#listen its too complicated to keep track of which video games these are in so they are all just getting a blanket yugioh

[rabbitsinvideogames]

Melffy Rabby from Yu-Gi-Oh

[symphonicmetal101]

Brother Bonding(?) HCs

^^

Lucifer

Mammon

He and Mammon have a bit of a complicated relationship, in that Mammon is always getting into trouble, and Lucifer always has to get him out of it, and then takes it upon himself to scold him for getting them into trouble. However, there are times when Lucifer helps Mammon pull pranks on the other brothers, under the condition that Mammon doesn't tell anyone, otherwise he loses Goldie permanently. The pranks are well executed, and often the blame is but on Belphie or Satan instead.

Levi

We know that Lucifer is responsible for Levi's obsession with Ruri-chan and anime as a whole. Lucifer is often concerned for Levi, as he is familiar with self-doubt, and sympathizes with Levi's constant stream of it. He tries to set aside at least one day a month where he will rewatch old anime with Levi, listen to his spiels, and leave him an allowance to use however he would like. If Lucifer is too busy with paperwork, he'll invite Levi to his office and ask him about the latest games and mangas, even if he isn't listening the entire time.

Satan

Ah, this is a little more complicated. Truthfully, they don't spend much time together. However, if Satan happens to mention a book he wanted, even offhandedly, Lucifer will make sure it ends up in Satan's possession somehow, even if it's through MC. Satan notices this, and as much as he wants to hate Lucifer, those days he makes an extra effort to try and not tease or humiliate Lucifer. It's almost like a silent truce.

Asmo

Yeah, yeah, Asmo paints everyone's nails. But Asmo also knows massage and aromatherapy. When Lucifer is particularly stressed, he'll take it upon himself to try and help him relax. If he has the patience, Lucifer will listen to Asmo explain the science between different scents and how they help the mind and body. Sometimes Asmo isn't sure if Lucifer is actually listens, but within three days of their chats, he finds a small package on his bed with different oils, and a note that says, "I look forward to learning what these oils can do." - Lucifer

Beel

Beel likes to cook, bake, etc. Because Lucifer is always on the go, Beel tries to come up with meals that are easy to walk around with. Lucifer is always the one Beel asks to taste test, (if Beel manages to resist eating the entire thing himself), because Lucifer will give him an honest opinion. It's rare that Lucifer has anything but praise for Beel, but on the off chance he doesn't, he'll walk him through a couple of ideas he could do to improve it, and Beel will deliver.

Note: this is also how Beel found out that Lucifer has the lowest spice tolerance out of the brothers, and he is not to mention it to anyone.

Belphie

Another relationship that serves to be more complex. Lucifer often finds himself wanting to reconcile with Belphie, almost to restore the kind of relationship they had when they were angels. But when you lock someone in an attic against their will, (even if it was to protect them), they tend to hold a grudge. Again, they don't really spend time together unless Beel is present, but Lucifer tries to help Belphie in little ways, like switching his linens weekly, fluffing his pillows, making sure he actually makes it to a bed when he goes to sleep. Belphie just assumes it's Beel doing these things though, and Lucifer lets him. He hopes one day Belphie will realize how much he really does care for him.

Mammon

Levi

They usually don't get along, mostly because of financial issues between them. However, when they are able to put that aside, they can actually enjoy each others company. Mammon has a lot of energy, and Levi likes video games. As a compromise, they regularly play games such as DDR or Just Dance. The whole time, they will insult each other, but lovingly.

Satan

Satan will actively look for books on finance, budgeting, business, etc. To help Mammon. He pitches it as ways to help him get rich, and they will spend hours together trying to form a business plan. While Mammon doesn't usually have the patience, for the sake of spending time with his little brother, he pushes through. Satan usually does this only after one of Mammon's bigger schemes fell through, or when Lucifer tells Mammon to stop.

Asmo

These guys both model. Mammon will set aside some money and time to go spend with Asmo on clothes, accessories, etc. Mammon is just as skilled behind the camera as he is in front of it, so whenever Asmo wants to model, doesn't matter where, Mammon is ready. Sometimes when they've planned their outing with enough notice, Mammon will have saved enough money to buy something for Asmo.

Beel

Whenever Beel is cooking for himself, he usually adds a lot seasonings. Sometimes, it's in hopes that spice will slow him down. Other times it's because he really likes the food, but has almost become desensitized to the taste😥 however, when he makes these batches of food, he'll sometimes invite Mammon to join him. Mammon has an ungodly high tolerance for spice, at least when he's eating. (His stomach may or may not suffer later). Mammon sometimes foolishly challenges Beel to a speed eating contest. Beel tries to decline; he just wants to eat, and he does not want to watch Mammon give himself indigestion or heartburn, but Mammon, persistent as ever, will try and eat as many servings of Beel's food as quickly as possible. This is one of the few times Beel doesn't get mad, he just watches with mild amusemeny and concern.

Belphie

Belphie and Mammon are surprisingly close, despite being complete foils of eacb other. Mammon has lots of energy, Belphie has none. Mammon likes to go out, Belphie likes to stay in. However, building forts? Hell yes, Belphie has enough energy for that. They usually build pillow and blanket forts in the observatory. Belphie will direct Mammon in how to build it for the most amount of comfort. Usually they'll just end up plugging in their headphones and listening to their own music in each other's company until they fall asleep and/or Beel joins them.

Levi

Satan

Levi introduced Satan to VR, and their relationship has taken a turn for the better since then. Satan is more interested in medical simulators and animal simulation games. Levi once made the mistake of playing Mario Kart with Satan, and his room was left in shambles, so now they only do sims to avoid the competition with other players. Satan also likes to play Among Us, as it gives him a chance to flex his detective skills. His self-control is much better with this, for whatever reason.

Asmo

Levi and Asmo are constantly at odds. Not like Mammon, but Asmo cringes every time he sees the way Levi is sitting, every time he hears Levi has ruined his sleep schedule, and every time he sees him sleeping in tje goddamn bathtub. Yes, it has lots of pillows, but none of them are really good for support. He is constantly trying to get Levi to at least stretch or do yoga every once in a while, as well as sit properly in his chair. These stretching session are also when Levi starts to talk about the next cosplay he's working on, which Asmo will undoubtedly want to help with.

(Ik that its implied that Levi taught Asmo how to sew and stuff, but that hc is everywhere, otherwise I would elaborate. It's really cute though.)

Beel

Although Levi spends a lot of his time in his room, he is still the Grand Admiral of Hell's Navy. He does dedicate some time to working out, and when he does, he does it with Beel, because he knows Beel will help keep him on track. Beel is also Levi's biggest source of encouragment. Levi thanks Beel in mass quantities of food from Akuzon later, sometimes in hopes of winning something from a draw, other times as a genuine thank you.

Belphie

Introvert buddies! Belphie doesn't really care for video games, Levi doesn't have the same speed as Mammon for building a pillow fort, but sometimes Belphie will ask to come into Levi's room to look at his aquarium. He finds it relaxing. They don't really talk to each other, they just enjoy each other's company. If Belphie is feeling curious or notices Levi is kind of upset, he'll start asking Levi about the different fish in his aquarium, which quickly cheers Levi up. Belphie's favourite thing about Levi though, is that he is usually awake the same time he is, helping him feel a little less lonely.

Satan

Asmo

I've mentioned this before in my random hcs post, but Asmo and Satan like to study astrology together. They find it fascinating in how accurate it can be, especially since they only get to see the *real* stars, moon, sun, and planets when they're in the human realm. Asmo actually introduced it to Satan, as he used to study it in the Celestial Realm as well.

Beel

Beel is constantly coming up with new recipes, so Satan documents them all for him. He'll be a scribe, while Beel tells him exactly what he's doing the whole time. The other brothers don't know, (Beel asked to keep t a secret), but Satan has helped Beel publish 3 cookbooks already.

Satan also attends Beel's games whenever possible, and Beel has attended Satan's debate team or sometimes book club meetings whenever possible. Because Satan and Belphie are close, so are Satan and Beel.

Belphie

>:)

They are constantly coming up with ways to inconvenience Lucifer, which is their main form of bonding. However, Belphie also taught Satan the constellations when they were younger, so now they will often go stargazing together. Satan doesn't remember, but he used to make up stories about the constellations, and Belphie has a written record of all of them. Sometimes, Belphie will retell the stories from memory to see if Satan recognizes it, but to no avail. Instead Satan will tell another story he has read about the stars. They tell each other stories and stargaze until they fall asleep.

Asmo

Beel

Beel will do warm ups with Asmo; basic stretches, a jog, etc. They will sometimes do yoga together. However, Beel works out a lot, and sometimes his muscles get sore, so Asmo gets to work. Being around Asmo brings out the gossip girl in Beel, so while Asmo is giving him a massage, he's also getting all the tea from all the clubs that Beel is a part of. Beel is very careful with his delivery, but he trusts Asmo to never spin his words the wrong way and to use the new info for good.

Belphie

Asmo has his own fashion line. He often asks Belphie to rate the comfort of his clothes, as he wants them to be fashionable, functional, and comfortable. Belphie never pulls his punches, and Asmo is grateful for the honest criticism. However, sometimes it does get on his nerves, but Belphie makes up for it later by getting Asmo new linens, often silk, because Belphie knows Asmo's preferences. Asmo always asks him where he finds it, but Belphie never answers.

Beel + Belphie

These two can bond almost over anything. However, one of their favorite things to do together is make Quetzalcoatl brain soup. Belphie stays awake long enough to remind Beel to leave some for him.

(My brain just left me here to rot apparently, I'm sorry.)

Oof

Masterlist

[gaylorlyrics]

Cowboy Like Me

Howdy partner! this song is clearly a reference to Taylors roots in country music - but it goes deeper than that. It’s about Karlie, and how both girls have built their careers off of selling the idea of love, karlie through modeling and Taylor through songwriting. Both are super ambitious and focused, playing the game and driving their careers forward, but have rags (ok - not rags, but upper middle class normalcy) to riches stories, which makes them feel like the don’t quite belong in the celeb world.

And the tennis court was covered up

Several people have noticed that this could be a reference to Tennis Court by Lorde. The last time Kaylor was seen together was the below pic at Lorde’s bday. Reading the lyrics to Tennis Court, it almost seems like the same setting as CBM. Lorde’s song explores the dark side of fame, talking about not fitting in and being surrounded by superficial fame. She says “let’s go down to the tennis courts to talk it out” and then we have CBLM that starts in the middle of a sentence with “and”, and takes place at the tennis court, where the cowboys are trying to impress the rich folks, almost as if the songs are sequential.

With some tent-like thing

Here we’re already getting the theme of not belonging somewhere. Taylor doesn’t say canopy - which is what she is referring to and actually would fit both in terms of syllables and rhyme scheme - she says “tent-like thing” which is both dismissive of her surroundings and tells us that maybe she doesn’t quite know the right word for them.

And you asked me to dance

Let’s just take a moment to remember that 1) Karlie is a dancer and 2) kaylor started at vsfs2013 where they danced on stage together like this:

dancer karlie!

But I said, "Dancing is a dangerous game"

This references DWOHT -  which is the ultimate Kaylor song and is all about dancing even though its dangerous, like in the lyrics “can we dance through an avalanche?”, “Swaying as the room burned down”, etc. 

Oh, I thought This is gonna be one of those things

There’s a song called Just One Of Those Things by Nat Porter that you can listen to here, and it seems like Tay is referencing it here. The song lists great loves (ex. Romeo & Juliet) being cast aside and belittled as “one of those things”. This reminds me of people saying that being gay is a “phase” in order to devalue it. Specifically one line in Just One Of Those Things really makes me think about Kaylor - “If we'd thought a bit, of the end of it When we started painting the town We'd have been aware that our love affair Was too hot, not to cool down”. It expresses how they were so loud while glass closeting and had so much chemistry that they couldn't just tone it down they had to go completely dark in order to keep closeting.

Now I know I'm never gonna love again

In many ways this references the theme of “right where you left me”, Taylor can’t move on because she fell too hard for Karlie and no love will ever compare.

I've got some tricks up my sleeve Takes one to know one You're a cowboy like me

Taylor sees a lot of herself in Karlie. They know how to play the same games in terms of their careers and bearding, but because of this they understand each others vulnerabilities, etc.

Never wanted love Just a fancy car

They weren’t looking for love when they met, they were both just in the place they were because they were trying to advance their careers. However, as Tay has talked about before, the lure or riches and fancy cars isn’t enough to satisfy her. It also references this line in King Of My Heart, where Tay literally says that all the boys aren’t as good as her lover (Karlie) is.

Now I'm waiting by the phone Like I'm sitting in an airport bar You had some tricks up your sleeve Takes one to know one

You're a cowboy like me

also:

Perched in the dark Telling all the rich folks anything they wanna hear Like it could be love I could be the way forward Only if they pay for it

Both Karlie and Taylor have built their careers off of selling the idea of love - Taylor through her music and Karlie through her modeling, especially with Victoria’s Secret. Both of them are capitalizing and cashing in on romance. They play the game of love to be valuable to the record labels, fashion brands, and industry overall, getting the “rich people” in the industry to invest in them and their careers. However, both are caught off guard when they encounter the real thing and actually fall in love.

You're a bandit like me Eyes full of stars

Taylor talks about eyes a lot, but I think this has two meanings. 1 - both of their eyes are full of stars because they are surrounded by other celebs and so they are literally seeing stars all the time. 2 - the more conventional meaning would be that their eyes are bright and beautiful.

It also references two songs that are very much about Karlie: “Starry eyes sparkin’ up my darkest night” in Call It What You Want, and “The stars in your eyes shined brighter in Tupelo” in Dorothea.

Hustling for the good life

Again, Taylor brings attention to the fact that they are both really career focused and trying really hard to be as successful as possible. They don’t have the same type of fallbacks that celebs with famous parents and old money have.

Never thought I'd meet you here It could be love We could be the way forward And I know I'll pay for it

Here Taylor knows that she’ll pay for her relationship with karlie in two ways, 1- she’s paying for it in that by falling in love and pursuing a relationship she’s on the “treacherous” road making her life much more complicated given that she’s choosing not to come out, 2- she is literally paying for beards so she can have a public muse for her relationship songs.

[Chorus]

And the skeletons in both our closets

Plotted hard to fuck this up

Here Tay is talking about closets again. This actually makes me think of two meanings. 

1- it makes me think of the “skin and bones” line in treacherous (maybe because I was just talking about that song) and how tay has used that type of language to talk about her and her lover in the past. The skeletons in the closet could be a reference to the past karlie and Taylor being in the closet, when they were both really thin and Taylor was battling her eating disorder. In the past they were plotting so hard to cover their tracks and stay in the closet, which eventually messed everything up for them. 

2 - The more obvious interpretation is that the skeletons in the closet are the people who were controlling their careers, who they have now moved away from, like SB2. These people messed things up by keeping them in the closet.

And the old men that I've swindled

Both karlie and tay have had careers that were mostly controlled by men who are older than them - VS CMO Ed razek, SB2, etc. These men thought that they were controlling kaylors careers, but kaylor is individually profiting as well.

Really did believe I was the one

This references The One, the first track on folklore.

And the ladies lunching have their stories about When you passed through town

Karlie has quite the rep for making people fall in love with her quite easily (see the klossanova video that @theprologues​ made here). 

But that was all before I locked it down

Love locked down! for more details check out this post and this one, but basically Karlie posted and image with the caption “love locked down” on March 6, 2016, on the same day Taylor posted “one year down” with the picture of a locket. This was one year after their Vogue cover came out in March 2015. Because of this, it seems like they were celebrating their anniversary some sort. Hence the line “I locked it down”. 

Now you hang from my lips Like the Gardens of Babylon

The Hanging Gardens of Babylon is one of the 7 ancient wonders of the world, known as very beautiful and an incredible feat in engineering (beauty + engineering are both things that describe karlie!). However, archeologists are unable to find proof of their location - therefore it’s unclear if the gardens “were an actual construction or a poetic creation”. 

With your boots beneath my bed

This is a metaphor for sleeping together and is also referencing cowboy boots.

Forever is the sweetest con

It’s impossible to be with each other forever - when we say forever we know that we will actually be separated by mortality and factors we can’t control. However, Taylor is okay being “conned” with ideas of forever, because it’s understood that they will be with each other as long as possible.

And yet, this also references Hoax - it’s a different way of saying “your faithless love’s the only hoax I believe in”. Leaving us wondering if the love was real or a con.

[Chorus]

[dgcatanisiri]

I won’t say this is my last word on the subject of Legendary Edition bullshit, because... Well, I know myself enough to be able to say that I NEVER have a last word, I’ll always want to rant again later on. But let’s just make this a sort of master post of the issues overall.

So... Is it fair to hold a game that is a good roughly fifteen years old to the standards of the present? Not inherently. So if the games were being produced in any sort of unedited format, that it was a strict translation, 1:1 ratio, of the original to the remaster... Honestly, I’d still be bitter as all get out, for reasons I’ll expound on in a minute. But it could at least SEEM justified. I could consider it the kind of thing that would be expected - if KOTOR got a remaster today, I would not expect that Carth and Bastila would be made into bi love interests, or Juhani would have her romance patched up so that it has the same level of detail and attention as the het romances. If Jade Empire were remastered, I wouldn’t be surprised to see Sky or Silk Fox’s same sex romances adapted so that the straight romances had to be closed out first. That is the kind of thing that, on a functional, practical level, I could understand. Doing a translation from old hardware, the old engine, I get the PRACTICAL reasoning for not making things better. I still object to this on the moral level, to say nothing of the representational one. But PRACTICALLY, I see why - y’know, there’s only so much financial resources going in, and changing things like romances, even if justified, means doing new writing and getting the voice cast back in, which has complications the longer since a game’s original release - actors retire or even die, the passage of time changes voices (like listen to the difference of the exact same lines by James Earl Jones between both versions of the Lion King). Even without those complications, that means paying them, which, in the production of video games, for everything that goes in, something else must go out. So that is the practical argument.

BUT!

But.

But, the thing is, even apart from everything else that I’ll get in to shortly, is that there have been a lot of claims from BioWare about inclusion. There have also been A LOT. of homophobic bullshit from BioWare and Mass Effect. And yes, I’m calling it like I see it.

Because we had the game that followed Jade Empire, with a M/M romance option, be Mass Effect, with NO M/M romance option (but FemShep and Liara could bang - the writing obviously favored the MaleShep portrayal, given that there was no marketing use of FemShep until ME3, and we had ME2 give priority to having loyalty conflicts between MALE Shepard’s romances, but not Female Shepard’s, and we even had BioWare hem and haw about how “well, the asari are monogender, so they’re not TECHNICALLY women, so it’s not REALLY lesbians...”). Because the official claim is that they just “didn’t think about it” in time to have these options included in Mass Effect 1. Because we’ve had writers now come out that Jacob Taylor was originally written as a gay man, but in the game itself was a straight man. Because there are plenty of women who throw themselves at Male Shepard, and Shepard is animated with having Significant Looks™ with these women, but not a single man who expresses any interest in him, until ME3 finally offers SOMETHING, which came to just Kaidan and Cortez.

Because we had one of BioWare’s heads, one of BioWare’s founders, say in an interview right around the release of Mass Effect 2 say “Shepard is too predefined a character to be gay.”

That is what I mean by homophobic bullshit.

And I haven’t even started on Mass Effect Andromeda.

And I’m gonna start on Mass Effect Andromeda now.

So after ME3, after Kaidan and Cortez were actually romances, we honestly gave them a lot of faith - they got the message, we said. They understood that they couldn’t just cut out M/M romance in the game, we said. They didn’t need to have the constant observation that demanded they provide good representation, we said.

And then they cut Jaal’s bisexuality, leaving him straight on release, without even a chance to flirt and be turned down, the bisexual male character who did remain not only was planet bound, he also is a character who a solid argument can be made that he falls into the trope of the Depraved Bisexual, a trope that over in Dragon Age, Patrick Weekes specifically said that they wanted to avoid and so didn’t make a character bisexual because of that. And the gay man is not only almost totally disconnected from the game (aside from one point in the plot, he can be avoided entirely and is not included in almost any other group setting among the Tempest crew), he is also an accessory in his own plot line, which was also heavily criticized for being intensely homophobic. And of these, the only thing BioWare deigned to change was Jaal’s bisexuality. (Which, personal note, I’m uncomfortable with personally, because as it’s implemented, it just feels kind of afterthought-y. Much like Kaidan’s in ME3, being unchanged from a new FemShep romance, despite the active inability to romance him in ME1.)

So it is not just a matter of “you have the ability, you’re changing other things, you should do this.” I mean, that is absolutely there - the mods exist for the original game, to the point of being able to even get the romance scene to fire right without Shepard’s gender magically changing once the clothes come off. (I have a vague memory of, at some point, probably around the “too predefined” comment, that being another excuse, that there was difficulty with having the models play nice with one another in that scene.)

But this is about addressing a pattern of behavior on the part of BioWare, that they have to be dragged, kicking and screaming, to the bare minimum that their own statements on matters of representation and inclusion claim they aspire to. That if the fans are not actively holding their feet to the fire, they are GOING to take their fans for granted - “you don’t get better quality content elsewhere, we’re your only choice!” But “only” choice is not a “good” choice. It’s not a choice with quality.

So if we don’t make a big damn deal about this now, when they have a chance - when they have a CHOICE - to make things better, to provide better representation, to correct the mistakes of the past... What will we get in the future? How will they backtrack on this in the future? How will they exclude us in the game they just announced a few months back? How will they continue to tell us that they don’t want gay people in this setting?

Look, I don’t use these words lightly. But that is, whether it’s a conscious attitude at all or not, what they are telling us. By not including us, by making us optionally involved, by making us disposable within our own stories, by cutting out our content, they are saying that they do not envision a world, a future, that includes queer men.

And anyone who does not speak up, does not condemn this, does not demand that they DO. BETTER... That is tacit approval and agreement. Because you’re saying that things as they are now - the removal and undermining of our content, of our EXISTENCE in these games - are perfectly fine and acceptable.

And yeah, I’m sure that reading that has probably made some people mad, believe I’m being unfair by saying that, because it’s going to push away allies. Thing is, and this is one of the things that always comes up in anything even tangentially activism related... THIS ISN’T ABOUT THE FEELINGS OF THE ALLIES. This is about listening to the people who are being hurt and saying “you don’t deserve to be hurt this way, things need to change.”

BioWare needs to change its approach. And, as we have seen, it does not come just because of a handful of angry queers, demanding to be represented in their games. It comes because of the community at large calling them out and saying “this isn’t right. What you have done is not right, and we are calling on you to fix it. To do better.”

Don’t just stand there and shrug this off. Because evidence tells us that if they aren’t called out on this now, the next game will not be better. And we will be in this exact same place, having this exact same argument, all over again, in a few years when the next Mass Effect game comes out. When the queer men are given the shortest end of the stick again, and people who are right now saying “what do you expect from a remaster?” will either suddenly turn around and go “I don’t know why BioWare would do something so homophobic” or, worse, “well, it’s something, I don’t see why you’re upset.”

We’re upset because we keep having this argument. And we are going to keep having this argument until people are willing to actually DEMAND that things be better. This is the chance to make things better now.

At this point, a post-release patch that includes a Male Shepard/Kaidan romance in ME1 that is tracked through to the following games is a bare minimum fix, a change done to make it clear that BioWare understands their mistakes in the past and want to make things BETTER.

It may not be easy, but genuinely fixing problems never is. But it’s work that needs to be done.

[supercalvin]

I see your ficlets are open and I wanted to request more superhero!merlin . i didn't know i liked that until i read yours lol. preferably hurt/comfort because i love that too. also I just wanted to say your fics are amazing

I’m going to be honest @elizabethleestorms…I have no idea which superhero AU you mean, because I think I’ve written a couple, but that doesn’t matter, I’m delighted by this prompt. Sorry this took so long, thank you for waiting.

Really tried my hand at #whump and I ended up writing a very long ficlet again.

(Not intentional, I was writing this already before I heard about Chadwick Boseman. RIP to the King.)

Prompts + Ficlets

***

It had started small.

Merlin would use his magic to save an elderly couple from a mugging. A man about to fall onto the train tracks would find himself falling back onto the concrete. He would trip a bloke who was bothering a girl in the streets.

Magic was banned in Camelot and had been for over thirty years, and Merlin had grown up learning to hide his magic. Not even his closet friends knew. But when he started university in Citadel City, Merlin had felt an overwhelming need to use his magic. There were so many problems he could fix and so many people he could help.

So it started small and soon escalated into something a bit more complicated. He started going out at night, slipping on a mask to hide his identity, and saving people from whatever he could find. Most people thanked him and quickly ran off, freaked out by the sorcerer in a mask. But then word got around, gossip and whispers about the sorcerer who would swoop in at just the right moment. People would try to ask him who he was, so Merlin had to learn to teleport so he could get away from them.

Then he started to up his game. He would listen to the police scanners and seek out places he knew criminals loitered. He was becoming a bit of a legend. People had a lot of different names for him, up until a pack of wyverns attacked the city. That was the first time he had been spotted during the day and photographed. His blurry figure was all over the news for a week. It had been a hassle, but it had earned him a proper title. Dragon Lord.

It had been years since he had first started being ‘Dragon Lord.’ He had gotten into a routine. He worked at the police station during the day, gathered intel as a lowly administrative assistant, and then went out at night as ‘Dragon Lord.’ He was exhausted most days, with little sleep to spare, but he wouldn’t change it for the world. He was exercising his magic, helping people. and he had started a rather heated debate on the magic ban in Citadel City.

All was going well for Merlin.

Until his boss, DI Arthur Pendragon found out about his magic.

It had been an accident, of course. The only other person who knew about his magic besides his family was Deputy Lance DuLac, whom Merlin had saved from a fluke griffin attack back in his university days. Merlin had saved Arthur’s ass from a few operations-gone-wrong, but Arthur still didn’t know that his assistant and Dragon Lord were one and the same.

Until the night when Merlin had been out as ‘Dragon Lord’ having heard about an arms deal planned by Cenred Cain, an infamous crime boss. But apparently Arthur and his team had also been keeping an eye on Cenred, because they had stopped the deal before Merlin could interfere.

It was all a bit of blur. The adrenaline in his veins and the magic in the air making his memories fuzzy.

Dragon Lord and Arthur had been cornered as the building was about to come down, and although he was able to create a safety-bubble around them, the backlash burned part of Merlin’s disguise from his body and face. He woke up with a horrible headache and Arthur’s face hovering over him, looking equal parts horrified and furious.

After that night, Arthur hadn’t spoken to him about it. But to be fair, Arthur had not said much to Merlin at all. Arthur had sworn that he wasn’t about to arrest Merlin, but that didn’t mean they were friends. No, Arthur made it clear hat he was done with Merlin.

Merlin figured it was a fair deal. Merlin had saved Arthur’s life and in turn Arthur wouldn’t arrest Merlin for several acts of sorcery. It didn’t mean Merlin wasn’t heartbroken. He wished Arthur would understand that magic wasn’t evil and that Merlin just wanted to do good in the world.

So over the past week Merlin had not gotten much sleep, to say the least. After Arthur had found out, Merlin had trouble sleeping, which was never good because his night-and-day schedule. Then there was the fact that his magic had been exhausted after stopping a building from collapsing on top of him and Arthur. But that had never stopped him from going out. Crime didn’t stop just because Merlin was a bit tired.

So when a bulette attacked downtown Citadel City, Merlin was already off to a bad start. Bulettes were as large as cars and built like tanks with armor plating all over their bodies. They lived underground, and although the bulette was just minding its own business, it was causing buildings to sink into the ground and minor quakes to rock the city. So when Merlin had tried to gently coax it back out of Citadel City, it had only felt the need to defend itself.

Which meant it started attacking people.

Merlin would be the first to admit that he wasn’t at his peak power either. His magic was still tired from the week previous and his fight with Arthur had mentally drained him. He had coped by going out more at night, but that meant he had only accumulated a handful of hours of sleep over the last seven days.

It barely flinched at the enchanted spears Merlin threw at it. Moving the ground beneath it did little to stop it. Burning it only made it angry. His movements were slower, barely dodging it’s attacks. He made rookie mistakes by trying to attack the bulette’s armor in the first place. Normally he would be able to evaluate its attacks and predict its next movements, but his mind was moving too slow.

He was a wreck, to say the least.

Then the bulette used its thickly armored tail to slam Merlin into a nearby lorry, which rocked with the impact. Merlin remembered hearing the crunch of metal, but nothing until he woke up to someone shaking him.

“Dragon Lord, you have to get up! Please! Sir! Please! It’s coming back!” the voice sounded young and very frightened. Merlin opened his eyes to find a young kid, eyes burning gold as the boy tried to wake Merlin’s magic with his own.

Merlin gasped, his entire body aching as soon as he was conscious again. His vision spun in and out for a moment, and he felt overwhelmingly nauseous. Concussion, he thought dimly.

“You have to get out of here,” Merlin grunted as he tried to get up. His ribs were killing him.

The boy shook his head, “You’re hurt…”

Merlin had to hold his breath as he got to hit feet, the pain almost making him black out as his ribs shifted to the new position. He closed his eyes and tried to take deep breathes, although every inhale and exhale felt like a thousand knives.

“Get to safety,” Merlin said, letting his magic wash over him. It wasn’t a spell he used often. It took too much energy and he was already tired as it was, but he was desperate. The kid scrambled back as Merlin began to glow gold, rising above the crumbled asphalt.

Merlin’s vision turned entirely gold and he spotted the bulette’s weak point, right under its front legs, where the armor didn’t cover. With his last enchanted spear, Merlin gored the beast.

Merlin dropped to the ground, his head spinning and his vision going black. He couldn’t pass out in public. It was too dangerous. One last spell, he thought. Fingers crossed that he would make it back safely.

He teleported into his flat, recognized that he had made it successfully, and then he dropped to the floor like someone had cut the strings from a marionette.

Merlin’s whole body hurt. Even when he wasn’t entirely conscious, he was aware of that. The blunt force trauma had certainly broken his ribs and given him a hell of a concussion.

He was aware of someone moving him from the floor, arranging his limbs onto his bed. Then he felt someone open his mouth slip some pills onto his tongue and guide him to drink water, then wiping up his face when he choked on the water and it spilled it over his face.

When he woke again it was to a dull feeling that he recognized as heavy painkillers. He opened his eyes to find Arthur hovering over him, checking his pupils with a flashlight.

“You’re not a doctor,” Merlin mumbled, not coherent enough to fully process what was happening.

“No, but you refused to go to A&E. So here I am.”

“I did?”

Arthur sighed, turning to Merlin’s bedside table where there was a glass of water with a straw.

“Drink. You need fluids. You’ve been out of it for a day.”

Merlin obeyed, his mind too foggy to argue.

Arthur left the room and Merlin was left to stare at the ceiling, watching his vision blur for a few seconds before he drifted off again.

He was a bit more coherent when he woke again, this time to Arthur whispering, “I know it hurts, but I need you to tell me where it hurts.” Arthur pushed down the bed sheet and prodded his ribs, watching Merlin’s reactions carefully.

“Hold still. I’m going to give you some lidocaine, okay?”

Merlin didn’t think he had much of a choice, but if it would stop his ribs from hurting, Merlin wasn’t going to complain. After Arthur injected the lidocaine, he softly ran a hand over Merlin’s numbed ribs. “Better?”

Merlin nodded, although the movement hurt his head. He realized the only light was his desk lamp, and even that minimal light caused him to flinch.

“Why are you doing this?” Merlin asked.

Arthur’s face was in shadow, but Merlin could see the pinched expression anyway.

“It was all over the news, Merlin. The live video of Dragon Lord dropping like a stone. Then you disappeared after looking like you were about to faint. I rushed over to your flat as soon as I could.”

Merlin smacked his lips which were cracked and dry. Arthur lifted the cup of water again, angling the straw to Merlin’s mouth.

Merlin took a drink and then managed to say, “But I thought…Aren’t you angry with me?”

“Of course I am, Merlin.” Arthur snapped, “I’m furious that you would keep this from me. I don’t get it, and I don’t trust you, but…”

“But?” Merlin swallowed thickly, his head pounding.

“But you’ve been saving so many people. And this…” Arthur gestured to Merlin’s body. Merlin looked down, wincing at the movement. He had gathered a fair few amount of ‘battle scars’ over the years. Burns, lacerations, and general bruising came with the job. Currently Merlin’s entire torso was a horrible splotchy mess of black and blue with tinges of green.

“You’re putting your own life on the line for people who would sentence you to a life in prison… I don’t understand it, but that doesn’t mean I don’t see right from wrong.”

Merlin gave a weak smile, “I think that’s you saying I was right for once.”

Arthur shook his head, “Merlin…”

“I know,” Merlin sighed, his ribs protesting at the heavy breath despite the lidocaine injections. “I just want to help. I just…My magic has to be for something, Arthur. All this power and I can’t use it to help people?”

Arthur frowned, his hand coming up to gently push back Merlin’s hair from his brow.

“We’ll talk about this later. You’re still too tired. Go to sleep. I’ll be here when you wake up again.”

Merlin nodded fractionally, his eyes already drifting shut, watching Arthur get up and head for the door.

“Arthur…”

Arthur turned to look at him.

“Thank you.”

Arthur gave a small smile, “You too. Get some rest.”

***

Prompts + Ficlets

[phati-sari]

Hello Phati Sari. I asked the question about the suicide attempt. And I just saw the answers about Arnav’s abuse. That is what I am getting at. I feel like he reflected on his feelings for Khushi and realized her innocent or not didn’t matter because he loved her. But I’m not sure he ever reflected on how his actions drove her to the state of mind where she would carefully plan a suicide based on the reasons she gave. And jumping from a one story building could have caused multiple broken bones.

This continues my earlier ask. Couldn’t type anymore. Besides broken bones, head injuries and lacerations could occur. I am at a disadvantage because I don’t speak Hindi so depend on blogs for translation and analysis sometimes. He does say sorry on the way to remarriage but in the light of the real abuse he did I am not sure it showed effectively enough his understanding of that. I just discovered the rewinds where he reflects and I understand he does show it there sometimes but I can find no

To continue. Sorry so long. I can find no English translations for his dialogs in the rewinds. Is there a place you know where some might be available or can you throw some light on pieces of his dialog that shows some deeper understanding of how his actions were abusive and he takes ownership for that abuse aside from Khushi letting him off the hook because she knows he loves her and her tears hurt him too. Sorry that isn’t enough for understanding even in fiction. Please edit ask if need. Than

Hello!

Firstly, I have to say that I think I’ve answered your question already. I realise it was not to your satisfaction, but in my mind I’ve already given my answer. I’m going to answer using specific quotes from your ask to make this a little easier because I think you’re actually asking a different question entirely.

But I’m not sure he ever reflected on how his actions drove her to the state of mind where she would carefully plan a suicide based on the reasons she gave.

But explicitly on-screen, no.

And jumping from a one story building could have caused multiple broken bones. Besides broken bones, head injuries and lacerations could occur.

Well yeah, I wasn’t minimising what could’ve happened. Your earlier question, however, explicitly asked whether Arnav could chalk it up to drama, and I said he could. 

That you didn’t like the answer doesn’t change my outlook -- yes the outcome could’ve been serious but a man who thinks he was duped by this woman’s faux innocence, that she was always trying to entrap or confuse him, could absolutely have come to the conclusion that she was faking her attempt at suicide because she wanted something from him.

To clarify, I’ve never thought her attempt was anything but serious, and have written essays about how much I disagreed with the track being given a comedic treatment.

I just discovered the rewinds where he reflects and I understand he does show it there sometimes

Does he though? I mean, Arnav spends most of his time spouting poetry in the Rewind, not genuinely reflecting on his behaviour. I’ll admit to my bias -- both EJ and Rewind strike me as out-of-character bullshit that I enjoy if the mood strikes me, but they’re not canon in my eyes.

Is there a place you know where some might be available or can you throw some light on pieces of his dialog that shows some deeper understanding of how his actions were abusive and he takes ownership for that abuse aside from Khushi letting him off the hook because she knows he loves her and her tears hurt him too

You’re not going to find this in the canon. I’m sorry, I understand why you’re looking for it, really I do. The closest we get are vague statements in EJ and in the Rewind. 

(This turned into a bit of a live-blog on the Rewind.)

In Episode 1 of the Rewind, Arnav reflects on their first meeting. He says that he was angry at Khushi because his show was ruined. He says that he rained upon her like lava. (Lava?? That’s taken straight from fanfiction my God.)

Arnav: “Aaj yaad karta hoon toh lagta hai ki kitna bura bartaav kiya maine uske saath uss din.” -- When I think about it now, I think of how badly I behaved with her that day. 

He admits to wrongdoing but as it immediately follows a justification, I’m not convinced it’s particularly reflective or deep. He always knew he was wrong -- the countless flashbacks to this meeting showed this in the canon.

In Episode 2, when he talks about the release of the video footage, Arnav smilingly tells the camera that he didn’t realise it would ~complicate~ Khushi’s life so much. This one action invited Shyam into her life and he smiles while he recalls it???

Ugh, this is the episode with the naaaaaavvvvvvv. Naaaaaaaavvvv. Fuck me dead I hate the Rewind so much, anon you’d better send me loads of virtual potatoes for this!

Episode 3, in which Arnav reduces his abuse of the employer-employee relationship with Khushi to a video game in which one has to defeat their opponent.

At least she apparently took the raksha bandhan seriously.

OH MY GOD THE MUG I’D FORGOTTEN THE MUG, BLISSFULLY WIPED IT FROM MY MEMORY. MY EYES. MY EEYYYEEESSS.

In Episode 6, Arnav admits he feels guilty when he thinks of the things he said and made Khushi do on the night of the photoshoot. His punishment is taking his wife to eat parathas -- a punishment Arnav admits is inadequate because he made so many mistakes.

In Episode 7, Arnav admits that regrets many of his decisions in his and Khushi’s story. But he hedges, saying that his mind wasn’t listening to his heart at the time. And then tries to justify his anger by bringing up that she told everyone about Lavanya.

In Episode 8, Arnav says that he gets goosebumps when he thinks about something happening to Khushi at the guesthouse. He says he still gets tears in his eyes when he thinks about how her arm was hurt. And yet, no examination of physical abuse.

In Episode 9, he admits that he’d crossed too many lines and Khushi’s anger was justified when she resigned. He admits that he made her life miserable, that he was “torturing” her. He says that he’d never send her where her life was in danger, though, and that she was wrong in saying that.

Ahh I’d totally spaced on him saying that he’d heard his dhak-dhak for the first time on Teej. 

In Episode 14, Arnav reiterates that he regrets how he treated Khushi, and he wishes they knew what they know now: that they were falling in love.

And then Arnav disappears from the Rewind. His behaviour in the contract marriage and beyond is not reflected on.

I’m not seeing anything in the Rewind that constitutes Arnav showing a deeper understanding of his abusive behaviour and taking ownership of it and its influence on Khushi. I mean, it’s there in the edges of what he says, but it’s not actually what he says. And what he says was always in the serial -- in his monologues, in his flashbacks, in his moments of introspection. It should not be news to anyone.

When I say IPKKND is set in a fantasy world where Arnav’s behaviour is not coded as abusive, I don’t mean and so we shouldn’t examine it through that lense. I mean that the characters will not admit to it being abuse any more than Aragorn is going to comment on the lack of women in LOTR or Aslan is going to say “I’m actually Jesus.” The conclusion that his behaviour is abusive is external to the serial, internally he’s driven by the trauma of the Tragedy and has the blessing of Devi Maiyya.

And so, there is no examination -- internally -- of this behaviour. Even in Lavanya’s case, Arnav never mentions the gross power imbalance and her ready acceptance of his abuse as reasons for the breakup. The show is silent on the topic (though my recaps aren’t) and the audience is left with the genuinely absurd idea that it was about how he didn’t love her. It wasn’t -- he knew he didn’t love her when they first broke up lol. It was about their interaction at the poolside where she admitted he’d never been nice to her. Ever. And that she just accepted as it as a given in their dynamic. Even in the Rewind, Arnav emphasizes that he didn’t love Lavanya, that he only saw her as a friend, instead of admitting he was emotionally abusive.

Coming back to Arnav’s reflection -- Arnav always, always, will be able to justify his point of view. Everyone is the Hero in their own story -- the entire thrust of this blog is to show that.

Now, I don’t need Arnav to say he was abusive -- I know he was, but I also think the redemption he was offered in the serial was fine (I’m qhsahil in that exchange, but I reckon you will agree with the others). I think it was in keeping with the characters shown in the serial and I have absolutely no desire to see any come-upperance or vengeance on Khushi’s behalf.

In conclusion, I get where you’re coming from, and I even understand why you want to see him say and admit these things, but I disagree that we see (or ever will see) them in the canon, or that we even need them in general.

Thanks for asking!

[shemakesmusic-uk]

Wallice has shared her subversive new single 'Hey Michael'. 'Hey Michael' amplifies her blood-thirsty nature, a revenge anthem that finds Wallice turning into a worse villain than her erstwhile love interest. A song about toxic tendencies and how they manifest in our lives, 'Hey Michael' twists and turns around American Psycho imagery. Wallice labels "a revenge anthem for anyone who has encountered a gaslighting, manipulative person. It’s what I wish I would have said to all the ‘Michael’s’ I have met in my life. It can be substituted by many names, we all know or have met a ‘Michael’ though. Somehow the world revolves around them and they just can’t catch a break, because they never do anything wrong and it’s usually your fault. You should have listened to your gut instinct and swiped left on this Michael. This isn’t a man-hating song, it’s just something many people can relate to. Sometimes it’s embarrassing to admit just how bad a friend, date, or romantic partner was and a lot of the time, I would just smile and laugh off stupid remarks but when I think back, I wish I had told them off. But at the same time, my persona in the song is not the best person either. I literally say: I think I want to start a fight, which one is your girlfriend? The whole song is funny because I am so focused on how shitty Michael is that I don’t even think about how shitty I might be as well." Directed by Phil Stillwell, the video takes place at a house party, with Wallice interacting with various 'Michaels' before her behaviour spirals into something much, much worse. [via Clash]

In the same vein as Massive Attack’s suburban groove and social commentary in the mid 90’s, KITA have captured the rhythm and heartbeat of suburban Pōneke; a city abuzz with a vibrant music and dramatic performance scene in their brand new track and official video, ‘Private Lives’. Weaving together elements of vintage rock, pop and soul, and warm hints of synth, KITA have created a skin-prickling piece of magic with ‘Private Lives’, a deeply beautiful track penned in 2020’s lockdown, that delves into the unknown of what happens when the blinds are shut – the parts of life that are unseen by others. "Standing from my kitchen window during lockdown in Aotearoa, sinister thoughts entered my mind about what could be happening behind closed doors for people”, says front-woman Nikita 雅涵 Tu- Bryant. The video tells the story of a father and daughter’s relationship amongst snapshots of everyday life and its monotonous anonymity, while things aren’t always what they appear on the surface. Late at night the father can finally reveal his true self, adorning makeup and sequins, only to be spied by his daughter. The two then share a special moment of dressing up and dancing together, a true celebration of individuality, self-love and the beauty of self-expression.

'Just Chemistry' is the third single from Dance Lessons, a London-based, female-fronted and produced trio, creating what they define as Serrated Pop. 'Just Chemistry' is a delicate hymn to the unspoken. Dance Lessons return with their signature sound – minimal production, sleek vocals and intricate arrangements. Ann says: “'Just Chemistry' is about the over-complication of our relationships. It’s about the things that are left unsaid in-between the awkward text messages and conversations, and how the absence of knowing can be misinterpreted as doubt. Last year was a difficult one. For a long time, I felt at the mercy of my emotions. I doubted where things were going. I lived in the future and found it hard to commit to the present. But these moments of not knowing can be equally thrilling and beautiful. And that’s what the song is about: finding beauty in the unspoken. In most cases, it’s chemistry that makes us fall in love. Things end, all is temporary. Let’s not go to war with one another over it.” Nat says on the video: “A friend told us about this weird and wonderful house in North London that feels a little like stepping into an acid trip. We obviously wanted to check it out. It’s completely surreal, all over the place (in a great way) and generally eclectic, which felt inherently us. We instantly wanted to do something there and asked the owner for permission to shoot a music video. We filmed during lockdown and were let loose embracing all the oddness of it. Ann also designed and created the outfit she wears in the video, something she does with most of her wardrobe. It was shot, directed and edited by our hugely talented friends Ben Hanson and Simon Frost from Borderland Studios.”

Returning with her first offering of the year, North London’s rising star Laurel Smith is ready to reveal her anticipated new single, ‘Out the Cage’ accompanied by an action packed and thrilling cinematic style music video directed by Jeremie Brivet and Jai Garcha. Sticking to her winning recipe of moody, dark, electro-pop production paired with effortlessly edgy tales of narrative lyricism, ‘Out the Cage’ is the next huge single from the young, innovative artist that is sure to follow the same trajectory of success as its predecessor, ‘Game Over’ released late last year. A songwriter and recording artist, Laurel Smith has been writing songs since the age of sixteen. With each single she’s released, Laurel has continued to adapt her sound and aesthetic, consistently honing her craft and evolving her brand. She has carefully carved out her place in an ever crowded industry and proceeds to turn heads at every corner. “‘Out The Cage’ is a song about breaking out from your constraints, both physical and mental. Although it can be interpreted in any way, when I wrote it I created a story around a bored housewife, falling out of love with her husband, she fantasises about tying him up and leaving him to be a badass assassin in a video game type world, roaming the city at night and living a life of unpredictability and excitement”.

Hailing from the Philippines, singer-songwriter Laica is coming off a breakout 2020. Now the 21-year-old is gearing up for the release of her debut album I’m so fine at being lonely. The first single off the project, 'love u lately' is here, accompanied by a music video directed by Cooper Leith. 'Love u lately' is a relatable and infectious track. The song revolves around dating, understanding mixed signals, and the confusion that surrounds that world. Lyrically, Laica walks us through her experiences here, voicing her thoughts and frustrations about someone who she just can't seem to read right. Production-wise, the track is carried by a pulsing synth and a groovy bass. Together, the track feels upbeat. The vibe created by the production stands in contrast with the more emotional lyrics, making the track complex and interesting. The music video takes the concept of 'love u lately' to the extreme, in a fun and playful way. Laica is seen capturing her dream boy and attempting to use witchcraft to finally win him over. The video has a very DIY feel, which could serve to add to the reliability of the track. It’s a great extension of the track and taps into everyone’s most fantasy-driven realities. [via Earmilk]

At first, Emily C Browning wasn't sure what to think. Spurned, rejected, and cast aside, she was angry, furious, and - at times - utterly bereft. Usually she'd utilise songwriting as a vessel for her emotions, but when she was so conflicted, and feeling so negative, that it just didn't enter her mind. The Christchurch, New Zealand artist needed to take a step back, and when she located some perspective, she was ready to act. New single 'I Wasn't Into You Anyway' is a soaring slice of revenge, one that finds Emily C Browning taking full control of her music. Her first solo production credit, its reminiscent of those surging, empowering Maggie Rogers bops, while also containing similar DNA to Sharon Van Etten's work. Lyrically, it's absolutely her own creation, with Emily leaning on those often-hidden feelings. She comments... "Everyday for a month I wrote in my journal: I want to write a song about feeling rejected. But I couldn’t figure out how to keep it light and funny, it can be quite a painful topic and I didn’t want to sound too heavy. But I kept working on it everyday and came up with this song. I then spent another month recording it, trying to capture a sound that stayed upbeat and playful. I put so much time and energy into the song that I ended up completely forgetting about the person who rejected me in the first place (honest, I swear)." [via Clash]

Alt-pop force Holly Humberstone returns with new single 'Haunted House'. The songwriter's potent debut EP Falling Asleep At The Wheel was a sensation, racking up more than 100 million global streams. A bona fide phenomenon, Holly returns with a single that displays a more nuanced, reflective side to her work. 'Haunted House' digs into childhood, and looks at the way memory can frame the way we construct our identities. She comments: "I wrote this song about the old and characterful house I grew up in. The house is such a huge part of who I am and our family. With my sisters and I moving out and living separate lives, coming home feels very comforting and one of the only things keeping us all connected." Playing with concrete imagery and no small degree of invention, 'Haunted House' connects art to life in an enchanting fashion. She adds: "The house is almost falling down around us now though, and we’ve realised that pretty soon we’ll be forced to leave. There’s a cellar full of meat hooks and a climate so damp mushrooms grow out of the walls. Loads of people have probably died here in the past but I’ve always felt really safe. It’s like a seventh family member. It’s part of me." [via Clash]

In 2019, the Boston-born and Brooklyn-based indie rock album Crumb released their debut album Jinx. Crumb haven’t yet announced plans to follow that album up, but they’re definitely working towards something. Last month, the band came out with a one-off single called 'Trophy.' Now, they’ve followed that one with two new tracks, and they’re both winners. The new songs 'BNR' and 'Balloon' both fit nicely into Crumb’s comfort zone. The band’s sound is a rich, sophisticated take on psychedelia, with blissed-out lead vocals from Lila Ramani and with some great funky drum action. The band co-produced both songs with Foxygen’s Jonathan Rado, who’s done great recent work with people like Father John Misty and Weyes Blood and the Killers and who knows how to make oblique ’70s-style pop sound good. But Crumb themselves deserve a ton of credit for coming up with a sound this layered and weird. They’re the rare circa-2021 band who might remind you of Broadcast. In a press release, Ramani says, “‘BNR’ is an ode to my favorite colors. I had a weird obsession with those colors in winter 2018-2019 and felt like they would follow me around everywhere I went." 'BNR' also has a cool music video. Director Joe Mischo starts the clip off as a hallucinatory reverie, but he turns it sharply towards horror at the end. [via Stereogum]

Last year, Limerick poet/musician Sinead O’Brien released her debut EP, Drowning In Blessings. It was a unique work, a handful of songs featuring O’Brien’s sing-speak over spindly, post-punk guitars. It garnered O’Brien a bit of buzz overseas, and it left you wondering where she might take her music from there. Now, O’Brien’s back with a new song called 'Kid Stuff.' “‘Kid Stuff’ shows up all different tones on different days,” O’Brien said in a statement. “There’s something alive in it which cannot be caught or told. It is direct but complex; it contains chapters. This feels like our purest and most succinct expression yet.” Like Drowning In Blessings, 'Kid Stuff' found O’Brien working with Speedy Wunderground mastermind Dan Carey. Musically, it hints at a level up moment for O’Brien. There was something alluring and jagged about Drowning In Blessings, but 'Kid Stuff' places her usual approach over a song that is surprisingly groovy — maybe even a little danceable. It comes with a video directed by Saskia Dixie. [via Stereogum]

Das Beat are made up of German actress and vocalist Eddie Rabenberger and Agor of Blue Hawaii. The pair have just shared their first single 'Bubble' online now and are set to release their debut EP Identität on June 4 via Arbutus Records. Born in Berlin during 2020’s legendary lockdown, Das Beat seeks to blast both boredom and boundary. Dabbling in German New Wave, Italo Disco, Indie & Dance, their sound is unified by vocals from Eddie Rabenberger, sung in German and English. Amidst playful lyrics one finds a strong underlying pulse (das “beat”), pinning down the duo’s meandering atmospherics, dreamy synths, guitars and percussion. The duo is half-Canadian and half-German. Agor (of Blue Hawaii), moved to Berlin from Montreal in 2018. Eddie is a theatre actress originally hailing from a small town in Bavaria. Together they find a strange but alluring symbiosis - like Giorgio Moroder meets Nico, or Gina X Performance meets The Prodigy.

St. Vincent has fully embraced the ’70s aesthetic for her retro-sounding new record, Daddy’s Home. Now, she’s diving headlong into the animation styles of the era with the video for 'The Melting of the Sun'. Presented as a “betamax deluxe release” rip from “Candy’s Music Video Archives,” the clip blends live action shots of St. Vincent herself with the wavy, intermittent animation frames any Schoolhouse Rock student is familiar with. The psychedelic lines fit a song called 'The Melting of the Sun' perfectly, as do the drawings of the legends mentioned in the song’s lyrics like Nina Simone, Joni Mitchell, and Tori Amos. St. Vincent co-directed the clip with Bill Benz, while Chris McD provided the animation. [via Consequence]

Bay Area slowcore trio Sour Widows have released a new single, 'Bathroom Stall,' from their forthcoming EP Crossing Over, which they announced last month with its title track. The song’s build-up is subtle and poignant like Sufjan Stevens, but Maia Sinaiko’s evocative, sweeping vocals are one-of-a-kind, and the lyrics are graphic and tragic: “Do you remember it like I do?/ Your lips turned blue I had my fingers in your mouth/ And I couldn’t get them out.” Sinaiko said of the song: "This song is about a relationship I had with someone who struggled with addiction, who very tragically passed away three years ago while we were together. It’s about some moments we shared, and how it feels to walk around carrying that person and those experiences with me while the world stays normal. I wrote the song because I wanted to preserve and document what happened to me. to write out the scary stuff and just let it sit there forever. I think its funny that its called 'Bathroom Stall' and that it has that image in it: the song goes from heavy and dark to ordinary and totally pedestrian in a sentence, which feels absurd. And that’s kind of what it’s like to grieve. That’s kind of what’s hard to explain about grief, how absurd it is. Part of you goes to a different planet and part of you stays walking around like an alien on Earth, going to the bathroom and looking at the moon and shit." [via Stereogum]

As JUNO-nominated singer Kandle Osborne prepares to launch her new project, Set The Fire this spring, she shares the album’s third single, 'Misty Morning.' From being penned on a napkin while abroad to a Vancouver studio, 'Misty Morning' is a sonic journey that echoes soulful vulnerability and an honest reflection of realizing true love. For the video, Kandle reconnects with 'Honey Trap' director, Brandon William Fletcher, to create classic 40s noir-inspired cine-magic, filmed along the Vancouver coastline and within the lush landscape of Stanley Park. Kandle says: “‘Misty Morning’ is my first real love song, captured on a napkin while in Ischia, Italy when I was truly happy. My songwriting usually comes from a place of turmoil and catharsis, but this was simply a snapshot of a perfect, vulnerable moment. In recording it, I wanted to hide behind lush orchestration, but my producer/ best friend Michael Rendall had other ideas. He wanted to strip it down to just piano & a single vocal to take me out of my comfort zone and re-capture the open-hearted feelings I had while writing it. The song and the recording both hold for me a time when I dropped my guard for pure authentic love in spite of all my flaws and failures. In that moment, I felt my true value as a whole person for the first time.”

On 'Vertigo,' Alice Merton’s first single of 2021, the 27-year-old describes the long road from uncertainty back to self-confidence. It emphasizes the unrest that seizes her again and again, the thought: “Why can’t I just let it go?” These contradicting thoughts and emotions that are so familiar to all of us sum up to an overwhelmingly positive effect - 'Vertigo' leaves you empowered rather than anxious: A powerful indie pop arrangement with distorted guitars, plus Alice Merton’s crystal-clear voice. The result is reminiscent of the British Invasion, with no air of self-doubt. With its energetic live qualities, 'Vertigo' feeds an appetite for summer festivals and concerts that will definitely return at some point. Largely responsible for this is the Canadian producer Koz, a multiple Grammy nominee, who has worked with Dua Lipa ('Physical') among others. Here, too, he adds on to what has already made Alice Merton stand out from the crowd in the past - her classic pop appeal - with an uncompromising and indie attitude. This enables Alice to take another big step: She equally encourages a shaken generation and herself that there will be easy summers again. That you can dance again and lie in each other's arms. That it is absolutely fine to have many facets, to not always be clear, and that strength and weakness are not mutually exclusive.

Canadian artist Olivia Lunny's new release 'Sad To See You Happy' is a shamelessly poppy track centering an acutely relatable break-up narrative. The Canadian artist follows up her breakthrough success with a bouncy cut to soundtrack 2021’s long-awaited spring. There's a relatable tale of break-up at the heart of the gloriously poppy new single, belied by percussive instrumentation that creates a warm, nostalgic feel. [via Line Of Best Fit]

After sharing the single last month, Charlotte Adigéry is now revealing the brand new video for ‘Bear With Me (and I’ll stand bare before you)’. The first new music since her 2019 debut EP Zandoli, Charlotte says of the video, “The video is about being confined thus confronted to the way we live. The cruel irony of having the privilege of standing still, questioning and observing my life in all safety while others are fighting for theirs. On the other hand, the video is about trying to stay sane while feeling that the walls are closing in on you. Embracing boredom and finding joy in the little things in life.” Director Alice Kunisue adds, “When I listened to Charlotte’s song and what it meant for her and Bolis, I wanted the video to visually encapsulate that feeling of being stuck inside and confronted to our deeper selves while paradoxically sensing the chaos going on in the outside world without being able to do anything about it. Choosing to film an apartment room from one single angle was a way to reflect that narrowness of thought that we all experienced, but also a constraint that allowed us to explore and develop visual ideas within a narrow system, in a way having to think only inside the box, which artistically was a fun challenge.” [via DIY]

Millie Turner has shared a video for ‘Concrete Tragedy’. It’s a cut from her upcoming mini-album Eye Of The Storm, set for release on May 16, which also features a rework of breakout song ‘(Breathe) Underwater’. “This video is a visual representation of dancing on your own,” she says of the clip. “Combining the many parts of who we are when we’re by ourselves, I wanted it to feel like you’re entering a world of imagination that comes alive when we express ourselves.” [via Dork]

Doja Cat and SZA have come together for a new single called 'Kiss Me More.' When the song was announced Wednesday night, the internet flipped out, which is to be expected with these two — especially Doja Cat, who is regularly going viral these days for all kinds of reasons. When it comes to collaborations, she always finds the best people. That includes Saweetie, who appeared on Doja’s recent 'Best Friend' but then claimed that it was released against her wishes. Given SZA’s long history of public frustration over TDE Records holding back her new album, she is probably happy to have any new music out. Despite recent single 'Good Days' hitting the top 10, her restless fanbase is still awaiting a follow-up to 2017’s iconic Ctrl. 'Kiss Me More' is the first single from Doja’s new album Planet Her, scheduled for release this summer. It returns to the disco vibes of Doja’s #1 hit 'Say So,' this time with no apparent resemblance to any Skylar Spence song. [via Stereogum]

[yoongi-sugaglider]

Daegu Quarantine

Jungkook x reader

Gang/ zombie apocalypse au

Warnings:

Gore, violence, zombies, mention of drugs and drug dealing, weapons discharge in self defense, main character death, zombies, course language, zombies, drinking, did I mention zombies?

Summary:

They were the top of their game, known throughout the city as the smartest and most dangerous crew to ever hit the Daegu streets. But what’s going to happen when this group of young men encounter something right out of a horror film?

Word count: 2394

Part 10===Part 11===Part 12

“Alright Tae Bae, let’s see what’s going on with your system.”

In the time it had taken us to clean up after dinner, Taehyung had already set up everything he needed in order to communicate through remote video feed with his mentor.

I’d decided to join Taehyung and Jeanette in the security area of our basement living room, sliding in beside Jeanette on the overly large sofa and snuggling up beneath her blanket with a smile sent her way before focusing in on the conversation unfolding before us.

Tae was posted up on the floor, feet crossed in his lap and a large keyboard situated on top of his knees as his eyes roamed the information displayed on the massive tv hung on the wall. The screen itself flashed a myriad of information, lines of code and text along with a small set of squares at the bottom left corner that gave us a live view of the surrounding grounds and security checkpoints.

In the top left was a video feed of Black Rose, a sweet looking woman roughly my age whose smile lit up her whole face every time her eyes glanced back to what I assumed was Taehyung’s face displayed on her own screen. I couldn’t help but feel there was something more than the connection of mentor and apprentice between the two.

“I managed to trace the outside signal as far as the local area before I got cut off from it. Whatever it was that let them in was enough for them to feed my cameras a signal to loop come a certain time of day. That’s when the attack happened.” Taehyung frowned, glancing at the video image of the ashen haired woman and blushing brightly as he averted his gaze elsewhere.

“Sounds to me like they’ve been in your system before. Or are at least familiar with the type of code you were writing for it…”

I couldn’t help but glance over at Jeanette who seemed just as bewildered as I felt with all the technical jargon being thrown back and forth between them.

“Any idea what they’re saying?” I asked in an overly dramatic stage whisper.

Jeanette shook her head, blowing a bit of curly hair out of her eyes with a huff. “None in the slightest honestly. I’ve heard Jangmi talk like this before but it always goes way over my head.”

Tae snorted, his eyes darting to the two of us for a moment before focusing back in on his job. “Since I’ve got you here, could you run a backdoor screen for me? At least then I’ll know what I’m missing before we go whole hog on the fuckers.”

Black Rose shook her head, sighing lazily before typing quickly on her end. The sound of high speed clicking filled the speakers along with the sound of Taehyung’s own. The screen glowed a dark green color as line after line of letters and numbers and symbols flashed across it. Everything moved so fast that for a moment I grew dizzy just trying to keep up with it all.

Jungkook at that point wandered into the room, coming around the sofa to sit on its arm beside me and throw an extra long arm around my shoulders.

“Anything?” He asked, knowing that his words would interrupt Taehyung’s focus, he’d spoken in a low whisper just as Jeanette and I had.

“No clue to be honest, but damn if I wouldn’t be able to tell you anyway.” I glanced up at Kookie, blushing as he threw me a charming smile that, no matter how many times I’d seen it, still managed to make my insides flutter.

“Well let me see…” He looked over to the tv, eyes darting back and forth as he watched the words fly by.

“Every computer system, no matter how complicated, has a back door. They’re usually protected by something called a firewall, basically a shield the system has in place so your information can’t get stolen or your software can’t get hacked.” Jungkook’s fingers trailed along my shoulder, leaving trails of heat in their wake as he continued to watch the two computer geniuses work.

“What’s basically happening is Jangmi is attacking Tae’s firewall, trying to find any weaknesses in it to see how exactly the hackers got into our system.”

“HA!” A triumphant shout echoed through the speakers, jolting Taehyung out of his hyper focused stupor and causing him to stare at the screen in shock.

“Are you serious? That one line of god damn…”

“And here I thought I taught you well, little grasshopper. Such a shame that a tiny bit of code like that could cause such a massive amount of damage…” Black Rose hummed.

I couldn’t help but to watch in fascination as Taehyung basically melted down in front of us, rolling on the floor after discarding his keyboard and gripping his hair. He wailed like a little child, cursing and fussing and drawing full on belly laughs out of each of us as we watched him go on.

“One!! One goddamn misplaced comma...are you kidding me?” He groaned, reluctantly righting himself and pulling the keyboard into his lap once more.

“Well, fix it ya soggy noodle.” The woman paused, pulling a large cup into view and sipping from it before groaning in pleasure at the flavor of whatever her drink of choice was.

“I see you’re taking full advantage of the macchiato machine I got you.” Tae grunted, though his fierce typing belied the brief moment of a glance he’d made at her screen.

“Ya damn right I am.” Contrary to the accent she’d been speaking with, these words took on a distinctly New Yorker accent, one I’d only heard in movies and on youtube, but the change was so incredibly adorable I couldn’t help but giggle at her.

“I don’t uh...I don’t wanna interrupt but.” I glanced over to Tae who’s full attention was now on me.

“What is it Boss Lady?”

“Well, I’ve heard of like espresso machines but...a macchiato machine?”

Taehyung and Black Rose chuckled together, grinning a secret grin between the two of them.

“It’s not really like an espresso machine. Think of it like one of those industrial mixers you see in gas stations and stuff.” Tae typed into his keyboard, pulling up an image of the machine he mentioned. “It’s like a frozen yogurt machine but for macchiato mix.”

“It’s rather ingenious actually. All I had to do was get the right kind of mix and I’ve got all of my caffeine needs right here at my desk.”

“I prefer mine through a direct iv line.” A muttered voice spoke from behind the couch, drawing our attention to Yoongi who’d apparently been listening in on what we’d been talking over this whole time.

“Ah! A man after my own heart!” Black Rose grinned, giving Yoongi a thumbs up which he returned with a small smile in kind.

“Boss, we got an issue with Seokjin upstairs.” Yoongi frowned at Jungkook, though the look seemed to be more one of frustration than actual danger.

“What happened?” Jungkook stood, giving me a kiss to my forehead before heading back upstairs with Yoongi.

“Apparently his ‘second’ and I quote, ‘Is a no talent hack who couldn’t strip the paint off the broad side of a barn.”

“Overwatch?”

Yoongi sighed, “No, campaign mode on Halo…”

Taehyung snorted, returning his attention to the tv screen. “Alright. Let’s get that firewall fixed up and reverse track the signal.”

***

“Rose and Tae make a pretty incredible team huh?” Jeanette smiled softly as we watched the two work. We’d decided that speaking quieter gave us less of a chance of interrupting their focus as they worked.

“Yeah, But I kind of get the feeling there’s something between them. Don’t you?”

“Hmm…” 

I’d known Tae for only a short time, he’d come to us only a few years ago. And even though it’d been going on nearly 4 years I still couldn’t help but notice that the young man hardly ever really smiled unless Jimin was around.

Of course it could have been because they were so close in age, but it seemed like he preferred to stay by himself. With his line of expertise and the type of work he did I ended up, well not really avoiding him so much as just giving him space. But he seemed to really appreciate it. We became close in our distance. And that was okay.

“Are you seriously eating gummy bears while you’re at your computer?” Tae snorted, shaking his head as he watched his partner sheepishly grin.

“Hey, the last time we worked together like this you fussed at me because I was eating seaweed snacks over my keyboard. I’ll have no more of you fussing at me you hear!”

The two laughed, seeming to enjoy egging each other on as they worked. It felt comfortable, and was definitely a side of Taehyung I’d never seen before.

“Any luck?” Jeanette asked. She cuddled further into the blanket, seeming on edge as she watched the interaction happen.

“Does East Side ring a bell?” Black Rose’s eyes wandered her screen, eyebrows furrowed and a small frown tugging at the corners of her lips.

“Yeah...actually it does.” I grunted, pushing further  back into the comfort of the sofa.

“We were joined with them. A smaller branch of our main group that was in charge of keeping the East side of the city safe.Tension’s been high with them, even before all this mess came along.”

“I see. Well it seems like it was more than just tension.” Rose leaned back in her chair, iced coffee in hand as she pulled up an aerial view of the city for us all to see.

“This is satellite feed from a remote military camera that was monitoring the area a day ago. From the looks of things and going solely on the data I traced from Tae’s security hack, seems like these bastards have been plotting something for a while now.”

We watched intently as the feed zoomed in on the warehouse Kook, Yoongi, and I had run a rescue mission on not too long ago.

A group of people approached the front side of the building, busying themselves with something we couldn’t see while keeping a lookout for chatterers that happened to come their way. Rose accelerated the footage and we watched as, after moments more of fussing with whatever they were up to they retreated from the door.

“What the actual hell?” Tae whispered before yelping as a bright orange ball of what we could only assume was flames erupted at the door.

“So that’s how those things got in…” My body had tensed up at this point, anger pouring from me in waves as I leaned forward to glare at the tiny bodies pouring into the warehouse.

Rose cut the footage, a frown creeping onto her face as she glossed over what we now couldn’t see. “Looks like they made off with a bunch of stuff, some boxes and shit but dipped out before they could get overwhelmed. There’s no way anybody in there survived the wave of creepos that poured into the building after the fire settled.”

“Two of them survived...but not for very long.” I spat the words out bitterly, rising from the sofa and letting the blanket fall from my form as I began pacing behind the sofa.

Namjoon walked in, eyes following my every move as he walked around the sofa to sit in my place beside Jeanette, though he sat back at a respectable distance.

“I take it there’s bad news?”

Jungkook’s second in command was nothing if not astute and true to form; he'd gauged the atmosphere with no trouble.

“No oppa...shit news actually.”

I glanced over at him, eyes burning a hole into the back of his head despite the blush of red creeping up the back of his neck at the term of endearment.

“Well?” He turned to Tae, an eyebrow raised in question. But before the younger man could speak the sound of an explosion roared through the speakers, one so loud I could have sworn the ceiling above us rumbled along with the noise.

“What in the actual fuck?” I bolted over to the sofa, eyes wide as I scanned Rose’s video feed.

It seemed she’d been knocked out of view of the camera, which itself had been thrown from whatever stand she had set it up on and now lay on the ground. The only thing we could see was the trembling of the floor and a pale set of feet.

“Rose??? Rose can you hear me?” Jeanette had jumped from her seat, rushing over to the tv monitor and hastily scanning the live feed in the hopes of seeing her friend move.

“Shit...I’m okay...fuck...fucking god damn it what the hell?” A continued string of curses poured from the speakers as the feet finally began to move before disappearing from view.

Rose’s face finally came into focus as the camera lifted from the ground to focus on her dazed expression.”I don’t know what the hell that was but holy shit that fucking sucked donkey dick hole.”

“Bruh, the mouth on this woman I swear…” Namjoon shook his head, though the look of concern on his face never wavered.

“You good kid?” I asked, knowing the answer wouldn’t be pleasant.

“Yeah, though, the building I’m in probably isn’t.”

“Talk to me Jangmi, what happened?” Tae sat on his knees, seeming as if every inch of him was screaming to come to her defense.

“Well. From what my screens are telling me. Looks like those East Side assholes found me and are on their way up to my room.”

“Excuse me?” Jungkook had come down, surely drawn in by the commotion coming from the speakers that’d probably been heard all through the house. The others followed closely behind him, each wearing matching faces of either murder death stare or concern.

“I’m at the Daegu Grand Hotel. Have been for a while now. And like I said, from the looks of things the very people trying to get all of ya’lls shit are on their way up to greet me with a very impolite Korean gangster hello.”

[aion-rsa]

Bo Burnham: Inside Songs Ranked from Worst to Best

https://ift.tt/2JMbiJl

The musical of the summer was supposed to be a life-affirming celebration of one of New York’s most vibrant neighborhoods, full of color, romance, and big group dance numbers. Instead for many viewers, the musical of the moment was filmed and performed by one man, alone in isolation from the comfort (or discomfort, really) of his own home, with songs centered on techno paranoia, mental health, and the fear of aging. Maybe after a year stuck in their homes, audiences could relate to the existential dread and general anxiety on display in Bo Burnham: Inside more than a conventional movie musical.

Billed as a stand-up special, Burnham’s latest musical comedy endeavor finds the former wunderkind holed up and feeling more uncomfortable than ever. Writing, editing, directing, and performing from a claustrophobic studio, Burnham’s stand-up special skews more toward being a straight-up musical, and not because the special is light on jokes and missing an audience. Rather this has all the hallmarks of a musical narrative and plays closer to experimental cinema than sketch comedy.

Burnham expresses his characters’ inner-thoughts, fears, and desires via song throughout a contained narrative, in this case the narrative being one man trying to occupy himself during a pandemic. It has ballads, charm songs, comedy numbers, “I Am” and “I Want” songs, and a big reprise. By capturing his personal pandemic experience and putting the whole affair to song, Burnham has created one of the most compelling (and catchy!) accounts of life during 2020.

To celebrate the musical that we all needed after a year in our homes, we’ve decided to rank every song from Bo Burnham: Inside. You can stream along via the Inside (The Songs) album on the streaming platform of your choice.

20. I Don’t Wanna Know

Merely an interlude, “I Don’t Wanna Know” doesn’t quite work outside of watching the special itself. However, it is a clever way to address the fact that modern audiences do not have the attention span to sit through a film at home without checking their phone or complaining about a runtime.

19. Bezos II

While certainly meant to poke fun at the real-life Lex Luthor, it’s not that fun to listen to Bezos’ name repeated. Stil, Burnham does elicit a few laughs with his over-the-top mock congratulations. “You did it!”

18. Any Day Now

A Sesame Street-like mantra that plays over the credits, “Any Day Now” suggests this could all end either hopefully soon or on a depressingly vague far-off date that will never come. We’d like to think it’s the former, but it’s safe to assume what Bo thinks.

17. All Time Low

While this number gets docked points for its short runtime, it absolutely packs a punch with its four-line, single verse. After Bo admits that his mental health is rapidly deteriorating, he describes what it’s like to have a panic attack set to a chipper ‘80s dance backbeat. Unfortunately, we don’t get to ride the wave long enough, and judging lyrics, that’s probably a good thing for Bo.

16. Content

This strong opening number musically sets the vibe for Inside, letting us know that we’re in for some synth-heavy throwback beats that would be best listened to underneath a disco ball.  Also incorporating silly backing vocals, a hallmark of many of Inside’s best tracks, Burnham declares he’s back with some sweet, sweet content. “Daddy made you your favorite,” he sings, and he ain’t wrong. 

15. Bezos I

Unlike the reprise in “Bezos II,” “Bezos I” gets by off its increasingly deranged energy, with Burnham roasting fellow tech billionaires and working himself up into a manic frenzy by song’s end. Musically, it sounds like the soundtrack to an intense boss battle on a Sega Genesis game before ending with a sick little synth solo and Burnham hilarious squawking. It’s arguably the only acceptable thing that Bezos has ever been associated with.

14. Unpaid Intern

While “Unpaid Intern” is one of Inside’s shortest tracks, it absolutely makes the most of its time. The jazzy tune scorches the exploitative nature of unpaid internships before Burnham breaks out into a laugh-out-loud worthy scat routine. It unfortunately ends too soon.

13. Shit

Inside’s funkiest jam sounds like Burnham wrote the lyrics for a new Janelle Moane album cut. Bo show’s off his vocal dexterity and plumbs the depths of his depression in a surprisingly danceable fashion. Throwing in a little faux crowd interaction helps bring home the fact that we have all felt like this at one point or another during the pandemic.

12. Sexting

This slow-jam details the complications of sexting, throwing out hilariously too-true punchlines like “the flash makes my dick look frightened.” “Sexting” feels like one of a few songs that could most easily appear on previous Burnham specials. Proving that Inside’s musical textures do not come exclusively from ’80s synth pop, the outro of the song expertly mirrors modern pop trends by throwing in some trap-influenced “yahs” at the end of Bo’s lines.

Read more

Movies

Best Movie Musicals of the 21st Century

By David Crow

TV

What Would a Queen’s Gambit Musical Look Like?

By Alec Bojalad

11. How the World Works

Influenced by comedian Hans Teeuwen and children’s entertainment in general, “How the World Works” finds Burnham going back to the well by playing the ignorant, smarmy white guy who is oblivious of the real issues plaguing nonwhite Americans. What’s even better though is Socko calling Burnham out on forcing others to educate him for his own self-actualization instead of doing the work on his own for the betterment of others.

Socko pointedly asks “Why do you rich f—— white people insist on seeing every socio-political conflict through the myopic lens of your own self-actualization?” Not to keep things too heavy, the song ends with an absurdist bit where Burnham returns Socko to the nether place that he goes when he’s not attached to Burnham’s hand. Scathing and bizarre, it’s a great piece of social commentary. 

10. FaceTime With My Mom

While most of the music of Inside feels directly transported from the 1980s, “FaceTime With My Mom” seems only inspired by the past decade’s musical trends, updating the sounds in much of the same way that the Weeknd and Dua Lipa have. This is Bo Burnham as a hitmaker, and his attempt is convincing. “FaceTime With My Mom” earns easy laughs by getting to the seemingly specific, yet universal things that all our moms do over video chat. 

9. Goodbye

Every good musical needs a good closing track, and Burnham nails it with “Goodbye,” pulling off a reprise that weaves in many of the special’s signature musical moments and touches on the special’s core themes. A forlorn piano ballad before it soars through Inside’s best motifs, “Goodbye” caps a triumphant musical achievement, coming back to “Look Who’s Inside Again” just to punch you in the gut one last time. 

8. Problematic

Addressing his past work and some aspects that have not aged well, while also skewering celebrity apologies, “Problematic” is self-aware critique by way of an ‘80s workout bop. From the specific Aladdin confession to the overall apology for being “vaguely shitty,” Bo has never made accountability sound so good.

7. That Funny Feeling

This is Bo Burnham’s version of Father John Misty’s “Holy Shit,” a laundry list of all the stupid things that are signaling the fall of culture and civilization as we know it. If Misty hadn’t gotten there first, we may have had this one ranked higher. Still, Burnham manages to come up with a sticky chorus that you’ll be humming the next time something makes you feel like you’re living in the uncanny valley.

6. White Woman’s Instagram

Perhaps the special’s most playful moment, “White Woman’s Instagram” uses the musical cues of an inspiring empowerment anthem to poke fun at the predictably, perfectly curated feed of a “girl boss” Instagram. The song is greatly enhanced by the accompanying visuals, which find Bo recreating the meticulously staged and glamorous portraits that women pass off as their everyday lives.

However, Bo always likes to sneak in some sentimentality, and imagines a genuinely heartfelt post to his white woman character’s deceased mother. Don’t worry, the emotional moment doesn’t overstay its welcome, and we’re soon back to laughing at horribly derivative political street art.

5. All Eyes on Me

The droning synth and pitch-down vocals make “All Eyes On Me” oddly hypnotic and beautiful. The song seems to be addressing Bo’s depression along with his need for validation and attention, a juxtaposition that many performers deal with. It becomes clear that Burnham isn’t addressing an invisible audience, but himself, trying to will himself up and out of his dreary mental state.

4.  Look Who’s Inside Again

A classic “I Am” musical song, “Look Who’s Inside Again” just may be Inside’s most emotionally resonant track that seems to hit closest to who Bo Burnham was and who he is today. This is the song that I will most likely regret the most for ranking so low.

“Well, well, look who’s inside again. Went out to look for a reason to hide again,” perfectly describes the cycle of depression and will, for me, be the special’s most lasting moment. The downbeat ending “come out with your hands up, we’ve got you surrounded” is heartbreaking enough to send a shudder down your spine.

3. Comedy

The special’s real first number is absolutely packed with hooks, from the “Call me and I’ll tell you a joke” bridge to the “Should I be joking at a time like this?” change-up. This is Bo really flexing how far he’s come as a musician, expertly utilizing autotune and a key change (us “stupid motherf***ers” can’t resist them).

“Comedy” also finds Bo comfortably in the lane that we’re most used to seeing him in, playing the egomaniacal white messiah with a wink. “Comedy” is the tone-setter and it’s so good that it lets you know that you’re in good hands for the next hour plus.

2. 30

Either I’m ranking this song too highly due to its personally relatable nature or the fact that I haven’t been able to get “All my stupid friends are having stupid children” out of my head, but I really don’t care. “30” is Inside’s biggest earworm and addresses the existential terror that comes with no longer getting pats on the back for being a young wunderkind.

“30” also examines generational differences, showing how 30 year-old people are more infantile than ever. However, at the end of the day it all comes back to those shimmering keys and that irresistible refrain. Apologies to my friends with children.

1. Welcome to the Internet

No matter how deep and emotionally rich some of Inside’s other tracks may be, “Welcome to the Internet” is the one that will live on the longest. If this were a traditional musical, this would the antagonists’ showstopper; a vaudevillian romp through the alluring chaos that is the internet. Speeding up and slowing down the pace to mirror the manic, addictive nature of surfing the net, Burnham pitches the negative aspects of online culture as they are: a feature, not a bug. Promising “a little bit of everything all of the time,” “Welcome to the Internet” is almost as enticing as the dark tool itself.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Bo Burnham: Inside Songs Ranked from Worst to Best appeared first on Den of Geek.

from Den of Geek https://ift.tt/3d0eX1x

[dlamp-dictator]

Allen X Wants to Like Guilty Gear Part 1: Allen X Does Not Like Guilty Gear

Folks, I tried. I really tried. For the last few years I’ve tried to like Guilty Gear. I’ve honestly been playing bits of this series since around the time Accent Core was on the PS3 store. I’ve really tried. I’ve played Accent Core Plus R, Xrd, Revelator and Rev 2, and I’ve been trying my damn hardest to like this series because I can see all the cool and fun stuff in it. I can see the cool grungy-rock meets 90s anime aesthetic. I can see how insane and cool Roman Cancel combos are. I can hear all the awesome music in the soundtracks. And I see all the blood, sweat, and tears poured into this series to make it the coolest hard-rock fighting game it wants to be and I really want to like it.

But I don’t... God, it’s Samurai Shodown all over again.

I just can’t get into this series, man. Something, some things about it keep me from fully enjoying it. Mostly some petty things that just add up and tumble the pile over, but things nonetheless. 

And... I wanted to talk about that a little. 

I wanted to just let out all my love and misgivings for the Guilty Gear in hopes of finally purging all the negative from my being, or at least write it out in a constructive manner so I can lay all my transgressions bare and maybe... possibly... actually want to purchase and play Strive on launch day.

But first, as usual, a synopsis. 

The Guilty Gear series is a fighting game developed by Arc System Works, helmed and created by Daisuke Ishiwatari, who I know as the composer of the Blazblue soundtrack, but has quite the large track record that I won’t go into here. Guilty Gear as a story focuses on the lone bounty hunter Sol Badguy, a human experiment known as a Gear, half-human, half monstrous being of science and magic. The storyline of each game tends to focus on Sol finding the humanity in his would-be marks as well as confronting the still-lingering humanity in himself as he copes with both his self-loathing and loathing the for one who made him this way, a scientist simply call That Man, or Asuka as the most recent games have shown us. The storyline itself is long and complicated but as of Strive it seems the final battle between Sol and That Man is finally at hand and the battlefield will be the United States.

Gameplay-wise, Guilty Gear is a fast-paced, combo-centric series that uses chaining attacks that can cancel into special and super moves, along with the unique Roman Cancels, which slow down time and leave your opponent open for more punishment mid-combo. Think the Chain Shift in Under Night with a bit more hangtime if you want a comparison, or the Rapid Cancel of the Blazblue series with a slowdown effect and more flash. 

And with the basics out of the way let’s talk about the specifics.

The Good Things

Of course, that isn’t to say I hate this game series. There’s a lot I like and enjoy about the Guilty Gear series that I’ll go into greater detail in a later essay, but for now I’ll give a brief mention of all the things I enjoy about it.

The Music

I was introduced to Daisuke Ishiwatari’s music through Blazblue, and while I love Blazblue music to this day I’ll also admit that it sounds very... video game-y. It doesn’t sound like something that could be listened to from anything other than a game. But Guilty Gear music sounds like actual music. I don’t mean that in an insulting way toward Blazblue, but... man does Pride and Glory sound like something you’d listen to while driving your pickup truck on the highway. Damn, does Get Down to Business sound like something an actual rock concert would play. And the Xrd soundtracks sound so good man. One Dawn, Enough is Enough, Starry Sky, Lily of Steel, they all sound so damn good. And as cheesy and over-the-top as they sound I love the LA and NY Vocals of this series. Personal favorites are Keep Yourself Alive II, Fuuga, and Suck a Sage. 

The Aesthetic

If there was one thing I didn’t really like about Blazblue it was a lot of characters, even the ones I mained, had an aesthetic I just couldn’t latch onto. A weird mix of fantasy, eastern, and early-2000s action anime that just didn’t click with me save for Hibiki Kohaku. Guilty Gear is a lot more my speed with a more rugged look to their characters. Something about a lot these characters just have that good mix of grunge and 90s fashion I love. Some of my favorites being Answer, Ramlethal, and Jam.

Tension

While there’s a lot about Guilty Gear’s mechanics I find unappealing and convoluted I love how building and using meter works in this series, specific in Accent Core Plus R. Dust being a sort of EX button works really well in this game since I personally feel like Dust is kind of under-used a lot of the time save for the universal sweep.  This point probably won’t get an entire essay covering it, but I did at least want to give it a shoutout.

Setting

This point will be getting its own essay, but to keep things short and simple I like the setting of Guilty Gear, medieval-esque magitech with a dash a modern-world flavor just hits with real well with me. Like a nice mix of Under Night and Tales of Symphonia.

And that’s it for the good stuff, at least the good stuff I can make into later essays. Now let’s talk about...

The Conflicting Things

Really, my issues with Guilty Gear are similar to Samurai Shodown and Granblue Fantasy Versus, where I love those game aesthetically, but actually playing them is another matter. However, unlike those two games my issues are almost the opposite. Where Samsho and GBVS had a slower and more fundamentals approach that didn’t appeal to my cocaine-esque addiction to combo chains, special cancels and air-dashing, Guilty Gear is almost too fast for my taste, or at least a different kind of fast. This is something very hard to explain. If you've read my initial thoughts on Crystar then you have a good idea about what I mean. This is something very hard to explain to people that haven’t played the game and is likely more a technical part of Guilty Gear’s mechanics that I can explain with an real sophistication aside from saying ‘this game feels weird,’ but... I’m gonna’ try.

The Button Layout

Alright, this is something I can actually explain. I’m... not a fan of 5-button fighters. Really, anything more than 4 buttons is hard for me to grasp. This is mostly due to the fact that I use a standard dualshock controller when playing fighting games. I frankly don’t have money for an arcade stick nor the patience to figure our how to work with one, so I’m stuck with the PS4 controller. For games like Blazblue, Granblue, and even stuff like Tekken and Dead or Alive this works out fine, as even when those games have a fifth or six button they usually aren’t heavily involved in combos or can be supplemented by other means. But games like Street Fighter, Skullgirls, and Guilty Gear the fifth and sixth button are used very liberally. Granted, Dust isn’t used as often as heavy punch, but it’s still a key button used for sweeps and air combos, turning my hands into pretzels as a results. 

I don’t you dare tell me to just get use to it or get good. I’m a Carl main. I’m used multi-tasking with my hands.

...

...

...

Dammit, that came out wrong, but you know what I mean. 

Anyway, a smaller issue I have is just the way Punch, Kick, Slash, and Heavy Slash are mapped both on the controller and on the display screen. It just doesn’t mesh well with me where they’re mapped, and switching the button layout honestly makes it worse because the display proper doesn’t adjust for where I map the buttons.

Roman Cancels

Roman Cancels are just a tool I don’t think I’ll ever find a good use for, or at least something that would take me a long time to use optimally. Like I said before, they’re basically Chain Shift with more hangtime, but it feels like the Rapid Cancel in the sense that I have to move very quickly after activating or I outright lose the combo, and unlike Chain Shift and Rapid Cancel where I can just ignore the mechanic, keep the meter, and focus on small, easy combos with good defense, Roman Cancels feel somewhat needed to do decent damage in this game. Or at least the trial mode really thinks so.

From what I’ve seen of Strive’s mechanics I think Roman Cancels will be a little easier for me to conceptualize and use, but... I dunno’, I’m not feeling too confident on that. 

I do recognize that this issue is a me problem, but it’s a probably I have nonetheless.

The Look

Specifically on Xrd, something about the 2.5D makes certain movements a little hard to read and judge. This isn’t something I can really describe that well, but something about that game specifically feels weird. Like the cell-shaded, 3D contrasts a little with the feel of motion in that game. I have a similar issue with the recent Street Fighter games as well. Again, it’s nothing concrete and it’s honestly indescribable for someone of my knowledge on the subject, but... something feels awkward when I’m playing this game in a serious light.

The Fandom

This has nothing to do with the game, but tends to create cracks in me when I play this game. As a guy that got into Arc System Works games via Blazblue Calamity Trigger, seeing a lot of the Guilty Gear be demeaning and insulting toward the Blazblue Community has always rubbed me the wrong way and I have a difficult time getting into this series in a more serious way because of it. I know this is likely a vocal minority, I know this isn’t every Guilty Gear fan, but it feels like a vocal side of Guilty Gear community keeps thinking that Guilty Gear is some sort of antithesis to anime air-dashers like Blazblue, as if the grungy rock aesthetic cancels out the anime aesthetic of Blazblue. This has always annoyed me, but it tends to crop up everytime someone brings up Guilty Gear designs versus Blazblue designs and while I find the idea of discussing and comparing the two interesting it always seems to devolve into insulting Blazblue.

Though to give a short version of my opinion this: I don’t want to hear shit about Blazblue waifus when Baiken mains don’t even play Baiken. And I especially don’t want to hear shit about Blazblue’s pandering fanservice when Dizzy, Ram, and Elphelt exist.

About Strive

I think that covers the main things keeping me from liking Guilty Gear, or at least playing Guilty Gear. So I want to talk about Strive, the next game coming up. This will also be something that will be expanded on in a later essay, but for now I’ll say I’m cautiously excited about Strive coming out and I look forward to at least giving it a shot. Though to give some rapid-fire bullet points on the matter... 

Overall, I think Strive looks great, the presentations is fantastic and I love a lot of the new designs for the characters, though I hear that opinion is actually contentious in the fandom.

I heard that Strive is gonna’ have a dub again. I’m... curious, but I’ll save my opinions for a different essay. Long story short, if they get a new director or the old director puts more care into the performances I’ll be happy. I did overall like Xrd’s original dub barring a few performances.

So far everything about Strive looks cool, but it’s still Guilty Gear, so... debating on if I wanna’ get that day 1. Especially since I still only have a base PS4. I’ve no interest in getting the new hotness for at least another year and gamers are self-centered demons that mock those using lesser hardware. That isn’t a Guilty Gear thing, it’s just a gamer thing.

For those wondering, if I pick of this game I’ll probably main Chipp, Ram, and maybe Giovanna.

I have mixed feelings about the soundtrack. Save for Smell of the Game the lyrics in the themes I’ve hard are a mix of okay to... not okay. Hope they have versions without the lyrics similar to Raven in Rev 2.

And I think that’s everything. Next... probably another essay about Arknights.

[baconpal]

Bravely Default and BD2

Here it is, the partially prompted bravely default rant/retrospective/whatever the fuck!

With the announcement and demo of bravely default 2 out now for a bigger market than the original game ever had, I feel that as a massive fan of the original I should put some amount of effort into explaining what the appeal of the original is, why bravely second missed a lot of the appeal, and why bravely default 2 has been very, very worrying so far.

If you care about any of that, come on in and I'll try to actually avoid spoilers this time and make this a more legitimate recommendation of a game than usual.

THE APPEAL OF BRAVELY DEFAULT The games obviously have a beautiful art style, especially when it comes to the backgrounds. Every city is like a painting, a beautifully composed shot that you see from just one direction to give you one very strong impression. While the overworld and dungeons are fully 3d and do not have as strong of an artistic impact, they are still very competent and have good colors and cohesive elements. The character design, including the job outfits, the monsters, and all the villains are just top notch. Simple, evocative designs that make the most of the 3DS' limited hardware and build upon the teams skill in making handheld games look good. (its the same team that did the ff3 remake and 4 heroes of light, which looks absolutely kino on original DS) The music is also consistently excellent, with great use of motifing, a full and varied orchestra, and many good slow paced tracks for most of the non-combat segments. Shit like "Conflict's Chime" being the main battle theme, "Infiltrating Hostile Territory" being a common dungeon theme, and "That person's name is" as the rival boss themes makes even the seemingly repetitive songs a constant joy to listen to.

The story is pretty decent, it's not the best part of the game, and there are definitely some aspects of the story some people loathe, but the characters (specifically ringabel fuckin love him) are pretty good and the make for an enjoyable experience. The side material like D's journal are really well done and integrate into the main narrative well for how tucked away and ignored it is.

The gameplay and systems are also some of the best of any RPG I've played, and I've played far too many. The job system from ff3 and 5 is brought to an even greater depth with the addition of universal job abilities, allowing any character of any job make use of another jobs features to create an endless depth to strategy. The way various jobs can mingle together, and how no job is completely perfect on its own makes for very compelling team composition and unit design. The extensive amount of jobs helps as well for replay value and for assuring that no easy winning strategy is found by all players.

The BP system makes battles take on a very unique pacing as the player and enemies can choose to save up turns or blow them all at once to make more complicated strategies possible, or to make the most of an enemies vulnerabilities. This powerful option gives the player a meaningful way to capitalize on their knowledge of the game, while also allowing them to make truly detrimental mistakes. That may sound not good if you're a fucking baby, but nobody wants an RPG you cant lose, but losing because you fucked up is much better than losing because the enemies are just stronger than you or anything to that effect.

But the single greatest part of bravely defaults, which creates the games wonderful balance and unique design philosophy, is that the player is expected to hit the level cap long before finishing the game. Reaching level 99 should occur somewhere just after the middle of the game, at the point where the player has access to almost every job and has encountered almost every type of threat. Reaching level 99 brings with it a certain security, the implication that from then on, all enemies will also be level 99, and that any failure to defeat an enemy will be a result of a bad strategy or the players own mistakes. The game is not easy, and is certainly intended for veteran final fantasy players used to the games with job systems and changing up your entire party to combat a single encounter. Leveling up is not a slow grind part of the game, as you have a lot of control over the speed and frequency of battles, and it is not difficult to keep up with the games level curve.

The other layer to this unique design is that the game expects you to "cheat", or use strategies that would be overpowered and frowned upon in most other games. Bravely default easily expects you to know or discover strategies such as: applying a status to all enemies and killing every enemy with that status using another spell, cycling a counter move over and over to have a nearly invincible party member, applying a healing attribute to a self-damaging character to get huge damage at little cost, casting reflect and dangerous spells on your own party to bounce them at the enemy, or duplicating a move that does maximum damage 15 times in a row. The game builds all of its encounters with the knowledge that your team will be the maximum level and that you will be using the most vile tactics you can come up with, and the game will do the same. Bosses and even common enemies will employ equally vile tactics using the exact same moves that you have access to, meaning you can learn from your enemies or quickly grasp the enemies strategy through your own experiences. One of the late game dungeons is entirely optional, but involves several fights against parties of 4 just like your, using the same jobs and skills you have gained during the game as a perfect test of your ability to develop counter-strategies, instead of relying on your own overpowered tactics. This type of design is really not something you find in many games due to the prominence of grinding or the lack testing strategies, and it is the most true appeal of bravely default to me.

BRAVELY SECOND EXISTS I GUESS So bravely second, a direct sequel to bravely default, definitely is a video game. It uses the original game as a base to generate more content, but completely misses the appeal of the original, and the new content added makes the experience even less focused. Overall, it's still a fairly alright RPG, but it fails to follow up on bravely default in a meaningful way or to provide as compelling of a gameplay experience. Here's some of the things it fucked up.

The game reuses almost everything the original game had, including the same music, world map, and most of the original's towns and dungeons, while adding a few of it's own. Going through areas you've been before never feels good, and the new areas lack the quality or brevity of the original game, leading to uninteresting areas that overstay their welcome, despite being the only break from repetitively reused content.

This extends to the classes but in an even worse sense. One important trait of the original jobs is that they were not perfect by themselves. While every job provided some useful abilities to be shared with other classes, or provided a good base with which to make a character, no class was without flaws. The new classes in bravely second are a lot of the opposite, they are closed loops that think of everything they could have to make a good standalone character. The 4 starter classes you get in bravely second are all brand new, and there's almost no reason to use any class besides those 4 as they are just insanely good. The priest and magician specifically augment magic in a way that makes spells infinity scalable into the end game, completely trampling on any other magic classes territory without needing the extra effort of grinding a new class out. Many of the new job concepts are actually really interesting, like going back in time to return to a healthier state, or a class that changes the stats and attributes of all units in a battle, allowing for all new kinds of strategies; but these classes lack any opportunity to be used to their full potential since they don't mesh well with other jobs and are limited by their self-centered design.

Another completely missed aspect of the original is the level curve discussed before. Bravely second only really requires you get somewhere in the ballpark of level 60-70 to comfortably beat the final boss, and getting too leveled up is really hard to avoid if you are plan to try out various jobs.

Second also fails to account for how many incredibly strong strategies the player can come up with, and even introduces some of its own strategies that it has no way to counteract, such as halfsies (the first skill the first class gets) pretty much splitting the game in two by tripling the value of items like phoenix downs, and allowing for fool-proof strategies by making 1 character focus entirely on defense, effectively making the party unkillable. Essentially, if you play second after having played the original (like any sane person would) then you will absolutely destroy the game with no sense of satisfaction.

The story is also a large step down, enough to become an annoyance, as the writing style changes to a strange romantic comedy situation with, for lack of a better term please forgive my sin, anime writing, but like bad anime writing, ya know the kind of shit that makes people write off all anime cus a lot of it is awkward and unpleasant to listen to. The story tries to mess with some big concepts like "what if new game + was a real thing???" and time travel and shit like that but it doesn't mesh with the tone the rest of the game has and that tone doesn't mesh with the world or art style and it's just a mess.

BRAVELY DEFAULT 2 SEEMS KINDA POOPIE SO FAR So unfortunately, the big appeal of bravely default being part of it's end game makes it hard to judge how 2 is gonna go given we only have a demo of the beginning, but given that the original team behind bravely default has slowly been stripped out of the series as it goes on, the outlook is bleek.

Most immediately obvious is that the artstyle has made a horrible transition from handheld to console, somehow even worse than pokemon. The areas are all fully 3d and lack the style or compositional excellence of bravely default, and the outside environment look like asset store products. The small proportioned characters with simple features to be readable on a small screen have been replaced with identically proportioned characters with excessive detail and ugly features, and look horrible up close on a big screen. Only the negatives of the art style have made it over, and everything good has been made unsavory. The character and enemy design overall is much worse as a result, everything is messy, unclear, and clashes with everything else. It's an absolutely shocking downgrade.

The characters themselves are overly hammy and feel like shallow attempts to have a similar party dynamic to the original without having identical character types, and the writing as a whole doesn't seem to have improved from second, which was already quite a step down from the original.

The gameplay also has not done anything different or interesting yet, and seems to be selling itself to people haven't heard of or gotten enough of the BP system. Enemies being on the overworld as opposed to random encounters shows they have dropped the player agency over encounter frequency, which is dumb. The battles lack any of the flow the original had, especially when using the battle speed option, as the camera does not present everything very well and changes position often as a result. Overall, I have not enjoyed the bravely default 2 demo and feel it shows nothing but a continued decline in the series that likely should have just been a single game. With the release date being set for sometime this year, I feel there is no chance any amount of player feedback could save the game or even begin to pull it in the right direction, as it seems to be fundamentally flawed with an inescapable feeling of shovelware.

SO WHAT? Basically, all I wanted to say here is that the original bravely default is a very unique experience I think every RPG fan should give a good chance (and just do all the optional stuff during the "repetitive" part of the game, it's where all the best content is you bozo) and that the sequels are NOT the same experience. I guess it's kind of mean to just say "hey don't buy or like this new thing cus its not like the old thing" but people should know why there's a bravely default 2 in the first place, and should fight for what made the original great. I worry that BD goes down the same sad path that FF did, becoming a completely hollow, middling series that strayed so far from it's home that a whole new series had to be made to give the fans of the old style a place to go.

Thanks for reading, and hope you got something out of it.

[a-patheticapathetic]

Rishloo - Feathergun: Review

New year, new me. Let’s repeat that until it becomes true. 

There seems to be a pattern with how I discover music. At a very young age, I hear a song in a very specific circumstance. It has a big impact on me, but I make absolutely zero effort to check out any of the artist’s other music and instead meander onto another earworm. Then, years later, I have another chance meeting with the same song/album/artist and fall completely down a rabbithole that foundationally changes my taste in music. It happened with Radiohead (High and Dry as one of the default songs in the original Rocksmith), Queens of the Stone Age (Lost Art of Keeping a Secret in a stick figure animation), and Nine Inch Nails (Hurt (Quiet) on Spotify radio). Then, there was this strange song called “Scissorlips” that I saw on a very small Rock Band 3 drum channel. I showed it to my brother because of how fun the chart looked, and made the mistake of watching his reaction to the video. His disinterest embarrassed me enough that I never chased the music. That is, of course, until many years later, when I was introduced to Tool. The rest is history, and is frankly stalling me from starting the actual review. Let’s get to it.

Scissorlips - 8/10

The strange, dark jungle the album begins with is a nice representation of the album cover, although it won’t rule over the entire runtime. Don’t let the de-tuned guitar under the vocals deter you; the rest of the guitarwork here is beautiful. As we reach the pre-chorus, the percussionists may hear why I was interested in this song as a kid. This is also where the sonic background really opens up, swallowing you for a moment before the intro verse comes back. The lyricism here is also very abstract, yet isn’t impossible to follow. A couple of metallic bites taken out of the mostly psychedelic walls of guitars, then, the first of many beautiful delay effects. The build-up got me pretty good when I heard this so many years ago, and It’s still damn good. For the love. There are so many guitar lines here that just intertwine and enlace you. Then, something a bit heavier (yet oddly hopeful) to round the song out.

Turning Sheep into Goats - 7/10

This intro is more of what can be expected for the rest of the album, sonically speaking. A lone guitar with delay playing a complicated and alluring line in a strange time signature, then built upon. The path you may assume this song will follow is extremely suddenly changed at the chorus, the vocals really driving it home. Then, back into that nice opening riff like nothing happened. The next time that chorus comes thundering around, listen to that low guitar and the way it combines with the drums. Then drop out the ugliness into a floating mesh of palm mutes and synthetic strings. And don’t miss the fl

Systematomatic - 7/10

awless transition into the next song. Immediately, a new riff rises from the pond of reverb. You may not identify it immediately, but don’t worry, you’ll get more chances to. Very fast guitar-work that somehow doesn't sound so frantic, although the chorus definitely has a certain desperation to it. The mood gets heavy again, before quickly sliding into a strange, feverish haze. Some hits of percussion, then a recontexutalized and slower return to the riff at the start of the song. Weave us back into war.

River of Glass - 8/10

Now this is an ear-catching introduction. What seems to be a calm wave of delay is punctuated by war drums and a grimier lead. The mood builds, then crescendos into the song proper. The chorus is hear damn near immediately, and is extremely catchy for prog. This album is really just full of extremely memorable vocals, and the instrumentals complement them perfectly. We get two goes-around before we fall into these twisting and sliding strings. The drummer is also on his A-game here. Then, the guitars push into the clouds before coming back down with another short but heavy low. Then it all cuts out for a second, juts to make the burst into the final chorus that much more effective.

Keyhole in the Sky - 7/10

This one is simpler, but also very filling and peaceful. Unfortunately it does begin to showcase my only problem with this album; the vocals are mixed too loud at times. And while the singer is absolutely incredible, sometimes I’d like the instrumentals to breathe a bit more. The walls of high guitar come back around, this time feeling much more friendly and familiar. One last chorus, closing on a quiet note. Though it’s not over; an alien feedback loop and somber, echoey horn passage lead us into the next track

Downhill - 10/10

This song has two main phases, and is absolutely perfect throughout. An easy start; a relatively simple and serene riff fed through a pleasant delay pedal, with some subtle synth and bass backing. The vocals shine through, as clear as ever. And wave, goodbye. Then, like stepping through a portal into phase one. A very interesting, rhythmic and almost bluesy instrumental accompanies the title-drop. Then, we fall for miles down a well of piano. The bottom greets us with a moonlit key solo, then an incredible Floydian guitar solo. Hanging on the last note, phase two begins with an ominous drone and repeating guitar line. The drums rise, give a false start. then... perfection. I cannot do phase two justice with words. Just close your eyes, listen, and be swept away in what I believe to be one of the greatest vocal performances of all time.

Lost.

Feathergun in the Garden of the Sun - 9/10

Not to be outdone by the previous masterpiece, the title track opens with another wonderful soundscape, before the distortion comes in. The drums pick up the tension, bringing us into the pre-chorus. That riff is going to be impossible to tap your foot to at first, but the next ones should be easier. And here we have perhaps the best chorus on the record; extremely powerful in writing and execution on the parts of every band member. The second time around is just as good as the first, then the brdige begins. Ready, aim... The heaviest riff on the album, and an abrupt switch into the last chorus. Fade out.

Dreamcatcher - 7/10

A nice break from the intensity. This feels like a peaceful tidepool on an alien world, with creatures and colors beyond the world floating around my head. Short but sweet.

Diamond Eyes - 6/10

By no means bad, I do feel like this one may be the weakest track on the album. While it’s certainly beautiful, I feel like it doesn’t do a whole lot that’s new or interesting. Also, when listening at high volume (which is the proper way to listen to this album), the faults in the mixing really rear their ugly heads during the choruses. Still, there are some very pleasant rolling delay loops here during the bridge, and a nice and satisfying buildup towards the end.

Katsushika - 7/10

While the guitar opening this track may be the most straight-forward and least effects-driven riff we’ve heard so far, this song will eventually become the most alien one of the entire lineup. In a good way, of course. I can barely even decipher exactly what’s going on in the instrumentation during that build. The chorus also ends with a nice drop-off into the next verse. You may be noticing a pattern with the songwriting, where the chorus usually leads into the second verse, following the pattern of the first one but with more layering. I like it; it gives the ideas present more time to mature and develop. Anyways, here comes the bridge, where everything changes. Out of everything going on here, I feel like the drums and the background vocals are the most striking thing about this outro. What a fantastic progression and dropout. Beautiful monsters.

Weevil Bride - 8/10

The finale. This riff here is extremely well-done. The tone here is somehow piercingly bright and concerningly dark at the same time. The lyricals themes of the album also come to a head here. This chorus is another incredibly written and performed beast; just wait until it’s modulated. The second verse lays away with the subtleties and strikes at the head. And I just need to know that everything is fine, and everyone’s alright. This bridge also kicks ass, with its heart-pouding combination of guitars and toms. Then, comes the heaviest part of the entire album: Yes, please. Then we are snapped out of the masochism and lifted back to hear the main point of the album, before the intro riff carries us into an uncertain but complete conclusion. After the “true” song ends, there is a long passage of somber horns and a tranquil, almost lullaby-esque keyboard. There’s something extremely nostalgic about this outro to me, but I still can’t put my finger on where it comes from. This section almost feels like the music they play after the end of a play, as the lights come on and you make your way down the dimly-lit theater steps on slightly numb and shaky legs. The story is over; this is your time to reflect.

The main reason I wanted to write about this album in particular is because I feel like it hasn’t gotten the attention it’s deserved. It truly feels like a masterpiece worthy of widespread recognition and praise, but despite being released over a decade ago, few people have even heard of this band. It feels like injustice, not only for Rishloo’s efforts, but for the people who would connect with this album as much as I have. Also, there’s the slightly selfish hope that increased attention would incentivize the band to work on more new stuff, or better yet, remaster their older works.

In any case, It’s very late, my back hurts because my spine hates my nervous system, and I need to actually get to sleep tonight so I can heal the godforsaken nerve that wedged itself in my inner workings yesterday. On a scale from “Your all-time low just lowered again”, to “Want some? Yes, please”, I give Feathergun a “Oh, what beautiful monsters”.

[mikami]

Death Note Audio Drama 02

Disk 2: Collateral Damage - a summary / partial translation

Disk 1 and an attempted explanation of What This Is are here.

This episode also isn’t particularly wild as far as plot diversion goes, but it changes a key element of how Death Note manipulation works and.... introduces a whole lot of Matsuda trivia, somehow. We also say hi and bye to Naomi.

___________________

We begin with Naomi tracking down the bus driver of the busjacking. The driver is really annoyed that people keep tracking him down to ask him about it. Naomi asks about Raye. (Her vacation pic is from Honolulu in this version). Naomi presses the driver to tell her as much as he remembers about the other passengers.

_____

TITLE MUSIC PLAYS

_____

We’re back in time. Light is trying to think about how to get Raye Penber’s name. His dad’s computer has no notes about it. Light deduces that his dad doesn’t even know about the tailing. Ryuk brings up the eye deal.

RYUK: I can offer you the eyes of a shinigami.

LIGHT: U-uh, you mean a real pair of eyes? That’s disgusting!!

RYUK (amused): No, I just mean the power of those eyes.

The lifespan halving gets brought up and Light just goes “uhm... no thanks”, literally. 

LIGHT: Are there any more surprises? Some kind of bonus point system? Fine print? 

RYUK: Uuuuuhm, can’t think of anything much right now.

LIGHT: You could have written it into the Death Note, alongside the other rules. I don’t like to be led by the nose, I’m not your goddamn----

RYUK: ... what?

LIGHT: I am not your puppet.... But I can get one for myself.

RYUK: I don’t get it.

LIGHT: I know now, how to get my pursuer’s name. And that’s without making any kind of contract with you.

_______

A TV transmission. An attorney has issued a lawsuit against prisons for the way prisoners die. His client died of heart attack after writing a pentagram in his own blood. He was close to being pardoned. The lawyer says that the government has a duty to ensure safety of the prisoners, no matter what they are in for. 

_______

L and Soichiro discuss the murder and other abnormal murders like it. They have Soichiro be the one to discover the “L did you know” message, oddly. But they don’t really detail how it is coded, so it might have just literally been written down word by word in this version. L tells Soichiro to not tell anyone about this, not even his team. Soichiro immediately says he’ll only keep it in her personal data files.......

_______

RYUK: Are you really sure you should snoop around your dad’s office like this?

LIGHT: If you want a useful way to keep your eyes busy, why don’t you keep watch?

RYUK: I am not your partner. Oh, an apple. [eats]

LIGHT: Luckily, I can do just fine without your help. A-ha! Interpol listed them all!

RYUK: All your extremely dramatic deaths?

LIGHT: More or less. Seems like not all I wrote into the notebook actually happened.

They go over the stipulations of manipulation needing to be physically doable for the victim. 

LIGHT: And now I just need... a catalyst.

_______

News transmission. A news entry about the killer of the Amane parents having died. Channel switch. A Christmas-themed advertisement for Space Land. Channel Switch. A news feature about Kiichiro Osoreda and his failed bank robbing.

______

Light meets Yuri and Yuri’s dialogue is kept pretty accurate to the manga, which is something that I found really disappointing actually. Light’s and Ryuk’s dialogue here is also very close to the original. 

Raye Penber complains that he’d like to do real policework at some point again, otherwise he acts the same as in the manga here.

The whole busjacking is just really manga-close. But when Raye says he’s police undercover...

LIGHT: Oh, really? And how do I know you’re not in cahoots with this madman?

PENBER: And who are you? A detective?

YURI: His dad is a detective, that’s why he’s so smart.

LIGHT: Do you have ID? Otherwise I’ll have to deal with you first. 

PENBER: Of course! Here.

LIGHT: Raye Penber... FBI? What is the FBI doing on a bus to Space Land?

PENBER: This isn’t really the time for that, boy.

LIGHT: Alright, cowboy, then toss your lasso already. 

I cannot overstate that he literally says this. Word by word. After that, the scene returns to its canon version. The bizarre thing is that Ryuk explains the plan out loud, including telling Light’s name to Otoharada. Of course, Otoharada is brainwashed and acting according to script, but still weird.

_______

News transmission. The busjacking gets described. Light turns the news off and shows the Death Note entry to Ryuk, who reads it out loud. 

______

We hear a New Year’s countdown. 

WATARI: What in Hercules’ name was that?

INTERPOL REP (still clinking champagne glasses): It’s the time difference, Mr. Watari! It’s midnight, here in the USA. 

WATARI: Oh... I am so very sorry. I must have lost my overview. 

INTERPOL REP: Forget about it. Just a moment.

She leaves the party room. She informs Watari of the deceased FBI agents. It happened three days ago, but she only got the report now, thanks to the holiday crunch. She now refuses to involve the FBI further. 

______

Soichiro calls L. He’s pissed about L involving the FBI, now that he’s heard. 

______

Back with Watari and the Interpol Rep (her name is Paula Virilio and she’ll be referred to as Virilio in the future) are still talking about the matter. She tells Watari that on Dec 28th all the agents asked about names and photos of their coworkers, so she gave the first four the file and asked them to pass it further.

______

Soichiro is really mad about Virilio’s miss-step too. L and Soichiro work out that they need to know who sent the first email about the files. The phone call ends.

The Task Force is really mad about L still not taking the same risks as them. They actually seriously consider L being Kira for a moment. 

______

The Task Force enter the hotel L is staying in. Pardon me for sometimes just saying ‘someone’ as the speaker, I find the Task Force really hard to tell about and without context cues I am often lost.

MATSUDA: A whole hotel suite? How do you earn the money for this stuff?

L: By being smarter than everyone else, Detective Matsuda.

MATSUDA: You are... [He corrects himself from the formal ‘you’ used to address adults to informal ‘you’ here] You are L....?

L: The one. Please sit down, gentlemen.

MATSUDA: He’s still a child...

L (laughs): I am old enough to vote, Mr. Matsuda. Old enough to carry a weapon, to marry, to fall in love... and to catch a murderer.  And you are Chief Inspector Yagami. I also know you from TV.

SOICHIRO: Yes, here’s my ID, for protocol. This is Matsuda, as you know. Detectives Aizawa, Ukita, Mogi...

L: A group of dead men. 

SOICHIRO: Excuse me, what?

L: If I really was Kira, you’d all be dead now. 

MATSUDA: How can we know that, boy?

L: Because you are not dead, detective. 

MATSUDA: We call that kind of thing circular logic.

L: I call someone like you an idiot. 

MATSUDA: I don’t need to listen to this from a civilian, you little shitty---

SOICHIRO (softly): Matsuda. 

L: You name is Touta Matsuda. Graduated from Kumamoto University. Passion for sports cars and every Thursday, you go to the cinema. Big drama. Not in a relationship right now, but in pining hope for something complicated with Noriko Takai. Hm. A very concerning sympathy for both [???? I DONT KNOW THE WORD] as well as country music. Loves Korean cuisine, but....

SOMEONE: He’s got your number, Matsuda.  

MATSUDA: So what? You all can easily figure out the same from social media.

L: Yeah, that’s what I can do. Everything. About you, and your sister, and your stupid aunt who doesn’t know how to properly set the privacy settings of her account. I know where you live, you tool--

SOICHIRO: I think we got it, L. 

L: Really? Kira plays this game to win. I agreed to meet you, because you were all getting nervous about working with an anonymous specialist, so I am here. To get my hands as dirty as yours. But really, is this necessary...?

SOICHIRO: What do you want, L?

L: I want you to take this seriously.

SOMEONE: In the face of 12 dead agents, matters are serious enough, I think.

L: Correct, so you take care to not become number 13. All of you have to disappear. Get off social media, get new email accounts. If you address the public or the press, you will introduce yourself with these names. You are not going to tell anyone your real names. That’s exactly why I am still alive.

And this is how we get the fake IDs.

_____

Naomi at the NPA. The receptionist refuses to let her speak to anybody from the Task Force. Light steps in, to hand in the spare clothes for his dad. His dialogue with Naomi is similar to the manga, but audio drama Light’s insistence and volunteering of excessively much info he shouldn’t have.... it makes me laugh.

LIGHT: And you are looking for my father?

NAOMI: Uh, yeah, I--

LIGHT: I can tell you’re up to speed, miss. You’re definitely correct to not just tell your matter to the next best person. Especially after those FBI murders. We’re all suspects, am I right?

NAOMI: U-uh, I didn’t say that---

LIGHT: If you’d like, I’d gladly get you in contact with my father. I’ll get through to him, even if he usually rejects calls.

RYUK: Take the bait, missy, take it...

NAOMI: Would that be alright, u-uh, Light?

RYUK: Aaand, bullseye!

LIGHT: Why don’t we take this conversation somewhere else?

RYUK: There’s just too many video cams here.

LIGHT: As long as we don’t know how Kira kills his victims, I’d suggest a less public place. 

_______

LIGHT: Okay, where were we? My name is Yagami. Light Yagami.

NAOMI: Shouko Maki.

RYUK: And my name is Ryuk, but you’re not actually able to see or hear me.

LIGHT: I think Kira is capable of more than simply killing people. It seems as if he could influence their actions before their deaths.

NAOMI: I think the same. And here I thought I was alone with it. Yes, he can control people before he kills them. But that’s not all. He can also kill them through other means than heart attacks.

RYUK: Who is this little snooper?

LIGHT: Should that be the case, we might be facing even more murders than thought. There are cases that haven’t been considered in connection to Kira yet.

NAOMI: Exactly. Those might be cases Kira hoped would stay secret. I am fairly sure that someone... someone I know... has met Kira.

LIGHT: Hah. It might be hard to get someone to believe this statement.

NAOMI: That’s why I came in person to explain the circumstances of the case.

LIGHT: Wouldn’t it be even more convincing if your friend told his own story?

NAOMI: He can’t. He was one of the murdered agents. 

RYUK: Oh, now it’s getting interesting.

NAOMI: He was my fiancé. He told me that he got involved in this busjacking. By now, I assume that Kira was on that bus as well.

RYUK: She’s talking about Raye Penber, wow. 

NAOMI: Something wrong?

LIGHT: Why are you assuming that Kira was on the bus?

NAOMI: Name and face of the culprit were on the media day by day. He was on the run after a totally miscalculated bank robbing. And then, 8 days later, shortly after Christmas... My fiancé dies. Together with his 11 colleagues.

LIGHT: The connection seems vague to me.

RYUK: What he wants to say is.... perfect match.

NAOMI: Something must have happened there. I think that my fiancé and the culprit were used by Kira to get to the other 11 agents. 

LIGHT: The culprit was hit by a car, it wasn’t a heart attack. This is how you got to the conclusion that Kira can control actions?

NAOMI: Yes. 

LIGHT: That seems pretty far fetched. 

RYUK: It really isn’t, lady.

NAOMI: Even the first time I heard of the busjacking, the circumstances seemed strange to me. I kept asking my fiancé questions, I basically interrogated him to tell me the story again and again. 

LIGHT: And... what was his story?

______

We flash back to Naomi and Raye talking. Both of their voices are tense.

RAYE: Yes, I showed my ID to one of the passengers, okay?! Are you happy now?

NAOMI: You shouldn’t have done that!

RAYE: I know that! It was complicated. The guy wouldn’t have cooperated without me proving that I’m a cop.

NAOMI: You were undercover, Raye! 

RAYE: Stop that! You weren’t there. 

NAOMI: You had explicit order to not blow your cover.

RAYE: And you are the only person who knows I have done that. If you don’t tell anybody, nobody will ever know. 

NAOMI: But I am not the only one. Isn’t that right? We still don’t know how Kira finds and executes his victims. You can’t afford even a single misstep.

RAYE: You’d probably prefer he’d shot all the passengers then.

NAOMI: Ugh, Raye, that’s not the point---

RAYE (hitting the table): Of course that is exactly the point!! 

______

LIGHT: This whole situation isn’t free of emotions. 

NAOMI: So?

LIGHT: I just want to make sure your feelings aren’t influencing your analysis skills.

RYUK: Which are working quite excellently.

NAOMI: Hey, you. I was a special agent with several decorations before I gave up my career to marry Raye. I’m not just some random brat.

LIGHT: I agree with you, the suspicion warrants a closer inspection. 

They keep talking, Light himself brings out the deduction that the person Raye identified himself to was Kira.

______

We’re with Ukita on phone duty. Someone who thinks they are Kira is calling. Ukita is already pretty annoyed, even before the guy talks of other hallucinations. He hangs up quickly.

_______

SOICHIRO: is it important?

MATSUDA: No, boss. Ukita is just whining again. He doesn’t want to be on phone duty anymore. He texted: “When do I get a hotel suite with 24/7 room service?”

SOMEONE: Does he think we’re just chilling here?

SOMEONE: Probably. Uhm, do you want the final shrimp?

SOMEONE: Take it.

They then move on to talk about surveillance footage of the FBI agent deaths. They have footage from 3 deaths, one of them is Raye Penber. They have the most material on him. They realize he’s done more than a full round on the Yamanote line. They also notice him having an envelope that disappears. They conclude Kira was on the train, receiving it.

______

Light makes his first attempt to kill Naomi, same cause of death as in the manga. Naomi wants to go back to the NPA building now. Light comes with her, as he notices she isn’t dying. 

_____

Ukita on the phone again. Akiko Misora is calling about her daughter Naomi being misses. Ukita is pretty annoyed (”Oh really? Was she kidnapped by aliens or something?”). Akiko explains that Naomi came to Japan with her fiancé,  but he died and shortly after Naomi also fell out of contact. Akiko complains about how much paperwork getting the ashes to the US was, and says how charming Raye was and how good his Japanese was...... Ukita wants to get rid of her, until Akiko tells him Raye’s name.

____

The Task Force discusses Naomi’s existence and disappearance. She left her hotel at Dec. 29th and has been missing since. They all suspect that Naomi, being an ex-agent, has started her own investigation. But they also worry someone found her.

_____

Light explains to Naomi that the Kira team doesn’t meet with people on principle, because of the risk. He calls them ‘us’ and Naomi picks up on it, leading Light to explain he is a member of the task force. (Ryuk: “And if you believed that one, you might as well buy a fake Rolex of him now.”) Light invites Naomi to the team, like in the manga. Naomi does a lot of nervous laughing in this scene, but she does give him her real ID.

______

The task force think about Naomi, and her existence in connection to Raye being the first one to send an email to Virilio. They decide to place cameras and bugs in the houses of those who were investigated by Raye. It’s the families of Kitamura and Yagami. 

______

Light writes Naomi’s name down again, this time her real one. They walk together some more. Light points out that Naomi doesn’t just want to investigate but also to hear the full story about Raye’s death. 

NAOMI: I already knew on the day of that something was wrong. Raye was acting really strangely. He got up and left, without a word. He even forgot his cellphone. 

LIGHT: Oh, is that unusual?

NAOMI: I followed him downstairs. He was at the reception and made them print something for him. I gave his phone to him, but he said nothing at all. He was so.. empty.

LIGHT: Distracted?

NAOMI: ... empty. Not a smile, not a kiss. He took the phone and left. At the time I still thought ‘well, maybe an order’. Next thing you know, the police arrives at the hotel. Asked me to come with them... identify the body. I have no idea what happened in the final hours of his life. 

LIGHT: I do. I know the details of Raye Penber’s death down to the very last second. 

NAOMI: I haven’t even told you his full name yet...

LIGHT: He entered the station via the west entrance. Past the street musician who always plays there. He passed the ticket entrance at 11 past 3. He went down to the Yamanote line, in the direction of Kanda. 

NAOMI: I don’t understand... That’s only too stations if you directly take the Chuo line. Why this giant detour?

LIGHT: Because someone was waiting for him. The Yamanote line is the perfect place for a meeting. It has stops everywhere and nowhere. 

_____

We launch into a flashback to the Yamanote line. Light walks up to Raye and greets him, but Raye does not answer him. Light introduces himself at more depth, even using his full name and calling himself Kira right after. Raye continues to not answer. Ryuk realizes that Raye cannot answer because that is how Light has written it down. Light keeps chatting, explaining his plan to Raye. On the train, he makes Raye watch as he writes the names of all his colleagues. He also touches Raye with the notebook, to let him see Ryuk. Raye can’t do anything.

____

LIGHT: Well, Naomi, I’m afraid Raye was just sitting there. His eyes widened a little. Panicked, you know?

RYUK: Yes, panic just about cuts it. Just like the face you are making right now, darling.

LIGHT: But he couldn’t move. Just like you right now. I was quite precise with my orders, you see? 

Light continues to explain that he needed the names of the other agents and that he can do anything to people whose names he has. 

_____

The task force discusses the family surveillance further. Light says the chance of Kira being among those people is 5%, but this is their only lead. Soichiro tells L to be thorough with his surveillance, like in the manga.

_____

LIGHT: All Raye could do was sit there until the time was ripe. And then get up...

RYUK: Without a word, Naomi. Silent like a fish.

LIGHT: And he left the train at Kanda station. 

RYUK: And then he died. 

LIGHT: Right on the platform, so to say. 

RYUK: He extended his hand like in a bad movie. As if he wanted to say ‘I am cursing you’ or something.

LIGHT: And thus, Raye Penber died. I find it regrettable. 

RYUK: Because he wasn’t a murderer. Which you also aren’t, Naomi. Just wrong place, wrong time... Collateral damage.

LIGHT: But I think you understand, Naomi, that I can’t leave you alive, if I want to keep working. I know you want to move, to hit me. I know that you wish above all else to take the gun out of your pocket. But none of that will happen, because I already put your final moments into motion. And that means I’m the one who’s in power here. 

Ryuk asks what she’ll do. Light explains that he wrote the same conditions as on the first try, about her suicide.

LIGHT: So Naomi, I think you know what to do. Now go. 

RYUK: And there she went. A woman with a mission. 

LIGHT: Hey, Naomi! Want me to call my dad? Still want to talk to him, tell him everything you learned today? Hm? .... and she just keeps walking. 

RYUK: She didn’t even say goodbye. I hope it was worth it. This new direction you’ve taken, it’s going to change everything. 

LIGHT: What new direction?

RYUK: Now you’re no longer simply a criminal. You’re a police killer.

[itspixcelation]

Is The Caligula Effect: Overdose Worth Your Time?

I initially wrote this review for an episode of The Pixcelation Show over on my channel, which you can visit by clicking HERE. If that seems like something you’d enjoy, please scroll to the bottom to find the finished video. Thanks!

In the spring of 2018, an anime by the name of Caligula aired. No; before you ask, it’s not at all connected with the incestuous third emperor of Rome, nor is it connected with the 1979 film about the incestuous third emperor of Rome, but rather, it’s reportedly named after ‘the guilt and excitement that comes with doing something that you shouldn’t do.’ It didn’t really do too much for the anime community at large, only receiving a 6.18 on MyAnimeList as of writing. I remember thinking the series was unnecessarily complicated, and, it being deeply rooted in psychology, it tended to play armchair psychologist to an annoying degree, but it was serviceable, at least.

It wasn’t long after I started the series that I discovered it was based on a game released on the PlayStation Vita called The Caligula Effect, but I would’ve never known about it because there was next to no marketing for it here in the west. I suppose such is the fate of a JRPG on one of the most, if not the most, underappreciated consoles in history.

Welcome to the Pixcelation Show; the only series on YouTube to tackle the questions on everyone’s mind, such as ‘do artificially intelligent idols dream of electric sheep?’ I’m pixcelation, and in today’s episode we’re not gonna be discussing the Caligula anime, nor are we gonna be talking about the original game on the PS Vita. No — in today’s episode, we’ll be talking all about the recently released remaster on PS4, Switch and PC, entitled The Caligula Effect: Overdose. In order to be completely up-front with everyone, I feel obligated to disclose that I was given a code for the PS4 version by NIS America, who published the game in the west.

Imagine, for a moment, that the vocaloid Hatsune Miku gained sentience, and because of songs such as The Disappearance of Hatsune Miku, she comes to the foregone conclusion that we’re all practically suicidal and that being in the real world is what made us this way. So, she does what any rational, sentient AI would, and traps us in the matrix. In the world of The Caligula Effect, their Miku, an AI known as μ, believes she can provide humanity with a happier existence within the artificial world she’s created, called Mobius.

In The Caligula Effect: Overdose, you play as an unnamed protagonist, one of the people invited by μ to live within the simulation. It doesn’t take long before they’re able to see the rift, at which point they join a group of rebels fighting back against μ and her Ostinato Musicians, all of whom desire to keep everyone blind, deaf and dumb to the truth about their world. As you come face-to-face with each of the Ostinato Musicians, you begin to unravel the truth behind the truth, and you’ll be forced to take sides in the battle for the future of both Mobius and the real world.

In my opinion, while the story isn’t necessarily anything revolutionary, the characters drive it home with relatable arcs and … well … character. In the Go-Home Club, as well as the Ostinato Musicians, there are incredibly memorable characters that really twist your arm when it comes to picking the ending you’d prefer. In both groups, there are characters that are foils for characters on the opposing side. For example; Kotono, Mifue and Shogo in the Go-Home Club directly oppose Mirei, Sweet-P and Thorn respectively, in both their actions and character arcs. I really liked how they handled that, as it helps to illustrate the idea that, while the Musicians are the enemy, they’re also only human, and as such, while you may want to return to the real world, each of them has their own compelling motive for remaining within Mobius.

In thinking about each respective arc, one thing that I wasn’t the biggest fan of would be how the writers handled certain social issues through the characters. I’ll provide an example; in one of the early arcs, it’s revealed that one of the Musicians is transgender in the real world, and as a result they’re often the butt of everyone’s jokes just because they’re one of the ‘bad guys.’ I found that, when I was given the option to join the Musicians and learn more about this person, they actually seemed to develop into more than just a stereotype, but players who didn’t choose to become a double agent like I did would never know that, and therefore think of them as a joke. The same can be said of another character, who has developed a hatred of overweight people, and as such the game tends to play said people as stereotypes that only exist to stuff their face. I applaud the game for tackling heavy issues such as body dysmorphia and eating disorders, but I could have gone for less of the victims of these conditions being played for laughs.

 In-universe, the cannon fodder enemies, called ‘digiheads,’ are created because:

they aren’t aware that Mobius is a simulation, and

they listen to μ’s songs way too much.

I could see people going insane and attacking each other after listening to the same song in a twenty-four hour loop in this reality, especially since each and every stage in the game has its own unique track … that is played … nonstop. I almost lost my mind at first, but thankfully, I either got used to it, or I’m actually a digihead and I’m trying to pull you into Mobius. I really did enjoy the character songs, though; they’re all produced by well-known artists such as DECO*27, Pinocchio-P, 40mP and OSTER Project, among many others, and they add a whole new layer of depth to these characters who only appear a minimum of times in the main story. I kind of wish the Go-Home Club also had character songs, but that might not make too much sense in the story, so I guess that’s something I’ll have to accept.

I have to admit, I had every intention of quitting the game and writing that it was just as good as the anime adaptation, but then I had a change of heart. I decided to give it another shot, and it was then that I discovered there was an option to join the Musicians, as I mentioned earlier. I can’t really tell you why, but playing as Lucid, the musician version of the protagonist, is very fun. Sure — the game doesn’t really change in any meaningful ways until the final battle, but between the character designs of Lucid and the other Musicians, and the fact that you can learn so much more about your supposed enemies, this addition makes that final decision weigh a lot more than it would’ve otherwise.

I won’t sugar-coat it; as much as I adore this game and its aesthetic, The Caligula Effect: Overdose is so desperate to be the next Persona that it’s practically salivating. Think about it: it’s a third-person, dungeon crawling RPG where you control students fighting back against forced they don’t understand in order to solve a prevalent mystery, and their adventures are rooted in psychological themes and motifs. There’s a social system where you can create bonds with not only your teammates, but also with all five-hundred-and-twenty-four students in the school, and as you deepen said bonds, you can help them overcome the trauma that keeps them in Mobius. Its battle system is reliant on powers your characters can only use after they’ve confronted their true selves and accepted that they want to return to reality. It’s probably not a coincidence; the writer who penned the game was Tadashi Satomi, who worked on the first three games in the Persona franchise, so that most likely explains the unnerving similarities, but I’d argue this game takes the social aspect a bit farther than its more shiny cousins.

I’ll give the social system credit where it’s due; it’s the most simple and most complex of its kind. As I said, there are five-hundred-and-twenty-four students in the school, and you’re able to not only become friends with all of them, but you can invite them into your party and fight with them in the main game if you … dislike the main cast, for some reason. It seems a bit overloaded, because the developers seem to expect the player to max out their bonds with every student in the game, but … that’s just too much to ask when some of the students seem to appear based on a random number generator. It’s almost like they wanted to incorporate a system that’d keep players engaged after the main story had concluded, but it ended up manifesting as a chore to work through. I dunno about y’all, but, when I see that there’s over five-hundred students, and I’m expected to resolve every one of their traumas, that’s where I check out. In Persona 3, 4 and 5, there were actual incentives to maxing out social links — not only did it increase your stats, but there were also less than five-hundred to complete, and they all had unique dialogue options that helped the experience feel less like a chore. As a result, you looked forward to the next chapter of each character. In this game, I’m aware that fully completing bonds does seem to improve your stats, but when the dialogue is recycled so often that I skipped a lot of it, there’s no reason for me to care about anything they’re saying. I think this concept is actually really solid, but if it’s filled to the brim with mediocrity, it’s not gonna realize its full potential. I’d love to see a game utilize the interconnected nature of its NPC cast in the same way that this game did, except there’d be more reason to go along with it.

I really have to give the game props for its intuitive battle system, as it turns the concept of being ready for anything on its head. As you engage your target, you select your given attack as you might in any ordinary JRPG, but you’re then given a chance to see what your attacks would do ahead of time, as well as adjust the timing of said attacks. It seems a tad bit like cheating the system since you can see what moves your enemy will make, and cater your turn accordingly. I must admit, however, that as unique as this prediction system is, I found myself caring about it less and less, instead opting to use the same moves over and over again. It may sound cocky to say that I knew the attacks would land, but it’s a disturbingly accurate segue to my next point.

I started my save file on ‘normal’ difficulty, but the longer I played, the more it felt like the easiest difficulty there was. I was grinding like a madman, sure, but there’s no reason the bosses of each chapter should’ve been taken out like a snap from the Infinity Gauntlet. I just expected more of a challenge from normal difficulty, that is to say, any challenge whatsoever. I thought it might pick up towards the endgame, but even the final boss was a breeze to get through. I say all this, but I know that if they were to patch in a more difficult mode like they did with Kingdom Hearts III, I would probably cry, so … I’ll leave it at that.

Here are some things you might want to keep in mind before playing The Caligula Effect: Overdose:

+ If you haven’t played The Caligula Effect, there is quite a lot added to Overdose that was not present in the original. For example, characters Eiji Biwasaka, Ayana Amamoto, Stork and Kuchinashi are all new additions with entirely new dungeons, but they’re integrated really well into the story and don’t feel like additions.

+ If you’re looking to get that sweet, sweet platinum trophy, make sure you keep up with all the character scenarios on both the Go-Home Club’s side and the Ostinato Musicians’ side. It appears that Eiji’s scenario is critically linked with Kuchinashi’s, and if you don’t complete Eiji’s by the time the story takes you to Landmark Tower, PEOPLE WILL STRAIGHT UP DIE, and you’ll be unable to complete the deceased character’s scenarios.

+ If you choose to accept Thorn’s offer to become one of the Musicians, DON’T FEEL BAD. It may start to weigh on your conscience as you betray your friends, but you’re not on the bad route by handing out with the Musicians. In fact, you’re required to max out all of the character scenarios in order to get the true ending. PLUS, if you refuse to join the Musicians, you’ll miss out on a bunch of adorkable moments involving μ, and you won’t want to miss those!

+ If you want to get the bad end, you don’t need to max anyone out — just accept Thorn’s invitation, then at the final battle, choose to stay in Mobius instead of going home, and … well, I’ll let you see for yourself.

+ I’ve heard whispers that it might not be possible to max out Ayana’s scenario unless you’re playing as a female, because of her androphobia. If you’re having issues with Ayana, maybe try again in a second playthrough.

+ If you’d like to explore Mobius a second time, there’s a New Game + option that’ll allow you to increase the enemy level en masse if you’re wanting a challenge, as well as carry over your levels and NPC bonds. It won’t, however, carry over your progress on character scenarios. You can also pick the female protagonist in a New Game +, which helps if you’d like to get that plat.

+ SAVE. SAVE. SAVE. In a game like this, you want to save every chance you get, as when your party dies, it’s lights out. There is NO autosave, NO continues. It takes you right back to the title screen, so be wary of that.

Is The Caligula Effect: Overdose a perfect game? No — not at all. BUT, is it fun? Yes. It’s a unique JRPG that uses the tried and true tropes found in many others of its kind, but at the same time, experiments with other elements of its presentation to create a memorable experience. I may not be motivated to complete the social element of the game, but I struggle to find fault in other areas, such as the character designs, the music and the overall aesthetic.

It deals with some very serious topics, such as body image issues, gender dysphoria or transgenderism, suicide and androphobia, among others, and while at times it can feel as if its poking fun at these issues, for the most part it does handle them with respect, and ultimately shows that these very human characters deal with things that humans too, often struggle with.

If you’re anything like me, you might be tempted to give up on it after the second stage and call it a day, but I implore you to be patient, as the game hits its stride in and after the third dungeon. If I had given up on it like I planned, let’s just say this review would be quite different.

[marypsue]

Imbalance, 10 / ?

Well, tumblr disappeared my original post, so let’s try this one again. 

Previous chapters can be found on AO3 under MaryPSue!

…

Liliana can't breathe.

She feels pretty stupid about it, actually. She knew there was probably some kind of evil wossname from beyond their plane of existence on the loose, using the circle she herself had broken to get in and eat the universe. She smelled smoke as soon as she set foot in Storm's apartment - hell, she'd taken the batteries out of his smoke detector when it had started going off - but saw no sign of candles or incense or anything that might be causing it. And now she's choking to death on evil smoke from somewhere beyond her plane of existence. Who could possibly have seen this coming.

Well, serves her right. She just hopes the others don't find out how she got killed, she'll die of embarrassment.

"It's all right," Storm says, somewhere in the whispering haze, his voice friendly and comforting, smooth and even and easy to listen to. For the first time, Liliana understands why other people waste their time watching Storm play video games. "You never really had a chance. None of us did."

"Don't...patronise me...you little asshole," Liliana coughs out. She knows as soon as she does that she's made her fatal mistake. Should have saved her breath instead of trying to be a smartass one last time. Her lungs burn, her throat is on fire, her vision blurry either from the tears stinging her eyes or the clouds of billowing, soft grey smoke tracing hypnotic swirls through the air. Her knees, then her shoulder, smart as she hits the ground, but even that's muted, muffled somehow by the smoke.

"It's useless trying," Storm says, sympathetically. "I understand now. No matter how hard you fight, no matter how many battles you win, there's always something bigger and worse waiting in the wings. You can fight and fight your whole life, and any ground you might gain will just be taken back after your death. It means nothing." His smile is bitter and aching. "All you're doing is wearing yourself out, trying to fight the inevitable. You can rest. It'll all be over soon."

Liliana sucks in one final breath, preparing to curse Storm out, but all she gets is a lungful of bitter smoke. Distantly, she thinks she hears Storm say something about endings or silence or some edgelord crap, but it's impossible to make out over the rising whispers. The edges of her vision are darkening, tunneling away into pinpricks of grey as the smoke steals her oxygen. Her last, fleeting thought is to hope somebody will figure out something happened to her and check up on Mavis and Mookie before they both get so hungry they try to eat each other.

And then there is light.

...

The Plane of Thought is home to all kinds of fantastic inventions. Its inhabitants have shaped metal and lightning around ideas that, on other planes, would have been accomplished with advanced spellwork.

And they've managed to come up with things that the other planes would never dream of. Stones of Farspeech are a complicated enchantment capable of incredible communication across continents. But no one, yet, has thought to connect them all together so that the same messages can reach everyone, all over the world, at nearly the speed of light. And no one, yet, has engineered a twenty-four-hour news cycle to make sure those messages get hammered, repeatedly, into every mind around the world. Over, and over, and over again.

"...new report indicates that, without dramatic policy and industry changes, global temperatures will rise enough to render the Earth uninhabitable within the next thirty years..."

"...despite widespread protest, the unpopular piece of legislation was passed on Friday. Legal challenges are expected..."

"... natural disasters compounded by extreme weather..."

"...allegations of sexual misconduct dating back to the early nineteen-seventies..."

"...will walk free..."

"...unable to afford the necessities of life..."

"...human rights violations..."

"...hate crime rising..."

"...unexpected cancellation of hit series Ray Donovan..."

"...corruption..."

"...collapse..."

"...devastation..."

"...despair..."

...

"Yes," the man at the door deadpans. "This is a bad time."

"Oh," Rowan says. "Sucks to suck, huh?"

"Yeah," the man at the door says, and shuts it in Rowan's face.

Rowan stares at the door. The door does not stare back at Rowan, because it's an inanimate object. That should mean it can't laugh at him, either, and yet, somehow, that's exactly what it seems to be doing.

From somewhere behind the impossibly smug door, Rowan can hear another voice - familiar, but in the way the voice of a teacher you had in elementary school is familiar - complain, "What'd you do that for?"

"He can come back with a warrant," the guy who opened the door snaps, and then the conversation veers into Spanish that's a little more advanced than what Rowan vaguely remembers from eighth grade.

Rowan stands on the doorstep for another moment or two, feeling the hot flush of embarrassment creeping up the back of his neck. The door does not reopen.

"Okay," Rowan mutters to himself, turning away from the door. He does not add, "Now what?". He's uncomfortably aware that no one else is going to answer that question for him. "Well, shit."

He starts down the walk, vaguely considering whether Liliana will be upset if he shows up early to pick her up. He doesn't like to admit it, but something about that Storm guy she hangs around with makes him indefinably but distinctly uncomfortable. Nothing personal, just...Rowan gets the strong impression that the guy's watched The Craft one time more than is strictly healthy.

Maybe Indigo's home. Maybe all that reading she - or he, or maybe they, Rowan hasn't checked in yet today - did on the D&D planar system will give him some clue. Rowan's still not sure if Gary Gygax was just plugged in to some fundamental truth of the universe, or if something about the Story and Song somehow made D&D-like shit real, but the end result is the same. Rowan's extensive knowledge of the Wiccan and neopagan traditions is less useful, practically, than some nerd with a 5e Monster Manual.

He has to admit, it does sting a little.

He's halfway down the walk when the door behind him swings open and a voice - familiar, but in the way that a celebrity's voice is familiar - calls, "Hey, do you really know anything about magic?"

Rowan turns. Joaquin Terrero waves one red-sparking hand at him.

“Sorry about that,” he says, looking at his own hand. “I can’t, uh, make it stop.”

"Well, shit," Rowan says.

...

"Hey, Griffin. Question."

"Shoot."

"Are we...are we going to get to...fight something, at some point?"

...

The alarm on Marial's implant cuts out abruptly as she and Dead Guy Gary reach the third floor.

Gary gives her a hopeful look, but Marial shakes her head. "It'll keep going off. Every four hours." She's exhausted, and her left arm is starting to ache, her fingers numb and tingly. She keeps jumping at little noises, thinking it's either Barry or one of Gary's zombies, and she's shaking so badly that it takes her three tries to turn the handle on the door out of the stairwell. This is really too much excitement for one lifetime.

...

"Yes, you are. In fact, you're going to get to fight something very, very soon."

...

Lup gives her scythe a sweeping stroke through the air. There's a noise like paper tearing, and a burst of stinging grey smoke billows out of the hole she's cut into the Astral Plane. It disperses quickly, but leaves a bitter smell lingering in its wake.

"Well, that's probably not a great sign," Lup mutters, under her breath, and then ducks through the opening in the air.

Taako turns to Magnus, but Magnus isn't there. Taako just sees the soles of his boots following Lup through the hole in the air. His voice drifts back through the planes. "Taako! Are you coming?"

"Let me just - let me ask you something. What part of 'Taako's good out here' keeps giving you all so much trouble?"

Magnus doesn't answer, just leans back through the hole in the air, grabs Taako by the collar, and yanks him through.

The hole in the air closes seamlessly behind them.

...

"Okay, but Griffin, how soon is 'very, very soon'?"

...

"What is all this commotion?" someone asks, pleasantly, as Marial slips out of the stairwell. "I thought we dealt with the fire alarm. I've lost two appointments already."

Marial mutters a curse under her breath. She’d really hoped the alarms would have cleared everybody out, but the professionally-(if garishly-)dressed woman with her dark hair in a sleek coil at the back of her neck leaning against the reception desk is standing between her and the cardiac clinic. And doesn't look like she's about to evacuate anytime soon.

On the other hand, Marial's a patient here, and she has a legitimate medical concern. And whoever this is doesn't seem like she wants to stop doing her job and leave until she can personally see flames licking out of the walls around her. Maybe Marial can use this to her advantage.

She takes a step forward, already working up a sheepish smile and a story about a mispulled fire alarm, and the woman standing by the reception desk turns to meet her eyes.

Marial stops in her tracks.

There's nothing immediately and obviously wrong with this picture, which makes it worse. Marial finds herself searching the woman's expression of detached, professional curiosity as it fades into concern, her carefully-applied makeup and enormous eighties Jem and the Holograms earrings, the hall around the reception desk, the friendly but confused smile from the guy behind it, for something to explain the sudden wave of sickening dread that crashes over her. Marial ends up studying the helpful sign listing directions to the different departments so that she doesn't have to meet the woman's kind grey eyes. She's never noticed before that psych and cardiac are on the same floor.

"Can I help you?" the woman asks, and the hall seems to bounce it back to Marial strangely, giving it a mocking, sarcastic tone.

"I - I don't think you can, actually," Marial stammers. She can feel the way Dead Guy Gary's gone tense beside her, prickling like a wall of static shock. She wants to ask him if he can tell what's got his back up, but something tells her that talking to thin air in front of this woman would be a bad idea. "I need the cardiac device clinic."

The woman smiles, broadly, stepping away from the reception desk and towards Marial. Marial takes another step backwards.

"I think what you need is a little dose of perspective," the woman says, still smiling, still friendly. That strange mocking echo in her voice seems to be growing stronger, picking up harmonics from somewhere. Marial takes a third step backwards and finds herself backed up against the stairwell door.

...

"Well, uh, right about - right about now, actually."

...

The Astral Plane is spooky.

Well, okay, so a place where dead people go to their eternal rest is always gonna be spooky, but the Astral Plane is spookier than necessary. The last time Magnus saw this place, it was through an enormous gemstone mirror, but it had seemed...peaceful. With the whispering ocean of souls, even a little bit...tropical? Of course, your umbrella and swim trunks would have to be black, but - yeah, he could imagine taking a beach vacation there. A very, very creepy beach vacation.

But this time, as he follows Lup across the dark, formless ground and waits as she chooses where to slice open another portal, Magnus can't imagine the pina colada that would make this palatable. It's just so quiet. The shifting sea seems to be still for once, and he doesn't think it's his imagination that the ethereal blue light it casts is getting dimmer and dimmer. If Magnus squints, he thinks he can make out a faint grey haze casting a pall over it and soaking up its light. He's willing to bet actual human currency that, up close, it smells strongly of smoke.

"Hey, uh, Lulu?" Taako asks, and though his voice is deliberately nonchalant, Magnus can hear the tightness in it. "You done something new with the place? Really working the, the old, 'abandon hope all ye who enter here' vibe."

There's a little frown creasing the space between Lup's eyebrows as she glances distractedly back at them.

"Look, I've been a reaper for less time than you've been dating one," she says. "But no. I don't think any of this is right."

Magnus rests a hand on the head of his axe as he looks around, just in case.

There's another burst of smoke that leaves them all coughing when Lup opens the portal to the Plane of Thought. It still dissipates quickly, but the smell seems to linger longer this time.

They're in a wide, airy, square hall, its walls painted a pale yellow, a huge plate-glass window overtop of a desk just beside them. There are printed signs labeling everything and offering directions down the hall, and all put together, it reminds Magnus of the Halls of Healing back in Neverwinter.

"This better not take too long," Taako complains. "I have an, uh, a guest appearance on, uh, uh, uh, Beat Bobby Mindflayer booked for tonight -"

"It's gonna have to wait," Lup says, warningly.

Magnus follows her line of sight.

The three people standing by the heavy metal door don't seem to have noticed them yet. As Magnus watches, though, the figure to the left - the skeletal figure, flickering in and out of visibility and crackling with red lightning - slowly, slowly turns, and stares directly at him. He's unmistakably a lich, but instead of the red robes Magnus is used to, or even the traditional necromancer's black, he seems to be wearing an extremely ugly neon tracksuit.

The woman standing beside him, in the day-glo suit and enormous earrings, also turns in their direction, and Magnus stumbles backwards. She's got to be the female lich Lup had mentioned, the one who still had her body. There's just something about her eyes -

The girl standing between the two neon horrors half-turns, her breath catching in her throat, her eyes wide and frightened. That's all Magnus needs to see. He pulls his axe free, and, ignoring Lup's shout of "Magnus, wait -", rushes in.

The frightened girl, the one Magnus had pegged as a helpless captive, throws up both hands. And then she throws a fireball the size of a basketball down the hallway at Magnus' head.

...

"I'm gonna need you boys to roll initiative."

[jefferyryanlong]

Fresh Listen - Ray Barbee, Tiara for Computer (Um Yeah Arts, 2018)

(Some pieces of recorded music operate more like organisms than records. They live, they breathe, they reproduce. Fresh Listen is a periodic review of recently and not so recently released albums that crawl among us like radioactive spiders, gifting us with superpowers from their stingers.)

Around Christmas-time 2018, my good friend Nathan invited us to a shindig at the Hawai'i Bowl, a post-season exhibition game at the Aloha Stadium, UH vs. LA Tech. Pregame was an all-you-can-eat/drink “tailgate.” Over-salted and overheated meatballs and short ribs, prepared frozen food from institutional distributors, served alongside twelve-ounce Coors Light or Heineken. The kind of party more fun in the abstract--in real time, you inevitably get sucked under a sluggish and dehydrated day drunk, and no quantity of soggy tater tots can pull you out.

As soon as we took our seats under a canopy set up just beyond the parking lot and in front of the entrance to the stadium, we realized conversation would be impossible. The band, a nameless cover group that interspersed Christmas tunes with their catalog of oldies, was too loud, and we had no choice but to drink silently and listen resentfully. The lead guitarist, hamming it up in an a Santa hat, was for the most part terrible and tried to compensate with a series of funny faces to the audience. (Granted, there were a few lines and riffs he had somehow motivated himself to practice to an almost polish). My girlfriend Rachel, who hears music with a far more sophisticated ear than I ever will, thought the drummer was “dragging” in most of the songs, but I just attributed his playing as part of the overall mess. Eventually the band gave over to the bass player, a thin white dude in an Aloha shirt, and he shocked all of us by manifesting not only the note-perfect bottom end but also the soulful vocal stylings of Motown’s greatest hits. But the true revelation of this performance was the keyboard player.

Nathan described her voice as Dionne Warwick at the Apollo, the sound of a class act singing her way back to the roughest definitions of her soul. While the keyboardist did have the coffee and cream smoothness of Dionne, she also carried in that voice a swallow of grit on the back end. It was a voice with some miles on it, a voice that had sung the story of heartbreak so often it could open up that valve to the universal pain in the speaking of a vowel, a syllable. This wasn't just the voice of God--it was undeniably human, the voice of desire and desperation and exultation.

But not just her voice that surprised and moved us--it was her mastery of her keyboard, a general issue piece of equipment, a preset memory bank of synthesized sounds. She could power her way through piano chords on covers of Adele, she could color the bass player’s R’n’B aspirations with bursts of faux horns. And when she needed to emotional immediacy of a note bend, a twang, that offset cry that simulates the human voice coming to grips with great feeling, the fingers of her left hand caressed the synth’s pitch shifter, modulating the artificial tones toward something that came close to natural. As fake and insufferable as they are in other cover groups, this specific keyboard transformed the liabilities of this imperfect band into strengths.

Because of the perceived dangers of displacing otherwise capable musicians, electronic synthesizers were surprisingly slow to be incorporated into popular music. The earliest recordings of synth music were put to tape by avant grade composers and theorists. For the most part failing to re-conceptualize the parameters as a whole new different conglomeration of sounds, these musicians took it upon themselves to recreate classic pieces of music through programming and note translation. (Their radioactive experiments, which pulsate and glow with the impossibility of ever striking a listener to the emotional core, are nonetheless compelling, unlistenable gems, evolving later into the computer program that stiltedly regurgitated an idealized, dehumanized melody, the theory of which was data-entried into its memory banks).

Kraftwerk pushed toward pop music as a synthesizer ensemble, but a true human face was not added to the cold, detached robotic visage until artists like David Bowie or Donna Summer coopted the German aesthetic for their Berlin and disco records. Stevie Wonder, perhaps because of his universal acclaim as a songwriter, vocalist, and instrumentalist, doesn’t receive enough credit as an electronic music pioneer, though he was utilizing synthesizer technology as early as 1972′s Music of My Mind. Over layers of weirdly chorded synths (all of them played himself), Wonder inserted a soul into the music, with his pure, flawed voice. With his inimitable, low-key drum style, he imparted a living heartbeat.

Ray Barbee’s Tiara for Computer references the trading away of old wealth for new knowledge. Specifically, an ornate but inherent useless crown-petite for the technological advantage of digital processing. As we as peoples evolve, we are learning how important it is to be plugged into the resources available via great swathes of digitized information, and progress itself is now dependent on effectively utilizing this digitized information. To evolve nowadays, to simply grow, is to synthesize the mind with the databases we move between daily. At least, that’s what we’ve convinced ourselves of.

With the help of Tortoise percussionist John Herndon, Barbee carries forward Stevie Wonder’s aesthetic, though without vocals: synth layers with a live backbeat. If there is one drawback to this approach, it’s that Tiara for Computer comes close to sounding like a Tortoise record, minus the off-kilter timing and overly cerebral melodies. Like his skater-musician colleague Tommy Guerrero, who appears on Tiara for Computer through his handclaps, Barbee’s musical drive is based on setting minimal and insanely catching melodies--through riffs and repeated lines--in stone. There are, for the most part, beginnings, middles, and ends to his songs, and on this record, aside from a few exceptions, Barbee doesn’t waste his time with free-floating beeps and tones, those textures that rise to the surface on the periphery of Radiohead records.

A fluctuating drone kicks off “Pink Noise,” an electro-alarm that announces the sonic equivalent of of a video game race over translucent tracks refracting pixels of light into rainbow prisms under the air wheels of futuristic machines. A bass synth figure keeps the track moving briskly along, subtly propelled by a tightly strummed electric guitar creating the impression of velocity. First buried low in the track, the guitar bursts into a shower of sparks as the song makes its last sprint around the length of space circling our heads.

There will come a time when the guitars and pianos and violins and saxophones of our present will exist as mere artifacts, like reproductions of lutes from Ancient Greece. The expression of the infinite well of human feeling will be predicated on the communication through a digitized language, absorbed through synapses that have evolved adequately for these missives to hit their mark. “Future Blues” is is Barbee’s rough sketch at what this music will sound like, discovering in the programmed notes of electronic keyboards a means to delicately portray he desolation of the human condition. The song could almost be a sketch from the outtakes of Kid A, grappling with it does the undead cry of technology in a struggle to capture a living sentiment.

“What’s His Neck” continues the exuberance of “Pink Noise,” a more melodically sophisticated piece accented by Barbee’s guitar and a chorus of handclaps. The fullest “band” song on he record, the song accelerates to a rave-like intensity. In contrast, “Ocra vs. Jaba” comes across as almost sanctimonious. Despite the complicated drum figure and Barbee’s groove-based riff, the overwhelming synths drag the song into a kind of slow motion, a ponderous moment that creates in the imagination a starship docking on the interior of a space station.

Herndon has several shining moments on Tiara for Computer, but his impact is never so apparent as on “Tina Cut.” As a drummer, his role in the song is minimal, tasked to ground Barbee’s sequenced movements with a steady beat that could never be replicated by a computer. The slight accents that vary between the snare, hi-hat, bass drum, and cymbals--plus the breathless manner in which Herndon pushes the sonic monolith of synths through a kind of weightless space--comes as close to a credible synthesis between electronic and live instruments. The sequel to “Tina Cut,” Ornithology,” replaces that living rhythm with a more mechanized beat, capturing Barbee’s thinking out loud through his synths.

“Holding Company,” with its processed acoustic guitar arpeggios and slacker groove, calls back to Tommy Guerrero’s laid back aesthetic, with a little of Oliver Nelson’s “Skull Session” thrown in. Barbee forsakes his firmly established melodies on the album’s title track, a tightly orchestrated freakout that, if stripped of its electricity and played by horns, could be the outro of a jazz record, notes arising and from the noise and latching onto one another briefly before traveling astray. 

With its hybridization of live and electronic instruments, Tiara for Computer might have been produced ten, fifteen years ago. It is not a groundbreaking record in the sense of reshaping the potentialities of this music. What is important about Tiara for Computer is Barbee’s excitement in engaging new modes of expression beyond his already formidable guitar work, while composing music that is, in its complex simplicity, quintessentially his own. Barbee is growing into the 21st Century, hypothesizing new ways of playing and hearing as he develops his aesthetic palette.