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gale-gentlepenguin · 4 years ago

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Gale’s Top Ten: Favorite Akuma

Rules:

1. The Akuma must have been Canonically Akumatized in the show and Shown. (I.E. I won't be having any Comic book (which I don't read so no big deal) or Fan akuma)

2. The akuma must have been akumatized without Scarlet Moth involvement. (that means Rena Rage and Shell shock are out)

3. The akuma must be see in their akumatized state and full on transform (so no Princess Justice or Verity Queen. No Destructor etc)

Aside from that, I will be judging them based on their Impact, Episode, appearance, powers, motive, Fights and my personal enjoyment of them.

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10. Santa Claws

I love Dabbing Evil Santa. He is here solely because of Personal enjoyment

I love the gimmick that he SANG his introduction, I love the Grinch Green Skin and the details on his belt. I also enjoy that he is just an evil Santa causing trouble. His Motivation for akumatization Makes sense as he is unjustly treated like crap by everyone and even gets attacked by Ladybug because she mistook him for a kidnapper.

Whether he is the real Santa or not is a mystery and while people are mixed on the Christmas special, he is my favorite part of it.

9. Kwami Buster

When there’s something strange, in your neighborhood. WHO YA GONNA CALL!?

Anyway, I really like the ghostbuster/ mad scientist vibe Kwami Buster has. She also is in one of the best written episodes of season 3. Her motivation from embarrassment and drive to prove her theory is great motivation, and she is one of the biggest threats to the heroes of Paris (while not so much everyone else.) She has a decent power set and overall is just fun to watch on screen.

8. Zombizou

The patchwork design, that sweet yet ominous look. Her whole persona. Zombizou is an interesting akuma. While a LOT of salt is thrown her way, I think people forget how much fun a zombie episode can be. Her power to spread Love via kisses quickly over runs Paris in a matter of minutes (resulting in Hilarious moments and touching ones) Ladybug and Chat noir are mostly playing catch up when dealing with her. Her motivation, which is her protecting her student is actually a first, and she actually tries resisting the akuma. this was a FIRST in the series. So I am putting one of my favorite akuma from season 2 here.

7. Gamer

While design wise, The Gamer is so-so. One can't deny that his fights aren't the most hype. His first appearance while his reasoning is a mixed bag, his giant mecha battle is fun on a bun. And his Gamer 2.0 episode is the best 2.0 no contest. The gamer is this high on the list for having the most fun battles

6. DarkOwl

The best akuma of season 2, the best episode of season 2, and one of the closest to getting the Miraculous. Many fail to really grasp how epic Dark Owl is. His motivation is one of the most understandable in the series, his akuma inspiration is a riff on old batman comics and they really go ham with it. His clash with Ladybug and Chat noir is creative and put the two in a corner. It is quite a feat, turning the goof into a Threat. I also like how Ladybug and Chat noir were actually trying to help him live out his dream instead of simply telling him off. This akuma has a lot of heart and really deserves more love

5. Oblivio

While design wise, Oblivio is probably the most plain and the motivation for the akuma is laughable, their powers, episode, impact and the personal enjoyment they gave me are all very high. This Akuma was effective and had Chat noir and Ladybug on the ropes. This is one of the most one sided fights that the heroic duo has against a single akuma. The ability to make people forget who they are is disturbing and incredibly powerful. Their actions in the first half of the episode made them appear like a monster or predator on the hunt for the weakened and vulnerable teens. It was something out of a suspense thriller.

4. Volpina

Be honest, when the word Akuma comes to mind, Volpina is one of the first villains that pops up. Volpina’s motivation, power set, personality, and Impact on the series is massive. Her appearance allowed for the events of season 2 to kick off, and she was a fan favorite for a while. People were Obsessed with her. While she use to be my second favorite akuma in the past, she loses out to the top three people in the spot. But she is still one heck of an akuma and likely one of the most malicious ones out there.

3. Stormy Weather

When the Word Akuma pops up, she is one of the first ones you see when googling. She is also arguably one of the single most powerful akuma with her power to control storms and apparently volcanos. Her confidence and personality SHINE through in her intro episode. Her design is my second favorite of all of the akuma in season 1. She was robbed in Stormy Weather 2.0. She deserved SO MUCH BETTER. Her episode is home to the most crisp animation in the series, so it is always a delight to watch. I love both the English dub and French dubs of her character. Mela Lee especially, She really nails the over the top villainess dialogue. You can tell she is having a ball with it.

2. Evillustrator

My favorite Akuma design in the series, The look, the style, the powers. His motive. Evillustrator nails it all down pact. Nathaniel’s akuma persona is how he dreams of his hero identity. His akuma is also the most unique in terms of personality. He is more of a take charge version of himself, just with a bit more malicious tendencies towards Chloé. The character he demonstrates in this one episode makes it such a crime that we don't see much of him until later and THEN he is regulated to the sidelines. He even promises not to hurt Chloé if Marinette goes to his birthday party. We even get to see what happens when akuma try and go against Hawkmoth. Also this episode is responsible for Marichat.

I recomend watching the English Dub for this episode. 2003 Tmnt fans will recognize him as the voice of Leonardo, and fans of the cheesy show Kappa Mikey will recognize him as Mikey Simon. Michael Sinterniklaas has a nice voice and when he reassures Marinette of things, nice.

Or you can watch the Japanese Dub if you really want to notice a difference in Nathaniel and Evillustrator’s personas. Like damn, Hiroshi Kōsaka Really makes Evillustrator sound like a Shojo Protagonist. Freaking kudos.

1. Chat Blanc

Don't you f***ing judge.

I adore Chat Blanc. The akumatized Chat noir really just strikes a chord with me. Bar none, the most powerful akuma with the most tragic motivation. The akuma the destroyed the world. Bryce Papenbrook really let his anime dubbing experience show. You could swear Erin Yeager was watching his mother get eaten by a titan when Chat noir was getting turned.

Chat blanc is a tragic warning that etches itself into Ladybug’s psyche, a threat so big that Bunnix needed to get involved. The scale of the fight is set.

The clash in the destroyed Paris with Ladybug is the best fight choreography in the series. While the episode is a very split point for some, it held a TON of emotional tension. Chat Blanc’s design takes inspiration from a Blue eyed white cat, Which fun fact, are deaf as a birth defect. This was a symbol as that he was unable to hear Ladybug’s reason. Chat Blanc was out of reach.

Also, he can just DESTROY EXISTENCE! Like yikes Hawkmoth, didn't think to put a limit on that?

There are so many fanfic interpretations of Chat blanc LONG before he became a thing, but NONE of them encapsulated the Tragedy and Awe that Chat Blanc truly brings.

#ml #akuma #miraculous ladybug #top 10 favorite akuma #gale's top 10 #gale's top ten #akumatized villains

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beebleboosuwu · 4 years ago

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I HAVE THOUGHTS

I mean everyone does but now that the Demo album has been out for quite some time now and everyone has at least listened to this thing probably more than fifty times, I wanna share some things!

Track One “The Whole Being Dead Thing 2014 Original Pitch Demo” - Obviously this one we are definitely familiar with, we have listened to the DC version of the opening number, over and over.. and over... and over again and this track does not disappoint. Lyrical cuts were made to the number yadda yadda to decrease the runtime yadda yadda we know... We can definitely tell which parts were cut due to the critics thinking Betelgeuse and this show was too crass. Which is insane might I add cause Betelgeuse is not sfw... It also combines both Part 1 and Part 2 of TWBDT. For the sake of musical themes, this number gives Betelgeuse one heck of a theme. We all know what his theme is, that guitar/synth in the background playing that ghostly, and for the musicians out there, off beat accentuation giving that Reggae feel to the piece and his catchy “lick” of “Hey Folks, beggin’ your pardon” to “Hey Guys, awesome séance” from his track. It’s his theme, it’s in your face and it works. From the lyrics of the demo, it seems to have taken place right after or around the Maitland’s fall hence why Betelgeuse implies that their death was, well... fucking boring. This piece holds nothing back when it comes to Betelgeuse breaking the fourth wall as well and it’s VERY noticeable when Betelgeuse thanks the audience for their applause then tells them to shut up. Fun fact about this song, the script writers had ideas for the opening number, and they definitely wanted Betelgeuse to sing it! After multiple submissions from different composers, they never found the right song for the Ghost with the most. Along came Eddie Perfect, after living in New York for quite some time, sent in TWBDT and Dead Mom (I think, I may be wrong) for free! The writers loved it so much, that Eddie was hired to write songs for the show. It captures Betelgeuse’s crazy and eccentric personality at full force. Back to the song, it is a perfect (pun intended) song that introduces Betelgeuse to the crowd and gives them expectations on what the show is going to be like cause the show is about death... duh.

Track Two - “Death’s Not Great 2015 Cut Original Opening Number” - Sung by Betelgeuse again, it has him as more in the role of a narrator rather than being a Guide in TWBDT, it is slower in tempo as well. Well its a ballad... could you imagine Betelgeuse calling out Eddie and the other writers that this song was hella slow to be an opening number then it just jumps into TWBDT? It would’ve been cool. Betelgeuse reiterates again that death sucks, also it’s very funny that it opens with a Church organ and bells ringing. Irony at its finest. In terms of musical theme, nothing really stuck and wasn’t really re-used again in a different way. Honestly it’s not my favorite but it shows the creative mind of Eddie Perfect cause there is 4 GODDAMN OPENING NUMBERS THAT WERE WRITTEN... EXCLUDING INVISBLE. God damn this man worked on the opening number for basically 5 years! The musical writing process is hard people... Mad fucking props to him.

Track Three - “The Hole” 2015 Cut Opening Number” - It feels a lot more grim than the previous track. Again it has that ghostly reggae feel. Like TWBDT, Betelgeuse tells the audience that Death, well, fucking blows. He calls out multiple religions and points out that “The Hole” is the end of everything. Also it was a very funny touch to mention Prince. I loved that. MAY HE ROCK ON. It’s also repetitive but I don’t why there’s this thing that draws you in and it sounds very familiar. The guitar gives me “Fright of their Lives” but its much, MUCH, slower. I wonder what would the staging be like this for “Death’s Not Great” and “The Hole.” Also this song REALLY insinuates Betelgeuse’s lack of a musical genre, so far we got Reggae, Rock, Death Metal, Swing, Jazz and some type of.. elevator mush? I don’t have a word for it. I like what we have though and I’m very glad to hear the thinking process when it comes to finding an appropriate opening song for Betelgeuse.

Track Four - “Gotta Get Outta This House 2016 Opening Number” - GODDAMN IT’S ANOTHER OPENING NUMBER. EDDIE PERFECT YOURE INSANE MAN, HOW MANY SLEEPLESS NIGHTS DID YOU GO THROUGH WHEN YOU WERE WRITING THIS DAMN SHOW. Betelgeuse sings this again and it gave me that Defying Gravity climactic energy with the melodic tune of Barbara 2.0. Upon listening to the first 5 seconds, I really believed that I was listening to Barbara 2.0... Also the piano chords in the beginning sounded very much like Home. Obviously the musical theme was changed to fit other songs and it is SO GODDAMN AWESOME TO LISTEN HOW CUT CONTENT MIGRATED TO SOMETHING ELSE IN THE SHOW. Also that Chippewa line.... oh dear. May I say, Y I K E S. This song also implies that Betelgeuse has been haunting this area ever since the dawn of human civilization, like HE HAS BEEN THERE WHEN IT WAS STILL A GODDAMNED CAVE. Betelgeuse witnessed human history from a hill, this also implies that he had no “human” form.... Guess he was a blob or something? Or something that transformed into first humans’ deepest fears. Although the scariest thing on this Earth is actually humans... Anyway, there is this awkward break in the middle of the song.. Maybe it was for some dialogue or something? The ending also sounds eerily similar to the ending of Fright of Their Lives.

Track Five - “Dead Mom Original Pitch Demo” - Our first Lydia song, it is very clear that this IS the demo. From the demo to the actual song in the show, the melodic line was kept and I’m very glad it was. LYDIA HAS A MAGIC 8 BALL, SOMEONE HAS TO DRAW THIS. There is not too much to say about this since most of its chords and lyrics were relatively kept the same.

PART 2 COMING SOON.

#beetlejuice musical #beetlejuice broadway #Beetlejuice the musical #Beetlejuice #betelgeuse #the demos the demos the demos #eddie perfect #an obsessed analysis of the demos #Beetlejuice the demos album #beetlejuice the demos

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bl4cklabyrinth · 5 years ago

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ROCKIN’ON JAPAN December 2018 Interview Translation: Hiro talks about S･S･S

Disclaimer: Please do not retranslate my work into other languages, as my translation may not be accurate. I am no Japanese or English native.

The biggest thank you to Anna for helping me get the magazine clippings!

Photo from here.

The band has overcome its limits, and has given life to the masterpiece “S･S･S”

A solo interview with Hiro, where he shares his thoughts on finally getting to where he is now!

The rock band MY FIRST STORY has finally reached its full potential and came out with a simply amazing album.

Hiro has been making declarations for quite some time now – his thoughts towards his family, the meaning of his life, and the meaning behind his songs. At times they’ve been fired as a clear declaration of war and at other times as words of encouragement, but the truth is, until their last album “ANTITHESE”, those declarations naturally became a melody, a lyric, a song, against which MFS has always struggled alone.

However, this album is different. This album is solely dedicated to music. It’s just rock. It’s purely loud and piercingly melodious.

High quality, open, and very poppy music is being sought after. This is, so to speak, practically the first album they’ve made in which Hiro’s talent as a musician bloomed upward beautifully. It’s been 7 years since their debut, and it’s incredible how they were able to make it this far to get a chance at performing for 2 days at Yokohama Arena.

MFS and Hiro’s journey is finally approaching its quintessence from hereon. I talked at length with Hiro, who had made a breakthrough.

- How’s the band doing?

Hiro: It’s been pretty good. For better or for worse, we haven’t been aggressive since Budokan. I think we’ve been able to maintain our pace without spiralling out of control.

- Would it be safe to assume that that vibe was reflected in this album?

Hiro: Actually, I think this is the album that came out the best. On the flipside, it felt like everyone was just completely following my lead for our last album “ANTITHESE” (laughs). While continuing the course of the previous album, it was through our egos then and our desire to “take it easy”, “ do things freely”, and “try out all sorts of things” that this album came about.

- “ANTITHESE” was made in such a way that it just drilled you down, drove you into a corner, and squeezed you dry. Was the process completely different this time?

Hiro: About 3 or 4 songs on this album have been around since we made “ANTITHESE”. The songs “M.A.D” and “REMEMBER” are two of those, and more came about when I discussed how I wanted to make more songs like them with the members. “ANTITHESE” came together nicely, and I thought it would be nice if we could develop it further with these two songs.

- So there was no talk of putting those two songs on “ANTITHESE”, huh.

Hiro: In my mind, those 14 songs are the full maximum, no more or less than that. I didn’t want to put anything extra. But I thought, “The songs are cool, I wanna release them. Maybe in the next album.”

- I see. Did you already have some sort of vision as to what you wanted the album to be like from that stage?

Hiro: I did. “ANTITHESE” is like a boy while this one’s like a young man, as if it got a bit more mature. There are a lot of minor details that went into it like chord progressions, riffs, melodies, and rhythms, but we made it wanting to convey a sense of indirectness or something like, “Ah, this is pretty cool” when listened to.

- That sounds great. It’s like an upgraded version of the band, like “MY FIRST STORY 2.0”.

Hiro: That’s right (laughs).

- I suppose you could make another album like “ANTITHESE”, but to return to that point in your life...?

Hiro: That’s pretty tough (laughs). Once you’ve spit it all out once, the things you want to say the second time around will definitely be different. I can’t make another album like that.

- I believe you struggled in order to put out the album “ANTITHESE”, but after doing so, did you feel something like, “I’ve wrung out everything I wanted to say, what do I do now?”

Hiro: I did, I did. Personality-wise, I can’t keep writing lyrics that only convey “hope”. There are a lot of other artists who can do just that and make it resonate with everyone, so when we realized that that wasn’t what we should be doing, we thought we had to write ourselves realistically the way we are now. It’s easier to get a bird’s eye view of the song’s world rather than the lyrics’, so I would say, “We made a song like this last time, let’s try to make it more stylish by adding a tension chord,” or have an idea in my head like, “We did this last time, maybe we should do this next time”. I honestly thought it’d be boring if we only put out songs like “ALONE” or “Fukagyaku”, and the songs themselves aren’t gonna die out anyway, so “ACCIDENT” was born. Sometimes it’s harder to figure out how to flesh things out from there (laughs).

- In terms of lyrics, what kind of changes have taken place since the end of “ANTITHESE” up to this point in time?

Hiro: Probably up until around “ALONE” and “ANTITHESE”, the lyrics had only been about me. But as you would expect, there isn’t much more to say (laughs). I’m not all hate. The lyrics I envision or write are of my ideal person. So it doesn’t mean that I live my life that way every day – of course I’ve betrayed myself countless times, and I’ve lied to myself as well, but you can’t see that part of me from the outside. Those who receive it as a song lyric always think that that’s all there is to it. Humans aren’t that strong – there are days when your mind is on the edge, and there are days when you feel like you’re not your usual self. Rather, I think it’s during times like that when people can relate to the lyrics. When I started writing with that in mind, I was surprised at how much I could write. I was so adamant about needing to write in that tone of voice, but I was able to remove that part of me after doing Budokan which made things a lot easier.

- The more you listen to it, the more you realize that the lyrics are very personal. You also feel a sense of living that you’ve never felt before.

Hiro: Yes. It’s important to show different sides of myself, otherwise I wouldn’t be able to write more in the future. I also look forward to what kinds of reactions I’ll get when I put out such things. It’s like, I didn’t cook anything super elaborate, I just tried making something out of what I had in the fridge. But I’ve been doing this for 7 years now, so I think I can make a pretty decent meal with what’s stocked in the refrigerator (laughs). You can do a lot of things with the nuance “as long as the dish is good”. I think that’s how the album came to be, in a good way.

- I think that’s a great change. For the longest time you’ve been setting up some sort of hurdle that goes, “How many people truly understand what I’m feeling here?” but that was taken away and now it’s just like, “If you like music, give it a listen”.

Hiro: That’s true. In a sense, I’ve finished what I wanted to do, so I thought I’d take a more casual approach to MY FIRST STORY. I’m now able to challenge all sorts of things I wasn’t able to do in the past. Conversely, I think the 5 years after Budokan will be even more difficult.

- In the days leading up to Budokan, MFS as well as Hiro were looking for a way to end things, or even a way of life in which things would personally end in the most beautiful way possible.

Hiro: Right. It’s still the same now, it’s never ending, but I definitely don’t want to continue doing this on an emotional level. So far, we’ve made it clear that we’re aiming for Tokyo Dome. I think it’d be tough for the people watching over us to support us if they didn’t know what we want to do, what we’re trying to achieve or what our goal is. We can’t keep running in the dark with no goal in sight, but we have to keep running regardless. By putting what lies ahead of me into words, I feel like it solidifies the path I should be taking. When we started the band, our goal was Budokan, but after finishing that, it became Tokyo Dome. This time, I wonder what will happen next after Tokyo Dome is over. Only then will we know what the future holds, but right now, I think Tokyo Dome will be the end of the road for MFS 2.0.

- Then after that, you might find something new again, or you might think, “It’s over”. You never really know, huh.

Hiro: Yeah. It’s like a plot with a clear introduction, development, twist, and conclusion. We’re called MY FIRST STORY after all, so if we don’t convince ourselves that we’re in a story with a beginning and end, we won’t be able to continue running ahead. I’m the type of person who can’t pull through unless I set a goal to run for 1 hour or 10 km. Because we decide on a location to aim towards, in a sense, we become able to keep moving forward.

- I see. That’s a good mode to be in.

Hiro: That’s right. It would be tough if I kept the same pace as I did moving towards Budokan (laughs). And even if I did go at the same pace, I don’t know if I’d be able to make it. If I thought about it all the way through until we got there, everyone else would be thinking about it too, so I thought it’d be better to stop fussing over it for a while. I’ve thought about it enough. So for now, at our own pace, we’re focusing on working with what we can sensibly come up with, what would be good for us to do, and what we’re capable of doing now. I believe it’s for the best.

- I really admire how Hiro, who was searching for his final destination, is now singing about wanting to continue on with MY FIRST STORY.

Hiro: Yeah. I as well as the members are excited for what lies ahead, not having to be bound to a certain rock band image or genre. Of course, the members and I definitely have our pride and things we want to maintain, but none of us have a “must do this” mentality. Because of this, I think there’ll be more opportunities to try things out in the future. With the addition of Kid’z, we’ve moved past Budokan, and I’m sure there’ll be even more in store from now on. The members have been getting along really well lately. We’ve been hanging out a lot, and when I taught them how to play poker, they all got hooked and played together until morning (laughs).

- For real? (laughs)

Hiro: When you spend time together outside band activities, your perceived values become the same, and the things that come out of that will be more different than how they’ve always been in the past. I think the ideas we’ve been putting out and reconciling with each other up to now are becoming more and more whole. If you don’t experience or feel the same things on a regular basis, you won’t be able to create much. I think we blend together really well right now, so I’m looking forward to the future.

- The first thing I noticed this time was your voice. The way you sang and the variations in your singing voice were really well done. It’s like, “There’s this drawer, and this drawer, and if you’d like, there’s this ceiling”. It kind of felt like that way of singing was finally unleashed.

Hiro: Really? Thank you. For me, it didn’t feel that way this time at all, I felt it more so when I made “ANTITHESE”. But just like the “even if you overthink things, there’s nothing much you can do” thing I mentioned earlier, if you think too much about it and then try to sing, that’s when you surprisingly become unable to sing. So now, instead of trying to sing without letting the pressure get to my head, I focus more on casually internalizing what I would think if I were the listener. Mainly thinking, “If I add a little touch here, would it sound weird,” or “I wonder if it isn’t bad”, I would’ve sung it rather quickly so I wouldn’t think too much about it.

- So it would be like you were just singing along to the music?

Hiro: Yeah. As if that’s just the way I wanted it to be.

- I’m sure there were a lot of variations in terms of music, so inevitably I’d assume there were variations in the songs as well.

Hiro: Ahh, I really wanted to make an album that wasn’t straightforward. Of course there are straightforward songs as well, but I wanted to throw in a few curve balls there too. Curves, sliders, forks, knuckles, all sorts of things were thrown together to make it work, and specifically having that in mind made things easy to understand when we were putting the songs in. It’s like, “No matter how you look at it, it’s this kind of song. Well then, let’s sing it that way”. It was easy to grasp for me as a listener and as a singer.

- If you listen to this album objectively, what do you think about your vocals?

Hiro: I’d tell myself, “You had a lot in mind when you were recording, huh.” However, I can definitely sing without an issue this time around, so I feel totally fine listening to myself now. I’m really jealous of people who can shake it off and say, “This is who I am”, because I can’t. But I was thinking, if I could push myself hard enough to be able to sing like that one day, I’d feel much better, or perhaps something new will be born within me from there. This album allowed me to experience that. Rather than having me in the song, it’s something I created, something I can present as a part of myself. This album shows the breadth of my own evolution and what lies ahead. It goes the same way for MFS as a whole, too. That’s why I’m really glad we tried making an album like this.

- You’d want to say, “It’s a masterpiece!” but I feel like it’s more so “There’s gonna be more masterpieces from now on”.

Hiro: That’s right. It’s like the meat in a course meal. And then it’s gonna be like, “We’re serving pasta after this,” “Eh, seriously!?” (laughs)

- Even the band members are playing very freely, huh.

Hiro: Yes. This time, I wasn’t present for the members’ recording sessions at all. They’d call me and ask, “What do we do here?” and I’d answer, “Eh? Anything goes” (laughs). Of course I knew the dates, but I wouldn’t go even if I was free (laughs). There’s nothing for me to do there even if I went, and we all have our own things we want to pursue and things we want to do with the songs. I didn’t think it was right for me to say how things should be done. Even my parts aren’t perfect, and I wouldn’t know what to say to the member in question if I wasn’t sure whether the part they worked on was done correctly or not, and I feel like telling them what to do would take out all the fun. Realizing that it’s better for me to listen objectively to a piece of work created through everyone’s efforts was a huge help. On top of that, I’m able to do the things I want to do – it’s already an ideal situation (laughs). I don’t care what they do, as long as they don’t commit a crime (laughs).

- Amazing. I never thought the day would come that I’d hear those words from you (laughs).

Hiro: Hahahaha, it’s true. We didn’t start out as friends. We just considered each other as fellow members when we started the band, always keeping one another in check with a great deal of care and a little bit of stress. However, even if Budokan was for me and for everyone listening, it was the members who understood me the best. From that point on, we didn’t really mind each other’s businesses anymore, and it became like, “Why don’t we just say what we want to say to each other, we’ve come this far after all?” They know their parts, and they know themselves better than anyone else, so there isn’t a whole lot to complain about anymore. Even if one of us would make a mistake at a show, we wouldn’t say, “Play it right” or anything like that anymore. They know what they’re doing, and they know that there’s nothing else to respond to such a comment other than “I’m sorry”. If doing so would immediately change things then go for it, but if they continue on without changing then just tell them off. They’re not the kind of dudes who don’t do anything, and on the contrary, it is me who gets his ass kicked more often than not, so I don’t really have anything to say to that. That’s about as good as it’s gonna get.

- That’s great. You’ve finally come this far, huh.

Hiro: Yeah. I’ve been feeling like I’ve gone rather far lately (laughs).

- Is it because you made this album?

Hiro: I think it’s more because we were able to appreciate each other more, or realize, “It’s okay to do this now”. As for the album, it was a piece of work that made me feel like I could see the future in more ways than one.

- Up until now, the band’s primary identity had been what Hiro squeezes out and screams about. In that case, it’s not so much about how you want people to hear you play, but more so about how you can bring your cries and messages forward.

Hiro: That’s a pretty hard task for the other members to do. But all of that is over. If that had been the case until now, I would have never said, “The members can do whatever they want” and this album would have never been released. Back then, I’d go, “Let’s do it like this here,” “The last chorus definitely goes after the bridge,” but it hasn’t been like that these days. Now we’d go ahead and say, “This is good,” “Interesting, interesting”. It’s like the kids who always had to ask permission from their mom have disappeared.

- “Young man” is a great metaphor in that sense as well (laughs).

Hiro: Mhm. It’s just like disciplining a child – just because you did it before doesn’t mean you’ll grow up that way, and saying too much isn’t a good thing either. We are all different people after all, and whether we’re lovers or family, we can��t understand each other 100% of the time, so we have to accept and trust each other more. I don’t really like it when people grow apart because of work. I want to make a team like the one in “Wild Speed”. We all get along really well, getting together in a garden to have a barbecue and stuff like that. It’s partly because we have such a good sense of team spirit that we’re able to do things indie. I wouldn’t be able to continue on unless I had a team with the same ambitions and the same passion to move forward. Seeing a lot of adults being considerate of me makes me feel better about myself (laughs). The members are the ones who understand “Let’s take it easy” the most. This may seem natural, but it’s super hard to do. And now that I’m able to do so, it feels great.

- You’ve truly made an incredible rock album. And it’s good that your methods can effectively be used to make more in the future.

Hiro: In fact, it’s been going so smoothly that it has become the focal point of our work process, so I don’t think it was difficult for anyone. Scheduling was pretty tough though. In August, I was singing at shows and recordings for 15 days in a row or something like that. Some of the songs didn’t have melodies or lyrics yet, and I was thinking, “Seriously, what are we gonna do!” but we had the same situation when we were making “ANTITHESE”, so I was like, “If you have the time to say ‘Oh no’ or ‘We’ll never finish’, then use that time to continue working instead” (laughs). Because of this, I’ve learned to believe in myself. The members were on a super tight schedule as well, but they would respond to requests from me like, “I want to change the first verse” or “Sorry, take it down a half-step”, so I was confident that everything was going to be okay. We may be in a hurry, but I no longer get worried or anxious.

- There were a lot of songs that used the words “white” and “black” this time. However, rather than black and white symbolizing “win or lose”, it was more of “There’s a part of me that’s pure white, and a part of me that’s pitch black”, providing a perspective that allows us to see both sides of you in the same light.

Hiro: That’s true. “ANTITHESE” was always about me, but that was completely overturned this time, now having different main characters for each song. Then, I wrote the lyrics, sang the songs, so there are many different stories of me in this album. Sometimes they’re of a similar hue, but still slightly different in shade. Of course, I didn’t write about colors that I didn’t have at all, so I was able to recreate the colors in my mind, or rather, sublimate them in the form of music.

- It’s like, “Sometimes it’s white, sometimes it’s black. Sometimes you win, sometimes you lose. Sometimes it works out, sometimes it doesn’t. But that’s just the way things are, right?”

Hiro: Yep. With this one album, we’re no longer limited to, “This is what I say in this song, so I have to keep saying this”. It’s like, “That isn’t always the case, you know. I’m only human” (laughs). Like, “Sometimes I feel that way, sometimes I don’t”. It doesn’t matter if they’re on the same album. I was able to reach that point in my life, so now I have a wide range to work with.

- That’s why Hiro’s melody-making skills are being opened up to the fullest.

Hiro: This time, I mostly worked upwards from the chorus. After breaking apart the original chorus, I’d go, “This one’s catchier”. I didn’t even stick to the general concept of the melody – I’d try to make one, but if I wasn’t 100% sold on it, I’d try to make 10 more, and then I’d go with what everyone said was good. The premise behind a melody is that it’s something you can hum along to when you suddenly hear it, so I didn’t want to change my approach of starting songs from there. Nowadays, people don’t say, “This song is good”. They say, “These lyrics are good”. Because of this, I want to create a catchy melody that’s easy to remember, one with a rebellious spirit, and at the moment, I think it’d be good if it were in Japanese. That being said, I want everyone to be able to say, “This melody is good”.

- I think it’s a really well-made album. I thought that the Hiro who’s been shouting out what’s inside his heart has made it this far (laughs).

Hiro: On the contrary, it’s exactly how I imagined it to be from the moment we started the band up to this point in time. Our pace and work are progressing as well with a margin of error of about 0.5 mm. Thing is, we’re gonna start with a completely clean slate from here on out, so we’re in a bit of a hurry (laughs). We’re kind of in a standstill right now, but if you’re asking me how I feel about the members or the music, I’d say, “Well, it’ll be okay”. From this point forward, I think we’re just gonna have to put ourselves out there. To be honest, we aren’t really sure ourselves either (laughs), but from now on, it’s not gonna be a story that was created – it’s gonna be a story that we create while walking forward.

#my first story #マイファス #print #2018 #yay #first full-length magazine interview translation #pats self on the back #am I ready to translate the Antithese interview though #oof #Hiro

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hippychick006 · 5 years ago

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15.12 - Galaxy Brain

Episode Review/Recap

This is not pretty. Not the worst episode ever, but definitely somewhere in the bottom 10. It mainly suffers from having the focus on “fan favourites” I stopped caring about seasons ago, and contempt for Sam and Dean and their fans coming through loud and clear in the writing.

Everything under a cut because some people can’t handle the truth!

Official episode summary to get us excited and want to watch live: Sam and Dean respond to a frantic call and together along with Castiel, Jack, and Jody Mills (guest star Kim Rhodes), assist in an extraordinary and heartbreaking rescue. Billie (guest star Lisa Berry) surprises everyone with a visit to the bunker.

My reaction:

“Heartbreaking rescue” 😂

Kaia is shown in the recap and since I know from the promo that Jody is also in this episode, it’s yet another Wayward af episode being forced onto an audience who were very clear they didn’t want it 🙄. The recap is sending me to sleep and my bitter Sam girl is rising since he’s barely in it. Checks who wrote it and rolls eyes: Teleplay by Bobo the 🤡. Dean likely isn’t going to be much better off, prepares self for Destiel pandering and Dean being used as a side character to prop up the actual side characters. Awesome. Roll on Walker where I hope I won’t be subjected to this shit.

The radio shed scene is boring. Done with “fan favourite” Chuck and have been for several seasons now. Chuck’s droning on about Sam and Dean, yet it’s Dean and waste of space who are being shown sitting down together, with Sam barely in the background. Awesome. I just. Why? This is like when someone says something about J2 but we get a gif that includes M. Why are we incapable of getting just J2 or Sam and Dean?

Moving quickly on, we transition from one character I used to love but now don’t care about, to another character I used to love, but now don’t care about. “Fan favourite” Jody is examining a dead cow. “Fan favourite” Alex calls her, she must have been busy doing something else as she doesn’t appear in the episode. Side note, Berens put the line in about vegan lasagne because the girl playing Alex is a vegan. Oh… so we’re putting in shout outs to the side characters now? Maybe that’s why the writing is so bad. #justsaying 🤷‍♀️

Jody gets whacked on the head and is it wrong to hope she’s dead? 😔 I know she’s not dead, I know this episode is going to be TFW 2.0 rescuing her (though I predict they will end up being the ones needing to be rescued because Wayward af). It’s too much to expect some real cases, some real urban legends to investigate in the final season. Show went too big when it should have gone home.

Almost 7 minutes in and we finally have Sam and Dean. Yay! Berens has finally remembered they are still characters on the show, but I guess he hasn’t focused on them as they aren’t “fan favourites”. And of course “fan favourite” waste of space is in the scene because Chuck fucking forbid we get the brothers without their waste of space hanging around because he somehow has nothing else to do the last 4 seasons.

We’re pandering to “my three dad’s” fan fiction crowd in this scene, though sharing 1 braincell Destihellers for sure will be tweeting about “dads” Dean and waste of space and cheerleader Uncle Sam. They’re talking about “fan favourite” Jack and him eating hearts. Sam doesn’t want to trust “fan favourite” Billie (good call imo). Dean seems disconnected from this scene. Same Jensen, Same tbh. Jared, bless him, is trying his best with this shit, even bringing out the big gun puppy eyes of doom, but I’m feeling nothing but anger.

We move from them to Jack wandering around the bunker. We see him looking at “fan favourite” Mary’s initials carved into the table… and thank you show for reminding me of that fuck up that I’d wiped from my memory. 😡🤬. We learn during this scene that Jack has been trying to contact Billie, but she’s busy so sent him a reaper.

Back with my three dad’s and Jensen can barely keep the contempt out of his expression to deliver this script. 😂

We learn in this scene that Jack trusts Death so waste of space trusts Jack (me plaintively, why???), This appears to be the part in the season that waste of space is being set up to be the tool, which they’ll forgive him for yet again. 🙄 and also 😴 and 😡, a lot of 😡

Ooh, Sam just asked the obvious question, “If Jack kills god, what about Amara.” Nobody really answers it though.

Jared side-eyeing Misha at the end of this “brother” scene. Wtf are you doing in this scene? Your contribution was what exactly? Did I get any time off during any of this for you to stand in this scene doing nothing, other than pandering to Destiel stans that could give a fuck about me, than as a cheerleader for their non ship? He flounces out. I wish I could leave as easily Jared, but you sucked me into this show the first time you popped your cute mop of emo hair around the door and asked, “Do I have to?” I’m here to the bitter, bitter end my friend.

Back with Jack and “fan favourite” random reaper we’ve never seen before. No offence to the lady, but it might have been nice to see “fan favourite” Tessa back. I don’t think she bit the dust, did she? Anyway 😴 through this scene.

Parent!Sam goes to find Jack and hears him talking to someone. Immediately concerned, he knocks on the door, and enters. The reaper has disappeared. Sam asks who Jack was talking to, Jack says no one, Sam knows that’s not the case but doesn’t push it. Sam says they’re glad to have Jack back and asks if he knows that and that Jack could have come to them first, they would have helped him. So… we’re just ignoring the whole box thing and the end of last season? Awesome, said no fan of good writing or continuity anywhere.

By the way Jack, that was your cue to be honest with Sam about the reaper.

Ah, yet another pandering moment!! How would we have endured the last few seasons without one or two or twenty of these crow barred into every episode. Screams from the rooftops “waste of space is a god damn angel, he doesn’t eat or drink, why the fuck are you trying to humanise him you twats.”

Anyway 😴 through that scene and I swear, I would pay to have a version of this show with waste of space completely removed from the last few seasons. Zero purpose to this, other than setting him up to be wrong again, and taking Dean along with him, because if Jack’s anything other than a red herring, I’ll be very 😡

As an aside, I don’t know who that is in this scene but it’s not Dean. It’s not my Dean that I fell in love with. I hate how much this show lost its way and dragged everything down to pandering and soap opera drama.

As another aside, this scene is like an outtake with seeing who can have the deepest voice, their vocal chords are going to be permanently screwed.

However, what amuses me as always with any Dean and waste of space scene, they don’t actually talk, except about Sam or Jack and this scene is no different.

Dean’s phone rings. It’s Jody. I started watching this epsiode, then took a break for a couple of days and had somehow completely forgotten she was in the episode. That’s how efficient my mind is at removing the trash. 😂. Anyway she’s in trouble and tells Dean where she is and that he has to come, otherwise she dies.

Dean and Sam drive to the location given by Jody and I’m incredibly surprised that waste of space isn’t cadging a ride in the back seat. Seems this is a random time they can deal with things on their own without requiring the assistance of several others. Just like the good old days. Shame they’re saving one of the Wayward failures rather than a brand new case that would have been infinitely more interesting.

Sam and Dean get to pretend they remember how to hunt in this episode, Dean covering Sam’s back while Sam helps untie Jody who is tied to a chair in the middle of a barn is the best scene in the episode so far. Jody has plenty of time while Sam’s untying her to warn them to watch out for “fan favourite” Dark!Kaia but no, and that’s how bad this is. She barely gets a gasp and a “look out” before Sam gets whaled on. And of course they are both going to get their asses handed to them because “Wayward af” 🙄. Fucking hate Wayward, not content with ruining 4 episodes of season 13, they’ve come back uninvited to waste another in season 15.

What the fuck did I just see? No seriously, what the actual everloving fuck did I just see? (My swearing goes up exponentially the worse the writing is, I make no apology for that). Samsel-in-distress is writhing on the floor, while Dean is being choked by whiny dark!kaia complaining about her spear, so of course Jody has to be the one to rescue the Winchesters by whacking her on the back with her chair 🙄. To add insult to injury, we don’t even get a padabooty shot to make up for this atrocity we’ve had to endure. And believe me, I could see Jared desperately trying to give us that shot. I’m 😡

Now that Jody’s been shown to be more competent than the Winchesters because “girl power rules”, Sam’s able to stand up again and both he and Dean get their guns trained on dark!kaia.

Long boring scene later – mainly between Jody and Kaia because why write for the two guys you’re paying a quarter of a million dollars per episode for, when you can write for the cheap side characters and have Sam and Dean just stand in the scene doing practically nothing. Are you chuck damn insane with this nonsense? Oh sorry, upshot is Kaia is alive and Dark!Kaia can see her world ending and needs to open the portal to rescue her so she lured Sam and Dean to get to Jack (for him to open the portal like he did before). 😴

Jack and waste of space are playing connect 4. Jack wins. 😴

Sam and Jody arrive back at the bunker. We get a waste of screen time between Jody and waste of space who meet for the first time, with Sam once again being very expensive, but beautiful background. Dean comes in a little later so he can have a dramatic entrance with dun dun dun, dark!kaia. 😴

I love how the Scooby gang are all off to the side, having a conversation but Dark!kaia is clearly within listening distance so it just makes them look like dumbasses.

Jack’s off limits in helping Kaia (Parent!Dean said no), but Sam says they’re going to look for another way. Ummm… wasn’t that what the entirety of Season 13 was about and you needed the grace of an archangel for? You’re just going to “check the lore” and miraculously find in half an episode what you couldn’t find in the entirety of a season? This is bad. Waste of space is going to call plot device “fan favourite” Sergei. How they never stumbled across Sergei before, I have no idea as he seems to be the oracle as far as Drabbernatural is concerned.

Dark!Kaia is so whiny. They are terrible at writing teenage girls, it’s actually insulting at this point.

Oh, I thought Jack had found the right spell in research, but turns out the monster needed for the spell is now extinct as they read about it in dad’s journal. Wow, I don’t remember the journal being mentioned in a long time, surprised they remember it even existed, let alone used to be the holy grail of hunting and pretty much what the show centred around in the early seasons (*whispers*, when the show was good).

Wow, they even managed to make the 30 second broment boring. This is a new low. 😴

Jody and waste of space scene because yes, out of all the scenes I could have wished to see in the final season, this was on the list. 🙄. They talk about “fan favourite” Hunter!Barbie Claire (who couldn’t be in this episode because she’s all that and a kit kat now - Supernatural who? I don’t know her.). We find out Claire loved Kaia. I mean yeah, it’s totally normal to fall in love within 15 minutes of knowing someone. Fucking hell, someone take this pandering hack’s laptop away and save us from this trite aimed only at people who share 1 braincell who only wanted the relationship as it’s a “parallel” to Destiel. But since Dean dancing with a lamp a couple of episodes ago was a parallel for Destiel, why are we pandering to them. (*whispers* the writers are all narcassists and put stoking their ego before good writing).

This is bad. Did I mention this was bad? No, but it’s really, really bad.

Jack was listening in so he’s going to do something stupid so Claire gets her “love” back. Of course he is. 🙄

He goes to speak to Dark!Kaia. She’s still whiny, we’ll fast forward this garbage to the point Jack looks inside Dark!Kaia’s head to see what she sees, which is Kaia struggling in lizard world. 😴

Jack goes to Sam and Dean and says he’s helping Kaia because he owes her. Parent!Winchesters are funny, neither are happy with what Jack wants to do but they support their mother killing son.

Reaper is back to stop Jack doing something that is “Winchester dumb” and Jesus fuck, how much contempt does this hack writer have for the lead characters and the 99% of the audience who love them?

Anyway the next few minutes are how stupid the Winchesters are that they can’t even fix the warding on the bunker, and I hate this writer is getting paid actual money for handing this crap in. Unfortunately, he’s got his fellow writers and a couple of hundred sycophants telling him how absolutely amaze balls he is with the rest of the c list cast tweeting around each other at how good they all were.

This is my favourite bit of the episode – not really – but it amuses me the Hellers are making mountains out of “I need to borrow your angel” (😔 pandering) and completely ignoring that no-one bats an eye or puts up a token protest that the reaper needs to use waste of space to feed the wards to keep them running as long as they need for the spell to work. No one asks what harm that might do to him, waste of space is yet again, nothing more than... well, a waste of space really. Never change Hellers, never change. 😂. I’d like to point out that if Sam has been needed to charge it, the reaction from Dean would have been entirely different. 😂

Dean makes the spell, Sam reads the words, while 2 of the 3 side characters just stand there with no purpose. The warding going up throughout the bunker is the coolest part of this episode though. Special effects used their $2.50 dollar store budget wisely this week. 👍

10 second broment where Sam asks Dean how Sam’s feeling about what they’re doing.

Sam: honestly? It feels like we’re taking a big, probably stupid risk… it feels good. Disobeying cosmic entities, doing the dumb right thing, it feels like we’re back.

Note to Berens, I think you could have fit a few more dumb synonyms into that speech to let us know how you really feel). 🙄

I like how Sam checks Dean’s backpack in this scene though. I’m wondering if that was J2 rather than writing or direction.

Yet another scene between Jody and waste of space. 😴. Jody thanks him for staying behind to look after the reaper. Waste of space says he wants Jody to stay behind too.

Jody (out of absolutely nowhere): What is that? Some bs male chivalry thing?

Fuck off with your sjw feminist bullshit to please the single braincellers. With shitty lines like this, it’s absolutely no surprise Wayward didn’t get green lighted.

Waste of space talks about how he’ll never be able to make what’s right, what he “took from Claire”. Oh, you’ve remembered you possessed a child, incapable of consenting to being possessed, in order to blackmail her father to agree to being possessed again against his will. A father and husband you got killed because you provoked Lucifer by shouting “Hey assbutt” at him and getting Jimmy blown to smithereens? And you still wander round wearing his face and clothes? No, waste of space, you can’t ever make up for that.

Anyway, the reason he doesn’t want Jody going is that if Claire loses her on top of what she’s already lost (including Kaia), then it would kill her. Jody agrees. I meanwhile have to stop watching while I try to find my eyes which have rolled right out of my head at this point of the episode. 🙄

Found them, we’re back!

The reaper and Castiel put their hands on a stone tablet, not sure if we’ve seen it before or it’s just a random object the reaper has handy. 🤷‍♀️. The wards are supercharged (hiding the use of Jack’s powers from Chuck so he doesn’t alert Chuck that he’s back). Jack opens the portal and Dark!Kaia, Sam and Dean step through to lizard world.

It’s raining heavily, but not on Sam’s hair bizarrely. Denied wet!Sam so here’s a gif from a good episode.

And because I'm here for both my boys, here’s wet Dean as a bonus

They start walking to find Kaia and are set upon by those creatures from the first Star Wars movies – the ones that sell the droids and this bit is exciting, finally we get what I’m here for. Sam and Dean are going to kick as…. Or not, because why write Sam and Dean doing what they should be doing. The creatures don’t want to fight, they are scared of the world ending and run away. Totally anti-climactic. 😔

They find Kaia and in the most bizarre writing so far in a season chock full of bizarre writing, Kaia rushes to the guy who pulled a gun on her and forced her to do something she didn’t want to do, resulting in her getting stranded on that shitty lizard world alone, and instead of stabbing him, she… hugs him.

In fairness, it was ooc writing by I think Berens that had Dean pulling the gun on Kaia in the first place so this is just a really weak attempt at fixing the original bad writing, which only ends up compounding the problem.

Sam “the writers never bother to write in a hug for me” Winchester just stands back and smiles at Kaia. In fairness, Sam never getting hugged goes way back and I headcanon that Sam has “back off” vibes to protect himself. Common in younger siblings that experience a lot of loss early in their lives.

Kaia notices dark!kaia and looks about to kill her but Sam says that she helped them find Kaia. They go to leave but dark!kaia wants to stay because she doesn’t belong in their world. Sam says she’ll die and she seems to accept that, being left behind as Sam, Dean and Kaia run for the portal.

We see Dark!Kaia’s world pretty much ending, with her embracing it, just as Sam, Dean and Kaia step back through the portal.

Jody and Kaia hug and I think we’re supposed to feel 🥰 at that, but I care for neither of them (and Kaia was the one I originally liked in season 13, but Wayward af and the trite with Claire, plus dark!kaia episodes ruined it).

Kaia and Jack scene and Kaia looks really well put together considering the entire time we saw her in the AU, she was clearly having mental issues, but like a magic wand has been waved, she’s completely normal and healthy and no worse for 2 earth years in complete isolation in a world you have to fight to survive in every day. Miraculous, but that’s a Wayward af cardboard cutout character for you.

Jody comes in and offers Kaia a home at Jody’s home for cardboard cut out girl!power hunters. Kaia asks if Claire will be there and Jody says soon.

Sam, Dean and waste of space are crammed into a frame and we wouldn’t have this overcrowding in a scene if they didn’t insist on crowbarring him in. There would be more space in the scene if he wasn’t wasting it. I’m guessing it’s to frame Jack in the front with his “three dad’s” behind 🤮. It just looks bad.

After Kaia and Jody leave, they go back to speak to the reaper. They’ve remembered they have two stars in this framing, Sam and Dean are together in the front of the shot, Jack and waste of space are behind.

Sam asks the reaper if the warnings worked. She snidely answers that the fact they are all still alive says it worked. She’s killed milliseconds later by… Billie. Oh “fan favourite” reaper, so sad to see you go. Maybe you’ll be resurrected in a later episode. We can always hope.

“Hello boys”. Wait, isn’t that Crowley’s line (and before that Ellen?).

Oh my chucking lord, why the dramatical looks at Death and everyone being scared. This is bad. This is like that Clint Eastwood movie where they all look at each other.

It’s bad. Who directed this? Lol, I think it might have been Richard. He’s been hit or miss for me. And this one’s a miss.

Sam and Dean step aside to allow Billie to get to Jack and can I just say, no parent would ever do that. I don’t believe Sam and Dean would do that, but they do, do that (sniggers childishly at do do). They just step aside without saying a word, but who cares about them and what their characters would do. Certainly not the writer of this episode.

Death tells them they risked everything for one girl and for what, because all the worlds are dying.

Waste of space says it’s Chuck and glares impotently at Death (I think that’s what he’s doing, he might just need the bathroom again, who knows anymore tbh), while she agrees with him, saying Chuck has been wiping out galaxies for the end.

Sam asks what her end game is. He asks how Jack is going to kill god, what the plan is.

Long, boring monologue later, God has a book in Death’s library, meaning he can die. Billy: Everything dies” 😂

We flashback to original death in the pizza place with Dean and I wish they hadn’t. The difference between that scene and anything in the last season is glaring. But I was right from something we were talking about a few weeks ago, because we get this quote from Death to remind us;

Death: In the end, I reap him too

Original!Dean: God? You’ll reap god

Death: oh yes

Waste of space, “And why would god write the blueprint to his own death?” (that would have been a good line for Sam or Dean who have barely had anything to say or do this episode as it is, and they’re in the scenes just standing there getting paid a quarter of a million dollars to watch someone who hung up his acting shoes before season 7, give this line, and I can’t with this).

Anyway, god didn’t write the book, the books write themselves.

Another boring monologue, the upshot of which is Chuck had to write himself into the framework, hence he has to have a book, but it’s not explained very well and I’m fake coughing bullshit on this plot device as it doesn’t make any sense but I throw my hands up in the air. If the writers don’t care about even trying to make it make sense, then why the fuck should I put any effort in to explain it away. 😴

God hasn’t read his book and can’t unless Billie lets him. Sam asks if Jack is in god’s book. She says yes and “so are you. I told you Dean, you and your brother have work to do, this is your destiny. You are the messengers of god’s destruction.”

Oh great... they’re messenger boys now? Awesome.

Back with Chuck, he’s still in Radio Shed, watching a number of televisions and all of them show worlds being destroyed.

Chuck gets up to leave, the “fan favourite” Radio Shed employee asks if he’ll be saved. Oh you sweet summer child!

Chuck says he’ll be fine, but as he leaves we see a meteor hit the store (and show, if you think that was a surprise twist ending, it was flashing neon lights from the very beginning).

The episode seemed to be double the length of normal, but nothing really happened and it was boring af.

Somebody get this show a defibrillator. Stat! Oh wait, on second thoughts, slaps “Do not resuscitate” sign onto show. Let it die in peace.

#spn spoilers #15.12 #galaxy brain #spn critical #very critical

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gleesongtournament · 2 years ago

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Glee Song Tournament Round 2

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p5x-theories · 5 months ago

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Version List

(last updated 1/19/25!)

It occurred to me that keeping a list of all previous and future game versions, and the major things that were added, might be useful! Both as a quick reference for what's coming, but also as a roadmap for where the game has already been, which may come in handy once international versions release.

Note that the dates listed here are based on the mainland China version of the game! The Taiwan/Hong Kong/Macau and Korean versions are a week behind the mainland, and presumably any later region versions will be even further behind this.

Version 1.0 (4/12/24): Game launch; Story content from the start through to Shun Kanou's Persona awakening; Castle Chapter of the P5 Collab; Wonder, Cattle, Closer, Soy, Mont, Yuki, Fleuret, Key, Okyann, Moko, Rin, Leon, Riddle, Sepia, Puppet, Joker, Mona, Skull, and Panther available as playable characters; Merope, Yaoling, Motoha, Tomoko, and Kayo's Confidants available up to Rank 14 (Ruferu's also added in accordance with the story)

Version 1.1 (4/26/24): Story content through Miyazawa's change of heart added; Bui added as a playable character; Shun and Yui's Confidants added up to rank 14; Merope, Yaoling, Motoha, Tomoko, and Kayo's Confidant ranks 15-20 added

Version 1.2 (5/9/24): Marian added as a playable character; Control Center game mode added; Shun and Yui's Confidant ranks 15-20 added; Minami's side story added

Version 1.3.1 (5/23/24): Museum Chapter of the P5 Collab; Fox added as a playable character

Version 1.3.2 (6/6/24): Chess Chase event; Haruna's side story added; two additional events with Merope added

Version 1.3.3 (6/20/24): Bank Chapter of the P5 Collab; Queen and Vino added as playable characters; Kiyoshi's Confidant added up to rank 14; Chizuko's first side story part added

Version 1.4 (7/4/24): Phoebe added as a playable character; New content added to Control Center; Yuumi's Confidant added up to rank 14; Kiyoshi's Confidant ranks 15-20 added

Version 2.0 (7/18/24): Story content through Riko's Persona awakening added; Kichijoji added as a location; Wind and Chord added as playable characters; Marthym Tasks added as a game function; Ayaka's Confidant added up to rank 14; Yuumi's Confidant ranks 15-20 added

Version 2.1.1 (8/1/24): Summer Event part 1; Summer Motoha added as a playable character

Version 2.1.2 (8/15/24): Summer Event part 2; Summer Tomoko added as a playable character

Version 2.1.3 (8/29/24): First Trial of Thorns; Miyu's Confidant added up to rank 14

Version 2.2 (9/12/24): Story content added through the Shadow Katayama fight; Messa added as a playable character; Kira's Confidant added up to rank 14; Miyu's Confidant ranks 15-20 added

Version 2.3.1 (9/26/24): Pyramid Chapter of the P5 Collab; Oracle added as a playable character; 6-month anniversary celebration starts; Kira's Confidant ranks 15-20 added

Version 2.3.2 (10/10/24): Tycoon added; Cherish added as a playable character; Masaki's Confidant added up to rank 14

Version 2.3.3 (10/24/24): Space Base Chapter of the P5 Collab; Noir added as a playable character; Masaki's Confidant ranks 15-20 added

Version 2.3.4 (11/7/24): Second Trial of Thorns

Version 3.0.1 (11/21/24): Story content added though securing the infiltration route; Star Trial, teammate skill trees, and Thieves Den added; Dancer Mont added as a playable character; Kotone's Confidant added up to rank 14

Version 3.0.2 (12/5/24): Akihabara Puzzle Event; Akihabara added as a location; Howler added as a playable character; Runa's Confidant added up to rank 14; Kotone's Confidant ranks 15-20 added

Version 3.1 (12/19/24): Violet added a playable character; Laboratory Chapter 1 of the P5R collab; Runa's Confidant ranks 15-20 added

Version 3.2.1 (1/3/25): Story content added (end of third Palace arc); Ceaseless Wind added as a playable character; Riko's Confidant added up to rank 14

Version 3.2.2 (1/16/25): Riko's Confidant ranks 15-20 added, Chizuko's second side story part added

Version 3.3 (1/23/25): Spring Festival Event; Lion Dance Rin added as a playable character

Version 3.3.2 (?) (2/13/25): Valentine's Day Event

Version ? (2/27/25): ?

#game info #open beta

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a-gay-gathering · 5 years ago

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Band Opinions 🎶

Today I want to talk about some of the stereotypes or opinions of different instruments in the band/orchestra because the band and music is a major part of my life in general. I'll start with the string instruments, then woodwinds, brass, then percussion and others.

String Instruments 🎻

Violins

In the spotlight a lot of the time

Terrifying notation

Im a lefty so like it sounds like itd be awkard to hold

Love Twoset tho ofc

Cool sounding

Violas

Ew alto clef

Zero spotlight

Underrated

But the heckin alto clef

ALTO CLEF

Still cool despite jokes i guess but idk

Cellos

Majestic

Love the sound

Good for both classical and jazz

Double Basses

Don't get enough credit

Low

Players are actually real nice

Stronk

Real hard to hear

Harps

Sooo many strings

Too many pedals

Players look graceful af

Sheet music looks ridiculous like wtf

Bass Guitars

One of my best friends instruments

Earthy vibes

Catchy solos (when there is one, never)

Also hard to hear sometimes

Woodwind Instruments 🎷

Piccolos/Flutes

Beauty gurus or nerds no in between

No playing louder than p

Many many many soli

High

Piccolos are real annoying aahhh

Oboes/Cor Anglais

I really like professional oboes and cor anglais

Band oboes however,, no

Also high

Somewhat uptight

Eccentric

Clarinets/Bass Clarinets/Eb Clarinets/Basse—

So many flavours

Easy to make sound

CORK GREASE

New reeds every 30 seconds i swear

Can never hear them in my band

Bassoons/Contrabassoons

Really want to try the bassoon

Serious

Majestic like the cello

L e n g t h

Saxophones

Altos are plenty screech but pretty cool i guess

Tenors are real neato

Baris are also pretty cool

Sopranos annoying af to me

S m o o t h ass jazz

Always sqeaking when not playing jazz

Brass Instruments 🎺

Trumpets

E G O

Always at least a forte

Lets take over the flute solos

WeRe ThE bEsT

Let other brass have soli and solos ... please im begging you

LOUD FANFARES!!!

French Horns

¿?¿ Literally dont exist in my band (neither do strings and basoons tho either so)

Killer solos

Practically perfect relative pitch

Much aNdRoGyNy for some reason

Honestly such a wholesome instrument

Deep fanfares

Trombones

Cool

L o n g B o i s

S p i t

‘uGh I dOnT gEt To SlIdE iN tHiS sOnG’

Baritones/Euphoniums (meeee!!!! ✨)

Straight up vibing

I want a 4-valve compensating but its ‘nOt In ThE bUdGeT

Better at dynamics and articulation than trombones tbh

Want and deserves solos but no

Weapons

S p i t 2.0

VaLvE OiL

Valve doesn’t work on concert night

S c r e e c h h

Tubas

Thicccc

Rare

No solos ever not even once nuh uh nope

Wants to quit

Actually nice

How do you hold your breath like

S p i t 3.0

Percussion and the rest i guess 🥁

Drum Kits

L o u d

Cant do quarter notes

Plays when everyones s’posed to be silent

Xylophones/Marimbas/Glockenspiels/Vibraphones

Chill and fun dudes

Really just v i b i n g haha ill leave now

How to play fast

Glock and bells are honestly loud af if your in front of em

Timpanis

Chill too

Pretends to tune

Dunno really

¿Earthy?

Keyboards/Pianos (also meeeee! ✨)

Hard stuff tbh sometimes

CaN yOu SiGhTrEaD tHiS

‘Lets take this apart again piece by piece and slow it down’

Sharps and flats arent as bad as other instruments

E x p e c t a t i o n s

Complaining

Other Percussion (tambourines, cymbals, blocks, etc)

Rests for 97282 bars

Thats really it tbh

Trickier than it looks but still, the marimbas arent that hard its quarter notes ffs karen

Acoustic Guitars (not in band or orchestra)

Four chords and singing

For some reason real easy to find sheet music online like ughhh jealous

Not too too hard (i dabbled for about four years)

I still cant play an f chord

Electric Guitars

E l e c t r i c

tHuNdErStRuCk!!

Sometimes vibing but its really a 50/50

That was long ok bye 👋

#band #school band #orchestra #instruments #music #piano #euphonium #baritone

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peppersjam · 5 years ago

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My Top 10 Albums of 2019

2019 presented me with a handful of incredible events and memories (I turned 30, I got married, etc.), while also serving me a big challenge (my partner is temporarily living on the other side of the country). In a poetic world, these things would have a significant impact on the music that I listened to and loved, but no, not really. This year is pretty on the nose for me, music-wise. Oh, except that I got really into Taylor Swift in the second half of the year.

Before we hop into boring Steve's boring top 10 list, let's revisit the 2018 list. The only album on the list that I barely listened to in 2019 was Cardi's Invasion of Privacy. Everything else gets at least semi-regular spins, although I'd elevate Historian, boygenius, and Big Red Machine above these others.

My biggest disappointment this year was Charli XCX's CHARLI, which is a solid album, but it didn't grab me nearly as much as Pop 2 did a couple years ago. It hasn't stuck in my rotation.

Runners up:

Bon Iver - "i,i" (I love it when I listen to it, but for some reason I'm not often compelled to listen to it)

Ariana Grande - "thank u, next" (Staple of early 2019, but fell off)

Carly Rae Jepsen - "Dedicated" (Great, but I'd rather listen to E•MO•TION)

Taylor Swift - "Lover" (Some true standout tracks, like Lover and Paper Rings, but too many cloyboys and CRJ rip-offs)

Weyes Blood - "Titanic Rising" (I could see this growing on me over the years, like a Radiohead record)

And the pre-2019 albums that should've made my respective yearly lists:

Beyoncé - "4" (2011)

Beyoncé - "BEYONCE" (2013)

Big Thief - "Capacity" (2017)

Big Thief - "Masterpiece" (2016)

Perfume Genius - "No Shape" (2017)

Snail Mail - "Lush" (2018)

Taylor Swift - "Red" (2012)

10. Big Thief – U.F.O.F

Early in the year, I "discovered" Big Thief. I don't know how I missed them before. Specifically, the song "Masterpiece" got right up in my brain and has been hanging out there since. Then Big Thief gave us U.F.O.F. which was yet another great Big Thief album. See #3 below.

9. Andrew Bird – My Finest Work Yet

Look, I'll stop putting Andrew Bird records on my end-of-year lists when he stops making them.

Andrew Bird turned a corner with the release of Are You Serious where he basically acknowledged that he was now going to work with other people and write scrutable songs. It was a good album, but My Finest Work Yet refines this Andrew Bird 2.0 and delivers some of his... finest work yet ("Sisyphus," "Manifest," "Olympians"). While I still prefer earlier Andrew Bird (A Nervous Tic Motion into Fake Palindromes into Measuring Cups... my gosh, that's 10 incredible minutes of music), I understand why he's moved on to something else.

8. JPEGMAFIA – All My Heroes Are Cornballs

I've been in a rap rut. Kanye is putting out self-indulgent gospel albums. Chance and Drake are boring now. JAY Z is working with the NFL.

But the rut is mostly a lack of imagination on my part. There's a lot of rap out there that hasn't made it through my naive filter, and I want to seek more of it out in 2020. Case in point: JPEGMAFIA. He's weird, political, funny... all the things that the aforementioned rappers aren't (or at least, aren't anymore). All My Heroes Are Cornballs is the most hypnotic rap album I've listened to in years. The glitchy beats and effortless flow makes it impossible to turn off mid-album.

7. BROCKHAMPTON – Ginger

GINGER is a proper follow-up to the SATURATION trilogy. While Iridescence had some good tracks on it, the overall experience was jarring (not without reason, given what the group was going through with Ameer). GINGER reads (ok, plays) like an album in a way that the Saturations never did. While it may be spiritually linked to the Satursation, it's a complete departure sonically. Even though it's more constrained and less bombastic than their hits from that era, it feels much bigger and, ahem, More Important. That might not be to the taste of some of their fans, but I'm happy to have both versions of BROCKHAMPTON in my music library.

6. Lana Del Rey – Norman Fucking Rockwell!

Music publications couldn't get over the fact that on NFR!, Lana, yes LANA DEL REY, was wordsmithing at a high level. Is it that hard to believe that someone would become a better poet as they gained more life experiences, inching closer to the mystical 10,000 hours? Some of the praise may have gone a little overboard (and, frankly, seems rooted in a narrow, misogynistic view of Who Can Do Music Good™️™️™️), but I agree with the underlying principle of the praise: that this is a collection of well written and well performed songs. It has my favorite album closer of the year, "Hope Is a Dangerous Thing for a Woman Like Me to Have - but I Have It." I get chills just thinking about it.

5. Clairo – Immunity

I enjoyed my first listen.

On my second listen, I wondered if it was maybe too simple. I didn't listen again for several months.

But then, when I was working from Pittsburgh the week before Christmas, I listened again. And I couldn't stop listening. It's simpler music than many of the albums on this list, but it appeals to me for the same reason I had a fixation with Snail Mail's Lush this year: it's incredible that songs that sound so "simple" (and I truly do not mean simple in an insulting way) can still be different than anything we've heard before, and can still transfix us in new ways. Behold ye, the power of combinatorics!

4. Vampire Weekend – Father of the Bride

Channel Orange to Blonde was 4 years. There's nothing you can do to get your favorite artists to make music faster. There's some beauty in that... that if an artist is financially successful enough, they don't need to rush.

Modern Vampires of the City to Father of the Bride was 6 years (i.e., 20% of my lifetime). But at least there are no duds here, and "Harmony Hall" might sneak into my hypothetical favorite-songs-of-all-time pantheon.

3. Big Thief – Two Hands

Oh, but then a few months later, Big Thief gave us another album. They started working on it right after they finished U.F.O.F, which tracks based on every interview I've read with Adrianne Lenker. She talked about the insane touring and album release schedule they've been on in the past four years, but her point wasn't "I'm getting tired," but rather "let's see if I can do this forever." I saw them play at The Fillmore after they released Two Hands and I got the sense that Adrianne has to make and perform music. She was uncomfortable engaging in the standard nearly-identical pleasantries that artists share with the audience. She was shy. She was surprised to find that we were hanging on her every word and chord. It was relatable. She's the closest to a genius I've seen in an indie rock band in the last several years, although I'm sure she'd hate anyone calling her that.

That genius produced Two Hands, an affecting indie rock record that practically demands that you close your eyes because you need to experience it and only it.

2. Tyler, the Creator – IGOR

This year, I listened to IGOR over and over again. The hooks, verses, beats, and vibe are all infectious. Boring Steve says "hey, look, it's just a great album." I don't have a deeper thought about it. I eagerly await Tyler's next project.

1. Nilüfer Yanya – Miss Universe

This year, like 2009 a decade ago, was an exciting year to be an indie rock fan. Vampire Weekend and Bon Iver cemented their elder ("elder") statesperson statuses, Big Thief came into their own as a true force of nature, and acts like Clairo and Nilüfer made me extremely jazzed about the Ghost of Indie Future.

Nilüfer has a unique and delightful voice that punches through some really fun songwriting and arrangements. Like, what a dumb, awesome lyric:

Although I cannot tell if I'm paranoid

Or it's all in my head, it's all in my head

Miss Universe is her debut full-length album, and it's a lovable and off-kilter thesis statement for what I assume will be a lovable and off-kilter music career. I can better explain why some of the other albums on this list are great, but suffice it to say, the system rewards unique performances.

#big thief #andrew bird #jpegmafia #brockhampton #lana del rey #clairo #vampire weekend #Tyler The Creator #nilufer yanya #beyonce #perfume genius #taylor swift #snail mail #bon iver #ariana grande #carly rae jepsen #weyes blood #Charli XcX

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