#Retro Love (Instrumental)

[boanerges20]

Cockpit /Instrumentation /Gauges Suzuki GSX-R1100 [Restomod] by Jean Damien

[ohsharethekmusic]

Song : Retro Love (Instrumental)

Artist : Nam Dong Hyun

Album {Single} : Retro Love

[wallartdesignergift]

(via T-shirt classique « Cadeau de médiator pour guitariste rétro » par Digital-for-you)

[pubbamoon]

Venus signs and your music taste

Hey! Hope you're doing well. This is going to be the first (and maybe last, haha) post about astrology, 'cause I've been into that thing for five years, I guess. Since I'm interested in music, my first astrology observation will be about how someone's Venus sign can affect someone's music taste. It's also a Friday, a Venus-ruled day. So, let's go!? This is based on the tropical/western astrology. Take it as it resonates and leave what doesn't.

Venus in Aries: Oh well, that's the wild one! People with this Venus may love listening to kind of music which makes them confident, or you should use the music this way. Aries naturally rules over the 1st house of self and personality, so you guys with Aries Venus might listen to the song/music which resonates to your character or describes your life path. On the other hand, you may love energetic and bold type of music that can move you, something like EDM or Dance music!? Venus is in detriment in Aries, which is not a good sign in default. That means you might love type of music that is not well perceived by the music critics. You may also love rap/hip-hop music as well.

Venus in Taurus: Venus is in domicile in Taurus, which means that Venus is in own sing since it naturally rules over Taurus sign (and the 2nd house as well). This is a great sign for Venus to be in, music literally runs in your blood (take it as it resonates). You may love the type of music that grounds you and makes you peaceful. You can also prefer quality over quantity and listen to the songs that has some value or quality. Overall, you might love listening to music that is perceived as normal, stable or even predictable. Taurus is an earth sign, after all. Venus in Gemini: This sign rules the 3rd house of communication, words and self-expression, so you might prefer the lyrics when it comes to music. It doesn't have to be the case with all of you with Gemini Venus, but it can be (lol, what was that?). You may love to listen to the music that is relatable to you and your life circumstances. Your favorite artists could be singer-songwriters, who put their own lyrics first and who express themself freely. You can also listen to the different kind of music, since Gemini is the mutable sign, represented by the twins, which makes Gemini a dual sign. Your music taste is really versatile with this placement.

Venus in Cancer: You may love emotional type of music that gives you some kind of comfort. Cancer rules the 4th house of comfort and emotions, which makes sense. Moon is the natural ruler of Cancer and is associated with the homeland, which means that when it comes to music, you might listen to traditional or even patriarchal type of music that is related to you birth land/country or you love listening to the songs where your homeland is celebrated. Your favorite music genre could be folk, country or any other music genre that relates to your culture. Finally, you may love music that sounds familiar or nostalgic and this could mean listening to the retro music from the older times.

Venus in Leo: Similar with the Aries Venus, you may love listening to the music that boosts your confidence. Since Leo rules over the 5th house of creativity and hobbies, you don't like to be told what to listen to and don't rely on trends. You might also like romantic type of music, 'cause 5th house is associated with romance and short-term relationships. Your music playlist could be filled with a lot of shiny and bright songs that give you joy.

Venus in Virgo: I can sense that you are so picky while choosing the songs for playlists or while listening to the music in general. You may seek for perfection in every part of the song, the perfect lyrics, perfect instrumentals, perfect production etc. I feel like you always read the reviews written by music critics before choosing to listening anything, 'cause you're all so skeptical and suspicious. Venus is debilitated/in fall in Virgo, which means that Virgo is the worst sign possible for Venus. This basically correlates everything that I said about this placement.

Venus in Libra: Another domiciled position for Venus, which is great. Libra is a people-oriented sign and it rules over the 7th house of partnerships, marriage and long-term relationships, so you may love listening to songs with this type of themes. You might also like love songs or collaborations. It can be hard sometimes to choose what's your favorite artist, 'cause it seems to me that you may like both or every artist the same way, which makes sense since Libra is all about balancing things in our life.

Venus in Scorpio: First of all, it feels that you're pretty passionate about music. Second of all, you may like intense, dark type of music and your favorite artist is likely who can express raw emotions. You possibly hide your music playlist on Spotify (or on any other platforms) because of shame or you just don't want people to see you music taste. The themes of songs you may like to hear in songs are mostly breakups, criminal, transformations etc. You may listen to music to heal your wounds too. You may also feel like you rise like a Phoenix when you listen to the music.

Venus in Sagittarius: This placement tells me that you may possibly like optimistic type of music which is made for parties. The songs you listen to might be translucent or airy which make you want to dance or jump. The songs you like could also have deep meaning, since Sagittarius and 9th house are associated with philosophies, knowledge and wisdom. You may like music with a good atmosphere or which can make you feel good. This is such a funny and adventurous placement, love that.

Venus in Capricorn: It seems to me that you might have a serious approach when it comes to music. You may like quality, elegant, or even classical music (this won't apply for everyone). You don't mind when a particular song lasts more than five minutes, you even like to listen to long songs, 'cause Saturn represents longevity. By saying that, you like to listen to the music that ages like fine wine. Maybe you like to read reviews before listening to song or album. I have this placement in my tropical natal chart and I check the reviews out before listening to the whole body of work, haha lol.

Venus in Aquarius: Hmm, I think there's two sides of this placement. The first ones with this placement love to listen to experimental and eccentric type of music. When it comes to music, they like to stand out from the crowd and listen to something what is considered weird by societal norms. Aquarius sign always reminds me of the hippie culture from the 1960s. The second ones having this placements are one of the basic people out there, they listen to something that everyone listens to and they don't mind following the trends. Mind you that Aquarius rules the 11th house of the collective, masses of people, so it's not unusual for Aquarius Venus people to listen to something that is mainstream.

Venus in Pisces: Venus is exalted in Pisces, which means that Venus functions well here. Pisces rules over the 12th house of foreign culture, something hidden, and it's also associated with oceans. This tells me that you may like more listening to the music that comes from the different land or culture than yours. You can use music to heal yourself or to process your deep emotions. Similar with Scorpio Venus, you may also hide your music playlist from everyone else, 'cause you value privacy when it comes to the thing you love. This placement can indicate great taste of music or listening to the bunch of artists who aren't mainstream or who express their emotions.

That is everything I have to write. Hope you like this observation of mine. Make sure to care about yourself and do something you love to do. It's Friday, the Venus-ruled day after all.

Best regards,

Paky McGee

[sicksadgames]

As the Sun Forever Sets - Terror in the time of the Telegraph

It’s nuts I’ve been working on this game for over 4 years at this point. As the Sun Forever Sets is for sure my biggest and most capital G Game. It even has a publisher and everything. It’s also my first game! Wow! It's been tough, though. We'll get into it!

Britain, 1899

As the Sun Forever Sets is a survival horror sandbox based on the War of the Worlds, utilises the Forged in the Dark ruleset, and is about ordinary people surviving a Martian invasion of Victorian era Britain. We play to find out how they rise to meet the storm of destruction, the ways in which it shapes them, and if they survive to see a new world emerge, or die amidst the rubble of the old.

In the last years of Queen Victoria’s reign, the British Empire stretches across a quarter of the globe, and under the guise of genteel progress and civilisation, it commits theft and murder on a global scale. Britain itself is on the verge of the modern era, the Second Industrial Revolution pushing people into the cities to drive the factories and forges owned by the greedy industrialist class. But beyond the common causes of humanity and unbeknownst to the men who impose their rule over it, vast wheels have begun their inexorable turning. Across 40 million miles of void, the Martian invasion hurtles Earthward. Screaming across the stars, instruments of annihilation unlike anything believed possible lie ready for assembly, alongside the Martians themselves. They are truly inscrutable beings, but their intent is as clear as it is terrible – they will suck the literal and figurative blood from the Earth, and nothing less than the complete and utter subjugation of humanity will be enough.

If this sounds cool to you... well, you gotta wait, it’s not done yet. Sorry! But you can come and hang out in the Sick Sad Games discord, where I post excerpts and occasionally organise playtests.

The Hard Times of (Old) England

Be warned, this is a long one - over 4000 words (if you don't have a Tumblr account, you won't get to the end before it starts bugging you to register one, so go read this on Medium instead.) It turns out when you work on a game for a long time, you have a lot to say about it. Strap in, grab your gin and laudanum, and let’s destroy an evil empire just by existing.

Thanks to the wonderful @hendrik-ten-napel for taking a look over my disorganised thoughts.

(Potential) Spoilers for: The Bear, The War of the Worlds, The Last of Us, Children of Men, Threads, When the Wind Blows, Amnesia: A Machine for Pigs, The Thing.

Roleplay in the Pre-Post-Apocalypse

TTRPGs love a good post apocalypse. It's understandable - gas up and ride glorious on the legally distinct fury road, run a commune of like minded weirdos in the ashes of the old world, go digging through retro-futuristic ruins to find retro-futuristic treasures. Who wouldn't want to do any of these? But As the Sun Forever Sets is about an apocalypse as it begins, not after it’s over. 

There's a lot of crossover, of course. There’s a focus on similar things - disaster and spectacle, relationships and trust, scavenging and survival. But the bonus of the world not yet being over, is that we get to roleplay out dealing with that terrible, inexorable reality.

HG Wells wrote a book about blowing up all the places he used to live, and it's a banger. I was surprised to find there wasn't a TTRPG based on the War of the Worlds, being the tantalisingly public domain ur-alien invasion story it is. As the Sun Forever Sets is very explicitly an adaption of it, to the point that before I came up with the name it almost got released as The War of the Worlds: The Roleplaying Game (lol). I'm glad I didn't, doing my own thing has meant both me and the people playing are way more free to fuck around without the expectation that it must adhere to a canon.

The book is good, strikingly modern feeling in parts, and obviously massively influential - so much science fiction can be traced back to our nameless Narrators tormentuous trek across the south of England. But Wells’ prose is typical Victorian - overly wordy and florid (any book that contains the word “ejaculating” meaning “to shout” might be difficult for readers who aren’t used to the style), so when it comes to recommending an actual adaptation, there’s only one true king. Whenever I bring up Jeff Wayne’s The War of the Worlds, the usual reaction from anyone outside of the UK is to say "... they made a what?"

My mom was very keen to get me into musicals, but nothing really stuck until she tried this, the secret best War of the Worlds adaption (sorry Steven Spielberg, but you were doomed from the start.) It's the bombast and drama you'd expect from a disaster film, the horror and pathos of Wells’ classic, all expressed through vivid narration and sick nasty prog rock - wailing guitar and crunchy 70's synths operating at full effect. It's not completely faithful to the book, it doesn't matter. It’s the best.

Ah yes, the film bro's favourite mid 2000's film. Did you see that sick oner? That’s six minutes without a cut, that means the film’s good right? Children of Men is a slow burn apocalypse, dressed up like a world that’s already ended. Plenty has been written about all the little ways the film is prescient about the state of the UK - the slow belly-crawl into facism and nationalist fervour, the particularly British decay and class divide exacerbated by the desperate times, even the willful ignorance and the explicit sense that everyone’s just given up, it’s all here.

All that thematic stuff seems like it’d be really relevant to As the Sun Forever Sets, right?

Unfortunately, we are in fact here to talk about the long takes. The unbroken moment-to-moment action scenes evoke The War of the Worlds to a tee. Theo navigates danger with the same fraught tactical tension as War of the World's Narrator - dashing between doorways, groping for an axe handle in the darkness, desperately trying to start a car as assailants sprint towards him. What’s the best way out of this situation? How do I get from here to where I need to be? He lives his life in rolling, fleeting 5 second intervals, because he’s forgotten what it means to think in the long term - about the future, and what it might hold.

I was always fascinated and terrified by the idea of nuclear war. I guess it comes from watching a lot of 90’s disaster movies, but those are often ultimately fun romps where the day gets saved at the end, or at least the main characters find themselves alive and well at the end of the saga of destruction. Instead, As the Sun Forever Sets asks you to reflect on the horror and sadness present at the end of the world. Things are going to change forever, and change is always hard.

There’s not many clips of Threads and When the Wind Blows online, so it’s a little hard to demonstrate their particular nuclear inflected pitch black darkness. They’re grim - Grave of the Fireflies grim - differing in focus but united in their horrible impact.

When the Wind Blows is a story of an elderly couple living in rural England when the bombs drop, based on the comic by Raymond Briggs. Yes, The Snowman’s Raymond Briggs made a film about 2 lovely grandparents dying of acute radiation poisoning. Jim and Hilda are completely unprepared for what’s to come, their only reference is the Blitz - terrible in its own way, but not a patch on the scale of death they’re about to experience.

They survive the blast and wait for the good old British Government to arrive to save them, as it did in the 40’s. Slowly liquifying in the nuclear fallout, they hold onto each other and keep their spirits up, eventually making the decision to clamber into the paper sacks they mistakenly believed might protect them from the blast. Clutching their medical cards and birth certificates (for the ambulance, sure to be along any minute now), Jim mumbles painfully through a final prayer that morphs into a misremembered Charge of the Light Brigade, and they slip into a perpetual slumber together.

The most tragic part is Jim and Hilda’s unshakeable faith that their government is there for them - ready to catch them when they fall - borne out of Britain’s post WW2 renewal but absent in the 1980’s of the film’s plot, and the Britain of today. It’s a masterful film, shockingly sad, but the shock is the point.

Instead of aiming for your heart, Threads aims for the head. It’s a drama that aims to be as accurate as possible to government research into what a nuclear war might look like, plainly and forensically setting it out without any thought of softening these hard facts for its audience. Rather than focusing on a personal story, Threads flits around several groups of characters - minor government figures and ordinary families. Like Jim and Hilda, they too are woefully unprepared for the end of the world, and those in charge know there’s no way the UK could ever be ready for such a thing.

As mundane life is quietly intruded upon by news updates detailing far off geopolitics and the subsequent escalation that leads to war, the tension rises subtly then suddenly, like a spacecraft on the launchpad. People we’ve seen pottering about their normal lives are maimed and evaporated in the subsequent shocking nuclear exchange, whilst stark statistics flash on the screen - the hundreds of thousands instantly killed, how long the millions more fatally irradiated have left to live, the woefully inadequate tonnage of stockpiled food to feed those who survive. Each zero hits like a gutpunch.

And when you think the film must nearly be over, it keeps going. 1 week later. 1 year later. Threads grinds to an excruciating halt 13 years after the bombs fall, after year upon year of failed harvests from a destroyed earth barely able to support a population level equivalent to medieval Britain. At one point, mute children watch a warped and scratchy VHS of classic kids educational programme Words and Pictures on a TV powered by a steam generator.

The friendly presenter spells out the word “cat” through the thick veil of static, accompanied by a picture of one - an animal the children watching will likely never see. As they watch with blank, emotionless faces, the image of the cat fades to one of its skeletal form. “A cat’s skeleton” the presenter enthusiastically intones. The unrelenting bleakness might feel like a punishment, but Threads doesn’t mean it to be. This is just what would happen, after all.

Love in the time of the Heat-ray

In fact, someone in a Reddit thread said As the Sun Forever Sets “wasn’t just endless misery” and I’m glad that comes across. I wanted there to be moments of tenderness, quiet joy, anger, frustration, love and loss to punctuate the action and the horror.

People are messy and complicated even at the best of times. Under pressure, this is amplified a thousandfold - a little crush becomes a whirlwind romance, small disagreements become full blown fights, and not fully understanding someone might transform them into an enemy in your head.

The little town Bill conspires to be left alone in ends up comparatively untouched by the horrors going on elsewhere, as untouched as anywhere can be in The Last of Us. He hated the world anyways - so he isolates himself as he prepares for it to end, and it makes sense that his life only really begins as the show does. When Frank arrives, Bill is forced not to just engage with the broader world outside of his little enclave, but in the act of truly living in it.

There’s no prepper’s guide to romance. A human heart can’t be field stripped for maintenance. By choosing to exist as a vulnerable, emotional being, Bill opens himself up to a different kind of apocalypse. Frank becomes the flowering vines that slowly crack the flat concrete wall of a world that Bill created, and when those vines die, the wall can only crumble. It’s so fraught and lovely, delicately yet absolutely gut wrenching. At least their apocalypse was one they decided to have together.

“I’m old. I’m satisfied. And you… were my purpose.” - "Long Long Time”, The Last of Us

While several of my TTRPG writing friends were gushing about how great The Bear is, Em Acosta, author of the wonderfully inspirational Exile pointed out something super interesting - a lot of the show is about how you deal with people you’ve found yourself stuck with. No matter how much they piss you off, or whatever they do wrong, there’s something that means you can’t ever let them truly exit your life. They’re there, like it or not, until the bitter end.

Turns out this is very similar to how As the Sun Forever Sets handles Player Character relationships. In both it and The Bear, nothing’s ever truly resolved between characters - every relationship is like a cooking pot perpetually simmering. You might’ve apologised, made a truce, or just ignored your issues for so long that they seem to disappear, but no matter what, you’ve got to keep your eye on that pot.

Because suddenly a crisis will hit, and someone says something, or a diceroll comes up bad and all of a sudden the pot boils over and things are once again fucked. You storm out, start screaming, throw a fork. Even in the worst case scenario where a Character leaves because they’re absolutely sick of the rest of the group, they might show up at the end of the game for one last scene. Who knows how you’ll all feel at the end - nothing is ever truly fixed, and only the dead are truly broken. 

“I quit, chef, is what’s going on. You are an excellent chef. You are also a piece of shit. This isn’t on me. Goodbye." - “The Review”, The Bear

I’ve talked about The Thing a little before, John Carpenters sweaty, paranoid antarctic masterpiece. Along with the incredible effects and the (mostly) restrained use of action and bombast, the thing that makes... The Thing work is that the staff of the stricken research base lack any and all emotional intelligence.

It’s sort of the ultimate reverse Dudes Rock movie. Nobody knows anything about each other, so when their bodies and minds are colonised by the titular chameleon from outer space, they’re just another stranger to the rest of the crew. I’d ask you a question only you would know the answer to, but uh.. I don’t know anything about you. Whoops!

Over the course of the film, the whole operation falls apart as they try their best to work together to deal with the alien interloper, but their complete lack of ability to trust or relate to each other - present even before the crisis they find themselves in - is their ultimate downfall.

That final excellent shot of MacReady and Childs sat in the snow at the end of the film as their compound burns around them is the subject of a lot of unnecessary theorycrafting youtube videos, which kind of misses the point. Each suspects the other, but ultimately it doesn’t matter if one of them’s a Thing. One stranger is the same as another. Why bother getting to know each other now?

“Well...What do we do?” “Why don't we just... wait here for a little while? See what happens.” - Childs and Macready, The Thing

Science Fiction Revenge Fantasy

I’m not a historian, but the parallels between 1899 and now are pretty plain to see. Increasing class disparity, a lack of political will to help those in need, rampant cronyism and profiteering. As long as you’re in the place for it, roleplaying in a fictionalised version of the past to air out the issues of the present can be super fun and cathartic. You’re not expected to get a degree in British history to make it work, either.

The title is a play on the phrase “The Sun Never Set on the British Empire”, and it’s plainly stated in the book that Britains Empire acted as a mechanism of genocidal oppression, and that the Martians are here to end it - intentionally or not. It’s appealing as a premise on the face of it, but it goes a little deeper. Memories of Empire echo across time in Britain like the ringing of a malevolent bell, a cause celebre for braying Tories and fascistic right wing cunts (two very close circles in the venn diagram.)

We used to be a great country before this woke nonsense. Things were better back in the old days. The DEI contingent is trying to destroy our noble past. Yada yada yada, fuck offff. I’m sure someone somewhere will accuse me of “wokewashing” the past for including explicitly trans and queer characters as part of the book, along with the historical facts around how we fit into the oppressive Victorian conception of sex and gender. Unfortunately for them, we’ve always been here.

To be a little pretentious about it, every game of As the Sun Forever Sets reaches back into the past and cuts the myth of a glorious and benevolent Empire, and the good old days enjoyed within it off at the neck, purely in the act of beginning one. That sparks a little joy for me. Destroying a racists dream is fun, even if it’s only in the abstract.

A horror game about the most literalist Victorian industrialist imaginable hearing the phrase “Eat the rich” and getting right on that. I’ve not played Amnesia: A Machine for Pigs despite fond (??) memories of playing The Dark Descent in a room full of jumpy friends, and seeing Dear Esther played live on stage, with a live orchestra and narrator - an exquisite way to experience that game.

The mechanical chops of Frictional Games mixed with the narrative verve of The Chinese Room, how could this game be anything less than incredible?

After The Dark Descent I fell off’ve the “scary guy chases you around” genre of game until Alien: Isolation revitalised it, and the reviews of A Machine for Pigs were mixed - kind of boring, middling gameplay, too dark - so I never went back. I was planning on writing a little about its vibe - dark, gothic Victoriana that rhymes nicely with As the Sun Forever Sets - but after a bit of research, Mandus’ quest for his missing sons strikes an unexpectedly resonant and terrible chord.

The writing and voice acting is phenomenal, Mandus’ split consciousness - the self you play and the other half of him that’s seen the horrors of the forthcoming 20th Century and is compelled to act, imbued into the myopic machine he built - is extremely compelling. He feels compassion for the poor and wants to save them, but they fill him with fear and disgust. He knows the industrialist class is killing the world, but feels a deep shame in the fact that he counts himself amongst them. So his machine grinds the rich into meat for the poor, who it distorts into grotesque pig homunculi and forces them to operate the machine’s inscrutable workings.

It’s Mandus’ twisted way of saving the world - kill the rich for their crimes, enslave the poor for their own good, all hail the new machine/god/manager of the 20th century. It’s a neat reflection of the way modern politicians contort themselves to the whims of big business and AI snake oil salesmen to avoid doing the simple and obvious things that’d better the world. It’s a nightmarish refutation of Victorian Liberalism, that only the upper class know how to fix the problems of the lower class. It’s brilliant, and we should play it. 

"Do you hear me Mandus? This is what you planned! This world is a machine! A Machine for Pigs! Fit only for the slaughtering of pigs! Whores, beggars, orphans, filthy degenerates. Pigs all. But I will purify the streets, cleanse this city, set the great industry free. I will clean the world, make it pure." - The Machine, A Machine for Pigs

Song of the Year, of the Century

Not long after I came out as trans, I was asked what (in an ideal world) would make transition easier. I replied - never having to leave the house. One day I'd shut the front door as a man and another day, months or years later, I'd open it again as a woman, neatly sidestepping the terror of being perceived in a notoriously transphobic Britain.

In 2020 I shut that door and didn't open it for 4 months. At work, I remember calling the nearby shelter to donate our excess hand sanitizer and toilet roll, figuring out at the last second how support workers could take calls from their already isolated clients via their mobile phones, and fixating on the steady stream of scared coworkers leaving early. Tearfully, I felt the urge to hug those that remained as we locked up, before we remembered we probably shouldn't.

I've never been more aware of the minutia of moving through a space on the way home - How many people had their hands on this handrail? Have I touched my mouth or eyes without realising? Is anyone in the office already sick? Or on this train? How many more people are going to die? - My heart was in my chest, I heard the blood whoosh through my head to the beat of my steps on the pavement. At home, I realised my boyfriend had to go into work the next day. After he went to sleep, terrified he might die, I cried.

"I remember I felt an extraordinary persuasion that I was being played with, that presently, when I was upon the very verge of safety, this mysterious death—as swift as the passage of light—would leap after me from the pit about the cylinder, and strike me down." - "The Heat Ray", The War of the Worlds

Writing As the Sun Forever Sets was my way of coping with the disconnect with the world I felt, the fear of both Covid and the rising transphobia kept me inside even as the lockdowns eased. That feeling of throbbing death creeping at the window took a long time to wrestle under control, and getting deeply obsessed with a big project became part of that process. It seems incredibly maudlin to make a TTRPG dealing with darkness and death during a pandemic that killed (and continues to kill) millions of people, but I suppose I’m kind of a maudlin person.

“I haven't written a song in a month, So I'm playing the same chords again. I know I need to get lost in the moment, But I get lost before it begins. Fingers stretching out into space. Reaching as a thought slips away.”

It also burnt me the fuck out. After years of constant work and testing (beginning long before Evil Hat picked up the game), I ran out of steam. I spent the months after Evil Hat’s public playtest ended not really able to write anything ATSFS related at all. The game kind of froze - I knew what I wanted to change or fix or add, but the moment the google doc opened I couldn’t make myself start typing. It was incredibly frustrating to have the switch flip from endless obsessive writing to constant nothing, and I don’t think I truly recognised the burnout I was feeling until recently. It turns out spending years staying up past midnight writing is bad, who know!

A lot of Forged in the Dark games don’t get finished (or more accurately, get stuck in perpetual development), something that the excellent and dearly missed +1 Forward podcast recognised in their episode collecting their thoughts on the FITD games they looked at back in 2021. I think that’s because, at least to me, writing a Forged in the Dark game is like trying to hold a plate of spaghetti without the plate. It’s deceptively simple at its heart, but the system squirms when you poke at it - write one thing and it affects 3 other things. Tug one piece of pasta out and you lose a meatball without realising it.

When I listened to that episode, I took it as a challenge. Part of me now wonders if it was a curse. I'm being hyperbolic, of course. But a little part of me did think it might be better to give the game up.

That’s not going to be As the Sun Forever Sets' fate, thankfully. Evil Hat has been there to support me when I’ve felt guilty about shifting another deadline or replying to a check-in email with another late “Not much progress this month, sorry!” The frozen writers block is thawing, and I’m so tantalisingly close to finishing the final text. This blog is part of that process, another chip in the icy dam.

The wheels of dread Martian terror turn once again, and it feels good. Part of that is down to not beating myself up about a lack of progress. The more important part came when I realised I felt able to return to the world again - living in it, not hiding from it. Staying connected to it, even when there's times I'm not able to inhabit it physically. Covid, Britains particular brand of transphobic brainworms, and the shadow of Empire all continue to exist, and so do I - a weird maudlin transsexual woman - in spite of them all.

“The day seemed, by contrast with my recent confinement, dazzlingly bright, the sky a glowing blue. A gentle breeze kept the red weed that covered every scrap of unoccupied ground gently swaying. And oh! the sweetness of the air!” - “The Stillness”, The War of the Worlds

You made it!

Thanks for sticking with my messy thoughts. If what I talked about here sounds cool to you, please stop by the Discord, we'd love to have you. Look forward to seeing As the Sun Forever Sets come to a crowdfunding platform of Evil Hat's choice (I assume backerkit) at some point in the future ♥.

[bluemirrorangel]

Dps headcanons the poets and their type of academia aesthetic 

This is wayyyy longer than I intended it to be lol anyway I hope you enjoy these, leave a ship or fandom suggestions and I’ll do headcanons for them if you want :) 

Todd:darkest Academia

Loves gothic fiction and horror stories because he likes being nervous knowing that he's supposed to be.

Likes reading outside at night because it’s quiet 

Surprisingly nosey, not in a bad way he’s just really curious about stuff.

Likes dark/muted colours.

His favourite book is a picture of Dorian grey.

Weirdly into cryptids and other mysteries.

Was TERRIFIED of the Bermuda triangle as a kid.

Loves writing poetry but enjoys writing in general.

Semi popular writer on AO3 for classical literature, started because Keating told him to publicise  some of creative writing.

Runs his good reads account like the navy.

Charlie:chaotic academia

Regularly gets uniform carded for everything; shirt unbuttoned and untucked, tie loosened, he never has his blazer on and his jumper is perpetually tied around his waist. 

Has a mason jar type cup on his nightstand that is always full of a mixture of different energy drinks and fizzy drinks/soda’s, Cameron says it looks like paint water.

Banned from reading out loud in English class pre-Keating because he got a little too into the role of Jack in Lord of the Flies .

Point blank refuses to do P.E and is always ‘losing’ his kit.

Shockingly serious about music class, deeply respects the teacher and never misses a lesson.

Post stick notes EVERYWHERE

Writes his notes in highlighter and felt tips

Went through a phase of bringing a flask to school instead of a water bottle because he thought it looked cool.

Spark notes BIGGEST FAN.

A saxophone prodigy despite being unable to read sheet music.

Neil:light academia

Loves Shakespeare and the theatre in general

Good grades in every class but really shines when it comes to the arts

Eats his lunch in the English classroom with the other poets

Forges his fathers signature for school trips so much half his teachers have no idea what his dads handwriting actually looks like.

Hates biology because he’s scared of blood

Always says that Todd is his favourite author/poet.

Really good memory, able to learn lines at shocking speeds. 

Finds it difficult to multitask; has to have instrumental music playing otherwise he gets distracted.

Prefers plays over books.

Collects playbills.

Meeks:classic academia 

Loves typewriters, inherited one from his grandparents and uses it alllll the time.

has a polaroid camera and uses it to take either the best candid's or the  most diabolical mugs there's no in-between.

Owns a shocking amount of sweater vests.

Has a record collection.

Loves those retro 50’s themed diners/drive-ins, drags Pitts and the poets to those all the time.

Really into history

Owns an analogue radio.

Taught himself Latin one summer to impress Pitts, and is now fluent.

His entire wardrobe is vintage themed.

Favourite book is the Outsiders by S.E Hinton.

Knox:romantic academia

Writes love letters and poetry whenever he has a crush on someone, used to keep them under his bed but swiftly changed that hiding place after watching ‘to all the boys I've loved before.’ with his sister, they now live in a shoebox on his trophy/bookshelf.

Loves the romantics big fan of love poetry as a whole.

Has definitely tried to serenade someone before.

 Self taught guitarist.

Has only ever received on card on Valentines Day, it was from Charlie in year nine it’s one of Knox’s most prized possessions.

Loves Romeo and Juliet.

Thinks ‘say anything’ is the height of romance 

Subconsciously wants to be romanced for once instead of the other way round. 

 Has Pinterest boards dedicated to romantic quotes 

His favourite movie is the princess bride.

pitts:’nerdy’ Academia 

really into the roman empire 

Loves renaissance fairs and goes every year.

REALLY into dungeons and dragons.

Loves going to random museum exhibits.

Spent half his childhood hyper fixated on the Titanic, was super excited to watch the movie and completely heartbroken when he realised it was a fictional story and not a documentary.

Brilliant at chess.

Knows random historical facts.

Horrible at remembering faces but never forgets a name.

Loves mythology of all kinds.

Really good at architecture; his middle school used to have a architecture competition where  you had 2 minutes to make a house out of marshmallows and dry spaghetti the most stable one won, Pitts won every year.

Cameron:dark academia 

Keeps his notes/homework in colour coded folders and files

A proper perfectionist and  chronic overachiever.

Writes in pencil or fountain Pen.

the gifted kid who REFUSED to burn out.

Only gets attention at home when he’s doing well at school, so he throws himself into his studies.

Drinks more coffee than water

Can play the piano, was entered in a school concert and his whole family came. He was terrified of embarrassing or disappointing them so he overdid it and played so hard his fingers bled.

Has a copy of every graded test practice or otherwise in his room so he can go over them before his exams.

Hates English with a passion because it’s the one lesson where there are no rules.

Once spent an entire night going over his English notes before a test and was so overtired he fell asleep during the exam and failed it. None of the poets bring it up not even Charlie because that day was the first time he’d seen Cameron cry.

[fatherfigurefusion]

Call these Ricky Prompts:

Ricky with a priest-based Space Age Bachelor Man uniform, to further his talk of his "religion", and Mischa nicknaming him "Space Jesus"

Ricky/Savannah with a magical girl-based SABM outfit

On the other end, Ricky with a macho shonen-hero aesthetic (I'm personally thinking Gurren Lagan's Kamina), complete with a hammy speech during the "making love" part

SABM with an 80s arcade aesthetic in the lighting, complete with retro video game references

A perpetually-zoned-out and lethargic Ricky, who is constantly in awe at his heightened abilities (kind of like Alex's Ricky), with a sleep/dreamcore aesthetic (SABM outfit that resembles pajamas with a blanket as a cape, a slower and deeper instrumental)

A VERY LOUD and hammy Ricky, who, being unaccustomed to talking, has zero volume control, with a loud and bombastic SABM

A multiinstrumentalist Ricky who plays a different instrument for each song (the tambourine in Uranium Suite and WTWN, the accordion in Noel's Lament, DJing in TSIA, acoustic guitar in Talia, electric guitar in SABM, piano in BOJD and TNBS, ukulele in Sugar Cloud)

SABM with Jane Doe as Count Dogulous, leading to an enemies-to-lovers arc for Spacedolls

Ricky with a Chat Noir-esque outfit (jumpsuit and domino mask)

A Ricky that hides outrageous dyed hair beneath his hat

More to be added

[inkpot909]

The Stardust Crusaders’ Picks for a First-Dance Wedding Song Headcanons

↳ Gender Neutral Reader. Joseph Joestar is excluded.

A/n: A chill list of headcanons that came to me at 6 in the morning. Jokes aside, I loved putting this together. Although I admit I am a bit biased since I’ve always loved retro music. I did my best to pick music that coincided with the music the characters each canonically listen to (at least, as far as we’re told).

Warning(s): None.

Jotaro Kujo

-> As the World Falls Down

David Bowie

“As the pain sweeps through

Makes no sense for you

Every thrill is gone

Wasn’t too much fun at all

But I’ll be there for you

As the world falls down”

Canonically speaking, Jotaro’s favorite musician is Toshinobu Kubota. It’s admittedly a rather interesting choice for a man who was a dedicated delinquent in high school.

But music tends to touch people in a special, often times sensitive, manner. And despite looking and acting the way he does, Jotaro’s music preferences are no different.

Yeah, sure, he’s definitely a “whatever’s on the radio” kind of guy, but he has taste.

Separated from others, when he’s in control of the music he’s listening to, his choices give the impression of a casual listener that somehow always has the best picks seemingly with no effort put in at all. Perfectly on brand for Jotaro.

Therefore, he’s likely going to have an unexpected pick.

Therefore, he picks a sappy ballad from an under-appreciated 80s movie. Not because he’s even seen The Labyrinth by any stretch of the imagination, but because he just… likes how it sounds.

He likely heard it one way or another, completely detached from the movie itself, and decided he enjoyed it. Something about the slightly cheesy yet instrumentally enchanting tune gets stuck in his head in a really good way.

There is a reason past “oh, it just sounds nice” as to why he picked it but let’s be honest… he’s going to get a little embarrassed annoyed if he has to explain to you in full detail.

The title pretty much speaks for itself, in his opinion.

Noriaki Kakyoin

-> Every Breath You Take

The Police

“Every move you make

And every vow you break

Every smile you fake

Every claim you stake

I’ll be watching you”

Good god, he’s certainly the Sting fan.

Whether or not you actually like Sting it’s hard to argue against the fact that Kakyoin likely has an overall shit taste in music. Why is this the case? Because he’s been alone the majority of his life and didn’t have any friends to bully him over it.

Not having anyone around him to say “what the hell is this” or just a simple “no” will and has effected him.

He’s the type of guy who claim’s “this album will change your life” before putting on some of the worst pieces of music you’ve ever heard.

Not that he isn’t trying, keep in mind.

This man will stress about what to suggest for days on end. He’s going to take the longest compared to the others in how how much time it takes him to pick. It’ll eat away at his brain, threatening to take every bit of his sanity unless he can think of what he deems as the perfect song he can choose.

And still he manages to not only choose an extremely predictable wedding song, but an insanely creepy one as well.

It’s weirdly charming, in his own odd Noriaki way.

He likely didn’t know what he was doing at the beginning of the relationship due to inexperience, and it’s probably heartwarming to know some things never change.

And it’s completely possible the stalker-ish lyrics of the song didn’t click inside his brain. Not because he doesn’t understand the lyrics per se… but because the poor guy hardly had a grasp on what was actually considered romantic when you first met.

Please, for your own sanity, don’t let the song played at your wedding be one that he picked (with hindsight he’ll probably thank you for it too).

Jean Pierre Polnareff

-> The Air That I Breathe

The Hollies

“Peace came upon me and it

leaves me weak

so sleep, silent angel, go to

sleep

Sometimes

All I need is the air that I breathe

And to love you”

Polnareff’s favorite musician isn’t ever canonically specified, but it’s made pretty clear he’s likely a fan of The Beatles. And considering he went through puberty during the 70s, he’s likely going to lean into that era of music.

Generally speaking, he’s got decent taste. Sure, he’s got the music taste of a white suburban father, but his picks are usually pretty agreeable.

That said, he’s definitely a little high and mighty about it.

He won’t go off on the subject too hard whenever you’re around, but he thinks very highly of his preferences. Polnareff’s a huge victim of nostalgia, and a part of him feels a little elitist for having grown up in the time period that he did.

He has had the song for his first dance picked out in the back of his mind for years, swearing that it would be played at his wedding at some point or another.

Hell, he’s probably got a full roster of music in mind for the reception.

For such a monumental occasion, he’s sure to pick a ballad that starts off slow but crescendos into the chorus- easily the type of romantic tune he’d prefer.

And unlike the others, you may get pushback from him if you don’t want that as your first dance. He’s quite stubborn, generally speaking, and this is no exception to that.

Ultimately though, he would eventually cave and do just about anything you want.

But as stated before, he’s had his mind set on this one for literal years. So certainly expect this to be a somewhat tough conversation to have with him if you prefer something different.

Muhammad Avdol

-> I Love How You Love Me

Claudine Longet

“I love how your eyes close

whenever you kiss me

And when I’m away from you I

love how you miss me

I love the way you always treat

me tenderly

But, darling, most of all I love

how you love me”

Avdol’s music taste is left as a complete mystery in canon.

However, because he runs his own shop, he’s fairly attached to the calming instrumentals he often keeps on at the store. Avdol understands atmosphere well and takes it very seriously.

When he’s not working, it’s not very often that he finds himself listening to music.

But when he does, it’s usually music with soft or ethereal overtones (you cannot tell me he doesn’t listen to Enya). Throw in some charming oldies from the 50s and 60s, and Avdol’s in his element.

To put it simply, easy-listening tunes are his freaking jam.

He also enjoys listening to music from all across the world. Avdol is likely well-traveled, and is undoubtedly knowledgeable on other places and cultures. So the preference comes naturally to him.

He’s going to pick something very romantic and slow. A song that, even if you maybe haven’t heard it before, upon the first time listening you just know it’s meant to be played at a wedding.

And, unlike the others, it would take him less than 24 hours to have made his choice. It’s not that he doesn’t put care into the decision, he just doesn’t like making you wait. He’s quite efficient when it’s something this important.

Regardless, he’s the most flexible of the group when it comes to your tastes, so anything you want is perfectly fine with him.

That said, it has to be a ballad. That’s his main request. Avdol’s eager for your input, sure, but he’s going to want to slow dance with you more than anything else.

[scifigeneration]

Blade Runner soundtrack at 30: how Vangelis used electronic music to explore what it means to be human

by Alison Cole, Composer and Lecturer in Screen Composition, Sydney Conservatorium of Music at the University of Sydney

In June 1994 the late composer Evangelos Odysseas Papathanassiou – better known as Vangelis – released his soundtrack for the 1982 film Blade Runner. It would go on to become emblematic of his skills, with only a handful of soundtracks reaching a similar level of cult status.

Prior to this, sci-fi film scores tended to be characterised by orchestral sound palettes. For instance, John Williams’ 1991 Star Wars soundtrack leaned on the London Symphony Orchestra to communicate the vastness of a galaxy far, far away.

Vangelis, on the other hand, used an electronic approach to bring a subtlety and complexity that shifted the focus inwards. His ability to communicate deep emotion, alongside expansive philosophical concepts, was perhaps his greatest achievement with Blade Runner.

Missing pieces

Director Ridley Scott’s Blade Runner was adapted from Phillip K. Dick’s 1968 sci-fi novel Do Androids Dream of Electric Sheep? – which itself was a thoughtful examination of empathy and what it means to be human. The emotional gravitas of the original story, along with Vangelis’ accompanying timbral exploration, created an aural experience that was new to sci-fi films at the time.

Vangelis began work on the score in 1981. He received edited footage scene-by-scene on VHS tapes and created live takes in his studio with his synthesiser collection.

However, the first official soundtrack was delayed some 12 years after the film’s release, due to what was reportedly an ongoing disagreement with producers.

When it finally was released, purists viewed it as more of an album than a soundtrack. They criticised it for not having much of the music used in the original film, and for including pieces that never appeared in the film, such as Main Titles and Blush Response.

While the 2007 version (a 25th anniversary edition) included some unreleased material, parts of the original soundtrack remain unreleased even today.

A symmetry between newness and nostalgia

By emphasising longer drawn out notes, rather than thick instrumental combinations, Vangelis thoughtfully taps into the atmosphere of Scott’s visual world to create something truly unique.

Early sci-fi movies such as Forbidden Planet (1956) and The Day The Earth Stood Still (1951) often used electronic instruments developed in the early to mid-1900s, such as the theremin and the modular synthesiser. While these instruments helped augment concepts such as aliens, spaceships and robots, they did this somewhat simplistically.

A more sophisticated perspective pervades through Blade Runner, which combines film-noir instrumentation with classical, electronic, jazz and Middle Eastern music genres.

Specifically, Vangelis leverages the different sound qualities of synthesisers – such as bright and airy, thin and cold, or dark and thick – to at once capture emotion and highlight the complex ideas in the film’s narrative. In the final act, expansive synths dominate as the film reaches an intellectual and emotional climax.

While the synthesisers lend an artificial timbre to the score, the musicality simultaneously communicates life and feeling. In this way the foreign and familiar became enmeshed.

The film’s retro costuming and brutalist architecture also set up an expectation for the soundtrack. At times, the score will meaningfully go against this expectation by delving into a more nostalgic sound. The track Love Theme is a perfect example.

Innovative takes

Vangelis’ innovative use of dialogue in the soundtrack also helped to translate the complexities of the human condition. The tracks Main Titles, Blush Response, Wait for Me and Tears in Rain all feature dialogue in a way that makes them feel like a part of the film’s DNA.

The soundtrack’s arrangement was also uncommon for its time, as it mirrored the action narrative sequence. Tracks 1 through 4 are mixed as a single ongoing track. Tracks 5 through 7 are separated by silence, while tracks 8 through to 12 are also combined into a single piece. While this technique is common in electronic composition now, it was unique at the time.

The films dark, fraught and sad dystopian themes are further highlighted through collaborations with Welsh singer Mary Hopkins in Rachel’s Song, and Greek singer Demis Roussos in Tales of the Future.

Today, the Blade Runner soundtrack remains the most beloved of Vangelis’ works by his ardent fans – and it continues to commands its place in the 20th-century electronic music canon.

[boanerges20]

Cockpit /Instrumentation /Gauges 2024 Yamaha XSR900 "GP" Edition

[eclec-tech]

Into the Breach

(images courtesy of @apocalyp-tech-a)

There was a man with a late 70's hair and mustache combo to start this episode. It's a shame that the future of the fashionable in Star Wars includes this look, but I appreciate the consistency with the original trilogy nonetheless. But aside from the retro look, they made some interesting choices with this episode. They could have made this fellow look like anyone.

They made him look like Tech.

Months of hair growth parted on the side and combed over would hide the hairline we are used to seeing on him. Lab goggles (with a red light on the side no less) and a mustache hide some of his features, but what we can see looks strikingly like our favorite genius.

I would love for this scientist and CX-2 to both be Tech. Hemlock is all about using the resources available to him and knows how to turn a man into an instrument to be used. Tech's fall on Eriadu would have given Hemlock a two-for-one prize. He would have gotten an exceptional mind and a deadly soldier. I don't think he would let either go to waste. It would be so cool if Hemlock were controlling Tech's dual talents and switching between the two, utilizing him as an assassin and a gifted intellect.

The mustached man looked a little disoriented when he got to the vault, suggesting that he might be new to his position there. That didn't seem important until Emerie told her subordinate that she was the chief scientist who would run things as she saw fit. What if she saw fit to include new personnel that she knows will be able to help her get those kids out of there—someone whose mind could be restored with the flip of a switch?

There are some inconsistencies that would prove this crackpot theory wrong, but there are also some ways that it could be right. It doesn't really matter. I'm hoping that with two episodes to go, getting Tech back will be as simple as flipping a switch and he'll be able to be part of the end of the show. Either way, this fellow looks way too much like Tech for my liking. It either is him, or a poor design decision was made when coming up with this guy's look.

[elbiotipo]

So when it comes to distance in a fictional setting, is metric king? I wrote some fantasy post-apoc recently where the protagonist measured it in Oranges and Aevums (the latter being their own name), but more generally speaking is it worth it to hash out bespoke measurement systems for fictional cultures, do you think?

Oranges as a measurement unit sounds so funny, and a measurement based in... yourself makes surprising sense, given all the measurements based on body parts. Why not YOURSELF?

Well, I would think in a real post-apoc world metric would be king indeed, scientific and technologic instruments are in metric even in the US and you could always get a ruler from a school or scales from a grocery store, so eventually you could get back on track to reforming the metric system. It would be interesting, though, if every society during isolation had slightly different measurements for the same units because of faulty equipment (say, ohms or amperes or even grays) and they had to make a congress to clear things up.

Returning to your main question. My perspective here is the same as conlangs. It's very, very fun to have them, but it's not fun to force your audience to read them. When I write something set in a fantasy or science fiction setting, in my head I'm assuming the characters are speaking different languages and I DO explain them and even give examples of them, but the story itself is written, for both the reader's and the writer convenience, in a language we can understand (Spanish in my case, and then it can be translated). Same with units of measurement. I seldom use direct units of measurement like writing "the ship was 110.3 meters long" (in science fiction, it's often a trap as they force you to stay true to them), when more descriptive language can be used...

In any case, you could do, for the kind of immersion I love, say something like "she was 14 oranges* tall, rather small for her age" and do an asterisk like "*A.N. : 1.39 meters tall". This is very fun when used sparingly, because it gives the worldbuilding obessed reader something to play with, you can do the conversion yourself and learn more about the world, without interrupting the story. Some understandably dislike this approach, but I think that if you know what you're doing, you can hide some pretty deep lore behind it. In one of my favorite retro games, The Ur-Quan Masters, there is an alien race called the Slylandro who live in a gas giant. When they tell you their ancient history, they use their own system of measurment based on the rotation of their planet with its own names like Dranhasa and Dranh. The game actually provides you with the rotation time on "Earth" time, so some dedicated fans did the conversion, and found out the dates fit with major events in the game's past. I thought that was an awesome bit.

But I digress again. Does this mean you should not talk about measurements in your story? No, it can do for very fun plots and digressions, as well as make things more realistic and beliveable. A fantasy world sharing all the same measurement units can be as unplausible as everybody speaking "Common". Let's remember that the current metric system is a modern invention which took a long time to be adopted (and some, well one, country, still resists it). Just take a look at the many, many historical systems of measurement:

This was especially prominent in places like the Holy Roman Empire, where every statelet, county, principality, free city, prince-bishopric, duchy, archduchy, etc. may and most often did have different measurements from each other. Just take a look at how measurements varied from each German region, it's crazy. The systems of weight where particularily important. Before the introduction of standarized coinage, coins also varied not only between kingdoms, but between regions, and even towns, and coins made at different times with different alloys had different values. Rather than money in our modern sense, you could think of them as some kind of 'asset' that could vary in value depending on the circumstances. What's more, those values had to be checked by people who knew what they were working with. Silver and gold content could be weighed, ah, but you need good scales and weights, and someone who knows how to work them! And these people could easily rip you off, or you could lose value accidentally if those scales weren't done just right or fiddled with on purpose. In fact, this is where the word 'Mark' comes from.

It wasn't as easy to take say a 100 something bill and get the change in 1 something coins. There is a very interesting subplot in the anime Spice and Wolf where Lawrence, the trader character, has been paid in gold coins, and he has to trade them into lesser denominations. However, he has to be REAL careful so that nobody scams him given all I told you above. Even getting 'gold' coins was a gamble before modern coinage and banking (another long topic). How much of that is REALLY gold and not an alloy with silver or other metal? Who can you trust to tell you how much your coins are worth? Are they compatible between borders or even time, is this version worth as much as the others? Things that characters in fantasy who have just plundered a dragon's hoard almost never think about. Except in Spice and Wolf.

(here is a gif of Holo to break the wall of text)

This all of course, as again you can see in Spice and Wolf, can make trade very tedious and even unstable. This was one of the reasons why the metric system was so quickly adopted in Europe and then elsewhere; consistent units just allow for easier trade. Lots of other things involving measurement can have a major impact on your story. For one, you NEED consistent and accurate measurement to create even the most basic industrial and scientific equipment. You can wing it for a time like alchemists (and even they knew their measurements) but eventually, you need to measure things to understand them. To have working steam engines, steel production, chemical industries and more, you need to know your temperature is. If you want to do electricity, you need measurements for current, resistance and charge. If you're doing engineering, you need to have lenght, weight and volume very, very clear, or people will die. They don't necessarily need to be universal like the metric system (though it has lots of advantages, being coherent between units and decimal so it doesn't jump between different denominations) but they need to be standarized and measurable.

Most of the above, unless you're writing some kind of encyclopedia about a fictional scientific revolution (BASED BASED BASED) will not affect your characters directly. But IT IS worth keeping in mind for what kind of world your characters are living in. The standarization of measurement units always means SOMETHING in the state of your society, the strenght of the state and centralized authority, the state of scientific understanding (one could say that trying to measure the world was perhaps THE scientific revolution, "Man as a measure of all things"), the capability for industry and the standarization of coinage and trade.

Even if you don't have your characters interact directly with those things, they will interact with them. It's also, like I've said in the examples, fun to imagine characters having to learn or deal with different units of measurement, just as it is fun to imagine them learning new languages or cultural quirks. It's something I've done in the past, in my space opera setting, the worlds descended from the United States STILL use the imperial system, much to the frustration of the rest of the metric human sphere. There is also an alien character who has a hard time to learn human measurements, and that makes her melancholic about her past, as they can't intuitively see the now-extinct measurements she does. Again, man as a measure of all things... this does include other thinking beings...

There's more I could talk about here regarding time, but I did a post about that, though I'm not satisfied with it and will probably redo it in some time at the future. In any case, there's lot to talk about why every calendar in science fiction has 365 days and 24 hours.

As always, if you found this interesting and helpful, I would be very thankful if you gave a tip to my ko-fi! And feel free to ask about anything you'd like!

[rascals-forthememories]

Kick moodboard + random headcanons

🎹⋆.˚➤Born in the late 80’s around 1990s like Jemíma which makes him a millennial of course and raised in Nevada, a quiet and introverted kid who spent a lot of time alone because his parents were always busy with work. He learned to be independent and self-sufficient at a young age, picking up skills like woodworking, car repair, and electronics. When his family moved to California, he found himself in a changed world and started attending the same school as the band. He was initially a bit reserved and standoffish, but after being recruited by the band, he found his passion and a sense of belonging. But he's also got a good sense of humor and a big heart.

🎹⋆.˚➤Absolutely a geeky, dorky teen with an odd, nerdy side and a serious love for tech and computer programming. He has a unique sense of humor that sometimes goes over the other band members' heads, but that's part of his charm. He can spend hours talking about the latest gadgets, programming tips, and random tech facts.

🎹⋆.˚➤^But he also has a soft spot for superhero movies, classic comic books, and all things related to science fiction. He's the guy who keeps the band's website up and running and is the resident techie for all their equipment, video games were his SHIT when he was a kid.

🎹⋆.˚➤Being an urban explorer. He has a fascination with abandoned places, especially ones that are untouched and still in decent condition. He loves the thrill of discovering hidden gems and exploring forgotten structures. Of course, he has this whole system of research, planning, and safety precautions he uses before venturing into any new location. He shares his finds with the gang and even takes them along on some of his adventures, much to their occasional chagrin. ("day 1 of exploring the backrooms because Keegan can't drive for Jack shit and we noclipped through a cliff part 1 ✌️")

🎹⋆.˚➤A bit of an odd ball, always making weird and goofy jokes, but the others find his personality endearing. And let's be honest, with his tech skills, he's probably the one who keeps the band's equipment and website running smoothly. He can also be incredibly competitive when it comes to board games and video games, even resorting to cheating now and then.

🎹⋆.˚➤Definitely has a unique taste in music, just like his personality. He's into synthwave, vaporwave, and other types of electronic music that evoke a certain sense of nostalgia with a retro 1980s vibe. Also a fan of alternative rock and some indie artists. Probably has a vast and eclectic music library on his laptop, and he's constantly discovering new songs and sharing them with the band.

🎹⋆.˚➤Is a pro with the Keytar! He's got a true talent for it and can play some seriously sick riffs and melodies. He has a natural feel for the instrument, and his skills grow with each new song the band learns. He's not just a button-masher either - he's able to create complex melodies and catchy riffs that really add to the band's sound. The other guys are always impressed by his ability to seamlessly switch from playing the Keytar to backing vocals or playing additional instruments.

🎹⋆.˚➤Becoming a keytarist for the band is a fun one. He's always had a love for music, but initially, he didn't think he was talented enough to start playing an instrument. One day, he stumbled upon a Keytar in a thrift store and instantly fell in love with the instrument's unique appeal. He bought it on a whim and started teaching himself how to play it -- a fusion of keys and guitar that allowed him to express himself through music in a way that felt most comfortable. After a lot of practice and experimenting, he started bringing his Keytar to band practice, and the rest is history! The band was instantly drawn to his quirky and captivating instrument.

🎹⋆.˚➤The youngest in the band, but he's also lowkey the smartest one. He's incredibly observant, quick on the uptake, and has an insane memory when it comes to facts and figures. The guys often tease him for being a know-it-all.

🎹⋆.˚➤Often mutters to himself when he's working on tech stuff, leading the others to wonder if he's secretly part of a secret code-breaking organisation. A massive sweet tooth and constantly has some sort of candy stashed away in his pocket or backpack. Geeks out over random things like retro video games, classic toys, and obscure internet memes.

🎹⋆.˚➤Loves playing around with sound effects and remixes. He has a sound remixer and synthesiser in his garage workshop, and sometimes he'll mess around with the song demos the band records, especially Jemíma’s vocals. He likes to experiment with different effects, beats, and soundscapes to see what sounds he can create. He even has a secret folder of Jemíma-themed remixes that he dabbles in when the others aren't around. He claims it's just for his own amusement.

🎹⋆.˚➤Tends to catch colds and viruses pretty easily, probably due to his school hectic schedule and not taking proper care of himself at times. When he does get sick, he turns into a total baby, whining and complaining about how much his head hurts and how much he hates being stuck in bed. He also becomes a bit of a hypochondriac, constantly checking his temperature and googling his symptoms. But there's one saving grace: his jar of vapor rub, which he carries with him everywhere and applies generously to his chest and under his nose.

🎹⋆.˚➤Has a really strong friendly bond with Jemíma. Despite their same age, they share a lot of the same interests and hobbies, such as a love for music and technology. Kick appreciates her sharp wit and intelligence, and she finds him endearingly quirky and funny. They often bond over their shared love for all things retro, and they have this natural chemistry that makes them a perfect team when they work together on music or any other project.

🎹⋆.˚➤Totally fits the role of the band's unofficial videographer and photographer. He owns a vintage Sony camcorder and loves capturing moments of the band in action, whether it's at practice sessions or gigs. He has a keen eye for detail and a knack for framing the perfect shot. He loves sharing his photos and videos with the guys, making little montage videos and keeping a record of their adventures together. With Kick behind the camera, the band can rest assured that every memory is well-documented!