering. Do you think that's why Ukrainians supported you at Eurovision, both the audience and the jury? The country is in ruins because of the war, people are displaced, and there is no end in sight to the conflict. But your dancing until dawn has been noticed.

Bojan: I am a child of refugees from Bosnia and Herzegovina. My parents had to leave their home in Banja Luka because of the war. They came to Slovenia as refugees and stayed here. They had to rebuild their lives. In light of today's events, I can only conclude that the saying 'Historia magistra vitae est' (“History is the teacher of life”) is clearly not true. Because one day, when all the problems of this world are solved, I too will be able to afford the attitude of being opposed to all that is positive. But at the moment, that is not a possibility.

Your parents, Bojan, had to move because of the war, and your mother, Kris, moved from the Netherlands to Slovenia for love.

Bojan: That's a much nicer reason, isn't it?

Kris: Well, I also have a grandfather who fled Indonesia because of the civil war.

Migration flows have been huge in recent years, with thousands of people pouring into Europe, but they are often met with contempt and harsh treatment. Do you feel that your intimate experience of all this migration has also shaped your attitude towards all those who are seeking a better life?

Kris: Absolutely. In my home, this has always been a topic we have talked about. When I was still living with my parents, we often watched the TV program "Dnevnik" together, and whenever they showed a piece on migration, my mother would get very emotionally involved in the scenes on the screen. And that sticks with you. When you see a parent who can understand someone who had to leave home for completely different reasons and on the other side of the world, it naturally rubs off on you.

Bojan: Most of all, you feel the spectrum of pain associated with having to leave your home is much more than just having to leave a place. Only then do you realize that home is really a tangle of space, of people, of smells, of tastes, of everything surrounding you. Leaving all that behind is not the easiest thing to do. It is even harder to leave under duress, and the hardest to leave knowing that your home is in the process of being destroyed and that when and if you return one day, it will not feel like home anymore. The same people will not be there, the same smells will not be there. What has shaped your life will no longer exist.

Alongside wars and conflicts, another key reason why people from other parts of the world are moving to Europe in large numbers is climate change. Your generation is leading the fight to reduce carbon dioxide emissions, to live more sustainably. How important is this cause to you?

Kris: The fight for climate fairness is one of our few very clear common political positions. Here we are completely united and support all political choices towards sustainability. It is also very clear that this is an important issue not only for us but also for a large part of our audience. It was interesting to note that two years ago, at a rally for climate justice in Ljubljana, we saw a poster with the lyrics of one of our songs. We've summed up our own thoughts on the subject in the song "Novi val" ("New Wave)," which was written last year and is currently one of our most successful and important songs.

In that song, you say "The radio only plays lightnings and strikes', the newspaper says that we' ve lost our way. Today we'll sing and raise our glasses, we were born yesterday and have already been blamed for everything." And what are you guilty of? Probably not the fact that your generation faces precarious employment, that loans are hard to come by, and so are real estate, even rental properties?

Bojan: These are the facts of life lived by the "born yesterday" generation. They are the result of the accumulation of bad decisions over decades. These facts manifest themselves in reality as obstacles that reduce our ability to build the pillars of our independence and, as a consequence, are the reason for our failure to live up to societal expectations. In a world where laws have been written for decades in favor of a mega-massive littering of the planet, we are guilty of standing up for environmental justice instead of "doing something smarter and more serious with our lives," even though previous generations have themselves turned the (labour) market into a war zone of precarious employment. We fight day in and day out with the uncertainty of whether or not we will be employed tomorrow...

But even in this song, you sing and you raise your glasses.

Kris: This song and the Eurovision song "Carpe Diem" are actually very similar in spirit and message, except the second one addresses the listener in a dance guise and this one in a much more serious manner.

The song "Novi val" ("New Wave") has received a lot of attention because of the English version you released before the Eurovision, which you performed with the renowned British musician Elvis Costello. Your now ex-member Martin has a godfather who is a friend of Costello's, and in 2013 you sent him the song "Gola" ("Naked") to listen to. He did listen to it and suggested that you send him more songs. So last year you sent him "Novi val" ("New Wave").

Bojan: Yes, that was true, and when I sent him that song, I also asked him if he would be willing to re-arrange it in English. And he wrote back that he was up for it. Shortly after that, only about a week later, he sent me another email saying if we all agreed, he was ready to sing the song with us. Interestingly enough, he felt the song even before he understood what it was about. His first reaction after hearing the Slovenian version was that it was "a charming song that transcends the understanding of language". He recorded his vocals in New York, and we recorded them in Ljubljana. At the end of the song, we kept the chorus in Slovenian, at his request.

Costello has two Grammys, two Brit Awards, and was named one of the 100 greatest rock'n'roll musicians of all time by Rolling Stone magazine. What does his support mean to you?

Bojan: I can say without any reservation that even if I never wrote another song after this, I would forever be proud of what I have achieved. But it was this collaboration that gave us an indescribable amount of new energy to create. I am very proud of it. However, I must add that I felt the same pride when Tomi Meglič or Grega Skočir gave us words of encouragement. The moment when I first felt their sincere appreciation was a turning point for me, and since then I have existed quite differently as a musician. But of course, it is clear that Elvis Costello's encouraging words carry international weight. And that is something completely new for us. It's just a pity that we haven't been able to meet up yet because he was on tour in the US at the time of the recording of the song and later the video.

He will be touring Europe in the autumn, including Hamburg. You recorded the Eurovision song there in December.

Bojan: He honored us greatly then. He sent us the song "Hamburg Postcard", which he wrote especially for us.

Kris: Let's not forget something else. Our band has always described our music as "shagadelic rock'n'roll" (the Oxford English Dictionary defines shagadelic as "sexy, but in a psychedelic or retro way", A/N). We borrowed this term from "Austin Powers", but it was actually spoken by Elvis Costello, who played himself in that film. When we sent him our song "Gola" ("Naked") in 2019, we thought it would be a good idea to let him know that we also use the term "shagadelic rock'n'roll". And then he personally gave his permission to use it because he felt that that was what it was. To complete the circle, Elvis Costello is one of the original protagonists of the English New Wave, and we are now singing together about the New Wave. He is also from Liverpool, which hosted this year's Eurovision. Our collaboration was clearly written in the stars.

Costello, as a Liverpudlian, knew the most famous local musicians, The Beatles, very well and had worked with Paul McCartney. The Beatles are also among your role models, and this year you also visited the place where the Beatles began their musical journey for the first time. Do you now understand better why they remain the greatest?

Kris: For me, visiting Liverpool and the places that influenced the Beatles and their music gave me some perspective. We knew them through songs, like Penny Lane, for example, but in reality, it's much smaller and more 'plain' than we imagined. Liverpool is a beautiful city, but the suburbs where the Beatles lived are very ordinary working-class housing estates. One could say quite bland. Now I walk around Ljubljana with different eyes. I can imagine that one of our future songs could also feature an insignificant, less exposed street that made its mark on us...

Bojan: And this is where you can see very clearly why the Beatles are the Beatles. Because everybody has a Penny Lane in their life, an ordinary street where you meet a friend. Penny Lane is the most universal thing in the world

The English song "Novi val" ("New Wave") was covered by the BBC and ITV, and the British voted for you at Eurovision. Your music and performances have always been influenced by British pop. Is that one of the key places for you, besides the Balkans?

Bojan: I think our focus is on any place that is willing to accept us, but England has a special charm because we ourselves have been heavily influenced by British music. I'm not the ultimate "nomad," I dislike long flights and exotic destinations that can be unpredictable, so Europe is very dear to my heart. I would be very happy if we could establish ourselves as a European band that could travel a little bit around Scandinavia in the summer and then Dalmatia in the winter...

Kris: Or Spain, where we would eat tapas.

Is the interest in your band in the country also related to the fact that Bojan speaks Spanish?

Bojan: Yes, I ended up doing more interviews in Spanish than in English. The Spanish have also been very active because of our links with their Eurovision representative Blanca Paloma.

Kris: It's really amazing how you can charm a foreign audience by speaking their language. I understand it with the Spanish, as they are mostly less proficient in English, but I was surprised by the Dutch. Dutch is my mother tongue, of course, but I didn't expect that it would matter because in the last few years I have noticed that in Amsterdam, almost only English is spoken on the street. Even the oldest market vendor speaks perfect English. But they were very enthusiastic. On streaming platforms, the Netherlands is one of our top 10 countries.

You mentioned earlier that your fans are now learning Slovenian. What about your future - will it be written in English?

Bojan: The next album will almost certainly have songs in English, Slovenian, and Serbian, but it's very possible that there will also be some in French or Spanish.

What about Finnish? At Eurovision, the most talked-about thing was your friendship with the Finnish representative Käärijä, who came in second place. When you, Bojan, sang his song, he praised you, saying it was "better than the original".

Bojan: We haven't talked about a musical collaboration yet, but I was a guest at his concert in Helsinki in June, and we would be very happy to have him at our concerts. Unfortunately, that won't happen in Stožice because he has a big concert on the same day.

Now that it is clear that your international ambitions are growing exponentially, what is the ultimate goal where you would say, well, now we have made it?

Kris: Even before we had international ambitions on the level we have today, we often talked about how performing on the main stage of the Hungarian festival "Sziget" would be a testament to the fact that we have achieved something in our lives. Do you remember?

Bojan: How European of us, right? (laughs)

And - have they called you yet?

Jan: Not yet, but we are already learning Hungarian just in case (laughs).

Kris: And we were just wondering why we shouldn't just announce a concert at Wembley Stadium in London in 2030.

Bojan: Yeah, because if we started selling tickets now, we might even be able to sell them by then. (Everyone bursts out laughing because the stadium seats 90,000).

#joker out #bojan cvjeticanin #nace jordan #jan peteh #kris gustin #jure macek

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