#also with like an interlude or something or even a sequel to the sequel based on sick of losing soulmates by dodie

[germesthegenie]

Can a “😍😙😁” gal and a “💀👿🩸” gal really be besties? Sure seems like it so far.

Based on a scene from Ward 3.3

Recently finished Ward Arc 3! Thoughts below:

Been a while since my first post on Ward, a couple of thoughts:

Arc 2

I like the slower pace so far (we’ll see how long that lasts i suppose). Nice to get little moments like Victoria going to interviews and visiting the kids at the hospital.

Zion really gave one last middle finger to humanity and said “You know what? Automated random horrific death triggers.” Jokes aside, the broken trigger scene was haunting, might draw something based on it in the future.

The therapy group superhero team premise is interesting. Nice to have a band of characters who have mental or emotional weaknesses but have each other’s backs! Now let’s see who they’re up agaisnt- oh, Tattletale? Oh no.

Not too many thoughts on the arc’s interlude, a lot of nice worldbuilding which is always welcome.

Arc 3

Capture the Flag was a fun premise for a friendly fight, and it delivered pretty well in showing off everyone’s powers, strengths and weaknesses. Also nice to see Victoria filling a more mentor/coach role and getting to flex the experience she’s gained with her power in a more positive light. Have some drawing ideas once I figure out how exactly I want to depict stuff like her aura.

Liking the new team so far, though still need to wrap my head around some of the finer details of the powers. Definitely gives me Jojo vibes in how the powers are more complex in the sequel/s.

I realized quickly that Kenzie’s powerset is a lot like my character from my friend’s Worm campaign (which I might write more about later on). Also a surveillance/drone Tinker, though with more focus on multiple drones and material efficiency than Kenzie’s big boxes of large scale holograms and photo-distortion.

Seems the group all have their own little secrets and/or problems they need to work through. Please Vic don’t let any of them near Tattletale they would practically be a freebie for her to take down.

Ok, no Birdcage as I learned from last post. But is there, like, a dead Earth with a one way portal to toss Carol into? Is Sleeper still occupying Earth Zayin? Maybe we should send Carol there on a free vacation I hear it’s a lovely time in… whatever the effect of his power is.

Evil Robot Grocery… ok how do you even fight that. I guess it’s an S-class Threat for a reason but like what option is there other than quarantining and bombarding the entire area they’ve spread to? Do EMPs work? Put Ghost Bakuda to good use and make that Arc 6 Bomb to knock them all out?

Silly rodent themed hero. Close enough, welcome back Mouse Protector Ratcatcher. Also gonna toss her on the list of “characters I should draw some time.”

Amy Dallon finally speaks, and looks like she’s making friends! Friends that are all (at least former) supervillains! That are encouraging her down a darker path! I can only see good things happening here. A little surprised we get her this early from an Interlude rather than from a main chapter, though I suppose it does make sense to flesh her out more now rather than waiting until Victoria directly sees her again in whatever state she’s in by that point (probably a bad one).

That’s all the Ward thoughts I could think of at the moment. Will be reading more, next update hopefully won’t take 2 months again (but probably will)

[bandsanitizer]

.

[jayoctodot]

The Silent Patient vs The Maidens

I will start by saying that I understand the appeal of these novels as page-turners. They are easy to read and if you want a twisty reveal at the end, you will probably be entertained and satisfied. That being said, I am SO CONFUSED by the near-universal adoration of The Silent Patient and the reasonably positive reception of The Maidens. The weaknesses of the two are strikingly similar, as well, which doesn’t give me much hope of seeing improvement from this guy, though I am intrigued to see whether he keeps repeating the same (apparently successful!!) patterns. These books were at least super fun to hate.

(For context, I read The Maidens for a bookclub I'm in, because several of the members had read and loved The Silent Patient, and one of them gave me a copy of the latter to read on my own time. I loathed The Maidens and then read The SP for comparative purposes. And because I'm a masochist, apparently.)

SPOILER WARNING! Do not read on unless you've finished both books (or unless you care not for spoilers). Sorry if it gets a bit shouty.

Here are the similar weaknesses I noticed in both:

PSEUDO-PSYCHOLOGY

-> Weirdly similar “group therapy” scenes early on where a cartoonishly unstable patient arrives late, disrupts the meeting by throwing something into the middle of the circle, and is asked to join the group after the therapist(s) speechify on the importance of boundaries (HA! None of these therapists would know an appropriate boundary if it kicked them in the ass) and debate whether to “allow” the patient to join. Both scenes are so transparent in their design to establish the credibility/legitimacy of the narrators as therapists, but instead both Theo and Mariana come off as super patronizing. The protagonists are less and less believable as therapists at the stories progress (though at least Theo’s incompetence is explained away by the “twist” at the end; Mariana, on the other hand, is confronted in the opening pages of the novel by a patient who has self-harmed PRETTY extensively, and rather than ensure he get proper medical attention, she essentially throws him a first aid kit and tosses him out the door so she can pour herself a glass of wine and call her niece... and it devolves from there).

-> Ongoing insistence throughout the narrative that one’s childhood trauma entirely explains the warped/dysfunctional way a character behaves or views the world, which is why the books go out of their way to give EVERY potentially violent character a traumatic childhood; when Theo insists that no one ever became an abuser who hadn’t been abused themselves, I wanted to throw the book across the room. (That is a MYTH, SIR. GET OUT OF HERE WITH YOUR ARMCHAIR PSYCHOLOGY.)

-> Female murderers whose pathology boils down to “history of depression” and “traumatized by a male loved one/family member.” Because, as we all know, depression + abuse = murderer!

-> The “therapy” depicted in both books is laughable and so so unrealistic, mostly because neither narrators function as therapists so much as incompetent detectives, obsessively pursuing a case they have no place pursuing (or skill to pursue - both just happen across every clue mostly by way of clunky conversation with all the people who can provide precisely the snippet of info to send them along to the next person, and the next… until all is revealed in a tired, cliched “twist”). Their constant Psych 101 asides were so tiresome and weirdly dated (also, the constant harping on countertransference got so ridiculous that at one point during "therapy" Theo literally attributes his headache and a particular emotion he feels to Alicia, as though the contents of her head are being broadcast directly into his mind... and I'm PRETTY SURE that's not how it works???)

CHARACTERS

-> Psychotherapist narrators with abusive fathers and pretensions of being Sherlock Holmes, which results in both characters crossing ALL KINDS of ethical lines as they invade the personal lives of everyone even tangentially connected to their cases (and, in Theo's case, violate all kinds of patient confidentiality. Yeah, yeah, by the end, that's the least of his offenses, but before you get there, it's baffling that NO ONE is calling him out on this).

-> All female characters are either elderly with hilariously bad advice, monstrous hulking brutes, or beautiful bitches (except for ~MARIANA~, who is Bella Swan-esque in her unawareness of her own attractiveness, despite multiple men trying to get with her almost immediately after meeting her. I'm so tired of beautiful female characters being oblivious to their own hotness. Are we meant to believe all mirrors and male attention have escaped their notice? If it’s to make them “relatable,” this tactic really fails with me).

-> All characters of color are shallow, cartoonish side characters, and most of them are depicted as unsympathetic minor antagonists (the Sikh Chief Inspector in The Maidens continuously drinks tea from an ever-present thermos, and his only other notable characteristic is his instant dislike of Mariana, whom he VERY RIGHTLY warns to stay out of the investigation that she is VERY MUCH compromising… the Caribbean manager of the Grove is universally disliked by her staff for enforcing stricter safety regulations at the bafflingly poorly run mental institution, because HOW DARE SHE. There's a very clear vibe that we're supposed to dislike these characters and share the protagonists' indignation, but honestly Sangha/Stephanie were completely in the right for trying to shut down their wildly inappropriate investigations).

-> "Working class" characters (or basically anyone excluded from the comfortably upper-crust, educated main cadre of characters) are few and far between in both stories, but when they show up, he depicts them as such caricatures. We got Elsie the pathologically lying housekeeper in the Maidens, who is enticed to share her bullshit with cake, and then a TOOTHLESS LEPRECHAUN DEALING DRUGS UNDER A BRIDGE in the SP. I kid you not, a man described as having the body of a child, the face of Father Time, and no front teeth, emerges from beneath a bridge and offers to sell Theo some "grass." I was dyinggg.

-> There are no characters to root for. Anywhere. Partly because they’re all so thinly drawn — and because we’re clearly supposed to view almost ALL of them as potential suspects, so they’re ALL weird, creepy, or incompetent in some way.

-> The flimsiest of flimsy motives, both for the narrators and the murderers. Theo fully would have gotten away with his involvement in the murder if he hadn't gone out of his way to work at the Grove and "treat" Alicia and his justification for doing so is pretty weak; his rapid descent into stalking and murder fantasy and his random ass decision to "expose" Alicia's husband as a cheater with a spur-of-the-moment home invasion and staged attempted homicide is ONLY justified if the reader hand waves it away as WELP, HE'S CRAZY, I GUESS (after all, he DID have an abusive father and a history of mental illness, and in Michaelides novels, that's ALL YOU NEED to become a violent psycho). I guess we're lucky Mariana didn't also start dropping bodies (because the logic of his fictional universe says she should definitely be a murderer by now... maybe that'll be his Maidens sequel?). But she especially had NO reason to randomly turn detective - and she kept trying to justify it by saying she needed to re-enter the world or that Sebastian would want her to (??), even though she had no background in criminal psychology... or even a particular fondness for mysteries (really, I would've accepted ANYTHING to explain her dogged obsession with the case. WHY were Sebastian and Zoe so certain she would insert herself into the investigation just because one of Zoe's friends was the first victim? WHY?). As for Zoe and Alicia, their motives are mere suggestions: they were both abused and manipulated, and voila! Slippery slope to murder.

WRITING STYLE

-> Incessant allusions to Greek tragedy and myth, apparently to provide a sophisticated gloss over the bare-bones writing style, which opts more for telling than showing and frequently indulges in hilariously bizarre analogies. Credit where credit is due — the references to Greek myth are less clunky in the SP, and I liked learning about the Alcestis play/myth, which I hadn’t heard of before - but OMG the entire characterization of Fosca, who we are meant to believe is a professor of Greek tragedy at one of the most respected universities on the planet, is just absurd. His "lecture" on the liminal in Greek tragedy is essentially the Wikipedia page on the Eleusinian Mysteries capped off with some Hallmark-card carpe diem crap. The lecture hall responds with raucous applause, clearly never having heard such vague genius bullshit before.

-> Super clunky and amateurish narrative device of interludes written by another character; Sebastian’s letter reads like a mashup of Dexter monologues and Clarice’s memory of the screaming sheep, but by FAR the worse offender is Alicia’s diary, where we’re supposed to believe she painstakingly recorded ENTIRE CONVERSATIONS, BEAT-BY-BEAT DIALOGUE, even when she’s just been DRUGGED TO THE GILLS with morphine and has mere moments of consciousness left… and even before that, she literally takes the time to write “He's trying the windows and doors! ...Someone’s inside! Someone’s inside the house! ETC ETC” when she thinks her stalker has broken in downstairs. WHO DOES THAT?)

-> Speaking of dialogue, the dialogue is so bad. Based on his bio, Michaelides got a degree in screenwriting, which makes his terrible dialogue even more baffling.

-> HILARIOUSLY rendered voyeur scenes where the narrators spy on couples having sex. Such unintentionally awkward descriptions. First we had Kathy’s climax sounds through the trees and then the bowler hat carefully placed on a tombstone before the gatekeeper plows a student. Again, I died.

PLOT/"TWIST"

-> The CONSTANT red herrings make for such an exhausting read. Michaelides drops anvils with almost every character that are so obviously meant to designate them as suspects in our minds. There is absolutely no subtlety in his misdirections.

-> The “crossover” scene between the SP and The Maidens makes no sense - when in the timeline does Mariana’s story overlap with Theo’s? They confer just before Theo starts working at the Grove, obviously (though Mariana appears to be the one who alerts Theo to the job opening there? Whereas in the SP, Theo has been obsessively tracking Alicia since the murder and had already planned to apply to work there?), but then are we supposed to believe that while Theo has been psychotically pursuing his warped quest to “help” Alicia, he’s also been diligently treating Zoe, so invested in her case that he repeatedly reaches out to Mariana to get her to visit Zoe and even writes Mariana a lengthy letter to convince her to do so??? And then a couple days after The Maidens ends, Theo is arrested???

-> But the thing I really did hate the most is how Michaelides treats his female murderers (who are both also victims themselves) as mere means to deploy a “twist”; there’s no moment spared to encourage our sympathy for Zoe, who was groomed and manipulated by the only trusted father figure in her life, and even after spending a decent amount of time getting to know Alicia via her ridiculous diary, where it’s so apparent that she’s been demeaned, objectified, manipulated, gaslit, and/or used by EVERY man in her life, she’s sent packing to spend the rest of her days in a coma… HOW much more satisfying would it have been for her to succeed in exposing Theo and reclaiming her voice? But no, she basically rolls over when he comes to finish her off (SPEAKING OF — ARE WE SUPPOSED TO BELIEVE THERE ARE NO SECURITY CAMERAS IN THIS INSTITUTE FOR THE CRIMINALLY INSANE????), writes one last diary entry, and drifts off forever. And then a couple pages of nothing later, the story is over. GOODNIGHT, ALICIA!

Both books kept me rolling throughout (by which I mean eye-rolling but also rotfl). Maybe I will check out his next effort — I’m morbidly curious what he’ll turn out. It does leave me wondering whether I should give up on thriller novels entirely, though. Are many of the weaknesses of these novels just characteristic of the genre? Maybe I'm just holding these books to unfair standards? I'm mostly only familiar with thriller films — many of which I think are amazing — but maybe you can get away with more in a film than you can in a novel.

...I really only intended to write a handful of bullet points, but more and more kept coming to mind as I wrote, to the point where subheadings became necessary. Whoopsie.

[akampana]

im the anon who asked for obscure artoria ships - tysm for answering! i knew you liked kojiro/artoria from early tpof, but ozymandias/artoria was unexpected! ozytoria sounds interesting from the way you describe it - ive always sort of seen it as an almost-giltoria dynamic minus the hostility and antagonism. i think that modern au idea sounds incredibly sweet 😭 honestly i like the idea of them but there is virtually no fancontent OR canon content of them (besides that one lartoria comment in ozy's interlude?) so its a half-built ship for me as of now. and yes, please talk about kojiro/artoria for the ship game! i'd love to see more of your thoughts on them. on nobu/artoria - YES nobu is incredibly beautiful its crazyyy. i got into shipping them because of mastoria/nobu in koha-ace, interactions in fgo and a user's thoughts on them here on tumblr (you can find them if you search up nobutoria).

Hi, @glowingarchive! good to see you in the inbox. :)

Oh, no way, really? Thought I was being subtle with Kojirou apparently not XD. And your thoughts on Ozy and Arturia, I totally agree. If you want, I made art for them a while ago, but didn't end up posting it.

*cracks knuckles* Alright, let's go.

Kojirou Sasaki X Arturia Pendragon - SHIP IT

What made you ship it?

This is gonna sound strange, but do hear me out.

My love for this ship evolved from the first time it caught my attention, but to be completely honest it all started with another ship: Diarturia.

After re-watching and re-reading FZ, FSN, and UBW, something kept coming up for me. We all know FZ is an incredible prequel sequel, created with stunning precision to fit the already existing narrative, which is why, even when consuming the series as a whole based on the timeline of events, Arturia's character still makes sense.

Their expert craftmanship made the fact that the 5th HGW is Saber's second attempt a lot clearer. Why? because it brings to the table a theme that was already there and yet not too fleshed out:

Deja vu. Or, in Saber's case, a double deja vu.

For example, this line:

Before Zero, it only means 'oh cool so she's fought spearmen before.' but after Zero, you finally know exactly who she's talking about.

But why do I say it's a double deja vu for her?

Let's begin with the obvious one. The parallels between Cú and Diarmuid are pretty clear. Like you just know Zero Lancer's character was patterned after the existing Lancer, but given another purpose. There are gifsets all over Tumblr that illustrate their similarity too.

BUT Cú and Arturia (ooh it kills me to say this) only just fall short of the borderline flirtatious "I wanna have a glorious fight to the death with you because you're worthy" energy. Furthermore, they meet only briefly.

So where did they get that?

Kojirou bloody Sasaki

More below the cut.

It's parallel time. (there are a few more but hnggg tumblr limits)

THEY PROTECC. THEY ATTAC. BUT MOST IMPORTANTLY THEY WANNA FIGHT HER BACK.

No, but seriously. I don't think this is a coincidence. Diarmuid must have been some sort of amalgamation of Kojirou and Cú, the best of both. And that is also why the previous deja vu point hits harder.

Honestly, when that realization came, I was totally not expecting it. I was supposed to be looking for Diarturia crumbs and instead I found myself another whole-ass cookie. And one that unjustly has barely anything in the fandom, even if we have more straightforward lines like this:

Which is, by the way, one of the answers to the next question.

What are your favorite things about the ship?

So, now that you know how I got into shipping this, unorthodox as it seems, I think it's time to move past the parallels and into more solid ground.

Unlike other relationships that are more ambiguous and rely on potential, Kojirou's attraction to her is so in your face, it's refreshing.

Their banter is *chef's kiss*

It's only overshadowed because he so quickly became a gag servant, and ofc because the focus of the anime was Shirou. (Why did they do him like that though, he's actually so cool??? I mean, did Saber truly even beat him?? like???)

Saber comments on his skill with the sword, going so far as to say he outclasses him in swordsmanship. bruh, you can't take that lightly

They both see each other as worthy opponents. She literally tells him he's worthy of her full attention.

Kojirou sees her as the fulfillment of his wish, and Saber bloody actually gets to grant him the fight of his 'life' (FSN and UBW, not HF ;n;) when she couldn't do the same for a certain former rival. She even promises their fight's resolution because it is so important to her to see it through (UBW).

Kojirou really wants that fight, and fairly, without interruption. Which is why in FSN he goes as far as to stop the fight before Rider can spy on Saber's sword. And then later on, literally tells Shirou and Rin he doesn't give a shit about them, he just wants to fight Saber.

When he calls her out on holding back, especially since they're both running out of time, she apologizes and reveals Excalibur so they can fully face each other at full strength. UGH THE CHEMISTRY HGNGNGNGNGN. Also, since he knows this is their last fight, he's giving off "look at me, focus on me, don't think about anything else" vibes.

Also, man, Kojirou Sasaki really be out here serving up blatant eye smex every time they share the screen I swear to god.

Like let me give you a line from UBW 23, 19:08, right after Assassin notices she's damaged his katana

Arturia: Our positions...Assassin...are you... (that's what the subs say but Saber says "kisama" so I read it as "you bastard")

Kojirou, smirking: Is it wise to pull your blows? In this position, I could send you flying.

*Kojirou steps forward pressuring their locked swords and causing her to shuffle back a bit*

Arturia: Is that why you deliberately entered my range?

Look, Sasaki, we all see what you're doing, ya ain't slick.

Taken out of context and heck even *in* context that's sexual tension right there.

You better bet if he had the chance he'd be sticking that long-ass sword in-

Is there an unpopular opinion you have about your ship?

It's...baffling how unknown this ship is like...look at all that material. I mean of course it's going to be trounced in popularity by Shirou x Saber, GilArt, and Diarturia , but it should at least have accumulated enough of a following like Cuturia, for example.

Thank you for the ask! Hope you enjoyed the read as much as I enjoyed constructing this. :) feel free to share to gain more fans mwahahahahah join the dark side we have cookiessss

[arshipweek]

AR Ship Week - Fanwork Recs

Banner credit

This is the fourth and last weekly post in the lead up to Alex Rider Ship Week. Only 1 week to go!

This week we’ve got a selection of shippy fanwork recs submitted by members of the AR fandom. Enjoy and hope to see you next week!

**Please note that I haven’t listed all the details for the fics so take care to read the tags on AO3 before diving in!

Yassen/Alex

Our Endless Numbered Days by Galimau Just your run of the mill heartwarming look at the quiet beats of Alex and Yassen's relationship...after the apocalypse.  Soft and sweet this fic focuses on the very still and quiet moments of two men at the end times trying to hold onto the things that bring them joy. It's an intimate view of what Alex and Yassen's life could be like of all their cares were quite literally wiped away - excellent  world building and writing make this a must read.

Yalex art by Ireliss Alex and Yassen in a lake! Everything about this picture is perfect - the light, the colours, the feeling of stillness... Probably the most beautiful picture of Alex and Yassen I've ever seen.

Sun Poisoning by fElBiTeR Angsty, beautiful, slowburn soulmate fic with a twist on the usual tropes and gorgeous imagery

Twisting, Turning, Tumbling by ShiruyTheSecond A glacially slow burn, road trip au, and sick fic all mashed into one fic, in non-chronological order based on 100 themes. I'd say this was one of the gateway fics into Yalex for me; there's nothing like reading a longfic you thought was gen and wishing it were slash, only for the realization to hit you in the face like a brick 50 something chapters later. Alex is on the run for a variety of reasons after a mission for MI6 goes spectacularly wrong, so he surprisingly finds himself leaning on Yassen for help, experincing whumpage along the way. Absolutely delicious.

Specific Performance by BurntWhisper Alex is a good spy, good enough that SCORPIA has tasked Yassen with killing him. Yassen can't do that but he can give Alex a very...enthusiastic going away present even Alex hasn't been a very good boy. It's a fun look at Alex and Yassen's first fling with callbacks to the original gen fic. That hits every perfect note and hits a few other things too.

Interlude by Suzie_Shooter Incredibly soft and fluffly Yalex that ends with an unexpected top!Alex and bath sex. Will absolutely warm your heart the way it does mine every time I read this fic.

Medicine by Suzie_Shooter The other fic in response to the prompt of "Alex is given a serum that makes him feel good when he tells the truth" except this one is praise kink while the other is humiliation kink! Specifically focused on a smoking hot blowjob and Alex's reluctance turned enthusiam, plus, there's a second chapter, just in case one dose of the antidote isn't enough.

One Year by BurntWhisper The slowest of slow burns featuring Alex and Yassen on the run from MI6, SCORPIA and their own feelings. Covering 3 months of their life on the run this fic features action as well as the slow, quiet moments where the budding relationship can truly shine through and behind it all the intelligence world continues to grind on threatening to take their happiness with it. It's a beautiful fic with strong, detailed writing and the emotional weight that it deserves.

Midnight Smoke by Hijja If you're in the mood for darker fics with plenty of Yassen hurting Alex complete with violence and heavy dubcon, Hijja has you covered. This particular fic features a mission-type premise with Alex being sent to investigate a spate of teen abductions only to be captured. Yassen is there, and he has his own goals...

Hello Alex by anonymous Fanart: a reunion hug between Yassen and Alex.

Face The Truth by capeofstorm Alex is given a serum that makes him feel good when he tells the truth. Yassen is absolutely a man to take advantage. Recced by Suzie_Shooter

Lights Out by Suzie_Shooter Yassen and Alex left tradecraft behind for a new life in the Greek islands. Ten years on, their relationship is still going strong and they've become island locals, the proprietors of a sailing club and a windsurfing business. Their idyllic life is disrupted by a new threat that wants them dead. I just love the premise of Yalex riding off into the sunset and not looking back. This fic not only has suspense, action, hot sex, and the intimacy borne of ten years...but once you're done, there are two excellent sequels and a prequel to lap up!

Villa in the Sun by BoldAsBrass A multi-chapter story within a story as Yassen and Alex keep in touch over the phone through a tale of a Russian bodyguard's encounters with a young English man. This is so cleverly done and beautifully written; I could re-read it and re-read it (in fact, that's exactly what I've done).

Sting in the Tail by Suzie_Shooter With the world hanging in the balance, MI6 presses an imprisoned Yassen into service. They use Alex to convince him, but also a nasty "sting in the tail" incentive to guarantee results. A thrilling Yalex mission!fic where Yassen and Alex forge their trust in each other by facing mortal danger and saving the world together. I was on the edge of my seat the whole time, eating up the slow burn and wondering how on earth they were going to succeed with all the obstacles Scorpia and MI6 threw in their way.

Rarely Pure And Never Simple by fElBiTeR Non-con > dub-con > fuck-yes-con speedrun. Recced by Suzie_Shooter

Just Say I Do by Nanimok I'm possibly biased because this was written for me, but 'woke up married' is a great trope and this is both snarky and adorable. Recced by Suzie_Shooter

Open Invitation by Suzie_Shooter After Ian's death in TV 'verse, fifteen-year-old Alex is living alone in a depressive, self-destructive spiral. He realizes someone is watching him at home...and decides to give them something more compelling to watch. I am squicked out by creepers, but the characterizations tackle the thorny elements head-on: Yassen's mixed feelings and understated pursuit tactics are 100% believable, as is Alex's volatility; he's alternately confused, provocative, and defiant. Exhibit A:“Does that make you a victim, or a slut?” The question came casually, but it had the unexpected sting of a slap. Alex blinked. “What, I can’t be both?” he countered after a second. Plot ensues, because how can a relationship possibly form from such a premise? Mind the tags (you might trip into your next kink because the sex is mind-blowingly hot).

Flirting with Danger by BoldAsBrass Basically THE gateway fic into Yalex for me - short and sweet, snappy narration and dialogue, a sleekly dangerous Yassen and Alex who might be a skilled, pragmatic adult but quickly realises he's in over his head. Sprinkle in a bit of dubcon and scorching hot writing and you get this perfect fic.

Burning a Dead Man's Fingertips by GreenQueenofClubs Multichapter slow burn, MI6!Yassen AU - an excellent premise done extremely well and feels fresh and new, balancing mission-style fic with character development! The dynamic between Yassen and Alex is somewhat different here compared to most Yalex fics as they don't meet until Alex is an adult; a really intriguing glimpse into what could have been...

A Little Pat Down by Nanimok Airport security can be frustrating at the best of times but couple it with being edged like none other by an assassin turned security guard and it can really be a pain in the ass. A filthy but extremely well written premise. Crack taken seriously is this author's strong suit so not a single one of their works will steer you wrong.

Yalex Ballet AU by anonymous Yalex ballet AU with absolutely gorgeous imagery and slow burn. Fluid prose and in the background, the shadows of past histories and things unsaid.

Gentleman's Agreement by Valaks Yassen and Alex have a "gentleman's agreement" for handling their business in the field. No one ever said anything about parent-teacher conferences. Claims to be gen, but deserves a place on this list for subtle genius alone, because with lines like "Like a fine wine, Alex Rider was improving with age" and "How interesting that Alex Rider would be that interested in his hands", what are we supposed to think....? UST in all caps is the best description.

Salty the Sweat on my Fingertips by Galimau A fun little romp of Alex visiting Tom and having to call his overly protective boyfriend? because he's pregnant and everything hurts. Beautifully written, this fic explores the ending of Oceanbreeze7's Moonfish and follows the extremely creative monster biology to its logical conclusion of Alex getting knocked up.

Slipping Through My Fingers by Nanimok This kink meme fill hits in all the right places as we watch through the eyes of a very jealous Julius as Yassen gives Alex all the attention he needs. The writing is, as always, on point and the characterization of Julius gets absolutely nailed (almost as much as Alex). Julius/Alex, Yassen/Alex

Other

Miss Julia by DantesThird Very creepy and traumatic noncon but really believable with Julia Rothman's obsession with John Rider. Alex/Julia Rothman

gone loose inside the shell by cyanides Fantastic messed-up fic where Julius keeps fantasising about killing Alex, but then the fantasies take a different turn. The possessive 'If I can't have you no-one can' dynamic really encapsulates the ship for me, and the fic stuck in my mind afterwards. Alex/Julius

smoke haze by Ireliss Dubcon, gun kink. A really intriguing and quite dark exploration of a young Yassen's situation with Scorpia and his very complex relationship with Hunter. John/Yassen

Our Settling Bones by Galimau A multi-chapter slow burn focused on a former assassin who has lost everything...and Yassen Gregorovich. The tension is off the charts and the characerization is on point. Everything you could want from the rarest of pairs. John Wick/Yassen

Lemniscate by Ireliss A look at what awaits Yassen when he arrives back at Scorpia after killing Vladimir Sharkovsky. This is deliciously dark as well as being entirely plausible. The sensory descriptions are fantastic. Yassen/Julia Rothman

[originofjaehyun]

Prelude: After Story | Part 3 | Make Your Day

Prelude: After Story Masterlist

Word count: 4,330

Warnings: Suggestive

Part 3 | Make Your Day

“Just by your existence, you already shine radiantly like this.”

Prev

Read Interlude: No More Drama

Tag list: @justineasian​ @elauniesdream

A/N: I started Interlude: No More Drama series back in March, and I never knew that the series would go this far. Prelude: After Story is a mini-sequel that I actually didn’t plan –since I started to write Interlude during the Neozone era and I didn’t know how they would bring the repackage album, but truthfully I’m very proud of where it is. I think it is quite interesting to see things from Yuta’s POV! 

I hope you’re not bored at this, but I wish I could convey my gratitude better. I already wrote my thank you during the end of Interlude, but I’d like to say thanks again. Really, receiving warm messages especially during the current world situation does brighten up my day. So I hope that my writings could help to entertain you, to make your day (no puns intended hahaha).

This marks the end of Interlude: No More Drama and Prelude: After Story series! I personally think this is a milestone for me as a writer (especially this is one of my first published work). In the future, I would probably go cringe when I re-read this when I’m able to write a better story, but nevertheless this is the first stepping stone and it doesn’t change the fact that I will always feel proud of this. I really like how the story unfolds and how the character develops, and I think this is the perfect closure to end the series.

Thank you for loving them, and enjoying the ride with the characters!

Much love,

Dee

The same reaction, always, whenever Yuta received a guest.

You took a moment to admire his house. It’s late, but after stepping inside, you are greeted with the large window –displaying the amazing view of the cityscape.

He took off his suit, throwing it to the armchair. “Please be comfortable. Sorry for the sudden invitation, I realized I might be slightly pushy now that I've started to sober up. I can’t believe I let a woman drive me home.”

You giggled softly. “Please, gender shouldn’t prevent you from driving safely. Anyway, you have a very nice place.”

He scoffed. “It’s humble, but I like this place. The view is very charming from here. Well, sit down, I’ll grab our glasses and some ice.”

Of course, his apartment is anything but humble. You quickly scanned the room as you make your way to where he pointed his couch is. There are weird ornaments as a part of the house decorations here and there, like a vase with Japanese ceramic technique with a single dark crimson rose and few decorations of octopuses —you never knew how those could blend in together. Nevertheless, it has its own charm and the place screams his personality.

“Here,” He passes you a glass that is filled with caramel-colored liquid. The sound of the ice touching the glass snaps you from your daydream. “It’s Hibiki 12. I hope you don’t mind whiskey?”

You accepted the glass with both of your hands. “I’m good with anything. Out of curiosity though, do you always have a Japanese liquor on hand?”

A wide grin appears on his face, showcasing the perfectly aligned teeth. “To be precise, I always have Hibiki around because they are easier to drink. I managed to snatch a bottle of champagne and bourbon, though. Do you prefer those instead?”

“Would never refuse an invitation for a bottle of good quality champagne.”

“Seems like you’re a heavy drinker, Miss. I must say I think I’m pretty good at handling my alcohol, but I want to make sure there’s no accident tonight.”

You slightly flinched at his last sentence but managed to control your expression.

“Ah, I think just normal? I could manage if we could keep the pace slow –though I’m pretty sure that’s not what you wanted tonight.”

Yuta smirked, taking a seat on the floor across you. You followed him, taking a seat near him since it would be rude for you to remain seated on the couch while the house owner is being casual and sitting on the floor.

“Actually, not really.” He said while twirling his class, taking another sip. “I was thinking of taking it slow tonight.”

You shifted your stare to see him. “Is that so.”

While you thought it was quite careless for him to invite a stranger –technically you are up until the car ride where you briefly introduce each other– to his house, you’re not the one to talk since you also waltzed into his apartment without any second thoughts.

Both of you don’t mind the silence, as he continues to spin his middle finger around the rim of his glass. Either the alcohol starts to kick in, or he is consumed by his own thoughts. His cheeks start to flushed like cherry blossoms, and his mind is in a daze.

“I–” Yuta finally breaks the silence. “Was thinking a lot about my own feelings. On the contrary to my look, I think I’m actually the type of person who feels a lot. Most of the time I decide things based on my feelings.”

You didn’t respond, so there’s a momentary pause before he bridges his story together. You didn’t respond because you didn’t pay him any attention, but you just feel like right now what he needs is to let out his feelings, bare to the table.

“When I received my invitation, I feel like the ground below my feet shattered. But at the same time, it would be rude of me to reject it when she was so excited about her wedding. I was thinking how could this person be so dense to invite me that are still wallowing in sorrow?”

You took another sip of your whiskey, keeping your mouth shut while listening to his story.

“As I entered the venue today, each and every of my step seems harder. Like, I was regretting saying yes to her invitation.”

He then looked down at his almost empty glass. “Then I saw her face. And it feels like... all the answers that I’ve been looking for was there. That today was the day where I truly feel thankful that I made that decision. I’m glad she looked happy,”

He took another sip, finishing whatever left on his glass. “I’m glad that I could end this and make it into a proper memory.”

There it is.

The man in front of you smiled when he reached the end of his sentence. But you can see how that smile was wrapped in sadness.

You know by the way he talks, he is a man full of passion. His directness that is sometimes always too spontaneous. But it’s not the blazing-type of passion. Maybe because of his past, there’s always a trail of woe that surrounds him. That keeps him from burning his surroundings.

Like a blue flame.

“I’m sorry, it must be weird to suddenly listen to my sad story,” He said as he rises up. “Let me refill your glass. Should we take other liquor? I was thinking of switching it up to wine. I didn’t lie when I said there’s no more regret, but in order for me to truly accept it, I guess I kinda need to feel my feelings? I need something to dull the pain.”

“I thought you only stole bourbon and champagne?”

“You can’t call it a Nakamoto residence without a vast amount of alcohol gallery, you know?”

Finally, a hint of delight starts to replace the somber mood. “Again, I’m a guest so I’ll take anything. For your reference, though, I’m more of a red wine person.”

He curls his lips upwards, chiseling his well-structured cheekbones, “Got it. Also, please be more comfortable. I’m the one who suddenly invites you, after all.”

As he walks toward his wine fridge, you reactively rise up, about to offer your help. You’ve been sitting on your feet for quite a while, and your legs are definitely not ready for the sudden movement. You almost slip to the ground, but as if it was a shoujo manga, Yuta manages to catch you.

“Careful!” He said as he holds your upper arm, preventing you from falling.

It feels like the universe planned this all along, as cliche as it might sound.

You get to see his face, up close. The way his eyes pull you in, glistening from the alcohol that he had consumed.

It would be a lie if you told him that you’re not attracted. How could you not? The man in front of you is obviously good looking, but his demeanor, the way his voice travels through the air.

It was all just too alluring.

You avoided of the what-could-have-happened-next scenario by breaking the eye contact, looking away. It is a different case for Yuta. Because the sight of your neck, now burning in the vibrant pink flush is like an open invitation for him.

And he is not Yuta if he is not a decisive person.

He leans in, giving you a soft kiss on the lips. A kiss you didn’t see coming, but most definitely sending electrifying feels to your spine. A kiss that is mixed with the bitterness from alcohol. Yet Hibiki is sweet, so you long for more, kissing him back in the process.

The kiss that was started gently, suddenly rises up as both of you wanting for more. He dives in, checking if you felt the same way. You reciprocated, biting his lower lips. Asking him to pace up the speed.

You thought he would gladly eat you. To your disappointment, however, he separates his lips from yours.

“Are you fine with this?”

His whispers are gentle, yet able to give you goosebumps. He knows, that even under influence he should earn your consent before moving on to the next step. That surprises you because you thought the alcohol would turn him into a beast. But Yuta remains as a gentleman.

So you shyly give him a nod of approval, much to gain his wonderful smile. He leans forward to kiss you, but this time in a much more aggressive manner.

As he trails his lips to your neck, soft moans escape from your lips.

“Wait,” You stopped him half-way, which he only responded with a confused face. “Can we, uhm, perhaps move somewhere else? I… never done this… so I don’t know if I’m doing this right,”

Seeing how nervous you are, and the way you panicked over this, Yuta couldn’t help to chuckle softly. 

“Of course, that is rude of me,” He kissed your temple, followed by gentle strokes on your head. 

“Come.”

He stands up, offering his hand in which you immediately accept. He guides you to his room. His room didn’t shy away from being loud, some might even perceive it as odd since he opts to choose eccentric pieces to decorate his sanctuary. But everything seems to mesh well together with his plain beige wallpaper. There are a few unfinished canvases at the corner, most notably a painting of roses.

You were busy admiring his room to realize that he was waiting for you at the corner of his bed. Arms wide open ready to embrace you.

You giggled at the scene, but then you remember that you fall into his arms means it won’t stop at just there.

“Can I... use your bathroom first?”

You can feel the heat collecting on your cheek. You were embarrassed to ask such a question, but Yuta understands where you are coming from in a heartbeat, and you are glad for that.

“Please,” He said, gesturing to you to find his bathroom. “But once you’re done, we’re not stopping, yeah? I think I’ve been good for being patient, don’t you think?”

You smiled at his remarks. “I’ll be quick.”

You practically skipped your way to the bathroom. You checked yourself, at least making sure you smell pleasant. Then before leaving the bathroom door, you took your time in front of the sink. Contemplating with yourself in the mirror.

You are about to fuck Yuta.

The words repeated inside your head but soon vanished at the sight of a foreign object. Not that you are used to his apartment, but everything in his apartment was coated with his character, except this dainty jewelry.

It was a delicate, simple rose gold earrings. You noticed that Yuta rocks multiple piercings on both of his ears. But none are this delicate. It seems these were too plain for his liking.

Who am I to judge?

You said to yourself. You literally just know this man tonight and you’d be damned to judge his taste. Who knows, maybe he has those days where he wants to lay low. Whenever he’s going to meet his clients, perhaps? But you feel like keeping such delicate pieces in the bathroom has a potential of him losing it, so you call him out.

“Yuta?”

He hummed as a form of reply.

“You shouldn’t keep your earrings near the sink, you know. You might wash them away by accident.”

Suddenly you can hear his footsteps, rushing. You didn’t lock the door and you are glad that you didn’t because he would probably break the door open. He rushed to grab the pair of earrings, and the color on his face fades away. The smile that once appeared on his face was no longer there.

This gains your confusion. What does a rose gold earring mean to him that he had to act this way?

A rose gold earring.

A painting of roses.

A single rose that was fresh, as if it was treated with the utmost care.

Then you remember that the sight of a rose is definitely not a stranger for you, especially the last three days.

You decorated the hall with roses.

The couple carefully selected the specific color of the roses, making the last few weeks like a nightmare looking out for the vendors.

Of course, you even arranged her bouquet with roses.

“Ah, I just like roses,” She said to you when you asked why she picked roses as one of the main flowers. “As cliché as it might sound, I think roses are one of the most stunning flowers out there. They’re beautiful but surrounded by their thorns so you got to treat them gently unless you want them to prick you. Also, I think it’s because of the roses that we’re back together.”

“Did we?” Her fiancé finally looked at her after busy playing with the ring on her fingers.

“Don’t you dare to forget you add water to my shower gel.”

You could remember the laughter vividly in your head, but the last thing that you would want right now is to laugh. 

“I get it.” You tried to act though, but there’s a crack in your voice. “I get that you just told me you were trying to forget about her a few minutes ago.”

You can feel like your vision is about to start to blur, but you took a deep breath to prevent a single tear to drop.

“I’d like to blame it on the alcohol, but I guess I’m at fault too.”

Was it the way he always smiled so brilliantly? His weird and odd taste that makes you furrow your brows the moment you step into his place? The way he comes to your shop every week to buy fresh flowers and look at them so lovingly?

Perhaps, because he could enter your heart so easily. Who knows, you might have already fallen for him the moment he requested for roses the first time you met him.

You get that you only get along well, and what are the chances that these things happen so smoothly? You’re not a princess out of a Disney movie.

He evidently holds the pair of earrings so dearly, and even though you’re not the type of person who puts your feelings on your sleeve, it is inevitable that you felt the sharp pain on your chest.

“I never do this, Yuta. And I don’t plan on doing these things, if that someone doesn’t think about me at this very moment.”

Your words startled him, and before he could speak up, you gave him your last words. “Please, don’t ever take this so lightly, especially to me.”

You walked past him, grabbing your belongings in the living room before walking outside. You are glad Yuta didn’t chase you, because it would hurt your pride if he knows that you cried a river when you walk your way to your car.

--

It’s nearly a week since you closed your flower shop. This is your business and to be frank you are still upset about what happened after the wedding party. The newlyweds paid a hefty amount of money so you can survive a bit without operating. Though, this small shop that is also connected to your home upstairs will need to open soon in order for you to be able to pay your bills. Furthermore, your love for flowers is far too great for you to leave them without any attention. 

You closed your shop, telling your customers (especially your regulars) and putting a sign in front of the shop that you will be back after a week of break. You also told Mark that he wouldn’t need to come. He accepted it without pressing for further questions, but it’s so like Mark to make sure you’re alright.

“I’m fine, really. You don’t need to pay for my shift this week either.”

“Are you sure? I was thinking I could give you half of it.”

“No, I wouldn’t feel good taking money without putting any effort into it. But most importantly, you sure you’re fine, Noona?”

You sighed in relief, glad that Mark is well-raised and how he always cares about the people around him. “I’m fine, Mark. I think the wedding frenzy got the best of me, so I was thinking of having a short break so I could have a fresh start.”

“Well, it was overwhelming, not gonna lie,” Mark said as he recalled how he helped you prepare for his brother’s and new sis wedding. “I guess if you say so. Please if there’s anything I could do to help, let me know Noona.”

You replied with a simple yes, throwing your phone to the bed after you ended the call.

The past week, all you’ve been doing is to wake up early in the morning, tend the flowers, eat your breakfast, and go straight to nap. It’s a bad habit, yes, but that is how you cope with sadness.

Sad? Am I entitled to feel so?

You only know Yuta briefly, he is a regular. The fact that you know that he’s a Japanese before he told you so is probably trivial to him.

“We’re out of camellias, I’m terribly sorry sir.”

“Do you know when the next batch will come?”

“Unfortunately camellias are not in season, so it will take a while for us to restock it.”

He sighed, then he looked at his wristwatch. It seems like he doesn’t have that much time to browse the catalog.

“Is there a reason why you’re looking for camellias?”

“Ah, not really. It reminds me of home. I just came back from there last week. I thought of getting roses, but I changed my mind.”

“Home?”

“Oh, sorry. I wasn’t from here. I’m a Japanese, you see.”

“Oh! I didn’t notice.”

He shyly scratched the back of his head, still not used to people complimenting his bilingual ability. You find his reaction charming, unconsciously giggling at it.

“Then, sir, I assume you’re in a hurry. May I give you a suggestion?”

“How do you know I was in a hurry?”

“Well it was easy since you immediately asked for camellia and looked at your watch the moment I told you we don’t have one.”

He lets out a smile. A smile so warm that sunflowers might face toward his direction immediately. “Indeed, I have to meet someone this evening. So your help will actually good for my favor. I was thinking of buying flowers for my dining table, do you have any suggestions?”

Now it’s your turn to smile. “I think buttercups would be perfect.”

—

Yuta has been thinking a lot about what happened last Saturday.

Especially how he should talk to her.

It’s easy to spot her store, Yuta and Doyoung practically passed by it every single morning on their way to the office. The sun hits the flower store perfectly. Not too harsh, just a bask of the golden ray. Usually, he would see how the beautifully bloomed flowers were displayed on the store windows. But it’s already day six and the store shows no sign of operations.

He reads the announcement board in front of the store; “Paradise will be closed for an inventory check. We will be back to serve you next week!”

He feels dejected. Yuta couldn’t just ask Mark for her number, that would have raised so many questions. Yes, Yuta kissed her, but was their relationship that close for him to ask for her number? The fact that both of them are not sober is also a part of Yuta’s concern.

So instead, Yuta planned to visit the florist (especially since he’s been skipping buying flowers for a week —his vase longed to be filled with any arrangement) as an excuse to meet her. But now he even lost that very reason.

He was about to step away before a tune leaked out from the front door.

Someone is here.

Without hesitation, Yuta knocked on the front door. The one inside, however, did not expect any visitor. Yuta can hear how the person inside scrambles their way to open the door.

“Yes?”

She lets out a professional smile, and it fades almost instantly as soon as she sees Yuta standing in front of her door.

“Hi.”

“Yuta!” She closes her mouth, surprised that she shrieked. “Uhm, I… didn’t expect you to come. But our store is currently close, so if you’re looking for flowers, unfortunately we—“

“I want to talk to you.”

Again, it’s so very Yuta to cut to the chase.

“I want to clarify a few things.”

She finally looked at him. She tried to remain calm, keeping the expressionless upfront. But Yuta could see how her pupils were quivering. She was trying to be brave.

“I’d like to apologize for three things. One, the way I reacted at that time. It was only mere minutes after I said that I’m truly happy for her. As a human being, don’t you think it’s understandable that I reacted that way?”

She nods but remained silent.

“I’m typically an extrovert, but I’m very territorial with my personal space, and I let her go beyond the lines that I created. In a way, she is precious to me.”

This time, she didn’t respond.

“And she would probably always be. But that doesn’t mean I could only have one precious person in my life.”

She furrowed her brows, and Yuta smirked as he continued.

“After that night, I think a lot about my feelings. How I truly felt.” He scratches the back of his head that is not itchy, but because it takes a lot for Yuta to bare his feelings like this while being sober.

“And the answer remains the same. I genuinely feel happy for her. So I thought, it would only be right to properly keep everything away, little by little instead of throwing it away out of anger. Forcing myself to move on from her. Because I, too believe –as narcissistic as this might sound, that I was a part of a chapter in her life that she holds dear too. It might be slow progress, but I will get there, eventually.”

“Secondly, I apologize for not apologizing for kissing you that night. There is no regret, the attraction is mutual anyway.”

She tilted her head, before realizing what Yuta actually meant. “Wait, you knew?”

He chuckles. “Going back to Osaka was the turning point. Probably everything that I need. It forces me to start fresh, exactly like what I did when I first set foot in this country. It let me accept that I’m actually the type of person who feels a lot. Like how I admit that I’m hopelessly romantic.”

The cold atmosphere starts to melt away, with the addition of the sun seeps in between the leaves on the nearby tree.

“So afterward I’ve been looking into subjects that I never knew I would be interested in, for example, flower languages. Might be the very first reason why I came to receive buttercups from this place.”

“So what you said…”

“Well, I guess I can say my third and last apology. I’m sorry that I am a hopeless romantic kind of guy. I’m very direct, people often told me that I intimidate them sometimes just by doing nothing. But it is just my outer shell. I might not be as strong as the way people view me. Now that you know, it might put you off, huh.”

She finally laughs, “Yuta, I am a florist. This is my field.”

As if her laugh is contagious, Yuta too, unconsciously smiling back.

“I guess, it’s been quite a journey. At least for me. Maybe I’m the one who holds onto the feelings, thinking that I should hold into it for as long as I could possibly can. But life doesn’t work that way, you know? And probably the time you gave me daffodils is one of the signs, too. I just brushed them off because of my stubbornness.”

“Maybe, just maybe, I want to start seeing life as it is. To enjoy the present. To enjoy life as moments. To experience the wonderful charm of its magic. One of the magical moments started here, and I love to cherish them while the magic is still here. In fact, it’s been a long time since things are going smoothly for me. So if I can be ever so selfish, would you let me?”

She was stunned by his remarks. Eyes blinking rapidly, completely unprepared for his sudden proposal.

Yuta had expected it. It’s barely a week, and to receive this kind of confession —although not necessarily a boyfriend-girlfriend confession— from a man who just told you his grief can be confusing.

The confused face started to fade, and she left without replying to a single word. 

Yuta thought she rejected him, asking him to leave the shop.

Well, you deserve this, Nakamoto.

As he was about to walk away, she came back with anthuriums on her hand. Taking a moment to catch for her breath as she was rushing to grab these flowers.

“This is?”

“You don’t want an answer?”

He shook his head. “It’s not that. I mean, yes I told you I’ve been learning about flower languages but it’s mostly from Google, and I can’t possibly remember the meaning of every single flower?”

“I can.”

“You are a florist, my dear.”

She laughed lightly, a tone that was like jiggles of bells to Yuta’s ears.

“Can you move closer? I want to whisper these words to you.”

Yuta motioned to her immediately, obediently following her request. As her lips almost touch his ear, Yuta can feel his blood rushing to his ears.

She said, gently to his ears. “I hope you’ll be happy today.”

[world-without-authors]

15th anniversary of our madness!

Yes, you read that right. Today, April 13th 2021, marks the 15th anniversary of when I was crazy enough to bring out the idea of a crazy roundrobin crossover on the Moony Witcher Forum.

When on that day, April 13th 2006, I made a post with the general idea for Mai Dire Fine I never thought I would be starting a saga that would be still ongoing 15 years later.

But here we are, with me and Aelit still working on its latest sequel of sorts, The World without Authors. Compared to back then, our writing skills improved a lot (Mai Dire Fine was not a good story) and, while there’s always more we can still learn, we are proud of our improvement.

So, where are we? We published recently the 10th chapter of The World without Authors, which is currently around 69.000 words – we’re already closing in towards Blank Sprite‘s length (77.000) and that’s just part of the first arc, Scattered Shards. Adding in the previous stories, we’re past 320.000 already.

Even with The World without Authors‘s “all-stars” cast, we still only have a total of five characters from Mai Dire Fine, only three of which (Sergio, Nikki and Kathleen) were part of the main cast as the other two (Faith and Virgilia) were introduced towards the end… well, technically there’s a sixth character, the mysterious “Professor”, but his identity is spoilers as of now. I believe there might be enough hints between The World without Authors and my older behind the scenes post for you to be able to guess his identity already, but the reveal is meant to be a nasty surprise that will set up the second and third arcs, Venezia Immortale and The Dove and the Crow. Yes, we’re planning (well… sort of planning) that far!

But enough of that, let’s head to the celebration specials!

Unfortunately, the Q&A session was a complete failure. We didn’t receive any question by the deadline, but the mailbox is still open! Feel free to ask us anything, we’ll make a Q&A post as soon as the question come in, and we’ll keep it updated every time new questions arrive.

We still have a few more goodies, though. The first is a bit of an experiment on my part, I took one of my early PPC missions, A Very Awkward Exorcism, alongside a couple scenes from the interlude set chronologically just before it, Planes, Guns, Clones and other usual PPC Stuff, and gave them a complete makeover into a comic. Yes, I made what I believe might be the first full PPC mission in comic form! You can download it in PDF format (Trigger warning for rape, contains some partial nudity) here. I hope you’ll enjoy it!

Another thing I made is a special anniversary illustration, in which our characters, and a few we borrowed, from all over our works enjoy some partying. With all the things happening due to the Unravel they deserve some off time, don’t  you think?

Let’s start with the back row, left to right.

First one is Ai Minase, from Koikatu. She has the distinction of being the “adopted canon character” of The World Without Authors – while we have other canons working with Strike Dove, she’s the only one who became part of the main cast on a deep level. While Hayate Yagami, her crew, the Razgriz and Long Caster also work with my main cast, they’re more of external allies. Her dress looks a bit like a tablecloth, but that’s a canon-ish outfit of hers: while she never wears it in her route, it is in her character card in the slot that gets used during dates in normal gameplay.

Next to her we have Keiko Caterina Turbo, Sergio and Nikki’s daughter with her own PPC spinoff, Wings of Canon: Second Strike. She is also the only survivor of the Second Strike cast, having lost Shiro and Saki in the Unravel, and as such the role of representative of her series is all on her. She also doesn’t like skirts, at all, why do you ask?

Then we have Hajime Irene Turbo, Keiko’s half sister/alternate incarnation from the timeline in which Sergio got together with Ami instead. She’s an original The World without Authors character, but still related to characters from my previous works. Fun fact: Keiko and Hajome’s birthday, April 13, in indeed based on the day and month we began Mai Dire Fine. If we consider HQ Standard Time (the PPC’s timeline) to coincide with the real world, they turned two years old today.

Next is Hajime’s mother, Ami Tanegashima. Mentioned first in I don’t like luxury cars to pave her way for her posthumous role in Blank Sprite, we can consider her the representative of my Blank Sprite original characters here. She’s now stuck with the absurdity of not only having a daughter she never thought she could have, but also of said daughter being currently only four years younger than her. Considering Ami’s small frame, there will likely be plenty of times in which she’s mistaken for Hajime’s younger sister… also, now that she’s 20 years old and of drinking age in Japan, she discovered she actually likes alcohol. And can deal with it surprisingly well despite her light build (as opposed to Sergio and Nikki who both can’t hold their liquor)… yes, she had more than a few glasses here. Luckily, she doesn’t drink very often.

Toasting with her is Aya Kibokami, the “fragment” that split off Madoka Kaname at the end of Blank Sprite. As such, she’s here as a representative of canon characters of Blank Sprite. Due to a certain scene of Madoka Magica, in which Madoka expresses a desire to go out drinking with her mother (who really enjoys drinking) once old enough, there is fanon of her eventually developing the same taste for liquor. While we’ll likely never know if the canon Madoka would, Aya is the other heavy drinker of my cast and here is depicted finally having a toast (or two… or a few…) with Ami to celebrate the success of their “Save Sergio and Homura from their spirals of self-destruction by making them defeat Vera and save Madoka together” master plan.

And, of course, fussing over Aya’s excessive drinking we have Kuroko Tenshimi, AKA the “split fragment” of Homura Akemi retaining the memories of the Blank Sprite Incident. While her and Aya haven’t featured yet, they did make it to the Unraveled World. However, I don’t plan on making them part of the main cast yet (in fact, I’m planning to reduce the amount of characters we’re following as the cast is getting too big), and I’m actually considering having them star in their own The World without Authors spinoff, but nothing set in stone yet. Oh, and fun fact about them, they did already have a bit of starring of their own as they were the hosts of the Third PPC HQ Hunger Games. How Nutmeg TV managed to get hold of them for that will forever remain a mistery.

Next, a character very few of you are likely to be familiar with. Nina De Nobili, the title character of the Nina, the child of the Sixth Moon book series. Acting as a representative of the Mai Dire Fine canon characters here, she’s been chosen since, as I said in the past, we started Mai Dire Fine on her author’s forum, and even received encouragement from her to keep writing at one point… despite the fact we were basically butchering her work. However, everyone has to begin somewhere, and Moony Witcher (real name Roberta Rizzo) knew that, so I’m glad she didn’t shoot down our hopes – I might not be here now with a 300.000+ words saga under my belt otherwise. Nina is not planned to reappear in the Unraveled Worlds, as she’s from a series intended for children that wouldn’t mesh well with our current plots.

The little guy sitting over the counter doing karaoke is Conan Edogawa from Detective Conan (anyone insisting on calling the series Case Closed can leave now). He’s again a canon character featured in Mai Dire Fine, but there are plans to involve him and some other characters of his series in the third arc. Also, as you can guess by Nina’s reaction, he’s a terrible, terrible singer.

Leaning on the couch we have Hiro Shirogane, our Gundam pilot. He’s a fully original character created for The World without Authors whose original concept was made by Aelit, although I was the one developing his backstory and relationship with Miksa. I admit that for a while we weren’t too sure about what to do with him, but I hope his current subplot will be enjoyable.

And now, the front row. Leftmost is Hanami, Nikki’s alternate from Kathleen’s alternate timeline (and as such a The World without Authors original). She’s been adopted by the Kinomotos (as she’s also an alternate of Sakura) and is now living with them. Something that debuted in this illustration are the glasses: those are her timeline’s Sergio, and she doesn’t actually have a need for eyesight correction. She had the lenses replaced with fake ones, and wears them due to them being one of the few things she has left of him, though they’re also a good way to differentiate herself from her “sisters”.

Then we have Sakura Kinomoto from Cardcaptor Sakura herself. If we go by name only, her first appearance in my works would be Mai Dire Fine, but that particular Sakura ended up becoming Nikki so it is safe to assume her first appearance was actually in the first mission of Wings of Canon, my main PPC spinoff, titled Don’t Forget The Canon, and she has been confirmed alive in the Unraveled World, in which she is now legally Nikki and Hanami’s younger sister. As in the comic I posted above, her hair is actually lighter than Nikki or Hanami’s as most CCS media have her with a light shade, but Nikki and Hanami both derive from the 1998 anime that had a darker brown as Sakura’s hair color.

Next to Sakura is Syaoran Li from the same series, who instead did appear as himself in Mai Dire Fine. He was badly OOC though, and if the The World without Authors incarnation of him does remember Sergio, things might a bit tense between them at first… though, hopefully, just until he gets explained that no, the “Sakura” Sergio was in love with was actualy Nikki and there’s no need to be jealous.

Then we get to Kathleen Leone. She is not the Mai Dire Fine incarnation of the character, but an alternate made for The World without Authors. Despite that, she started considering the main timeline Sergio as her own brother even before he had to kill her timeline’s, due to the latter’s descent into madness. We haven’t been able to give her much space until now, due to the action being mostly in the air, but that will change soon. I won’t spoiler anything, but Chapter 11 will be a big turning point in the story.

Of course, holding arms with her is Faith Leone, Everything I said about Kathleen applies about her too, as they’ve arrived in the Unraveled World together. We haven’t shown much on our plans to develop her so far, but trust us: we’re going to both fill in more of her bakcstory, and give her chances to shine soon.

Cutting the cake together we have Sergio Turbo and Nikki Cherryflower, both of which made their first appearances in Mai Dire Fine and appeared in all sequel works. For as much grief the Unraveled World is bringing them, it is arguable they’ve gained more than they have lost, as they’ve both got their families back thanks to it. Fun fact: their outfits are loosely based on the ones they wore during Chapter 7 of Blank Sprite.

Last but not least, Corolla. Introduced in Don’t Forget The Canon, she’s my most successful character. Defined by Aelit “Kathleen, but written well” way before we started working on The World without Authors, it isn’t a suprise they synergize so well together… much to Sergio and Nikki’s dismay. Here, is she more excited for the cake, or because they are cutting it together like it was a wedding cake? Probably both.

And that’s it, 15 years of writing, condensed in one image. We hope you’ll keep following us in the future!

[zdbztumble]

Kingdom Hearts III: re:Write

In the immediate aftermath of Kingdom Hearts III, I wrote up some thoughts on how it might have been better different. However, that re-write was predicated on accepting the rest of the series as-is, when a good number of KH III’s problems were but the culmination of issues birthed long before. I know I’m not the first person to wonder whether the series really could or should have organically and successfully continued after KH II at all, given how conclusively that game ended.

With the re:Mind DLC due out soon, I thought I’d take another crack at outlining an alternative KH III, under this premise: suppose that, after the release of KH II but before its Final Mix was completed, Tetsuya Nomura was taken off the series. Square turns it over to a new creative director. At their disposal are "The Gathering” from KH II, all the Disney films and Final Fantasy games (which we’ll assume turned out just as we know them) produced up to 2010, and a few scraps of notes left behind by Nomura (in interviews, he has claimed that at least the beginnings of BbS and Days, including the names of the past Keyblade wielders, had been conceived by the end of of KH II’s production.) They would also have the series’ penchant for unexpected directions and jumping onto shiny new ideas well-established (can’t just forget about that), and the change-over in Disney management that happened after KH II’s production. From all of this, a development team spend the next several years hard at work, with no side games on alternate consoles, ultimately presenting Kingdom Hearts III in 2012 for the series’ tenth anniversary.

This is an idea of what it might be.

KINGDOM HEARTS III (2012)

Final Mix: There would, under this scenario, be key differences in KH II FM compared to what we actually got. No long hallway scene, no sequel-bait flashback to the Organizers arguing - and no extra secret ending. Or, at least not one featuring Old Man Xehanort, proto-Vanitas, and the faces of the armored Keyblade wielders. There’d also be no Lingering Will secret boss and no hints to Xehanort’s past beyond what was already in the Ansem Secret Reports.

Background: Just as KH II was set a year after KH I, KH III is set one year after the events of KH II. Mickey’s message at the end of that game wasn’t a warning or a summons for another adventure - it was news that he and Scrooge McDuck were taking another stab at their idea for a transit system connecting the worlds. The downfall of Xehanort in all his forms and Sora’s safe travels through the lanes he found in KH II convinced them it could be done. One year on, all the worlds from the first two games, and a few new ones, are part of this system (this doesn’t mean that every world from previous games would appear, only that they would be nodded to.)

All shops in all worlds are now those of McDuck Enterprises, staffed by either Moogles, Disney characters, or both. No two shops have exactly the same set of merchandise, encouraging exploration and back-tracking to find key items and allowing for wider crossover opportunities. In that vein, it would be absolutely essential that, at some point in the game, a cutscene depicts Scrooge arguing with Moogles over something related to the stores.

Radiant Garden has been almost completely restored to a beautiful pairing of castle, garden, and town. Besides the rebuilt town and full gardens, the entire castle - the chapel and library from KH I and the basement labs from KH II - is explorable in gameplay. In the absence of a sage king, a council serve as stewards of the world. Obvious council members would include Merlin, Aerith, and Leon, who has formed a defense force for the garden - and why not give it the name SeeD? Leon’s also taken back the name Squall, thanks to Rinoa turning up in the intervening year. You can take it as certain that Yuffie (and later Sora) refuse to acknowledge this name change, just to get on Squall’s nerves.

Back on Destiny Islands, Sora, Riku, and Kairi have returned to their normal lives, having plenty of word from their off-world friends but never seeing them or leaving their home. It’s been back to school for them. But the game will feature them as the player’s trio - Riku and Kairi will be by Sora’s side for the vast majority of gameplay, and except when playing as a certain character is mandated by plot, the player will have the option to choose who to control.

Opening: The title sequence would return to KH I’s more impressionistic style rather than a plot recap, juxtaposing Sora and his friends enjoying their peacetime lives with images of mysterious figures battling - figures in armor like that from "The Gathering,” vanishing one by one and leaving their Keyblades in a barren wasteland until only the three from that ending remain.

Tutorial: Of course, we must have a tutorial set in the Dive to the Heart. But this time, instead of Sora (or his Nobody), it’s Kairi who takes the dive, onto her own stained glass. As the least-experienced Keyblade wielder, and the one who hasn’t had a full-fledged adventure, she’s a good player proxy to (re)introduce basic mechanics, though since all three party members will end up playable, tutorials specific to their movesets will appear when appropriate. In Kingdom Hearts tradition, the tutorial will also feature a set of mysterious questions and an option to choose and give up certain abilities (and it will be abilities rather than weapons this time, given the multiple player characters.) Hints of the story to come appear as well, as Kairi ends the tutorial by facing off against a new class of monster - let’s call them the Dream Eaters, and imagine them with the same basic designs as the Unversed from our timeline’s BbS. After Kairi defeats these Dream Eaters, she sees at the end of her stained glass an armored figure, straight out of "The Gathering,” but before any confrontation can happen, Kairi’s alarm goes off, and she wakes up in her room on Destiny Islands, with a voice bidding her to get ready for school as the title appears in-game.

Initial gameplay: The game properly gets underway with a cutscene on the mainland, as Sora, Kairi, Riku, and their classmates file out of school. We got a glimpse of this  area in KH II, but now the full scale of it can be showcased. The impact of Mickey’s transit system can be showcased too - the mainland is a place in the middle of enormous change, with building under construction reflecting the styles of all sorts of worlds.

Kairi relates her “dream” of the previous night to her friends. While they take some interest, given their own past adventures, they still chalk it up to a nightmare, and the trio goes into town for the first bit of gameplay, an exploration of the mainland. There’s a great opportunity for cameos here; perhaps Mrs. Hawkins from Treasure Planet has moved from another world to set up an inn, or Fintheart Glomgold is on Destiny Islands attempting to hawk his inferior wares to compete with the McDuck stores. Combat in this section would obviously be limited, but several minigames would be available. Possibilities for such games might include sparring with an older Tidus, Wakka, and Selphie; racing the sailboards from Treasure Planet; and an opportunity to try a test offered by a SeeD recruiter, perhaps Final Fantasy XIII’s Snow.

The day ends with Sora, Kairi, and Riku slipping over to the old island in the evening. That spot, at least, is unchanged. The trio comes here, away from prying eyes, to practice with their Keyblades, and it affords the player the first chance to see how each character handles in combat. In Sora’s case, this would largely be a further iteration on his established moveset. Magic spells would be added, subtracted, or modified by whatever the developers’ fancy, and Reaction Commands could perhaps be a little more involved than simply pressing Triangle. As Sora is older and in need of a new design/outfit, KH II’s in-game explanation for Drive forms would be gone. Perhaps something akin to the Formchanges from our timeline’s KH III replaces it, though maybe without the element of the Keyblade itself shifting form. As a way to keep Roxas active in the series without pulling a mess of plot convolutions, one of the Formchanges could give Sora Roxas’s clothes, and a moveset and abilities similar to what Roxas used in his battle with Sora in KH II FM. Riku’s moveset would be an interation of what he had in CoM, translated to the appropriate consoles. This would mean Dark Mode in place of Formchanges ( (and yes, the ending of KH II implied he lost some of his Dark powers, but he needs something - roll with it) and no magic outside of Dark Firaga, but the trade-off for lack of variety would be speed and raw power. As for Kairi - perhaps her basic moveset is similar to the Wisdom Form of KH II, standard attacks being shots of magic, with a large number of spells surpassing even Sora’s. And she could have Formchanges of her own, including one that gives her Namine’s outfit and Reaction Commands triggering moves based in Confusion or Sleep. For an extra flourish, the animation could be patterned after Namine’s drawings. Eventually, all three characters would gain movement abilities similar to (but far tamer than) DDD’s flow motion.

Besides showcasing the trio’s movesets, this interlude on the island would also cement their new dynamic, which the writing has hopefully built to by now. Riku would still be the most diligent worker and thinker, but his arrogance and sense of entitlement to leadership are gone, and the toxicity between him and Sora is gone too. He’s thinking ahead to when school is done (a year sooner for him than for Sora and Kairi, remember) and he’ll have a chance to set out for other worlds again - this time, with a more selfless aim to learn and help the transit project, and without scorn for his home. Sora, his task as world savior seemingly done, has reverted to being a slightly lazy, fun-loving teen. He’s the most comfortable and at-home in the peace he’s won, and the most content with a simple life on the islands. Kairi could, as in KH I, set the boys to tasks and sass them a little, but per her KH II development, she would be more active and hands-on in what the group does, and probably be the most eager of the three for a new adventure of some kind. She also has some renewed curiosity about Radiant Garden. The attraction between her and Sora would be more blatant than ever, with bashfulness being the only reason it hasn’t amounted to dating yet. This would give each character a different “dream” to pursue - Riku, a worthy cause to serve; Sora, a peaceful life at home; and Kairi, a chance of adventure and answers.

When the sun sets, and the trio head back home for the night, action would cut over to Disney Castle, a world expanded to include Disney Town (populated by Horace, Clarabelle, various DuckTales and Goof Troop characters, and so on.) Mickey is finally seen in in his royal regalia, as he and Minnie receive Aerith as an ambassador from Radiant Garden. They discuss the year-long peace, how the transit system is working out, and the near-total disappearance of Heartless. But Mickey is concerned that there’s been no sign of Maleficent or Pete, despite all efforts to track them down, and he and Aerith both remark on some strange dreams they’ve been having. Word also comes, via frontier scout Max, that trouble is brewing on the outskirts of the kingdom.

This would lead us to another Dive to the Heart, exploring more advanced mechanics. Kairi faces more Dream Eaters, and follows them to another stained glass - let’s say an updated version of Belle’s. She observes that the Dream Eaters don’t consume or destroy the glass, but distort its image from peaceful sleep to bizarre surrealism. Sora and Riku appear by Kairi’s side, and the three of them face the first real boss of the game - one of the suits of armor, which seems very interested in the Kingdom Key. After defeating the boss in combat, a cutscene is triggered showing the armor making it past Riku and Kairi to target Sora and his key, but a light that fills the screen, and segues to Sora waking up.

Setting up story: The next day - coincidentally, the last day of school - we join the trio mid-conversation as they leave for their summer vacation. The shared dream they had has them slightly on edge - Sora more than anyone else - but as their friends call out for them to join in the end-of-term fun, it’s pushed from their minds. This sets up further exploration of the mainland, with new areas previously locked off now open. New areas mean new cameo opportunities; perhaps Sazh and son from FF XIII are townsfolk, or Balthier the sky pirate pops up on the streets. In any event, a mandatory minigame in this section of gameplay would be a second test by Snow, exclusive to Riku. This would take him out of the party; as he completes that task, Sora and Kairi go elsewhere, and the player jumps over to them for more exploration once the test is completed. Minigame possibilities with them could include an island dance rhythm game with cute, awkward interactions. They’d also encounter a merchant selling armor - the armor from their dreams, leaving them both with an uncomfortable premonition.

They would want to discuss this with Riku when they meet up with him on the island that evening, but before they can, Riku shares a bit of news with them: now that school is done for him, he’s decided to join SeeD. Once again, the foreboding from their dreams is forgotten as Sora and Kairi congratulate their friend. It’s clear, though, that they’re sad at the idea that Riku is leaving them. Picking up on this, Riku suggests they use their summer on a trip around the known worlds, visiting old friends and making new ones, with Radiant Garden as both their starting and ending point so that Riku can register on their way back. Sora and Kairi enthusiastically agree. When the time comes to head home, Kairi leaves a little bit ahead of the boys, and Sora slips off somewhere. Riku finds him picking paopu fruits. Sora explains that he wants to finally share one with Kairi on the trip, when the time is right.

Cut to Radiant Garden, where Merlin and Cid are in the library, going over records and arguing with each other. As they snipe, they find something in the records that astonishes them.

The next day, Sora, Kairi, and Riku leave their home, courtesy of a merchant ship (perhaps piloted by Launchpad; so far as interaction/involvement in the game, his role would essentially be the same as Chip and Dale from KH I and II.) Upon landing in Radiant Garden, they’re greeted by Yuffie and Tifa. Perhaps they also meet a SeeD captain - FF XIII’s Lightning, who Riku will be reporting to once he enlists. As they catch up, Merlin and Sid appear with the news they learned the previous night: Kairi is a princess of Radiant Garden as well as a Princess of Heart. It turns out that Radiant Garden was an elective monarchy, choosing sage kings from various families; Ansem the Wise was just the last one elected before the world fell. Kairi is the only surviving member of those families, and thus the only candidate to stand for the throne. When that offer is extended, Kairi asks for time to consider it - this isn’t the sort of adventure she had in mind, but it’s certainly a chance to reconnect with her old home. The fact that she’s considering it at all visibly upsets Sora, though he doesn’t say anything.

As that awkwardness gets underway, we cut back to Disney Castle, in the midst of a siege. Dream Eaters are attacking. As they defeat the Fantasia brooms and the various Disney knights, it becomes clear that the castle will fall. One reason for this - the only weapon that has any effect on the Dream Eaters is the Keyblade. Mickey orders Donald and Goofy to take the Gummi ship and go for help. He hurries them along, and the ship gets away just before the Dream Eaters reach Mickey. A shot would emphasize the Kingdom Key D being thrown from his grip. Another shot would show all the mouse iconography vanishing from Disney Castle, and the entire world distorts into a more surreal, desaturated cartoony landscape, with the face and silhouette seen everywhere being that of Oswald the Lucky Rabbit. He is first seen strolling up to the throne, a rather awkward and nervous figure whose crown and cape are too big for him. Flanking him are rows of Dream Eaters.

Naturally, the Gummi ship crashes down in Radiant Garden. Donald and Goofy stumble out and report the fall of Disney Castle. This is an even more serious issue than it looks, because Disney Castle was the center of the transit system. The Dream Eaters can now use those lanes to quickly swarm through all the connected worlds. With Merlin’s magic, our heroes get a look at this in-progress, and observe several worlds disappearing. As three Keyblade wielders, Sora, Kairi, and Riku all promise to stop the Dream Eaters. They take off in the ship they came in on, and Radiant Garden shuts down its transit lanes. Donald and Goofy are left behind this time - at least at first.

Meat of the game: The basic premise is clear now: save the Disney worlds from the Dream Eaters. The Dream Eaters are explained as beings residing in that realm between light and dark, sleeping and waking, life and death - the Dream Realm (this is the reason the Cornerstone of Light couldn’t repel them - they aren’t beings of Darkness). Despite their name, they aren’t naturally predatory and destructive a la the Heartless, and they aren’t conscious agents a la Nobodies. Like the Keyblade, they choose to align with strong hearts, and obey those masters they choose - in this case, the armored figures (who cannot be near the Cornerstone of Light). Defeating Dream Eaters releases no heart or anything comparable; it just destroys them.

The quest through Disney worlds might retain KH II’s episodic quality. Disney characters in any given world would automatically join your party without displacing someone else, though none would be playable. Some of the Disney worlds would have straightforward and story-driven adventures; for example, one of the worlds might be the Dwarf Woodlands, where Snow White has been hiding with the dwarves for years, and the Wicked Queen has entered into a pact with the armored figures to find her in exchange for help in fighting Sora and friends. Enchanted Dominion and Castle of Dreams could fall under this category as well, presumably with post-movie original stories, and Tangled could come in for a loose adaptation as well even if Princess and the Frog is better.

Other worlds might be more lighthearted - “filler,” if you like - for example, Genie turning up to insist that everyone attend the party in Agrabah for Aladdin and Jasmine’s wedding in a loose adaptation of the King of Thieves. And, thanks to the transit system and its implications for the lore, we’d have what we might call shared worlds. As an example: let’s suppose there’s a world named the High Seas on the map. When the trio first arrive, they find themselves on the Black Pearl, roped into helping Captain Jack escape the Flying Dutchman. But it turns out that the waters they’re sailing on are those directly above Atlantica. When you eventually encounter Little Mermaid characters, Triton can once again drop some exposition by confirming that the armored figures are the Keybearers that “shatter peace and bring ruin” in the legends he knows: the Knights of the Key. The boss for this world could be something like a ship-to-ship battle, with an environmental element in the form of Triton summoning storms to aid the player. And, of course, Ariel would become a Summon (though, like with KH II, the lore behind Summons established in KH I wouldn’t be valid here. Perhaps Summons could be a literal summoning of a friend whose heart is connected to Sora’s, Kairi’s, or Riku’s, or at least their spirit and abilities via the magic of the Keyblade. This might let Donald and Goofy remain part of combat too - they could be the first Summons acquired, coming to your side in spirit/heart even as their bodies remain on Radiant Garden.)

Another way to have a shared world would be to take advantage of the settings of certain Disney movies. A world named London could have the riverbank garden from Alice in Wonderland, the Darling house from Peter Pan, Cherry Tree Lane from Mary Poppins, and Roger’s flat from 101 Dalmatians. Or vehicles, like Casey Junior from Dumbo, could appear in the Gummi levels alongside Final Fantasy mech. But whether shared or solo, boss battles on the Disney worlds would be the usual variety platter of Disney villains, special Dream Eaters, and Knights. The Knights prove themselves to be silent figures who, upon being defeated, release both a heart and a white, wispy ghost-like shape. Even as they target the worlds in the transit system via the Dream Eaters, they repeatedly demonstrate clear interest in the Kingdom Key, and sometimes directly target Sora to get it - chasing him, if you will. Like a group of Chasers. (Oh, like the series as-is gave that term any definition at all!) At least one reason for this becomes obvious: while all three of our heroes’ Keyblades will slay Dream Eaters, only the Kingdom Key can sever a world from the transit system and lock it off from encroachment.

It can only do that when the heroes succeed, of course. New to this series is the possibility of a world’s story ending with the heroes failing to save it. When a world falls to the Dream Eaters, it is taken into the Dream Realm, where it is twisted and distorted into a surreal, and sometimes nightmarish incarnation of itself. Places like Wonderland and Neverland - which now can be thought of as pockets of the Dream Realm within London - overrun the world in that case (in that specific instance, since they’re tied to the same London, perhaps they blend together) while a place like the Dwarf Woodlands could come to resemble Snow White’s frightened daydreams from the film. This was the fate that befell Disney Castle, but it is unique among the conquered worlds in that it returned to the Realm of Light after being transformed.

In this section of the game, each of the three heroes would develop, with each of them getting at least a section of a world where they are the required playable character. Riku strives to carry himself as a disciplined, responsive, and military figure, quick to recognize whoever needs help and to provide it; he has an imperfect but broadly successful track record throughout the game. This shows him capable of fulfilling his “dream.” Kairi, the least seasoned traveler, is the most awed, excited, and/or frightened by what’s going on in a given world, and gains an idea of the responsibilities, and the pros and cons, of being royalty. She’s in the middle of experiencing her “dream.” Sora has the easiest time making friends with new and established Disney characters, and is the most consistently (if impulsively) altruistic. But the world-weariness that Sora showed in KH II, and the flashes of doubt he had in KH I and CoM, are more apparent here; for how giving and selfless Sora is, he feels that he and his friends have done their time as world saviors, and that the peace they had won after KH II should have been able to last; in other words, he’s losing his “dream.” He’s also confused and upset at the idea that Kairi might choose to leave Destiny Islands, and struggles to talk to her, something that in turn upsets Kairi. She and Sora both independently talk to Riku about their feelings; he helps them as well as he can, but ultimately, this is a bridge those two will have to mend themselves.

Occasionally, action cuts back there to get a look at Oswald. He’s very quickly shown to be a clumsy and rather innocent “villain” descended from a long-lost line of royalty that ruled over the Disney Castle world before Mickey’s ancestors first appeared. He’s nursed a long-held grudge against Micky for this, but reclaiming the throne doesn’t bring him any joy. It also becomes clear that this new “ruler” is being led and bullied by his vizier - Pete, who moves in with a small battalion of Knights after the Cornerstone of Light is removed.

At the halfway point of the game, a given world falls to the Dream Eaters - in part, because Sora reaches his breaking point with everything going on and fails to do his duty. Being on the world when it falls, the heroes are pulled into the Dream Realm with it, and when they wake up, they’re separated, and the player moves back and forth between their respective journeys through the Dream Realm map, which contains worlds that had fallen and some new worlds unique to it (worlds modeled after Fantasia segments come to mind.) Riku might find himself alongside King Mickey on one world, Mickey having made it off Disney Castle before it was brought back to the Realm of Light and now without his Keyblade. Kairi would meet Queen Minnie for the first time on another world, and realize (if gameplay hasn’t confirmed it by this point) that all the other Princesses of Heart are somewhere in the Dream Realm as well by now. Sora finds himself in the Keyblade Graveyard. At a comparable point in the story in KH I, Sora had the Keyblade forcibly taken from him; in CoM, his memories had been rewritten enough to break him; in KH II, he was subjugating himself before the Organization to try and get to Kairi. In this game, Sora would be suffering guilt for his actions and doubt over his worthiness to wield the Keyblade, despite the Kingdom Key still being in his possession.

(The separation would necessitate each character having a way to travel through the worlds. Let’s suppose one of them is still with Launchpad, another gets a hold of the Jolly Roger after Tinkerbell coats it in fairy dust, and the other gets a hold of a spaceship from Lilo & Stitch. Or maybe there’s some FF mech lying around. Anything that works.)

(This separation, and the trek through the Dream Realm, could also offer an opening for some optional content: the conclusion of Cloud and Sephiroth’s story, with both of them having ended up in the Dream Realm after KH II. Their connection could even be implied to be a result of Xehanort’s experiments, tying him into the proceedings and fulfilling the “Memories of Xehanort” promise from the secret ending without ever bringing him back. None of this content would be mandatory, and the Xehanort connection wouldn’t even have to be explicit, but if the player were to find and complete this material, then it would end with Cloud free from Sephiroth.)

The reveal: While separated in the Dream Realm, the trio each come to learn (with cross cutting to avoid repetition) where the Knights and the Dream Eaters came from, and why the Knights seek the Kingdom Keys. Long ago, in the age of fairy tales, there was only one world, only one realm (of light), and only one Keyblade - the Kingdom Key, which bestowed itself on a chosen wielder to safeguard Kingdom Hearts - the true Kingdom Hearts, source of the light and the final destination of all hearts. In time, some people began to follow the chosen wielder, and became the first Knights of the Key. They made Keyblades in the image of the Kingdom Key, powerful magical weapons born of a strong heart that were surpassed by the Kingdom Key only in its unlimited ability to lock and unlock the Keyholes of worlds, and Kingdom Hearts itself. But some of the Knights began to covet the Kingdom Key themselves, while others wanted to harness the power of Kingdom Hearts, or enter into it. A great Keyblade War broke out, and corrupted Knights became the first Heartless, birthing the Realm of Darkness. By the end of the war, the last chosen one of the Kingdom Key gathered eight true followers, seven of whom expunged the darkness from their hearts. This darkness was joined with some of the Kingdom Key’s power, forming the Kingdom Key D and creating a two-key system as a safeguard for Kingdom Hearts. The seven pure lights could now open the Door to Darkness. Once it was opened, the Kingdom Key passed on to the eighth follower, and the former chosen one took the Kingdom King D into the Realm of Darkness. Together, they all sent Kingdom Hearts into the darkness, out of anyone’s reach, and sealed the door.

The war shattered the world and the light. All that was left of the original world was the Keyblade Graveyard. Those survivors with the strongest hearts - all of them children, none of them Knights - consciously rebuilt the Realm of Light in fragments, and unconsciously created the Dream Realm and Dream Eaters with their dreams and nightmares (the reason why Keyblades work against Dream Eaters is implied to be that, like the Dream Eaters, they are weapons borne of the dreams of the heart.) The seven pure lights continually reincarnated throughout time as the worlds went on. The Knights of the Key still existed, greatly reduced in numbers, still fighting amongst themselves. They fought to harness the darkness that they had brought into the world, or to find the Kingdom Key, which no longer appeared to a chosen one. Their continued fighting ruined many worlds, and opened paths for the Heartless to traverse. There came a point where three Keyblade wielders - Terra, Aqua, and Ven - set out for the Keyblade Graveyard to try and find the Kingdom Key and its counterpart, hoping they could undo the damage the Keyblade War had wrought by restoring Kingdom Hearts. Theirs was a “dream” of restored peace and light.

They found the two blades, and it looked as though they were chosen. But to restore Kingdom Hearts and end the Keyblade War for good, the three friends would need to find the seven pure lights, one of their trio would have to pass into the Realm of Darkness to be on the other side of the door, and another would have to go inside Kingdom Hearts itself to make their desires known. Faced with the possible end of their lives and friendships, the three hesitated, and other Knights began to appear, drawn to the Kingdom Key. Fighting resumed in the Graveyard. The three friends were pulled into the fray, unable to risk sacrificing everything for the greater good and fulfilling their “dream.” But they did use magic to pull the Graveyard, and everyone in it, into the Dream Realm. The Kingdom Keys vanished once again. Cut off from light and darkness, suspended in dreams, the Knights gradually lost their names and voices and bodies; only their hearts and souls lingered inside their armor, keeping the desire for the Kingdom Key and control of Kingdom Hearts alive. The strength of that desire let them bend the Dream Eaters to their will, but they remained in the Keyblade Graveyard, wandering through it in search of the Kingdom Keys.

It was in this state that Maleficent found them. After the destruction of The World That Never Was, she and Pete found themselves in the Dream Realm, and eventually made their way to the Keyblade Graveyard. Though the Knights were mute, Maleficent was able to discern enough to know that they were restless spirits in search of the Kingdom Key, and was eventually able to bind them to her own cause. By her will, the Knights were stirred to leave the Graveyard; by her magic, they were able to return to the Realm of Light through the dreams of Oswald, who was quickly manipulated into serving them. After the Knights overrun all the worlds and take them into the Dream Realm, Maleficent "dreams” of finally ruling over them all, from her newly acquired Disney Castle - once the Cornerstone of Light is removed, and cast into the Realm of Darkness, she moves in and deposes Oswald.

(Some of this information would be revealed piecemeal throughout the game via Secret Reports; rather than written logs, these could be brief cutscenes, flashes of memory from Knights encountered on the journey. Some of it would come out of dialogue with characters like Triton. The majority of it would be revealed after the trio are lost in the Dream Realm, in as elegant a fashion as possible.)

Turning point: Only Sora learns the story of the Knights in full. Riku learns about the Knights’ hunger for the Keyblade and their ties to Maleficent, and Kairi learns about the Keyblade War and the failed mission of Terra, Aqua, and Ven. With their incomplete knowledge, Riku and Kairi get separate ideas of what to do. Riku and Mickey find their way back to the Realm of Light, to Radiant Garden, where they explain what they know. Riku proposes taking the fight back to Disney Castle to win it, and the transit system, back. Squall agrees, and this could potentially open up a way to integrate Gummi ship levels more into story, with ship-to-ship battles around Disney Castle and another gauntlet with the FF characters, this time as Riku. Kairi, on the other hand, gets the idea to try and pull the Knights back into the Dream Realm and find a way to put them at peace. Believing that the Princesses of Heart may be able to do this, she sets out to find the rest of them. On her search, her Keyblade vanishes, and is replaced with none other than the Kingdom Key D, evidently by the will of the Keyblade itself.

Sora, with the full picture, continues to wander the Graveyard, at a loss for what to do. He comes upon a Knight, implied to be the remains of Ven. He wants the Kingdom Key, and Sora recovers enough resolve to stand in his way. At the same time, Riku’s gauntlet leads him to the throne room of Disney Castle, where Maleficent is waiting with a Knight implied to be the remains of Terra, though she disappears immediately; and Kairi, having found all the princesses, encounters a Knight implied to be the remains of Aqua. This triggers a multi-stage boss battle, jumping around among these three conflicts. At the end of one stage, Sora would get Oathkeeper and Oblivion to renew his strength, while Mickey becomes a party member for Riku and Minnie one for Kairi. At the end of another stage, Maleficent could appear in the Dream Realm to join Aqua in facing down Kairi, Minnie, and the princesses, who could (at the very least) be a sideline source of additional power. At the end of yet another stage, the Knights each strike decisive blows, and action moves to the Dive to the Heart, where Sora, Kairi, and Riku form a party against the three Knights. They just manage to defeat them. A cutscene would show the Knights’ hearts and souls being released, and lingering just long enough that their true faces beneath the armor could be seen, smiling and at peace.

Our trio quickly make up and get to the business at-hand. Sora, repentant from his past mistakes, now wants to carry out Terra, Aqua, and Ven’s original plan in full. When they return from the Dive, Kairi is to get Maleficent to cast her and the other princesses into the Realm of Darkness, where they’ll form the Door to Darkness. Riku is to return to the Realm of Light, finish reclaiming Disney Castle, and distract Maleficent and the Knights. Sora will follow his heart to the other side of the Door, and work with Kairi to bring Kingdom Hearts, not into light, but into the Dream Realm, where he’ll step into it and try and find a way to put the Knights to rest and restore the worlds. Riku and Kairi object initially; they have no idea if their group can do any better than the old one, and even if they find Kingdom Hearts and Sora enters into it, there’s no telling what will happen to him. But Sora is determined to do this for the greater good, and the others see no other way to put a permanent end to the danger from the Knights. With great reluctance, they agree.

Riku leaves the Dive first, and Sora and Kairi have a chance to have a heart-to-heart (no pun intended.) They finally affirm their love for each other explicitly, and Sora declares that he supports whatever decision Kairi makes about the Radiant Garden throne - he just wants to be with her. It’s the thing he most values from his “dream.” Kairi feels the same way, and before they leave the Dive, they finally share that paopu fruit.

The initial stages of the plan, at least, go well. Kairi successfully goads Maleficent into opening a portal of darkness that she and the other princesses take (Minnie presumably gets away at some point), while Riku, Mickey, and the Radiant Garden crew draw her attention. (Mickey would also find Oswald, forgive him, and bring him into the Disney fold. Oswald might even be instrumental in bringing Pete into permanent custody.) This could culminate in the answer to the 1000 Heartless battle in KH II: Riku facing a swarm of Knights, Dream Eaters, and Maleficent’s goblins. Sora, searching the worlds for the Door, would unconsciously summon Donald and Goofy, and have their spirits in his party until he finds it. But once the Door is formed, something alerts Maleficent to the act, and she becomes the final boss of the game, with multiple stages that see Donald and Goofy’s summons being blasted away, only to be replaced by Riku’s and Kairi’s. Maleficent would summon goblins, Dream Eaters, and Knights to her side, become a dragon, and if we imagine a post-Eisner, early-stage Iger regime at Disney could be persuaded to loosen the shackles a bit, she could even end up merging with the souls of slain Knights to become a mish-mash of Disney dragon and Square monster before finally going down.

With Maleficent slain, Sora and Kairi pull Kingdom Hearts out from darkness and into the Dream Realm. The trio have what may be their final goodbyes; unsaid would be the fact that they’re all prepared to sacrifice their own “dreams” for the greater good. Sora disappears into Kingdom Hearts. The screen fills with light. Slowly, the worlds are all restored, the Dream Eaters and Knights vanish, and new, solid lanes of land begin to connect the worlds on the map. It isn’t quite the one world bathed in light, but it’s a step in that direction. Kingdom Hearts remains in the Dream Realm, the implication being that, as it’s very much the stuff that dreams are made of, it’s ultimately safer there than in light or darkness.

Doors to Light let the princesses return to their worlds, and Kairi to Radiant Garden. She finds Riku being formally inducted into SeeD, fulfilling his “dream.” The offer for Kairi to take the throne is extended again; she’s more than shown herself worthy of being a sage queen. But Kairi refuses. She’s had a fair share of her “dream;” she’s had an adventure and learned something about her past, and herself. But there’s someone out there who sacrificed his “dream,” that included her, for everyone else, and now her “dreams” have shifted. She’ll be going home to Destiny Islands, waiting for them to come true. Cue the ending song.

Credits sequences: Those Disney worlds that loosely held to their films could show their conclusions; those worlds that went with original storylines could show some additional new footage. A check-in at Disney Castle would show the Cornerstone of Light being restored, and Oswald finding a place in court. A check-in at Radiant Garden would show Riku training, the others living, and Cloud returning. And the closer would be Kairi waiting by the tree on Destiny Islands.

Post-game material: If you manage a certain percent completion, you get a secret ending: Sora turning up on Destiny Islands by Kairi’s side. If you manage 100% completion, you get a secret level: a vacation to Disney Town for Sora, Kairi, and Riku! What, you thought I suggested expanding the size of Disney Castle just for fun earlier? Nah! It’s so you can have a super-special super-secret sandbox of fun, with a bunch of activities and minigames themed after different Disneyland rides!

[grigori77]

2019 in Movies - My Top 30 Fave Movies (Part 2)

20.  FROZEN 2 – so, another year, then, and once again Disney doesn’t QUITE manage to net the animated feature top spot on my list, but it’s not for lack of trying – this long-awaited sequel to the studio’s runaway hit musical fantasy adventure is just what we’ve come to love from the House of Mouse, but more importantly it’s a most worthy sequel, easily on a par with the much beloved origin.  Not much of a surprise given the welcome return of all the key people, from directors Chris Buck and Jennifer Lee (who also once again wrote the screenplay) to composer Christophe Beck and songwriters Kristen Anderson-Lopez and Robert Lopez, as well as all the key players in the cast.  It’s business as usual in the kingdom of Arendelle, where all is seemingly peaceful and tranquil, but Queen Elsa (Idina Menzel) is restless, haunted by a distant voice that only she can hear, calling to her from a mysterious past she just can’t place … and then she accidentally awakens the four elemental spirits, sending her homeland into mystical turmoil, prompting her to embark on a desperate search for answers with her sister Princess Anna (Kristen Bell), ice harvester Kristoff (Jonathan Groff), his faithful reindeer companion Sven, and, of course, living snowman Olaf (Josh Gad). Their quest leads them into the Enchanted Forest of Northuldra, a neighbouring kingdom, ruled by simple, elemental magic, that has remained cut off from Arendelle for decades, where they discover dark, hidden truths about their own family’s past and must make peace with the spirits if they’re to save their home and their people.  So, typical Disney family fantasy fare, then, right? Well, Frozen 2 certainly dots all the Is and crosses all the Ts, but, like the original, this is no jaded blockbuster money spinner, packed with the same kind of resonant power, skilful inventiveness and pure, show-stopping WOW-factor as its predecessor, but more importantly this is a sequel that effectively carves out a fresh identity for itself, brilliantly taking the world and characters in interesting new directions to create something fresh, rewarding and worthwhile on its own merit.  The returning cast are all as strong as ever, Menzel and Bell in particular ably powering the story, while it’s nice to see both Groff and Gad getting something new to do with their own characters too, even nabbing their own major musical numbers; there’s also a welcome slew of fresh new faces to this world, particular Sterling K. Brown (This is Us, Black Panther, The Predator) as lost Anrendelle soldier Mattias and former Brat Pack star Martha Plimpton as Yelena, leader of the lost tribe of Northuldra. Once again this is Disney escapism at its very best, a heart-warming, soul-nourishing powerhouse of winning humour, emotional power and child-like wonder, but like the first film the biggest selling point is, of course, that KILLER soundtrack, with every song here a total hit, not one dud among them, and there are even ear-worms here to put Let It Go to shame – Into the Unknown was touted as the major hit, and it is impressive, but I was particularly affected by Groff’s unashamedly full-bore rendition of Lost in the Woods, a bona fide classic rock power ballad crafted in the fashion of REO Speedwagon, while the undeniable highlight for me is the unstoppable Show Yourself, with Menzel once again proving that her incredible voice is a natural force all in itself.  Altogether, then, this is an absolute feast for the eyes, the ears AND the soul, every inch the winner that its predecessor was and also EASILY one of Disney’s premier animated features for the decade.  So it’s quite the runner-up, then …

19.  ONCE UPON A TIME IN HOLLYWOOD – since his explosion onto the scene twenty-seven years ago with his runaway smash debut Reservoir Dogs, Quentin Tarantino has become one of the most important filmmakers of his generation, a true master of the cinematic art form who consistently delivers moving picture masterpieces that thrill, entertain, challenge and amuse audiences worldwide … at least those who can stomach his love of unswerving violence, naughty talk and morally bankrupt antiheroes and despicably brutal villains who are often little more than a shade different from one another.  Time has moved on, though, and while he’s undoubtedly been one of the biggest influences on the way cinema has changed over the past quarter century, there are times now that it’s starting to feel like the scene is moving on in favour of younger, fresher blood with their own ideas.   I think Tarantino can sense this himself, because he recently made a powerful statement – after he’s made his tenth film, he plans to retire.  Given that OUATIH is his NINTH film, that deadline is already looming, and we unashamed FANS of his films are understandably aghast over this turn of events.  Thankfully he remains as uncompromisingly awesome a writer-director as ever, delivering another gold standard five-star flick which is also most definitely his most PERSONAL work to date, quite simply down to the fact that it’s a film ABOUT film.  Sure, it has a plot (of sorts, anyway), revolving around the slow decline of the career of former TV star Rick Dalton (Leonardo Dicaprio), who languishes in increasing anonymity in Hollywood circa 1969 as his former western hero image is being slowly eroded by an increasingly hacky workload guest-starring on various syndicated shows as a succession of punching-bag heavies for the hero to wale on, while his only real friend is his one-time stunt double, Cliff Booth (Brad Pitt), a former WW2 hero with a decidedly tarnished reputation of his own; meanwhile new neighbours have moved in next door to further distract him – hot-as-shit young director Roman Polanski (Rafal Zawierucha), riding high on the success of Rosemary’s Baby, and his new wife Sharon Tate (Margot Robbie).  Certainly this all drives the film, along with real-life events involving one of the darkest crimes in modern American history, but a lot of the time the plot is largely coincidental – Quentin uses it as a springboard to wax lyrical about his very favourite subject and pay loving (if sometimes irreverently satirical) tribute to the very business he’s been indulging in with such great success since 1992.  Sure, it’s also about “Helter Skelter” and the long shadow cast by Charles Manson and his band of murderous misfits, but this is largely incidental, as we’re treated to long, entertaining interludes as we follow Rick on a shoot as the bad guy in the pilot for the Lancer TV series, visit the notorious Spahn Ranch with Cliff as he’s unwittingly drawn into the lion’s den of the deadly Manson Family, join Robbie’s Tate as she watches “herself” in The Wrecking Crew, and enjoy a brilliant montage in which we follow Rick’s adventures in Spaghetti westerns (and Eurospy cinema) after he’s offered a chance to change his flagging fortunes, before the film finally builds to a seemingly inevitable, fateful conclusion that Tarantino then, in sneakily OTT Inglourious Basterds style, mischievously turns on its head with a devilish game of “What If”.  The results are a thoroughly engrossing and endlessly entertaining romp through the seedier side of Hollywood and a brilliant warts-and-all examination of the craft’s inner workings that, interestingly, reveals as much about the Business today as it does about how it was way back in the Golden Age the film portrays, all while delivering bucket-loads of QT’s trademark cool, swagger, idiosyncratic genius and to-die-for dialogue and character-work, and, of course, a typically exceptional all-star cast firing on all cylinders. Dicaprio and Pitt are both spectacular (Brad is endearingly taciturn, playing it wonderfully close to the vest throughout, while Leo is simply ON FIRE, delivering a mercurial performance EASILY on a par with his work on Shutter Island and The Wolf of Wall Street – could this be good enough to snag him a second Oscar?), while Robbie consistently endears us to Tate as she EFFORTLESSLY brings the fallen star back to life, and there’s an incredible string of amazing supporting turns from established talent and up-and-comers alike, from Kurt Russell, Al Pacino and a very spiky Bruce Dern to Mike Moh (in a FLAWLESS take on Bruce Lee), Margaret Qualley, Austin Butler and in particular Julia Butters as precocious child star Trudi Fraser.  Packed with winning references, homages, pastiches and ingenious little in-jokes, handled with UTMOST respect for the true life subjects at all times and shot all the way through with his characteristic flair and quirky, deliciously dark sense of humour, this is cinema very much of the Old School, and EVERY INCH a Tarantino flick.  With only one more film to go the implied end of his career seems much too close, but if he delivers one more like this he’ll leave behind a legacy that ANY filmmaker would be proud of.

18.  CRAWL – summer 2019’s runner-up horror offering marks a rousing return to form for a genre talent who’s FINALLY delivered on the impressive promise of his early work – Alexandre Aja made a startling debut with Switchblade Romance, which led to his big break helming the cracking remake of slasher stalwart The Hills Have Eyes, but then he went SPECTACULARLY off the rails when he made the truly abysmal Piranha 3D, which I wholeheartedly regard as one of THE VERY WORST FILMS EVER MADE IN ALL OF HUMAN HISTORY. He took a big step back in the right direction with the admittedly flawed but ultimately enjoyable and evocative Horns (based on the novel by Stephen King’s son Joe Hill), but it’s with this stripped back, super-tight man-against-nature survival horror that the Aja of old has TRULY returned to us. IN SPADES.  Seriously, I personally think this is his best film to date – there’s no fat on it at all, going from a simple set-up STRAIGHT into a precision-crafted exercise in sustained tension that relentlessly grips right up to the end credits.  The film is largely just a two-hander – Maze Runner star Kaya Scodelario plays Haley Keller, a Florida college student and star swimmer who ventures into the heart of a Category 5 hurricane to make sure her estranged father, Dave (Saving Private Ryan’s Barry Pepper), is okay after he drops off the grid. Finding their old family home in a state of disrepair and slowly flooding, she does a last minute check of the crawl-space underneath, only to discover her father badly wounded and a couple of hungry alligators stalking the dark, cramped, claustrophobic confines. With the flood waters rising and communications cut off, Haley and Dave must use every reserve of strength, ingenuity and survival instinct to keep each other alive in the face of increasingly daunting odds … even with a premise this simple, there was plenty of potential for this to become an overblown, clunky mess in the wrong hands (a la Snakes On a Plane), so it’s a genuinely great thing that Aja really is back at the height of his powers, milking every fraught and suspenseful set-piece to its last drop of exquisite piano-wire tension and putting his actors through hell without a reprieve in sight.  Thankfully it’s not JUST about scares and atmosphere – there’s a genuinely strong family drama at the heart of the story that helps us invest in these two, Scodelario delivering a phenomenally complex performance as she peels back Haley’s layers, from stubborn pedant, through vulnerable child of divorce, to ironclad born survivor, while reconnecting with her emotionally raw, repentantly open father, played with genuine naked intensity in a career best turn from Pepper. Their chemistry is INCREDIBLY strong, making every scene a joy even as it works your nerves and tugs on your heartstrings, and as a result you DESPERATELY want to see them make it out in one piece.  Not that Aja makes it easy for them – the gators are an impressively palpable threat, proper scary beasties even if they are largely (admittedly impressively executed) digital effects, while the storm is almost a third character in itself, becoming as much of an elemental nemesis as its scaly co-stars.  Blessedly brief (just 87 minutes!) and with every second wrung out for maximum impact, this is survival horror at its most brutally, simplistically effective, a deliciously vicious, primal chill-ride that thoroughly rewards from start to finish.  Welcome back, Mr Aja.  We’ve missed you.

17.  SHAZAM! – there were actually THREE movies featuring Captain Marvel out in 2019, but this offering from the hit-and-miss DCEU cinematic franchise is a very different beast from his MCU-based namesake, and besides, THIS Cap long ago ditched said monicker for the far more catchy (albeit rather more oddball) title that graces Warner Bros’ last step back on the right track for their superhero Universe following the equally enjoyable Aquaman and franchise high-point Wonder Woman.  Although he’s never actually referred to in the film by this name, Shazam (Chuck’s Eugene Levy) is the magically-powered alternate persona bestowed upon wayward fifteen year-old foster kid Billy Batson (Andi Mack’s Asher Angel) by an ancient wizard (Djimon Hounsou) seeking one pure soul to battle Dr. Thaddeus Sivana (Mark Strong), a morally corrupt physicist who turns into a monstrous supervillain after becoming the vessel for the spiritual essences of the Seven Deadly Sins (yup, that thoroughly batshit setup is just the tip of the iceberg of bonkersness on offer in this movie).  Yes, this IS set in the DC Extended Universe, Shazam sharing his world with Superman, Batman, the Flash et al, and there are numerous references (both overt and sly) to this fact throughout (especially in the cheeky animated closing title sequence), but it’s never laboured, and the film largely exists in its own comfortably enclosed narrative bubble, allowing us to focus on Billy, his alter ego and in particular his clunky (but oh so much fun) bonding experiences with his new foster family, headed by former foster kid couple Victor and Rosa Vazquez (The Walking Dead’s Cooper Andrews and Marta Milans) – the most enjoyably portions of the film, however, are when Billy explores the mechanics and limits of his newfound superpowers with his new foster brother Freddy Freeman (It Chapter 1’s Jack Dylan Glazer), a consistently hilarious riot of bad behaviour, wanton (often accidental) destruction and perfectly-observed character development, the blissful culmination of a gleefully anarchic sense of humour that, until recently, has been rather lacking in the DCEU but which is writ large in bright, wacky primary colours right through this film. Sure, there are darker moments, particularly when Sivana sets loose his fantastic icky brood of semi-corporeal monsters, and these scenes are handled with seasoned skill by director David F. Sandberg, who cut his teeth on ingenious little horror gem Lights Out (following up with Annabelle: Creation, but we don’t have to dwell on that), but for the most part the film is played for laughs, thrills and pure, unadulterated FUN, almost never taking itself too seriously, essentially intended to do for the DCEU what Guardians of the Galaxy and Ant-Man did for the MCU, and a huge part of its resounding success must of course be attributed to the universally willing cast. Eugene Levy’s so ridiculously pumped-up he almost looks like a special effect all on his own, but he’s lost none of his razor-sharp comic ability, perfectly encapsulating a teenage boy in a grown man’s body, while his chemistry with genuine little comedic dynamo Glazer is simply exquisite, a flawless balance shared with Angel, who similarly excels at the humour but also delivers quality goods in some far more serious moments too, while the rest of Billy’s newfound family are all brilliant, particularly ridiculously adorable newcomer Faithe Herman as precocious little motor-mouth Darla; Djimon Hounsou, meanwhile, adds significant class and gravitas to what could have been a cartoonish Gandalf spoof, and Mark Strong, as usual, gives great bad guy as Sivana, providing just the right amount of malevolent swagger and self-important smirk to proceedings without ever losing sight of the deeper darkness within.  All round, this is EXACTLY the kind of expertly crafted superhero package we’ve come to appreciate in the genre, another definite shot in the arm for the DCEU that holds great hope for the future of the franchise, and some of the biggest fun I had at the cinema this past year.  Granted, it’s still not a patch on the MCU, but the quality gap finally seems to be closing …

16.  ALITA: BATTLE ANGEL – y’know, there was a time when James Cameron was quite a prolific director, who could be counted upon to provide THE big event pic of the blockbuster season. These days, we’re lucky to hear from him once a decade, and now we don’t even seem to be getting that – the dream project Cameron’s been trying to make since the end of the 90s, a big live action adaptation of one of my favourite mangas of all time, Gunnm (or Battle Angel Alita to use its more well-known sobriquet) by Yukito Kishiro, has FINALLY arrived, but it isn’t the big man behind the camera here since he’s still messing around with his intended FIVE MOVIE Avatar arc.  That said, he made a damn good choice of proxy to bring his vision to fruition – Robert Rodriguez is, of course, a fellow master of action cinema, albeit one with a much more quirky style, and this adap is child’s play to him, the creator of the El Mariachi trilogy and co-director of Frank Miller’s Sin City effortlessly capturing the dark, edgy life-and-death danger and brutal wonder of Kishiro’s world in moving pictures.  300 years after the Earth was decimated in a massive war with URM (the United Republics of Mars) known as “the Fall”, only one bastion of civilization remains – Iron City, a sprawling, makeshift community of scavengers that lies in the shadow of the floating city of Zalem, home of Earth’s remaining aristocracy.  Dr. Dyson Ido (Christoph Waltz) runs a clinic in Iron City customising and repairing the bodies of its cyborg citizens, from the mercenary “hunter killers” to the fast-living players of Motorball (a kind of supercharged mixture of Rollerball and Death Race), one day discovering the wrecked remains of a female ‘borg in the junkyard of scrap accumulated beneath Zalem.  Finding her human brain is still alive, he gives her a new chassis and christens her Alita, raising her as best he can as she attempts to piece together her mysterious, missing past, only for them both to discover that the truth of her origins has the potential to tear their fragile little world apart forever. The Maze Runner trilogy’s Rosa Salazar is the heart and soul of the film as Alita (originally Gally in the comics), perfectly bringing her (literal) wide-eyed innocence and irrepressible spirit to life, as well as proving every inch the diminutive badass fans have been expecting – while her overly anime-styled look might have seemed a potentially jarring distraction in the trailers, Salazar’s mocap performance is SO strong you’ve forgotten all about it within the first five minutes, convinced she’s a real, flesh-and-metal character – and she’s well supported by an exceptional ensemble cast both new and well-established.  Waltz is the most kind and sympathetic he’s been since Django Unchained, instilling Ido with a worldly warmth and gentility that makes him a perfect mentor/father-figure, while Spooksville star Keean Johnson makes a VERY impressive big screen breakthrough as Hugo, the streetwise young dreamer with a dark secret that Alita falls for in a big way, Jennifer Connelly is icily classy as Ido’s ex-wife Chiren, Mahershala Ali is enjoyably suave and mysterious as the film’s nominal villain, Vector, an influential but seriously shady local entrepreneur with a major hidden agenda, and a selection of actors shine through the CGI in various strong mocap performances, such as Deadpool’s Ed Skrein, Derek Mears, From Dusk Til Dawn’s Eiza Gonzalez and a thoroughly unrecognisable but typically awesome Jackie Earle Haley.  As you’d expect from Rodriguez, the film delivers BIG TIME on the action front, unleashing a series of spectacular set-pieces that peak with Alita’s pulse-pounding Motorball debut, but there’s a pleasingly robust story under all the thrills and wow-factor, riffing on BIG THEMES and providing plenty of emotional power, especially in the heartbreaking character-driven climax – Cameron, meanwhile, has clearly maintained strict control over the project throughout, his eye and voice writ large across every scene as we’re thrust headfirst into a fully-immersive post-apocalyptic, rusty cyberpunk world as thoroughly fleshed-out as Avatar’s Pandora, but most importantly he’s still done exactly what he set out to do, paying the utmost respect to a cracking character as he brings her to vital, vivid life on the big screen.  Don’t believe the detractors – this is a MAGNIFICENT piece of work that deserves all the recognition it can muster, perfectly set up for a sequel that I fear we may never get to see.  Oh well, at least it’s renewed my flagging hopes for a return to Pandora …

15.  AD ASTRA – last century, making a space exploration movie after 2001: A Space Odyssey was a pretty tall order. THIS century, looks like it’s trying to follow Chris Nolan’s Interstellar – love it or hate it, you can’t deny that particular epic space opera for the IMAX crowd is a REALLY tough act to follow.  At first glance, then, writer-director James Gray (The Yards, We Own the Night) is an interesting choice to try, at least until you consider his last feature – he may be best known for understated, gritty little crime thrillers, but I was most impressed by 2016’s ambitious period biopic The Lost City of Z, which focused on the groundbreaking career of pioneering explorer Percy Fawcett, and couldn’t have been MORE about the indomitable spirit of discovery if it tried.  His latest shares much of the same DNA, albeit presented in a VERY different package, as we’re introduced to a more expansive Solar System of the near future, in which humanity has begun to colonize our neighbouring worlds and is now pushing its reach beyond our own star’s light in order to discover what truly lies beyond the void of OUTER space.  Brad Pitt stars as Major Roy McBride, a career astronaut whose whole life has been defined by growing up in the shadow of his father, H. Clifford McBride (Tommy Lee Jones), a true pioneer who led an unprecedented expedition to the orbit of our furthest neighbour, Neptune, in order to search for signs of intelligent life beyond our solar system, only for the whole mission to go quiet for the past sixteen years.  Then a mysterious, interplanetary power surge throws the Earth into chaos, and Roy must travel farther than he’s ever gone before in order to discover the truth behind the source of the pulse – his father’s own ill-fated Lima Project … this is a very different beast from Interstellar, a much more introspective, stately affair, revelling in its glacial pacing and emphasis on character motivation over plot, but it’s no less impressive from a visual, visceral standpoint – Gray and cinematographer Hoyt van Hoytema (who, interestingly, ALSO shot Interstellar, along with Nolan’s Dunkirk and his upcoming feature Tenet) certainly make space look truly EPIC, crafting astonishing visuals that deserve to be seen on the big screen (or at the very least on the best quality HDTV you can find).  There’s also no denying the quality of the writing, Gray weaving an intricate story that reveals far greater depth and complexity than can be seen at first glance, while Roy’s palpable “thought-process” voiceover puts us right into the head of the character as we follow him across the endless void on a fateful journey into a cosmic Heart of Darkness.  There is, indeed, a strong sense of Apocalypse Now to proceedings, with the younger McBride definitely following a similar path to Martin Sheen’s ill-fated captain as he travels “up-river” to find his Colonel Kurtz-esque father, and the performances certainly match the heft of the material – there’s an impressive collection of talent on offer in a series of top-quality supporting turns, Jones being just the icing on the cake in the company of Donald Sutherland, Liv Tyler, John Ortiz and Preacher’s Ruth Negga, but the undeniable driving force of the film is Pitt, his cool, laconic control hiding uncharted depths of emotional turmoil as he’s forced to call every choice into question.  It’s EASILY one of the finest performances of his career to date, just one of the MANY great selling points in a film that definitely deserves to be remembered as one of the all-time sci-fi greats of the decade. An absolute masterpiece, then, but does it stand tall in comparison to Interstellar?  I should say so …

14.  BRIGHTBURN – torpedoing Crawl right out of the water in the summer, this refreshing, revisionist superhero movie takes one of the most classic mythologies in the genre and turns it on its head in true horror style.  The basic premise is an absolute blinder – what if, when he crashed in small-town America as a baby, Superman had turned out to be a bad seed?  Unsurprising, then, that it came from James Gunn, who here produces a screenplay by his brother and cousin Brian and Mark Gunn (best known for penning the likes of Journey 2: the Mysterious Island, but nobody’s perfect) and the directorial big break of his old mate David Yarovesky (whose only previous feature is obscure sci-fi horror The Hive) – Gunn is, of course, an old pro at taking classic comic book tropes and creating something completely new with them, having previously done so with HUGE success on cult indie black comedy Super and, in particular, Marvel’s Guardians of the Galaxy movies, and his fingerprints are ALL OVER this one too.  The Hunger Games’ Elizabeth Banks (who starred in Gunn’s own directorial debut Slither) and David Denman (The Office) are Tori and Kyle Breyer, a farming couple living in Brightburn, Kansas, who are trying for a baby when a mysterious pod falls from the sky onto their land, containing an infant boy.  As you’d expect, they adopt him, determined to keep his origin a secret, and for the first twelve years of his life all seems perfectly fine – Brandon’s growing up into an intelligent, artistic child who loves his family. Then his powers manifest and he starts to change – not just physically (he’s impervious to harm, incredibly strong, has laser eyes and the ability to disrupt electronic devices … oh, and he can fly, too), but also in personality, as he becomes cold, distant, even cruel as he begins to demonstrate some seriously sociopathic tendencies.  As his parents begin to fear what he’s becoming, things begin to spiral out of control and people start to disappear or turn up brutally murdered, and it becomes clear that Brandon might actually be something out of a nightmare … needless to say this is superhero cinema as full-on horror, Brandon’s proclivities leading to some proper nasty moments once he really starts to cut loose, and there’s no mistaking this future super for one of the good guys – he pulverises bones, shatters faces and melts skulls with nary a twitch, just the tiniest hint of a smile.  It’s an astonishing performance from newcomer Jackson A. Dunn, who perfectly captures the nuanced subtleties as Brandon goes from happy child to lethal psychopath, clearly demonstrating that he’s gonna be an incredible talent in future; the two grown leads, meanwhile, are both excellent, Denman growing increasingly haunted and exasperated as he tries to prove his own son is a wrong ‘un, while Banks has rarely been better, perfectly embodying a mother desperately wanting to belief the best of her son no matter how compelling the evidence becomes, and there’s quality support from Breaking Bad’s Matt Jones and Search Party’s Meredith Hagner as Brandon’s aunt and uncle, Noah and Meredith, and Becky Wahlstrom as the mother of one of his school-friends, who seems to see him for what he really is right from the start.  Dark, suspenseful and genuinely nasty, this is definitely not your typical superhero movie, often playing like Kick-Ass’ deeply twisted cousin, and there are times when it displays some of the same edgy, black-hearted sense of humour, too.  In other words, it’s all very James Gunn. It’s one sweet piece of work, everyone involved showing real skill and devotion, and Yarovesky in particular proves he’ll definitely be one-to-watch in the future.  There are already plans for a potential sequel, and given where this particular little superhero universe seems to be heading I think it could be something pretty special, so fair to say I can’t wait.

13.  STAR WARS EPISODE IX: THE RISE OF SKYWALKER – wow, this one’s proven particularly divisive, hasn’t it? And I thought The Last Jedi caused a stir … say what you will about Rian Johnson’s previous entry in the juggernaut science fiction saga, while it certainly riled up the hardcore fanbase it was at least well-received by the critics, not to mention myself, who found it refreshing and absolutely ingenious after the crowd-pleasing simplicity of JJ Abrams’ admittedly still thoroughly brilliant The Force Awakens.  After such radical experimentation, Abrams’ return to the director’s chair can’t help feeling a bit like desperate backpedalling in order to sooth a whole lot of seriously ruffled feathers, and I’ll admit that, on initial viewing, I couldn’t help feeling just a touch cheated given what might have been if similarly offbeat, experimentally-minded filmmaker Colin Trevorrow (Safety Not Guaranteed, Jurassic World) had stayed on board to helm the picture.  Then I got home, thought about it for a bit and it started to grow on me, before a second viewing helped me to reconcile all everything that bugged me first time around, seemingly the same things that have, perversely, ruffled so many more feathers THIS TIME.  This doesn’t feel like a retcon job, no matter what some might think – new developments in the story that might feel like whitewash actually do make sense once you think about them, and the major twists actually work when viewed within the larger, overarching storyline.  Not that I’m willing to go into any kind of detail here, mind you – this is a spoiler-free zone, thank you very much.  Suffice to say, the honour of the saga has in no way been besmirched by Abrams and his co-writer Chris Terrio (sure, he worked on Batman V Superman and Justice League, but he also wrote Argo), the final film ultimately standing up very well indeed alongside its trilogy contemporaries, and still MILES ABOVE anything we got in George Lucas’ decidedly second-rate prequels.  The dangling plot strands from The Last Jedi certainly get tied up with great satisfaction, particularly the decidedly loaded drama of new Jedi Rey (Daisy Ridley) and troubled First Order Supreme Leader Kylo Ren/Ben Solo (Adam Driver), while the seemingly controversial choice of reintroducing Ian McDiarmid’s fantastically monstrous Emperor Palpatine as the ultimate big bad ultimately works out spectacularly well, a far cry from any perceived botched fan-service.  Everyone involved was clearly working at the height of their powers – Ridley and Driver are EXCEPTIONAL, both up-and-coming young leads truly growing into the their roles, while co-stars John Boyega and Oscar Isaac land a pleasingly meaty chunk of the story to finally get to really explore that fantastic chemistry they teased on The Last Jedi, and Carrie Fisher gets a truly MAGNIFICENT send off in the role that defined her as the incomparable General Leia Organa (one which it’s still heartbreaking she never quite got to complete); other old faces, meanwhile, return in fun ways, from Anthony Daniels’ C-3PO FINALLY getting to play a PROPER role in the action again to a brilliant supporting flourish from the mighty Billy Dee Williams as the Galaxy-Far-Far-Away’s own King of Cool, Lando Calrissian, while there’s a wealth of strong new faces here too, such as Lady Macbeth’s Naomie Ackie as rookie rebel Jannah, Richard E. Grant as suitably slimy former-Imperial First Order bigshot Allegiant General Pryde, The Americans’ Keri Russell as tough smuggler Zorii Bliss and Lord of the Rings star Dominic Monaghan as Resistance tech Beaumont Kin.  As fans have come to expect, Abrams certainly doesn’t skim on the spectacle, delivering bombastic thrill-ride set-pieces that yet again set the benchmark for the year’s action stakes (particularly in the blistering mid-picture showdown between Rey and Kylo among the wave-lashed remains of Return of the Jedi’s blasted Death Star) and awe-inspiring visuals that truly boggle the mind with their sheer beauty and complexity, but he also injects plenty of the raw emotion, inspired character work, knowing humour and pure, unadulterated geeky FUN he’s so well known for.  In conclusion, then, this is MILES AWAY from the clunky, compromised mess it’s been labelled as in some quarters, ultimately still very much in keeping with the high standards set by its trilogy predecessors and EVERY INCH a proper, full-blooded Star Wars movie.  Ultimately, Rogue One remains THE BEST of the big screen run since Lucas’ Original Trilogy, but this one still emerges as a Force to be reckoned with …

12.  JOKER – no-one was more wary than me when it was first announced that DC and Warner Bros. were going to make a standalone, live-action movie centred entirely around Batman’s ultimate nemesis, the Joker, especially with it coming hot on the heels of Jared Leto’s thoroughly polarizing portrayal in Suicide Squad.  More so once it was made clear that this WOULD NOT be part of the studio’s overarching DC Extended Universe cinematic franchise, which was FINALLY starting to find its feet – then what’s the point? I found myself asking.  I should have just sat back and gone with it, especially since the finished product would have made me eat a big slice of humble pie had I not already been won over once the trailers started making the rounds.  This is something new, different and completely original in the DC cinematic pantheon, even if it does draw major inspiration from Alan Moore’s game-changing DC comics mini-series The Killing Joke – a complete standalone origin story for one of our most enduring villains, re-imagined as a blistering, bruising psychological thriller examining what can happen to a man when he’s pushed far beyond the brink by terrible circumstance, societal neglect and crippling mental illness. Joaquin Phoenix delivers the performance of his career as Arthur Fleck, a down-at-heel clown-for-hire struggling to launch a career as a stand-up-comic (badly hampered by the fact that he’s just not funny) while suffering from an acute dissociative condition and terrible attacks of pathological laughter at moments of heightened stress – the actor lost 52 pounds of weight to become a horrifically emaciated scarecrow painfully reminiscent of Christian Bale’s similar preparation for his acclaimed turn in The Machinist, and frequently contorts himself into seemingly impossible positions that prominently accentuate the fact.  Fleck is a truly pathetic creature, thoroughly put-upon by a pitiless society that couldn’t care less about him, driven by inner demons and increasingly compelling dark thoughts to act out in increasingly desperate, destructive ways that ultimately lead him to cross lines he just can’t come back from, and Phoenix gives his all in every scene, utterly mesmerising even when his character commits some truly heinous acts.  Certainly he dominates the film, but then there are plenty of winning supporting turns from a universally excellent cast to bolster him along, from Zazie Beetz as an impoverished young mother Arthur bonds with and Frances Conroy (Six Feet Under, American Horror Story) as Arthur’s decidedly fragile mother Penny to Brett Cullen (The Thorn Birds, Lost) as a surprisingly unsympathetic Thomas Wayne (the philanthropic father of future Batman Bruce Wayne), while Robert De Niro himself casts a very long shadow indeed as Murray Franklin, a successful comedian and talk show host that Arthur idolizes, a character intentionally referential to his role in The King of Comedy.  Indeed, Martin Scorsese’s influence is writ large throughout the entire film, reinforced by the choice to set the film in a 1981-set Gotham City which feels very much like the crumbling New York of Mean Streets or Taxi Driver.  This is a dark, edgy, grim and unflinchingly BRUTAL film, frequently difficult to watch as Arthur is driven further into a blazing psychological hell by his increasingly stricken life, but addictively, devastatingly compelling all the same, impossible to turn away from even in the truly DEVASTATING final act.  Initially director Todd Phillips seemed like a decidedly odd choice for the project, hailing as he does from a predominantly comedy-based filmmaking background (most notably Due Date and The Hangover trilogy), but he’s actually a perfect fit here, finding a strangely twisted beauty in many of his compositions and a kind of almost uplifting transcendence in his subject’s darkest moments, while his screenwriting collaboration with Scott Silver (8 Mile, The Fighter) means that the script is as rich as it can be, almost overflowing with brilliant ideas and rife with biting social commentary which is even more relevant today than in the period in which it’s set.  Intense, gripping, powerful and utterly devastating, this truly is one of the best films of 2019.  If this was a purely critical Top 30 this would have placed in the Top 5, guaranteed …

11.  FAST & FURIOUS PRESENTS HOBBS & SHAW – summer 2019’s most OTT movie was some of THE MOST FUN I had at the cinema all year, a genuinely batshit crazy, pure bonkers rollercoaster ride of a film I just couldn’t get enough of, the perfect sum of all its baffling parts.  The Fast & Furious franchise has always revelled in its extremes, subtle as a brick and very much playing to the blockbuster, popcorn movie crowd right from the start, but it wasn’t until Fate of the Furious (yup, the ridiculous title says it all) that it really started to play to the inherent ridiculousness of its overall setup, paving the way for this first crack at a new spin-off series sans-Vin Diesel.  Needless to say this one fully embraces the ludicrousness, with director David Leitch the perfect choice to shepherd it into the future, having previously mastered OTT action through John Wick and Atomic Blonde before helming manic screwball comedy Deadpool 2, which certainly is the strongest comparison point here – Hobbs & Shaw is every bit as loud, violent, chaotic and thoroughly irreverent, definitely playing up the inherent comic potential at the core of the material as he cranks up the humour.  Dwayne Johnson and Jason Statham take centre stage as, respectively, DSS agent Luke Hobbs and former SAS black operative Deckard Shaw, the ultimate action movie odd couple once again forced to work together to foil the bad guy and save the world from a potentially cataclysmic disaster.  Specifically Brixton Lore (Idris Elba), a self-proclaimed “black superman” enhanced with cybernetic implants and genetic manipulation to turn him into the ultimate warrior, who plans to use a lethal designer supervirus to eradicate half of humanity (as supervillains tend to do), but there’s one small flaw in his plan – the virus has been stolen by Hattie Shaw (Mission: Impossible – Fallout’s Vanessa Kirby), a rogue MI6 agent who also happens to be Deckard’s sister.  Got all that?  Yup, the movie really is as mad as it sounds, but that’s part of the charm – there’s an enormous amount of fun to be had in just giving in and going along with the madness as Hobbs and the two Shaws bounce from one overblown, ludicrously destructive set-piece to the next, kicking plenty of arse along the way when they’re not jumping out of tall buildings or driving fast cars at ludicrous speeds in heavy traffic, and when they’re not doing that they’re bickering with enthusiasm, each exchange crackling with exquisite hate-hate chemistry and liberally laced with hilarious dialogue delivered with gleeful, fervent venom (turns out there’s few things so enjoyable as watching Johnson and Statham verbally rip each other a new one), and the two action cinema heavyweights have never been better than they are here, each bringing the very best performances of their respective careers out of each other as they vacillate, while Kirby holds her own with consummate skill that goes to show she’s got a bright future of her own.  As for Idris Elba, the one-time potential future Bond deserves to be remembered as one of the all-time great screen villains ever, investing Brixton with the perfect combination of arrogant swagger and lethal menace to steal every scene he’s in while simultaneously proving he can be just as big a badass in the action stakes; Leitch also scatters a selection of familiar faces from his previous movies throughout a solid supporting cast which also includes the likes of Fear the Walking Dead’s Cliff Curtis, From Dusk Till Dawn’s Eiza Gonzalez and Helen Mirren (who returns as Deckard and Hattie’s mum Queenie Shaw), while there’s more than one genuinely brilliant surprise cameo to enjoy. As we’ve come to expect, the action sequences are MASSIVE, powered by nitrous oxide and high octane as property is demolished and vehicles are driven with reckless abandon when our protagonists aren’t engaged in bruising, bone-crunching fights choreographed with all the flawless skill you’d expect from a director who used to be a professional stuntman, but this time round the biggest fun comes from the downtime, as the aforementioned banter becomes king.  It’s an interesting makeover for the franchise, going from heavyweight action stalwart to comedy gold, and it’s a direction I hope they’ll maintain for the inevitable follow-up – barring Fast Five, this is THE BEST Fast & Furious to date, and a strong indicator of how it should go to keep conquering multiplexes in future.  Sign me up for more, please.

[behind-the-screen-of-bangtan]

The Hip-Hop culture

This post is part of the TSU. It belongs to the third part: Socio-political reflection.

Here are the different parts that will be developed in this post:

Album structure

References to hip-hop in the music

References to hip-hop lyrics

References to hip-hop in MVs and concepts

Being hip-hop

Album structure

While the notion of album structure is not specific to hip-hop, the way BTS organized their works was heavily influenced by the genre.

All of BTS’ albums are structured. Most of the times, we’ll find an intro that’s used in the comeback trailer video, as well as, interludes, and outros. You can find such tracks in several genres of music but it’s something that was heavily used in 90s hip-hop albums, for example, Dr. Dre’s The Chronic.

Concerning the intros, it was explained in the WINGS Concept Book that the boy doing the intro of an album is the guide in this era. Until now, we’ve had:

RM: School trilogy, Persona

Suga: The Most Beautiful Moment in Life

J-Hope: Wings

Jimin: Her

V: Tear

Jungkook/Jin: Wonder/Answer

By checking the lyrics of those different songs, we see that they indeed talk about the main theme of their album and thus introduce us to the world forming the era. Typically, while “Intro: Skool Luv Affair” is about defining love, “Intro:  What Am I to You?” is tainted by the doubts of the boy whose love is not returned.

The interludes are usually in the middle of the album - the notable exception being “Interlude: Wings” that ends WINGS and makes the bridge with You Never Walk Alone, in which it evolves into “Outro: Wings”. There are two more interludes. The first one is in 2 Cool 4 Skool and has the particularity to be the only BTS track with no lyrics, it’s only music. The second one is in Dark & Wild and this time it has the least lyrics of all of BTS songs: it’s just Jungkook repeating “What are you doing?” the name of the interlude. Dark & Wild’s interlude makes the separation between the “dark” part and the “wild” part (src).

Almost all albums end with an outro - 2 Cool 4 Skool and Love Yourself 承  Her having the particularity to have two hidden tracks after theirs. It seems the outros can have two purposes: they can conclude the era (”Epilogue: Young Forever”) or open the path towards the new one. A very concrete example of the second case is O!RUL8,2?’s outro “Outro: Luv in Skool”. The song is sampled in Suga’s verse in Skool Luv Affair’s intro (src), which is the next song in BTS’ discography after this outro. This way, the two albums connect with each other.

Several albums are also rhythmed by two other types of songs that are typical of hip-hop: skits and cyphers.

The skits are little comedic plays. They usually serve to fill time but in BTS’ albums, they rather give a glimpse of the boys’ thoughts and lives. The skits have already been discussed in the post about the autobiographic references. If you’re curious, you can learn more about the history of skits here and about their decrease here.

Cyphers are initially improvised performances where rappers compete against each other and tell their story (src). The BTS cyphers are a bit different since they are written in advance and the boys aren’t competing against each other but they still use them to explain their stories and settle accounts with haters. You can learn more in the post about BTS’ relationship with haters and fans.

The intros, interludes, and outros structure the albums just like the 起承轉結 organizes the whole Love Yourself series. Once this frame is set up, the boys can embroider their message on it clearly and efficiently with the other songs. That’s what allows them to consider complex themes and to explore them. It also makes the whole album worth listening, so we can have the full story.

On a side note, the choice to release albums rather than several singles has proven to be safer for the sales. You can refer to this thread by Odie for details: part 1, part 2, part 3.

Lastly, a CuriousCat Anon pertinently pointed out that the choice of starting BTS’ discography with the school trilogy could remind of Kanye’s West College trilogy (made of The College Dropout, Late Registration, and Graduation). Indeed, both series are the first albums released by their artist, and both include lyrics about the artists’ personal life but also about the problems faced by their generation. Also, just like BTS brought socially conscious music in the heavily commercial K-pop world, Kany West linked the socially conscious underground hip-hop with the commercial popular hip-hop. The two projects were planned by their artists since the beginning and both evolved with the situation (BTS added the sequel Dark & Wild while Kanye West changed what was supposed to be the fourth album of a quadrilogy into 808s & Heartbreak, an album influenced by the heavy changes that happened in his private life at that time).

References to hip-hop in the music

The first seconds of the first song in the first BTS album is a reference to hip-hop. Indeed the beginning of “Intro: 2 Cool 4 Skool” is a sample of Epik High’s “GO”, from their 2003 album, Map of the Human Soul.

“No More Dream”, the title track of 2 Cool 4 Skool, was intentioned to “revive the gangster rap hot in the 90s with the emotion of 2013″ (src). RM cited Dr. Dre’s “Deep Cover” as an example. Actually, through its structure and its music, the whole 2 Cool 4 Skool single could be considered as a 90s hip-hop release.

“N.O”, the next title track, from O!RUL8,2?, is “an exciting trap music” (src) and “Boy In Luv” in Skool Luv Affair has old school hip-hop’s strong beat and rock sound”(src). The title tracks are not the only hip-hop songs. The whole school trilogy is heavily influenced by the genre. It started changing with Dark & Wild and its rock sound. The boys then started exploring other types of music but without forgetting hip-hop.

Another element typical to hip-hop music, even though it’s not exclusive to it, is the sampling. BTS used samples at different levels. “Coffee” and “Am I Wrong” are complete reinterpretations of existing songs: “Coffee” by Urban Zakapa and “Am I Wrong” by Keb’ Mo’. Another notable cover from Bangtan is “Born Singer”, a song based on “Born Sinner” by J.Cole. Not only is the music originally hip-hop, the lyrics tell the story of the boys and their relation to music - something that relates to the authentic feeling of hip-hop. “Lie” just use a short extract of “La Vida Breve” by Manuel de Falla. “Not Today” and “War of Hormone” have just one particular sound (the yell of the crazy German kid and a sound effect from Super Mario). You can find a quite decent list of the samples used in BTS songs on Who Sampled. While those samples can be seen as homages or inspiration sources, there are two samples with more meaningful use.

“Outro: Tear” uses the same piano as in the Highlight Reel video. It allows linking the two even though the Highlight Reel was released before Love Yourself 承 Her. On a BU related note, it’s interesting to point that the Notes released with Love Yourself 轉 Tear correspond with the events shown in the Highlight Reel, notably on the 30 August.

The other occurrence is even more impressive. “I’m Fine”, the second main track in Love Yourself 結 Answer is an ambigram of “Save Me”, the second main track in 화양연화 Young Forever. A lot of elements, be it in the music or the lyrics, mirror each other between the two songs. It shows the progression of the message, from a cry for help to the ability to stand on their own, while staying the same: the boys didn’t change, they evolved.

References to hip-hop in lyrics

Bangtan referenced their models in several texts, notably “길” (Road/Path) and “힙합성애자” (Hip Hop Lover). We heard the names of:

American rappers

Eminem

Jay-Z

Nas

Gang Starr

Black Star

Eric B

Rakim

Pete Rock

CL Smooth

The Notorious B.I.G.

Tupac

Mac Miller

Kanye West

Kendrick Lamar

A$AP Rocky

Korean rappers:

Garion

Epik High

Dynamic Duo

Verbal Jint

Debut albums:

Nas’ Illmatic

Snoop Dogg’s Doggystyle

Pharell Williams’ In My Mind

KRS-One’s KRS-One

The Notorious B.I.G.’s Ready To Die

Dr. Dre’s The Chronic

J.Cole’s Cole World

“길” (Road/Path) and “힙합성애자” (Hip Hop Lover) are also the occasion for the rap line to tell their story and how they discovered hip-hop.

We can add Epik High’s “Fly” mentioned in “Skit: Circle Room Talk”. The white shirt and red necktie Suga talked about are a reference to the MV and to the album cover for “Fly”.

As the lyrics are the part Bangtan is the most invested in, what we have here are the most personal references to hip-hop for the boys.

References to hip-hop in MVs and concepts

Opposite to the lyrics, the boys probably have a lot less to do with all the hip-hop references that can be found in the MVs but they’re still interesting nonetheless.

Both photo concepts for 2 Cool 4 Skool and O!RUL8,2? are inspired by Gangsta rap but with the influence of 2013 fashion.

In the MVs, little nods to hip-hop artists can be seen:

“Can i kick it”, the title of a song by A tribe Called Quest, written on a shelf in “Boy in Luv” JP

The cover of Mos Def’s The New Danger is in the cubicle in “Boy In Luv”

“You think big, you get big in”, a citation from The Notorious B.I.G. is written on the blackboard in “Boy in Luv” JP

Nas’ Life is Good is in “Danger” next to RM

J. Cole on the cover of Billboard in the set of Short Film #4 FIRST LOVE but that actually only appears in Short Film #1 BEGIN and Short Film #2 LIE

There are also several posters about initiatives related to hip-hop:

It’s Bigger Than Hip Hop, a book about the social and political issues faced in the hip-hop field, is in the yellow bus of “No More Dream”

The Temple Of Hip Hop logo can be seen on a custom poster, still on the bus. The Temple Of Hip Hop is a non-violent organization defending the hip-hop culture

In the comeback trailer for O!RUL8,2? several elements you can associate with hip-hop (radio, mic...) assemble together with the BTS logo to form a sort of Bangtan-style hip-hop temple

Hip Hop vs War, a festival against can also be seen in the back of the bus

The Hip Hop Re:Education Project, an album made by young people from New York, is in the hallway in ”Boy In Luv”

Rhythm & Poetry, a documentary about hip-hop in Australia

Lastly, some elements are not hip-hop per se but still relate to the hip-hop culture. It’s the posters from SNEEZE magazine (details in this post) and the graffitis, notably the ones from the JnJ crew that could be seen in “No More Dream”(you can see the list in the glossary).

Being Hip-Hop

Reading articles about hip-hop and its history, there’s a notion that quickly stand out: there’s a whole difference between being hip-hop and doing hip-hop. Simply doing hip-hop without searching to understand the culture, just by imitating what’s been done, is usually very badly perceived and seen as cultural appropriation. Another important element is the idea of authenticity, someone should be sincere about their story and passion.

Interestingly, BTS has been labeled as fake by default because they’re not black Americans and worst, they’re k-pop idols. Add a few mistakes due to youth and ignorance, American Hustle Life, which as any self-respecting reality show put the emphasis on problematic stereotypes and I’ll let you imagine the result. All these problems are discussed in the article “Respect must be earned: BTS’ journey towards gaining its stripes in black America”. You’ll note that no one considered teaching them before hating on them and that everything was taken from an American point of view.

Which is probably where lies the problem since BTS are Korean idols. I won’t develop the subject since I’m not a professional but you can refer to this Vulture article and this one from Medium to know more about K-hip-hop (the Wikipedia page is also well written). You can also read Elliot Sang’s analysis of “Hip Hop phile” to know more about the complicated relationship between Asia and the black culture.

In summary, hip-hop was slowly imported in South Korea after the war. At first, it was dancers then rappers slowly appeared. Two names completely changed the game in the 90s and can be considered as the founders of K-hip-hop: Drunken Tiger and Seo Taiji & Boys. Those two groups helped the development of Korean hip-hop, which later evolved into the K-pop we’re familiar with under the influence of Seo Taiji & Boys.

The members of BTS grew up under the influence of those two groups - as well as all the acts they namedropped in their songs. Hip-hop was something normal for them, totally part of their own culture and not a foreign thing. Concerning RM and Suga, it has actually been a full part of their teenagehood (see baepsayed super complete posts about the pre-debut of RM and Suga for more details). So when Suga says during their first showcase that BTS “will do the most authentic hip-hop music” (in comparison to other idol groups), it’s not a selling argument, it’s the truth. Another argument in favor of the authentic feeling is the goal of the group: protecting the youth of prejudice and denouncing the unfairness of society. The third point doesn’t come from the boys themselves but from their own models: Drunken Tiger (now Tiger JK) and Seo Taiji have acknowledged them. RM featuring on Drunken Tiger’s Timeless and BTS participating to Seo Taiji’s 25th birthday concert is extremely meaningful. And you can add Suga’s collaborations with Dynamic Duo and Epik High. Garion also revealed in an interview they loved BTS and they were thankful for their song “Mutu” inspired RM to start rapping. For a more complete list of interactions between BTS and the K hip-hop scene, you can refer to this thread by @smollyoongs_.

From the Korean point of view, BTS has to be one of the most authentic hip-hop acts possible. Even though pure hip-hop can be mainly felt in the school trilogy era, BTS remained true to their selves when it comes to their lyrics and their passion. As for the sounds, you can still feel a strong hip-hop influence in the rappers’ solo releases. If you want to read more about BTS and authentic hip-hop, you can check this Twitter thread with screenshots of the book Hanguk Hip Hop by Myoungsun Song, in which BTS is included. 

I’ll conclude the post with three more articles, the first one appreciating RM’s solo works from 2015, the second about RM being both a k-pop and hip-hop artist and the third about Suga and his storytelling talent. That’s just some more proof that the boys are being acknowledged for their talent and sincerity.

People can criticize as much as they want, the fact remains that BTS has been accepted by the founders of K-hip-hop and by music professionals, they are an authentic hip-hop group.

[furederiko]

"Shin Sakura Taisen Rekidai Kayoushuu" Review (Part 2)

SEGA boldly (or is it a risky move?) introduces new Kagekidans that represent new cities with this game. Not one or two, but just THREE for now, with a fourth one debuting later in the Spring TV series. Track 4 to 6 of the album are specifically slotted for these new heroines...

Contrary to reports in various sites that had reported them as such, in my opinion, these are definitely NOT character image songs. Kouhei Tanaka-sensei has openly referenced them as "[City Name] GEKITEI". So these sit in line with Paris Kagekidan's "Mihata no Moto ni" and New York Kagekidan's "Chijou no Senshi". Whatever happens to those teams, by the way? Hmmm...

One might argue that unlike "Shin GEKITEI", only one member sings these songs. But they seem to forget one thing: Sakura Shinguuji sang solo on the first vanilla version of that song. I don't know what the future holds, but there's a possibility that in the sequel(s), we might get another take of these songs that incorporate other members of their teams. For two of them, at least. We'll just have to wait and see. For now, let's embark on a globetrotting journey!

Niji no Kanata (Other Side of the Rainbow) by. Huang Yui (Sumire Uesaka)

As soon as I heard the full version, I wasn't completely sure how I felt about it. Surprisingly, I think I enjoyed the short MV version better. When SEGA started releasing one MV after another, starting from Berlin to this one, "Shanghai GEKITEI" totally stole my attention. I proudly declared it as my favorite of the three. Perhaps because the verses felt more concise (with less instrumental parts) that made it sound more... kickass? Even though it had a somewhat odd lyric, which you will understand why. This full-length version somehow exuded a different vibe. The verses were longer, which was the bit that I'm not too fond of. On the other hand, the lyrics flowed better and made more sense. And then there's an issue with Yui's voice. She had a playful and childlike tone in "Aratanaru". Assuming that's her who got the shortest line in the interlude, of course. I prefer the more gallant take that she used here, but the inconsistency threw me off. Suffice to say, I had to hear it a few times to finally get the hang of it. But goodness gracious, the Chinese vibe, which was even stronger (that should be obvious, I know! Ahaha), never failed to win me over. Just like the verses, the instrumental portions were also longer, thus giving it a slower and elegant pace. That serenading sound of Erhu just hit my soft spot every single time, likely resonating with some part of my genes. Combined that with a blast of modern instruments, and it blew me away. I sure want to see a live orchestra perform this with a Chinese theatre dance to accompany it! Its lyrics, courtesy of Ouji Hiroi, carried a similar message of Teito, Paris, and New York themes. Protect the city, its people, and seize the dream. Why does the title use 'Rainbow', though? Especially considering 7, while being a good number for a relationship, is considered as unlucky in Mandarin (ghost month). The key is in the kanji for 'Rainbow', because it is also known as 'Hong' or 'Jiang', the name of a two-headed dragon in Chinese mythology. And what does the symbol of Shanghai Kagekidan look like? Yep, a DRAGON! So while in Japanese it literally translates as "Other Side of the Rainbow", the context also points to it being "Other Side of the Dragon". Even though it might take me a while to get used to this, and it's no longer my number one, it's an amazing piece nonetheless. I'm old, so I'm not familiar with Sumire Uesaka's pop songs. But so far, I haven't heard her sang a song like this. As Kouhei-sensei had stated, these new "GEKITEI" were composed to challenge the VAs vocal prowess. That seems to be the case here, to which Uesaka did a great job! PS: Wikipedia told me that Uesaka is a fan of Russia. I wonder how she would feel if she was cast as a leader of the Moscow Kagekidan instead?

Entaku no Kishi (Knights of the Round Table) by. Lancelot (Manami Numakura)

Just like the previous song, I had a completely opposite reaction to this as well. It honestly took a while for me to like or even understand the London Kagekidan theme when its official MV first came out. This full anthem also sounds different but in a far more positive light! How so? The second Westminster Bells kicked off, my mouth grinned so wide. Then the music slowly developed into that familiar tone, but continued to build up even more with meticulous touches and flares of fanfare, horns, trumpets, and an electrifying mix of the electric guitar. And suddenly I was transported into the medieval era, with images of brave knights flashing on my mind, en route for a battle to protect the land. Daaaang... Kouhei-sensei totally knows how to make something sound so graceful, yet gallant and rich, huh?! A sensation that young'uns nowadays would easily call 'EPIC'. My lingering issue with this song remains as-is: Manami Numakura's voice. Don't get me wrong, she is a wonderful VA with a unique vocal tone (Kohaku in "Dr. STONE", right?). I'm just not a fan of her singing voice, never was since her Idolmaster days. Even when it's my least favorite part of the song, that tomboy-ish charm blends perfectly with the song and gives it a distinct sound. The end result is something that continues to delight me and puts a smile on my face. Oh, what about the title, you ask? I think it's obvious enough. London Kagekidan is clearly based on the tales of King Arthur. Arthur is (likely, the code-name of) its blond-haired, high priest-dressed Captain, while our female lead here is the loyal Lancelot. It intrigued me when the lyrics, by Shouko Fujibayashi, mentioned 12 knights just like its lore. Does the team really have that many members? Assuming it will feature in the sequel, that would be fun to see. Then again, Idolmaster started out with 10(+1) idols, so I'm sure Lancelot would fit along just fine! Hahahaha... PS: Do you think that echoing bell at the intro and interlude sound convincing? Well, Kouhei-sensei said they actually recorded it at the actual location! Another good reason to appreciate this song.

Kurogane no Hoshi (Iron Star) by. Elise (Nana Mizuki)

*standing ovation* This. This IS a SCARY song! And by scary, I mean what a challenge it IS to pull off. Imagine trying to do at least an okay job at this in a karaoke booth? Godspeed. Nuh-uh, I don't think this song will work without Nana Mizuki's powerful vocals. Not just because I'm a fan of her, or have always wanted her to be part of this franchise. But I love Elise because she adds that much-needed heavier tone to the cast. Her brief but scene-stealing lines in "Aratanaru" proved that notion. You could easily recognize her voice amidst the chorus. If you think the short MV version (the actual first 1:20 minutes) that you see above already sounds amazing, just wait till you hear the middle part of this song. It slowed down, with various strings gently swayed you to enter another realm. Then it went FULL OPERA, with a piercing vocal work that would send nothing but genuine shivers to your soul! Goosebumps. All the time. The music had clear influences of Wagner's compositions, and those who are at least aware of classical music (or have seen "ClassicaLoid Season 2" Hahaha) would probably notice that almost immediately. Song of Valkyrie, anyone? Because of that, Kouhei-sensei personally did the arrangement for this number, seeing that it required a full-blown orchestra ensemble. Sensei showed the first part of the music sheets during one of the Teigeki Report, and I had a feeling it must've blown away everyone who saw it. I mean, Seijuurou Kamiyama's VA Youhei Azakami was literally jaw-dropped. He also revealed that Nana went above and beyond on that last high note, hitting it longer than she was supposed to, in time for the grand orchestra finish. Seriously, goosebumps. It is certainly one of the highlights of the album, and you DEFINITELY need to listen to this. Also, this is the only Kagekidan theme that I'm not sure can work as a group song. It IS still a Berlin Kagekidan song, proclaiming the might and power of the team that started it all. But can it be performed by a team of Hoshigumi? Dealing with that complicated lyrics by Shouko Fujibayashi ("...Schwarzer Stern, kurogane no hoshi..."), and fast-paced tempo will undoubtedly leave them breathless. Now I'm patiently counting the days to see Nana perform this in a live concert! Mindblown... PS: By the way, original Hanagumi's "Dream/Yume no 1 Pound" and Kanadegumi's "Enbukyoku, Kimi ni" came to mind when I tried to analyze this song. Presumably due to that middle part, which is true to Kouhei-sensei's style. You'll be hearing that magic touch of him again in some of the next tracks.

Next: the curtain rises for the Shin Hanagumi ladies!

Video is available on SEGA Official Youtube Channel. "Shin Sakura Taisen" is produced by SEGA, and RED Entertainment. Credits and copyrights belong to their respective owners.

[littlelonghairedoutlawllho]

Fanfic Writer Ask Meme!

Tagged by @bogglebabbles

Author’s Name: littlelonghairedoutlaw here and on FFN, ponderinfrustration on AO3, and generally just Shauna

Fandoms you write for: Phantom of the Opera, but I have written for Harry Potter, Sherlock, Saga of Darren Shan/Cirque du Freak, His Dark Materials, Chess, and Lonesome Dove. I think that’s all? Though there is a high chance I’ll end up writing for HDM again when the series airs because you know I love my disaster man Lee and my dear witch queen Serafina.

Where you post: Here, FFN, and AO3

Most popular one-shot: in terms of both reviews and favs it’s Twin Hearts, Echoed on FFN. On AO3, Permission of Intimacy has the most kudos, Compositional Interruption the most bookmarks, and Masquerade the most comments.

Most popular multi-chapter story: Soft Place to Fall has the most faves and reviews, Cartography has the most kudos and bookmarks on AO3, and SPtF wins on comments.

Favorite story you wrote: The Delta series and love-light. Both of them are just so satisfying. Delta has so much in it that I wanted to do for a long time, and it’s the sort of thing I’ve been wanting to read. Did not know how much I needed a tubercular Erik and an OT3 in my life until then. And as for love-light...God. It’s oddly personal in a way. It’s very much a tribute to the books I’ve been reading the last month, the sort of feelings I’ve been drawn to, and things I’ve been thinking about. There are probably about a hundred different things in it that Against the Tide and Thanks for the tea are responsible for, right down to Erik’s dodgy lungs and his English education and the description of his face. And just the fact that it’s Irish. It’s Connemara. It’s not even the part of Connemara that I’ve been to, but how I want to go there. love-light is just very important to me on a level that’s inexplicable but it’s deep in my heart. It’s my wine-drinking, Perseid story which included an interlude to cry over Noël Browne, and it is directly responsible for the existence of Stardust.

Story you were nervous to post: All of them. Nervous and excited. love-light especially because it’s so dear to me, but all the Tinder stories too and SPtF, and Etched and Wraiths and RTtR, and Delta. Every one of them has been a nerve-wracking experience and sometimes it’s turned to disappointment but also sometimes it’s become elation

How do you choose your titles? A lot of songs, sometimes poetry. Sometimes just words that feel like they fit.

Do you outline? Sometimes. I outlined SPtF and stuck to it. I outlined RTtR, and outlined it again, and again, and again... Wraiths and Etched both got sort of outlined halfway through. Dead Water and Digging Up Bones were unplanned in every way, as was Delta. I don’t outline one-shots, but I did draw up a timeline for Fifteen Christmases because it’s so vast, and now when I’m writing Tinder things I refer back to FC as a sort of base text so I know where I am in the timeline and what I can and can’t talk about.

How many of your stories are…

*complete? Afaik, all of them. So 322 on AO3, 304 on FFN.

*in-progress? I don’t think there are any? Unless I missed any which I admit is highly possible.

Coming soon: I need to edit and properly post that short SPtF sequel. I have mentally played with the nextgen a bit for it, but I don’t think I’ll do anything with them, though you bet I have headcanons about little Christopher John. Other than that, there is a Tinder thing I need to edit, another Tinder thing in progress if I ever get back to it, and one more Tinder thing I’d like to do. After that I really am done, unless I come out of retirement just to write Sorelli as a socialist in Dublin Artane in 1977.

Do you accept prompts? Sometimes. I reblog prompt sheets but I usually only get one or two off them, if that. I have pretty much a 95% clearance rate, I think, though it may take me more than a year to actually get to it, which is how Dead Water happened. I very much enjoy prompts, especially slightly unusual ones or ones that I can twist into something historical and a bit out there. I found writing E/C all the time extremely exhausting and most prompts will be E/C which is where that other 5% comes in, but for non-E/Cs ones I’m always willing. And ofc E/C as part of an OT3 is always extremely welcome

Upcoming story you are most excited to write: Nothing really in particular...unless I come out of retirement just to write Sorelli as a socialist in Dublin Artane in 1977, a possible OT3.

Tag five authors to answer these questions as well: @rscoil @hopsjollyhigh @maze-zen @convenientalias

[pixelgrotto]

The horrific Resident Evil playthrough, interlude three

I just finished watching all of the Resident Evil movies I could get my hands on. When I told people I was doing this as the last part of my great year-long playthrough, they all let out groans and said something along the lines of, “Ugh, don’t you wanna end on a good note?” Undaunted by these words and fueled by my ability to tolerate crappy cinema, I moved forward, courageously making it through nine of these suckers...which, to be fair, ranged from surprisingly enjoyable to just as terrible as everyone warned me about. 

Before I begin, it’s important to note that we’re dealing with two separate film series here. There’s director Paul W.S. Anderson’s Resident Evil Hollywood films, which are the ones that most people know about. Then there are three Japanese-made CG movies that are canon and co-exist alongside the stories of the games. The Anderson movies are...mostly ass. The Japanese ones are okay. 

Let us start with the ass first. 

Resident Evil - The first RE film came out in 2002, which means that what little CG it has is laughably dated and it’s refreshingly small-scale when compared to its sequels. The movie’s a fan fiction remix of some themes from Resident Evil 1, except with none of the characters from the games present. Instead, we have Paul W.S. Anderson’s wife Milla Jovovich taking center stage as Alice, the former head of Umbrella security in a secret base called the Hive that goes to hell when some dude tries to steal viruses. The entirety of the action takes place in the Hive, and we get a surprisingly tiny number of monsters, with just your garden variety zombies, a few Cerberus and a single Licker showing up. Even though she does run up a wall and kick a Cerberus in the face, Alice is at her most realistic here (she turns into a dual wielding mutant with the ability to make the camera go into slow-motion whenever she wants in all the other films), there’s a nifty laser grid scene that all the sequels keep referencing when they want you to feel nostalgic, and the Hive’s sentient AI, the Red Queen, is compelling enough that Capcom eventually stuck her in Resident Evil: The Darkside Chronicles. Aside from this movie being full of British actors who do REALLY awful American accents, sounding like they all have mouths full of sausages, Paul W.S. Anderson’s first take on Resident Evil is probably the most watchable one he made. 

Resident Evil: Apocalypse - Okay, this one is watchable too, but in more of a popcorn-munching “lol, this shit is dumb” way. It steals the general plot of Resident Evils 2 and 3, with Raccoon City getting infected, but ups the cheese by a hundred. Alice is now a thirteen-year-old boy’s version of a BADAZZ woman, with lots of guns and a bare midriff, and she teams up with Jill Valentine, who resembles her game self in looks but not exactly in personality. Together, they’ve gotta escape Raccoon City along with Carlos Oliveira, who is possibly the only character from the games who is done a great service in these Anderson movies, which make him much more likable even if they couldn’t find an actual Hispanic actor to portray him and had to settle for an Israeli instead. Oh, and Nemesis shows up, because one of the dudes from the first movie who accompanied Alice into the Hive gets experimented on and turned into what honestly looks like someone’s Halloween costume. The writers commit a cardinal sin at the end of the flick by humanizing him, having him suddenly remember his TRUE SELF and help the good guys, but aside from that screw-up I admit that I had a goofy grin on my face throughout several parts of this movie. After Nemesis blows up the Raccoon City station and murmurs his one line of dialogue- “STARRRRRSSSS” - I even kinda felt like clapping. So yeah, Apocalpyse is idiotic fun.

Resident Evil: Extinction - Here’s where the movies stop being mildly entertaining and become varying degrees of either “meh” or just plain bad. Extinction’s biggest problem is that it makes the weird decision of having the entire PLANET be wiped nearly completely clean by Umbrella’s virus, giving the franchise the most generic setting imaginable for a zombie flick - a post-apocalyptic world. And even though this film features Claire Redfield and actually has Alice fight a Tyrant that looks the part, I feel that by turning the environment into Mad Max the filmmakers missed the entire point of the franchise. Resident Evil isn’t really about a “what if” scenario with mankind dying and zombies taking over the world. Instead, it’s about how humanity manages to cope in a time where zombies are used by corporations for terrorism purposes - hence the franchise’s “bio-organic weapon” catch-phrase for its creatures. It’s about how brave people live on in an era that just happens to feature biopunk monsters as a deadly fact of life. It’s about the evil that resides within a world that is pretty shitty, but hasn’t completely gone to shit. By turning the whole planet into the same ol’ zombie playground that we see in most popular fiction starring these workman-like horror tropes, Extinction - which probably thought it was upping the stakes - instead just feels sorta dull, and anyone who views the film today is probably going to see it as a weaker version of The Walking Dead. Oh, and it ends with Alice discovering clones of herself, which will only serve to screw with the loose continuity of these movies as they go on. 

Resident Evil: Afterlife - This one starts with Alice’s clones raiding the Umbrella facility in Tokyo, and the whole sequence - which feels like it should be the finale - is reduced to a few minutes of special effects in the beginning. (This is foreshadowing for the next two films, which both end with hints of giant, climatic battles that mostly happen off-screen, if at all.) The first thing that I noticed when watching this was how slow-mo kicked in every five minutes and how the camera seemed to linger on bullets, and I eventually remembered that this film was released during Hollywood’s obsession with 3D during the early 2010s. This explains Afterlife’s IN-YOUR-FACE-IN-THREE-DIMENSIONS action scenes, which are initially pretty in a music video sort of way but become overdone and tiresome as the movie goes on, kinda like a Zack Snyder film. (I place Paul W.S. Anderson in the same “style over substance” category of director as both Zack Snyder and Michael Bay, by the way.) Anyway, Afterlife deals with Alice teaming up with more survivors to try to find a secret ship haven free of zombies. Along the way she runs into Chris Redfield, who looks more like a janitor than the jacked BSAA agent that he is in the games, and Chris and Claire Redfield have a quick sibling reunion and fight Wesker in a scene with choreography shamelessly stolen from Resident Evil 5. It’s pandering fan service and sort of diverting, but ultimately none of it matters. Chris disappears after this movie and is never seen again, and Afterlife is more interesting as a specimen of 2010 3D excess than it is as an actual narrative.

Resident Evil: Retribution - Retribution amps the pandering fan service that Afterlife dabbled in to new levels. Ada Wong is here, played by Li Bingbing but dubbed by her original voice actress, Sally Cahill, probably because Li’s English isn’t that great. Leon Kennedy and Barry frickin’ Burton show up, both looking pretty much like their in-game counterparts. Even Michelle Rodriguez and a few other faces from Paul W.S. Anderson’s first Resident Evil flick make an appearance, thanks to the fact that this movie has clones up the wazoo and uses them to handwave away any series inconsistencies you could think of. So you’re got fan service for the people who like the games and fan service for the folks who liked the first movie, and on top of it all the film has the extreme 3D that its predecessor possessed and a buttload of battles because it all takes place in a giant Umbrella simulation facility full of stuff that can easily be wrecked. By now the plot to these things has gotten more scrambled than my eggs in the morning, but I will say that thanks to its inclusion of classic characters, Retribution is more or less tolerable. There’s even a bit of characterization this time around, thanks to a little hearing-impaired clone girl who Alice takes under her wing and begins to care for, and the movie ends on an okay cliffhanger in a Washington DC under siege, promising epic things to come in the next movie. Unfortunately... Resident Evil: The Final Chapter - I really did not enjoy The Final Chapter for a myriad of reasons. First of all, the Washington battle promised at the end of Retribution never happens. Instead, we fast forward to several months later, when Alice is (big surprise) the only survivor, and EVERYONE she was with in the last flick - Ada, Leon, the little deaf girl - is gone and never mentioned ever again. Wesker, who Alice was working with in Retribution, is back to being a bad guy for poorly explained reasons. Another bad scientist dude that Alice killed in Extinction also returns for even worse reasons, because supposedly Alice only offed his clone three movies ago. But wait, this “real” bad scientist dude is also revealed to be a clone as the TRUE bad scientist dude shows up in the movie’s last act! AND THE ULTIMATE TWIST (look away now if you actually care about spoilers) is that Alice is HERSELF a clone of the original daughter of the Umbrella corporation’s founder who died of a degenerative disease and served as the basis for the Red Queen AI. The idiotic thing is that this daughter was said to be the progeny of Dr. Charles Ashford in Resident Evil: Apocalypse, but this movie retcons her to be the spawn of Dr. James Marcus. The Final Chapter, in fact, screws with continuity to a degree I have rarely seen before in a long-running film franchise. Yeah, the framework tying this series together got weird as soon as clones were introduced, but previously it seemed that Paul W.S. Anderson at least cared about his own messy fan fiction. Here? It’s like he forgot what he’d spent the last 15 years building up to and ended on one sloppy fart. If this weren’t bad enough, The Final Chapter is edited in that god awful “shaky cam, lots of fast cuts” way that I hate. In fact, I counted something like twenty cuts in a scene of a few seconds when Alice is attacked by a creature, which means that this film won’t just baffle you with its disregard for continuity - it’ll give you a headache too. 

Resident Evil: Degeneration - After watching an array of live-action flicks that took random Resident Evil threads and mashed them together with the elegance of a splattered turd, it did feel good to switch things up and move to the CG movies that were actually put out by Capcom. This 2008 offering takes place in between Resident Evils 4 and 5, stars Claire Redfield and Leon Kennedy, and deals with a virus breakout in an airport and some of the pharmaceutical company backstabbing that occurred in the aftermath of Umbrella’s destruction. It’s all stuff that feels like it could have come from a lesser gaiden game - perhaps in the same vein as the first Revelations title - and it kinda gives off that “so-so anime movie” vibe, especially because the dubbing always sounds a tad off. Nevertheless, Degeneration’s still a breath of fresh air compared to the Anderson series, and there’s a nice gag where Claire’s searching for a weapon in the airport, someone hands her a physical umbrella, and she looks at it and is like, “Hm, didn’t see this coming.” (Lollerskates.) The main issue I have with Degeneration is how “plasticky” everyone looks - it’s hard to realize how far computer animation has advanced in the last decade until you look at Degeneration’s stiff visuals and compare them to the other CG films. Also, Leon’s characterization is terrible. He’s meant to be a super serious badass, I guess, but he mostly just looks like someone rammed a Samurai Edge up his sphincter. I prefer my Leon Kennedy to be the “Don’t worry Ashley, I’m comin’ for ya!” version from Resident Evil 4, or at least a dude with a little sass to him. The guy in Degeneration is about as interesting as a board.  Resident Evil: Damnation - Damnation is a noticeable step above Degeneration, both in computer animation, which really got better from 2008 to 2012, and in all-around presentation. The dubbing’s still somewhat wonky with that same anime movie vibe, but the characterization is on point, and Leon, who’s taking center stage once more, is just like his RE6 self. Speaking of RE6, this movie channels that game’s themes of international terrorism with a plot that involves rebels in a made-up Eastern European country using Lickers and Las Plagas in an effort to fight for their freedom, only to learn that lo and behold, the nefarious female president who’s seized control of their nation has her own B.O.W.s - in the form of Tyrants - at her disposal. Leon’s caught in the middle of this mess and ends up befriending some of the rebels, and Ada Wong’s also infiltrated the country to manipulate the president. Ada and Leon’s interactions are as insubstantial as they’ve been in pretty much every game that isn’t the recent RE2make, but we do get a cool fight between Ada and the president, who for some reason knows substantial knife fu. There’s an even better battle between Tyrants and Lickers in a city hall square, and Leon gets throw against pillars, regularly takes hits that would kill a normal person and pilots a tank alongside one of the rebels who looks a lot like Chris Redfield but isn’t Chris Redfield. This dude serves as the film’s sympathetic character - a guy torn from his peaceful existence thanks to political wrangling and is tricked into using B.O.W.s to try to achieve a brighter future. It ends with the fella severely injured but learning how to live and move forward in a world infected with nefarious bioweapons, which is the very theme that the Anderson flicks ditched around movie number three. So good work for side-stepping previous failures and recognizing what Resident Evil is all about, Damnation. 

Resident Evil: Vendetta - If Degeneration’s a so-so anime movie, and Damnation a good anime movie, then Vendetta is just a good movie in general, with no “anime” distinction needed. The dubbing’s finally pretty decent, for one, and the story takes place in between RE6 and RE7, teaming Leon and Chris Redfield up with - HOLY CRAP - Rebecca Chambers, who’s been AWOL since Resident Evil Zero. They’ve gotta stop an arms dealer from bio-nuking New York and doing nasty things to Rebecca, who resembles his dead wife, and along the way Leon pilots a motorcycle on the freeway with his feet while shooting at Cerebrus with his hands. Nearly all of the movie’s considerable action segments are punctuated with rapid fire John Wick-style gunplay, and it works. It’s like the folks who made this film realized that the coolest part of Resident Evil 6 was the point where Leon and Chris point their guns at each other for a few seconds before deciding that they need to put their differences aside and cooperate, and even though you could conceivably fault Vendetta for leaning heavily towards the “action” side of Resident Evil rather than the “horror” side, it’s a well-paced film that finally gives us a substantial interaction between two series mainstays beyond the one minute they shared with each other in RE6. Also, people are still posting GIFs from Vendetta’s action sequences all across Tumblr and forums whenever arguments break out over whether Chris or Leon is TEH COoLER Resident Evil protagonist, so Capcom obviously did something right. If we get another computer animated film, I imagine it’ll lean more heavily towards horror since that’s where the series has gone recently...but hopefully the path of improvement that we’ve seen from Degeneration to Damnation to Vendetta won’t be broken. 

And with that, whew, I’m done with RE movies, at least until the rumored Hollywood reboot that’s supposedly drawing inspiration from Resident Evil 7 comes out. (It can’t be worse than The Final Chapter, I suppose.) I can’t say that my friends were wrong when they warned me that half of these would be shite, but I also can’t say that I ended on a bad note, because Vendetta was pretty good.

After all this, my grand playthrough and consumption of all Resident Evil media is about to finish Next post I make will be a last look at the franchise as a whole...and what a year’s worth of zombie headshots taught me.  All screencaps taken by me. 

[happymetalgirl]

Deadspace - Dirge

After a slow 2018, releasing only an EP, Deadspace have returned to quickly stake their claim on 2019's metal landscape. 2018's Mouth of Scorpions found the band recapturing their creative glory after the mild slip that occurred from Reaching for Silence to The Liquid Sky. The band certainly weren't bending any rules or pushing any boundaries of the kind of ambient black metal they played, but Mouth of Scorpions at least found them sounding more vital and less camouflaged into their genre than the previous year's LP did. Based on what that EP presented of Deadspace last year, I had a few hopes and expectations for whatever full-length project was to come next from the industrious Aussies. I was hoping the band would remain revitalized and carry the momentum of the EP's emotional potency over into this year's LP.

Conceived as the thematic and stylistic sequel to 2015's Promise of Oblivion, Dirge ended up taking a very different and unprecedented turn for Deadspace. Departing from their occasionally melodramatic blackgazey DSBM, Deadspace took one a far more harrowing and fearsome aura more along the traditional black metal side of the DSBM style than what they usually present. And it ends up being such an unexpected improvement as Deadspace outdo themselves with what I think is their best LP yet. The band didn't just veer off onto another musical trail of which they had no knowledge and resort to copy-catting Leviathan or Gorgoroth or whoever might help them fit in somewhere they don't belong, nor did they shed what has made them an interesting band within ambient black metal. Rather, the band took their full arsenal of cathartic blackgaze talents and marched headlong into the darker territory of the style and made expert use of it without it coming off as forced or formulaic. The band clearly know what they're doing with the more overbearingly depressive side of the genre and they do well to play fittingly to maintain the unfliching atmosphere that gives the style its appeal.

The most immediately noticeable difference is the far more bestial vocal style that characterizes the album compared to records past. It's one of the most natural transitions I've heard to this kind of vocal style, and the way the instrumental style transitions so smoothly certainly aids in it coming across as authentically as it does. And this is partly because the band never really abandon their old sound either. The integration of both sides of that measure on the DSBM spectrum could easily have been executed choppily or been completely ham-fisted, but the seamlessness with which Deadspace weave back and forth between their more melancholic older sound and this more overly sinister sound is rather impressive. The band manage to capture both the visceral mental anguish that acts like The Body or Hell love to cultivate, as well as the kind of hair-raising, meditative enlightenment that comes from blackgaze at its best.

Right out of the ominous ambiance of intro track, the song "Rapture" sets the more menacing tone of the album with walls of black metal guitar dissonance, pummeling bass drums, and more rabid, echoing screams than ever before. The song still makes its way through some more heartfelt guitar leads and even a piano section, proving that Deadspace can maintain their grasp on their old blackgaze through this much harsher black metal storm they whip up. The title track is a brilliant, well-named combination of cavernous, slow-paced agony trudging through a windstorm of sharp dissonant tones and abusive percussion. I love the simultaneous melancholy and agony of the album that the band makes so potent on this song. The band just made so many smart and well-measured compositional choices all across this album, another of which being the smooth piano interlude they include in the middle of the track list. It's pretty well-placed and serves well to give the album a temporary cool-down before its subsequent explosion into its second half without feeling like a merely passing the album's time and killing its momentum.

The more straightforward, aggressively depressive moments on the album are pretty fantastic as well. The ride-cymbal-accented "Indoctrination" is one of the more directly deathly and unforgiving cuts on the album, whose short stay is perhaps its one weakness, being a song that feels like it could reach even higher echelons. I also especially love the fast, harrowing, and darkly celestial intro of "The Malevolence I've Born unto Others" and the ethereal, double-bass-backed string section it soon leads into, and the ominous hushed growls of dark premonitions that lead into the more sorrowful climax of "Consigned to Oblivion". I love the sorrow that's carried over into the melodic guitar leads on the next track, the more beautifully somber "Hypnogogia".

The album's closing track, "O Sancta Simplicitus" is a fantastically cinematic conclusion to the album's dynamic experience, stretching out in all the directions Deadspace covered on the songs prior and wrapping everything all together in one terrifyingly depressive and heart-wrenchingly sorrowful climax.

This January sure felt like such a shit month for mainstream metal releases especially, but this was a nice way to close the month out. This album caught me quite off guard, and in a way I have become very grateful for. The fierce, frightful atmosphere that persists throughout the entire record is not what I expected from the band, nor is it something I would have expected them to conjure so masterfully so quickly. Deadspace still aren't really pushing any genre boundaries, but they are doing so well to craft something so special in its potency and unique in its feel with this combination of sounds they make use of, yielding their best album to date. Laying such diametrically opposed angles within black metal on top of each other in an intricate fashion such as this, Deadspace have more than made up for the bit of slump that The Liquid Sky took, and made an album that truly demands to be experienced and immersed in. This year is definitely looking to be another phenomenal one for mainstream metal with Slipknot, Gojira, Periphery, Devin Townsend, and (allegedly) Tool slated for releases this year, but for now, Deadspace has my favorite album of 2019, and one that will be hard for even the big names to beat. This is not just a high point for an underground band, this is a confident statement of their importance and one that commands respect and consideration alongside the greatest of the band's contemporaries. I can proudly say that I knew Deadspace had something truly special in them when I first heard Reaching for Silence, and Dirge has confirmed my predictions of them reaching an even brighter future and fulfilled my hopes of what they could achieve. But really it's the band who deserve to be proud for what it is they have achieved here. Congratulations to Deadspace, what a fantastic album!

great expectations/10

[luvneedsnosyt]

My Favorite Albums of 2018

Here is my list of my personal top albums of 2018

You can find my separate list for top EPs of 2018 here.

My Previous monthly lists from 2018: January , February, March, April, May, June, July, August, September, October, November, December

My list last year for my top Albums of 2017 can be found here.

*Indicated someone I saw live in 2018

Honorable Mention:

Alan Walker - Different World Genre: Electronic / Dance

Different World is life in a digital universe. On the surface the mechanical synth-based melodies might come off as a bit too artificial, but if you dispel the notion computers can’t be a musical instrument you can see there’s a heartbeat under the churning gears. In the context of the album all the tracks really work together harmoniously, a pretty amazing feat considering these songs were recorded and released over the span of three years. There is a intentional, common vernacular across the tracks that melds it together quite nicely. Despite the plasticity on top, this debut album is artificial intelligence exuding relatable emotion and infectious energy. I don’t know what’s more human than that.

Proof: Lonely (w/ Steve Aoki Feat. ISÁK & Omar Nior) / Darkside (Feat. Au/Ra & Tomine Harket)

Alina Baraz - The Color Of You Genre: alt-R&B / Soul

The soothing and sultry voice of Alina Baraz can seriously sing to me the phone book and I would rock back and forth in a happy place. The world was first introduced to Alina Baraz when she teamed with Danish producer Galimatias for their euphoric, synth-pop joint EP Urban Flora. For her first solo project Baraz goes for a bit more of a stipped down sound which allows her soulful vocals to shine as they whisk you away. This enduring and intimate album shows the future is bright for the singer and her low lit music.

Proof: Fallin / I Don’t Even Know Why Though // Bonus: Feels Right

Chloe x Halle - The Kids Are Alright Genre: alt-R&B

Sisters Chloe & Halle’s talents caught the attention of none other than Beyoncé who scooped them up for her label and now their unique and unpredictable form of R&B is catching the attention of the masses. The sisters broke out on the scene with 2016’s Sugar Symphony EP, followed up by the YouTube released mixtape The Two of Us. This debut album has been in the works since before that original EP was released and with most of the production handled by them is a true culmination of their hard work to get to this point. The hard work is already paying dividends with two GRAMMY nominations including “Best New Artist”.

Proof: Everywhere / Galaxy

CHVRCHES - Love Is Dead Genre: Synth-Pop

On their third album, Love Is Dead, for the first time Scottish band CHVRCHES used outside producers on a record. The result is a bit more expansive of a sound for the group then before. The moments of emotion and energy seem a bit more unhinged (in a good way). Lauren also adjusted her writing techniques from a metaphor heavy style that would allude to subjects to a much more straightforward vocabulary addressing things head on. It’s still the same identifiable vernacular of the band CHVRCHES but with a few new art pieces up on the walls.

Proof: Never Say Die / Miracle

Don Diablo - FUTURE Genre: Electronic / Synth-Pop / Dance

Ten years after his debut, Dutch producer shows by he’s been a sought after producer for nearing twenty years. FUTURE shows how the producer has been able to craft entertaining and contagious pop melodies that resonate ohh so well.

Proof: Take Her Place (Feat. A R I Z O N A) / Found You (Feat. Bully Songs)

J.I.D. - DiCaprio 2 Genre: Hip Hop

J. Cole signee J.I.D. Didn’t waste time following up his 2017 debut album The Never Story. The Atlanta rapper already had a following established from independently released mixtapes and EPs before last year. The Never Story exposed to a wider audience this newcomer has got some lyrical skills and a silky, smooth flow, DiCapro 2 (a sequel to his 2015 DiCaprio EP) only exacerbates the exposure to his talent even more.

Proof: 151 Rum / Tiiied (Feat. 6LACK & Ella Mai)

JMSN - Velvet Genre: R&B / Soul / Funk

The shape shifting R&B of Michigan singer JMSN has been one of my favorites since his 2012 revelation of a debut †Priscilla† (which topped my 2012 albums list). His first album and EP were very much in the hazy low lit alt-R&B sound similar to The Weeknd and How To Dress Well. JMSN then molded his sound to a more straightforward form of R&B for an album. Again, not being complacent, his two following albums transformed again this time to sound like a jazz assemble backing a soul singer. Well, JMSN takes another left turn with Velvet incorporating some sultry funk. With dripping base lines and bouncing synth keys this is JMSN’s most vibrant sound yet.

Proof: Levy / Drama

Kylie Minogue - Golden Genre: Synth-Pop / Country

I am admittedly not a big country fan, and some more die hard country listeners my roll their eyes at me calling this album country. Kylie Minogue is going on 30 years in the industry and mostly been a danceable, synth-pop artist. For her fortieth album Golden, Kylie went to Nashville and incorporated country and bluegrass music tendencies into her sound; something that could be a disastrous ambition. I guess you don’t just luck into making music for three decades, because this interesting mixture is pulled off beautifully. Golden is an effective and innovative mash up of electronic music, synth-pop and country in a surprisingly delicious cocktail.

Proof: Stop Me From Falling / Every Little Part of Me

Logic - YSIV Genre: Hip Hop

With one of the most lethal flows in the game, Logic dropped off two projects in 2018. First was the follow up of his Bobby Tarantino Mixtape. The second was his fourth LP, but this time reviving his Young Senatra persona from mixtapes earlier in his career (the last one came out in 2013). YSIV or as it stands for “Young Sinatra 4” is another verbal assault by the talented rapper and one of his most confident records to date. The robust use of skits and interludes has always been a gripe of mine with Logic albums, and gladly they are noticeably absent here. No matter what persona he dons, Logic has some of the most ferocious lyrical prowess in the industry and he loves to show it off.

Proof: The Return / 1000 Miles & Running (Feat. Wale & John Lindahl)

MNEK - Language Genre: R&B / Electronic

Before this debut album was released British singer/producer/songwriter MNEK already had multiple GRAMMY nominations from his songwriting and production work with artists including Kylie Minogue, MØ, Madonna, Zara Larsson, Julia Michaels, Dua Lipa, Beyoncé and a whole slew of others. With the success of his stellar 2015 EP Small Talk he became a sought after commodity in the industry. For his debut album MNEK wanted to make a statement of who the man behind the boards and pen is. Language is an exhilarating listen front to back and an exciting mixture of intersecting genres.

Proof: Tongue / Colour (Feat. Hailee Steinfield)

SOB X RBE - GANGIN / GANGIN II Genre: Hip Hop

It’s been a busy year for the new hip hop foursome from Vallejo. They dropped their self titled Mixtape in 2017 to catch the attention of Kendrick who put a song by them on the Black Panther soundtrack. Striking while the iron was hot, the group released their debut album in February and their Sophomore album (or an extension of their debut) only a few months later in September. Growing up the Bay Area the group is obviously influenced heavily by the Hyphy movement. You can hear elements of influences from E-40, Keak da Sneak, The Team and others in that Hyphy sound; but with a contemporary twist.

Proof: Anti Social / Can’t // North Vallejo / Made It

Superorganism - Superorganism Genre: Indie Pop

Eight member group from various countries formed the band Superorganism in 2017. Together they would send tracks through Facebook and WhatsApp and each member would add some layers on to it. The concoction is a dense, multifaceted form of unique pop music. The various layers of instruments, synths, and samples intertwine to create a mesh of melodies that bounce along gracefully despite their mass.

Proof: Everybody Wants To Be Famous / Reflections on the Sun

Tove Stryke - Sway Genre: Synth-Pop

This short and sweet album by The Swedish singer is her strongest to date. There’s a subtle growing of confidence I can see from this album to its predecessor 2015’s Kiddo. Despite its short run time, Sway makes quite an enjoyable impression.

Proof: Sway / Mistakes

Typhoon - Offerings Genre: Indie Rock / Alternative

American rock band Typhoon follow up 2013’s White Lighter with their fourth album here. Offerings is a moving and powerful affair. Most of the tracks start off mellow and sweet with moments of crashing guitars and unfiltered emotion bursting out.

Proof: Rorschach / Darker

VanJess - Silk Canvas Genre: R&B / Neo-Soul

The sisters of first generation Nigerian immigrants started singing covers on YouTube before first getting signed way back in 2011. Their debut was worth the weight, Silk Canvas is some infectious forward thinking R&B with subtle nostalgia baked in. You can see influences from the likes of Rihanna, SWV, TLC and others.

Proof: Touch The Floor (Feat. Masego) / Best Believe

Bonus:

Major Lazer - Major Lazer Essentials Genre: Electronic / Dance

Since their debut album Major Lazer has been one of my favorites. Now three albums, multiple EPs and a couple mixtapes later, Diplo has announced a new album in 2019 (10 years after their debut) will be the end of the project for the immediate future as he pursues his other many projects. With this announcement Diplo released this compilation album of greatest hits and a handful of new tracks. My first thought when I gave my original spin through this collection was “damn, Major Lazer just had some gd hits!” Listening in one place to the standout tracks from 2009 to now is an exhilarating and entertaining experience centered around diversity and overflowing passion.

Proof: Blow That Smoke (Feat. Tove Lo) / Know No Better (Feat. Travis Scott, Camila Camila & Quavo) / Watch Out For This (Feat. Busy Signal, The Flexican & FS Green) / Tied Up (Feat. Mr Eazi, RAYE & Jake Gosling)

The List:

Last One Out: NoMBe - They Might’ve Even Loved Me Genre: Alternative / Indie Rock / R&B

German born singer NoMBe is here to seduce you and I say you should let him. They Might’ve Even Loved Me is a steamy collection of rock songs about love, sex and navigating through life. NoMBe’s vocals are subdued and sly enacting a sense of mystery. The backdrops are built on groovy bass lines and plucky guitar riffs meant to get your foot tapping and hips slowly moving. I can see obvious influences from The Killers, Kings of Leon and Prince. Deeper down I also see hints of Blood Orange, Twin Shadow and D’Angelo.

Proof: Young Hearts / Freak Like Me / Jump Right In / Sex

35. Rejjie Snow - Dear Anne Genre: Hip Hop

Hip Hop is usually about being forceful and having to reach out and grab what society has built roadblocks for you to attain. Irish rapper Rejjie Snow is the opposite of that. His subtle, jazzy production is minimalist and doesn’t directly ask for your attention. This allows the mellow, but skilled flow of Rejjie to take the lead. I wouldn’t label Rejjie’s rapping as slow, but it moves at a comfortable and steady pace and doesn’t need to be unnecessarily sped up. With the vibe being so well established, the listener can now comfortably hang onto every lyric which are well written in matters of love and maturing in life we all can identify with.

Proof: Spaceships (Feat. Ebenezer) / Egyptian Luvr (Feat. Aminé & Dana Williams) / Charlie Brown (Feat. Anna of the North) / Annie (Feat. Jesse Boykins III)

34. Kelela - TAKE ME A_PART THE REMIXES Genre: alt-R&B / Electronic

Kelela’s debut album Take Me Apart was one of my favorite albums last year. Her sound that was a mixture of Aaliyah, late 80s Janet Jackson laid over production that would fit on a Massive Attack album was such an enjoyable smooth and sultry listen. Her strong vision of her projects as a whole make for a cohesive listen. That strong vision carries over to this robust remix compilation that is not your average remix album. The diverse range of producers offering remixes make for a dynamic listen that teleport you to various new environments throughout. Kelela was part of the process curating this album with each of the producers, even recording some new vocals here and there if needed. It’s that devotion to her craft that makes me confident Kelela will be a long time.

Proof: KAYTRANADA_WAITIN_115 BPM / LSDXOXO_TRUTH OR DARE_123 BPM / NÍDIA_BLUE LIGHT_123 BPM / BADSISTA_BETTER_125 BPM (Feat. Linn da Quebrada)

33. Whethan* - Life of a Wallflower, Pt. 1 Genre: Electronic / Future Bass / Dance

The most impressive skill in electronic’s wonderkid Whethan’s arsenal is his ability to construct a diverse range of sounds within a genre that usually leads to being in niches. Since he first debuted in 2015 at the age of 16, Whethan had been a producer chameleon making tracks that don’t sounds like the last two or three or anything he released before had. Before this debut album was released he already got to work with the likes of Flux Pavilion, Charli XCX, Elohim, Ashe, MAX & Dua Lipa so his clout is rapidly growing in the industry. That’s from his ability to mold and morph melodies to his will. With apparently another album set to be released on 2019, the young Chicago producer is riding this accent with no end point in sight.

Proof: Radar (Feat. HONNE) / Top Shelf (Feat. Bipolar Sunshine) / Superlove (Feat. Oh Wonder) / Be Like You (Feat. Broods) // Bonus: High (Feat. Dua Lipa)

32. Kali Uchis - Isolation Genre: R&B / Soul

The soulful, vintage sound of Colombian-American Kali Uchis has an appealing and comforting nostalgia while also feeling contemporary and innovative. You can see her influences of 1960s Soul and doo-wop music as well as traditional Colombian music as the vertebrae of her stripped-back sound but also see how she’s molding it to her will to fit in 2018. Her tender voice can bounce along a track so gracefully in her unique melodies creating a dynamic experience despite a minimalist pallet.

Proof: Just A Stranger (Feat. Steve Lacy) / Tyrant (Feat. Jorja Smith) / Dead To Me / After The Storm (Feat. Tyler, The Creator & Bootsy Collins)

31. Mother Mother - Dance and Cry Genre: Indie Rock / Alternative

Canadian Rock band Mother Mother’s sound is an exciting coalesce of Modest Mouse, Arcade Fire and My Chemical Romance. Dance and Cry is a touching record of heartbreak and the hope afterwords. I admittedly haven’t listened to an entire project from Mother Mother before this, their seventh album, so I can’t really offer much history or how their sound may have evolved. However, this was a pleasant surprise when I first took it for a spin that kept surprising me every listen after, so I will personally be paying more attention to the band after.

Proof: Dance and Cry / Get Up / So Down / It’s Alright

30. Vince Staples - FM! Genre: Hip Hop

Long Beach rapper Vince Staples marches to the beat of his own drum with a IDGAF attitude. Seventeen months after releasing my personal favorite album of 2017, Vince is back with a new project; I’m not sure what to call it. Is FM! an album, a mixtape, just a recorded radio show? The thing is Vince could really care less about those questions, he just makes what he wants to. Put together as one radio show where the tracks abruptly end, there’s hosts playing stupid games with callers, quick commercial breaks for other rapper’s projects, the project comes out as an odd but accurate snapshot of 2018. With a run time under 30 minutes this album is like a shot of adrenaline and ends before any lethargic coming down. Staples verses are as strong as ever with the same bouncy beats we’ve known him to find to spit over with his normal laid back vigor.

Proof: Outside! / Relay / FUN! (Feat./ E-40) / No Bleedin (Feat. Kamaiyah)

29. St. Lucia - Hyperion Genre: Synth-Pop

South African frontman and main showrunner of the New York band St. Lucia returns with his lush and decadent pop music meant to overload your senses. St. Lucia has vaulted to the top of my personal bands list since their debut 2013’s When The Night; which led to me seeing them live 4 times in less than 24 months. Hyperion has a little less “pop” for me then it’s two predecessors, but that doesn’t mean it’s not still a joyous piece of tropical, electro-Pop. There’s even a few new wrinkles, like some George Michael inspired Gospel infusion on “Paradise Is Waiting” or the hints of 80′s rock in the margins of “Walking Away”.

Proof: A Brighter Love / Paradise is Waiting / Walking Away / China Shop

28. Joji - BALLADS 1 Genre: alt-R&B

Japanese singer Joji has come a long way from making a silly internet meme to this surprising debut album. Originally known for starting the “Harlem Shake” meme on his YouTune channel; forever making the actual dance from the 90’s forgotten. Sometime a couple years ago he decided to take music as a serious venture. There was some aspects I liked of his 2017 debut EP In Tongues but overall there was something not quite clicking for me. The seemed to be too much focus on the air underwater vibe and not enough on the song crafting. Well that seemed to be ironed out here with a beautiful debut album that has some heart wrenching moments. “SLOW DANCING IN THE DARK” was one of my favorite songs of 2018, and shows the once YouTube jokester can really dig deep and pull out raw emotion on a song.

Proof: SLOW DANCING IN THE DARK / TEST DRIVE / WANTED U / NO FUN // Bonus: SLOW DANCING IN THE DARK (Loud Luxury Remix)

27. ayokay - In The Shape Of A Dream Genre: Electronic / Synth-Pop / Future Bass

Los Angeles based (Detroit born) DJ ayokay drops off his debut LP of sunkissed Electronic music. ayokay is not afraid to deal with some sadness in his songs, but they maintain a danceable vibe, emulating the mask we all wear in public over our emotions. Who’s ready to cry in the club with me?

Proof: Sleepless Nights (Feat. Nightly) / Don’t Wanna Be Your Friend (Feat. Katie Pearlman) / Stay With Me (Feat. Jeremy Zucker) / Half Past You (Feat. Future Jr.)

26. Tash Sultana - Flow State Genre: Indie Pop / R&B / Soul

Step into the lush and picturesque world created by the Australian multi-instrumentalists that is Tash Sultana. Sultana is a solo jam band as all fifteen instruments on the record are played by Tash, who utilizes looping programs to build these vast microcosms of sound. With the sultry vocals the sound is like Erykah Badu mixed with Aaliyah mixed with The Roots. The smooth vibes and dense backdrops take over on Flow State, a record that’s meant to get lost in.

Proof: Big Smoke / Cigarettes / Salvation / Mystik

25. Janelle Monáe - Dirty Computer Genre: R&B / Neo-Soul

Janelle Monáe is on quite a multimedia run right now and I don’t think it will slow down anytime soon. The singer/actor hasn’t technically won an EGOT award yet, but I see her flirting with the achievement soon. Already in two Oscar for Best Picture nominated movies “Hidden Figures” and “Moonlight” (the latter winning), the accomplished singer shows we are only seeing the beginning of her talents. The “G” in the EGOT might not be far off with probably her most comprehensive and impressive album to date Dirty Computer gaining some GRAMMY nominations: including Album of the Year. Dirty Computer is also my personal favorite project from Janelle. She describes it as finding her true authentic self and expressing that more effectively to the world and I can very much see that. She also worked on this album with the late genius Prince before his passing and you can very much see his influences throughout. There’s the airy dancing synths emulating a bit of the later Prince from Art Official Age on “Crazy, Classic, Life”. “Make Me Feel” is dripping with funk similar to something off of 1999. Album closer “Americans” utilizes a empowering soulful keyboard riff that could be taken straight from any of the albums with The Revolution. Despite the heavy influence, Janelle doesn’t use it as a crutch but as a tool to take her sound to a new level. She never loses her strong sense of self though the project, I feel we are finally peeling some of the protective exoskeleton that is Janelle Monáe and learning more about the beautiful and inspirational person beneath.

Proof: Crazy, Classic, Life / Make Me Feel / Like That / Americans

24. Alison Wonderland - Awake / Awake (The Remixes) Genre: Electronic / Synth-Pop

We all are just trying to find our “Happy Place”. Hopefully the therapeutic burst of emotion that is Awake can help Australian DJ Alison Wonderland (real name Alexandra) find her own. With her sophomore album,  I feel Alexandra has really found her voice and that’s with the keen ability to be able to personify the struggles of relationships, self doubt and mental illness for her fans. Usually, emotion within Electronic music is viewed with a level of plasticity to it. There should be no doubt in the genuine passion in Alexandra’s form of electronic music. She may think her admirers should “find someone that’s easier” but I prefer the emotional depth and honesty.

Proof: No / Easy / Church / Awake // Okay (Blush Remix) / No (Paces Remix) / Awake (KRANE Remix) / Easy (Kill Paris Remix)

23. Charli XCX - Pop 2 [Mixtape] Genre: Synth-Pop

Technically released in 2017, but late enough it didn’t make my list last year and got pushed to 2018, Charli returned with her second mixtape in nine months and, for me, my favorite project of hers since her debut album; possibly of her career. Pop 2 is a futuristic electro-pop record where genres are fluid and expression is currency. The thing I feel Charli has sort of unlocked on this project from her past is an ability to really convey emotion through this mechanical pallet she builds her music with. She’s always had a level of passion within her music but outside of a youthful lust and an empowering “fuck everything” the rest of the emotions expressed always felt they were being viewed behind a protective sheet of plexiglass. Songs like “Backseat”, “Lucky” “Tears” and the sneakily genius “Track 10” really show an ability to bring more emotional depth in her songs. Whether it’s in mixtape form (Charli expresses she feels more freedom with mixtapes) or official LPs Charli is showing a growth and maturity in her craft that has me excited for what she may bring in the future.

Proof: Backseat (Feat. Carley Rae Jepson) / Out Of My Head (Feat. Tove Lo & ALMA)  / Unlock It (Feat. Kim Petras & Jay Park) / Track 10

22. Madeaux - Burn Genre: Electronic / Dance

I suggest a good stretch, being well hydrated and grabbing a towel before pressing play on this exhilarating whirlwind of melody calisthenics. The official debut LP from the American producer takes the listener of a dark, immersive experience in a world of non-stop kinetic energy and organized chaos. To all the critiques of Electronic music that say it all sounds the same I kindly point them to this album because there isn’t another producer making house music quite like this out there. Burn is a thrilling, fast-paced ride that doesn’t allow much space for the listener to take a breath until it’s finished. I suggest having a post-workout recovery shake handy for after.

Proof: Like A Model (Feat. Poter Elvinger & WILLS) / Run with It (Feat. Tommy Lee Sparta) / Lights Low (Feat. OG Maco, ALGORY & JRich ENT) / Sweat (Feat. Class Actress & Black Atlass)

21. Twin Shadow* - Caer Genre: Alternative / Indie Pop / R&B

Twin Shadow is an artist who has a recognizable, identifiable sound, yet every album of his also sounds different then the other. His debut, 2010s Forget is a disorienting, hazy dream. A unique mixture of R&B, Alternative music covered in haunting synths and distortions; all with an 80’s nostalgia. 2012’s Confess continues the foggy 80’s vernacular but with a more neon light piercing through. The pounding drums and scratchy guitar riffs are more attention grabbing, and the vocals more pronounced. 2015’s Eclipse was a bit of a statement piece. A whole project of stadium anthems meant to be shouted with vigor and emotion. Caer takes a step back on the arena filler to a more resemble the subtle tone of his debut. Except, the 80’s nostalgia isn’t such a driving factor. This is the project by Twin Shadow that sounds the most like the year it was created in, yet still sounds like any other beautiful Twin Shadow record. A natural progression by the versatile artist.

Proof: Saturdays (Feat. HAIM) / Sympathy (Feat. Rainsford) / When You’re Wrong / Too Many Colors

20. Santigold - I Don’t Want: The Gold Fire Sessions [Mixtape] Genre: Indie Pop / Dancehall

Impossible to be confined in one box, Santigold continues her genre hoping she’s made a career of. I Don’t Want is a dancehall inspired mixtape she worked on for the majority during a two week session with the main producer Dre Skull. By stripping the album moniker, there’s a looser and improvised feeling to the project that lends itself well to the culture it is inspired by. You feel Santigold’s admiration for the Afro-Caribbean influenced sound which makes the joy expressed on the album transparently genuine and infectious.

Proof: Run the Road / I Don’t Want / Why Me / Don’t Blame Me (Feat. Shenseea)

19. Matoma - One In a Million Genre: Electronic / House / Dance

Norwegian producer Matoma wants to cast a wide net with his sophomore album here. Both musically and audience-wise. One In A Million is an eclectic electronic music album that not only crosses sub-genres but crosses oceans with its worldly inspirations. From Synth-pop, to trap, to Tropical House, to Reggaeton, Matoma clearly wants to show off his range and diverse interests. One of the best songs of the year was the gospel inspired “Sunday Morning”. I dare anyone to know breakout in uncontrollable dancing when the bellowing hook of that song comes in.

Proof: Sunday Morning (Feat. Josie Dunne) / Lights Go Down (Feat. James Newman) / False Alarm (Feat. Becky Hill) / Heartbeats (Feat. Nina Nesbitt) // Bonus: Sunday Morning [Zookëper Remix] Feat. Josie Dunne

18. RÜFÜS DU SOL - SOLACE Genre: Synth-Pop / Electronic

When lead singer Tyrone croons for someone to take him to a new place on “New Sky” I can’t help but think “dude we already are somewhere new”. Because that’s exactly what the Australian trio’s atmospheric music does, whisks me away on a magic carpet of melodic keyboards, floating synths, pulsating drums and haunting vocal samples. Their previous album, Bloom was a breakthrough for them and their unassuming electronic music to a more worldwide audience. SOLACE takes an even more self-effacing and introspective approach, but should only help them continue to gain admirers.

Proof: New Sky / Lost in My Mind / No Place / Underwater

17. Nao - Saturn Genre: alt-R&B / Neo-Soul

The delicate voice of Nao returns with her smooth and tender sophomore album. Nao’s debut album For All We Know was one of my top five albums of 2016. Saturn picks up right where it’s predecessor left off but with a slight pumping of the breaks. Saturn take a bit more of a traditional R&B approach but in the same pallet Nao has been working on her whole career. The subtle infusion of electronic music still is present building an enthralling drama across the album. The slower tempo leads to a slightly more intimate feeling on this album then before. In the early 2000s R&B was sent to the margins a bit but with 2012’s House Of Balloons and channel.ORANGE being the inflection point R&B has been growing again in the mainstream. Artists like London’s Nao are in the forefront of R&B’s ascent.

Proof: Another Lifetime / Make It Out Alive (Feat. SiR) / Curiosity / Drive and Disconnect

16. Said The Sky - Wide-Eyed Genre: Electronic / Future Bass

American producer Said The Sky drops his first ever full length project that was a long time coming. For those familiar with his early work there is quite a progression from his more dubstep beginnings to this more melodic vernacular. Being a trained pianist Said The Sky’s backing usually starts with a piano riff. Early on this piano riff was used more as a contrasting element; a calming and tender character to then get smacked around by the boisterous and raucous dubstep. Now the piano is utilized more for it’s rhythm as the backbone of the track; a strong complimentary piece rather then contrasting. This is an evolution I personally feel for the better here leading to a sophisticated and potent electronic album, brooding with a surprising amount of emotion and introspection.

Proof: Show & Tell (Feat. Claire Ridgely) / All I Got (w/ Kwesi) / Over Getting Over You (Feat. Matthew Koma) / Superstar (w/ Dabin Feat. Linn)

15. My Brightest Diamond - A Million and One Genre: Synth-Pop / Electronic / Indie Pop

Multi-Instrumentalist My Brightest Diamond has been a shapeshifter her entire career and that continues here with her fifth album. Starting out as a classically trained violinist and then self teaching herself more and more instruments and incorporating new genres in her sound every new project. For A Million and One she takes on Electronic/Dance music in a subtle and euphoric way. Most of the tracks are mid to slower tempo with free flowing synths and and 808 kicks. More dynamic moments are strategically planted throughout like the slow building “Champagne” or the explosive “Supernova”. A Million and One is an subtle, spectacle piece of electro-pop, that straps the listener in and shots them into the stars.

Proof: It’s Me On The Dance Floor / Champagne / Supernova / White Noise

14. Meg Myers* - Take Me To The Disco Genre: Alternative / Rock

I don’t really know how I happened upon Meg Myers music back in 2012, before her debut EP even was released, but I sure am grateful I did. Following the path of her career from that 2012 EP Daughter In The Choir to now has been quite rewarding. Every year new music has been released by Meg the project always is one of my favorites for the year, but Take Me To The Disco is finally her letting all the outside pressure and expectations go and just rocking the fuck out. Switching labels and making music separate from her long time producer Doctor Rosen Rosen, Meg had a newly found freedom on this record which led to a ride full of high, lows and moments of raw unfiltered emotion. Part of Meg’s unique skill when crafting a song is her ability to go from a soft, raspy and unassuming tone to a passion filled roar in seconds. The music knew when to follow suit as well with the main enclosures being acoustical and warm environments with alcoves of thunderous drums and crashing guitars. Whether it’s tranquil moment of vulnerability or impacting pockets of intensity and fierceness, Meg has a newly discovered level of confidence and power.

Proof: Numb / Tear Me To Pieces / Jealous Sea / Done

13. MØ - Forever Neverland Genre: Synth-Pop

For some, the ascension of MØ may have seemed pretty sudden. The mega success that was Major Lazer & DJ Snake’s “Lean On” featuring the Danish singer came a bit out of nowhere to some. I smuggly could say I predicted such an explosion since my introduction or her on Avicii’s “Dear Boy” followed up closely by her 2013 debut EP Bikini Daze. MØ didn’t feel a need to rush things despite the iron being hot as shit and took her time following up her 2014 full length album No Mythologies To Follow. Instead she dropped stellar one-off singles “Kamikaze” “Final Song” “Drum” and “Nights With You” before finally releasing last years EP When I Was Young. Forever Neverland continues on the maturity in her music desolated on her EP of last year. The hooks are still catchy as shit, her sound still has an ability to make you want to get up and move, but there is a further depth in her songs. MØ’s voice always was expressive and emotive but there was also a glossy surface layer that seems to have been stripped away over the years. She now has the confidence to let her voice scratch and wain a bit when a line carries more emotional weight. 

Proof: Way Down / I Want You / Beautiful Wreck / Red Wine (Feat. Empress Of)

12. Elohim - Elohim Genre: Electronic / Synth-Pop / Dance

The mysterious Elohim has became a go-to collaborator for electronic music projects over the last few years. From Louis The Child, Oliver, Ekali, The Glitch Mob and others, Elohim’s name would pop up; usually on the album’s best track. Her soft and delicate voice always worked great as a juxtaposition to the often kinetic backgrounds. In her solo music, she is her own producer and she shows she is more than just a featured artist but also a contemporary to the other Electronic producers. Elohim is a diverse and incredibly dynamic piece, which surprises the listener with unexpected vocal samples or instrument riffs used in sophisticated ways. Whether is a mariachi horn, trumpet, violin, guitar, or just odd vocal cadences looped, Elohim has developed creative and unique techniques in her production that make a familiar yet singular sound.

Proof: The Wave / Sleepy Eyes (w/ Whethan) / Fuck Your Money / Half Love // Bonus: Eclipse / Connect (w/ Skrillex)

11. Fakear - All Glow Genre: Electronic / Future Bass

French producer Fakear is a newer discovery for me but boy and I glad I found his atmospheric electronic music. Fakear will be quickly compared to ODESZA and the similarities in their sounds are definitely apparent. However, the French DJ’s harmonious music has a bit more of an airy bounce, with some Tropical House infusion. The electronic genre is having a bit of a moment right now yet Fakear is still relatively not well know in the States. I don’t really see that lasting too long though as more find his music.

Proof: Something Wonderful (Feat. Ana Zimmer) / Lost In Time (Feat. Polo & Pan, Noraa & Clement Bazin) / Sacred Feminine (Feat. Ibrahim Maslouf) / Vision (Feat. Claire Laffut)

10. Pusha-T - DAYTONA Genre: Hip Hop

The Clipse debut album Lord Willin’ came out my freshman year of high school and was a very important album for me. Label issues unfortunately led to more mixtapes than albums released by the brother duo before Malice left the group. Luckily Pusha would eventually find himself on Kanye’s record label as his new home. His first two albums released on the record label were both good, but there must be something in the Wyoming air during the recording of this stellar album. As the first of five Kanye West produced albums released during the “Wyoming Sessions” no one really knew what to expect. Kanye’s erratic behavior leading up to the release left a lot of people side eyeing the whole group of projects. Then about 36 seconds into the opening track “If You Know You Know” when after a fiery verse from Pusha, the industrial beat drops, everyone gets an unexpected slap in the face. This is still one of the best producers in the world and we have one of the best lyricists rapping heat over this production. DAYTONA is quite the 20 minute tornado of an album. A focused and concise offering that does what it needs to do and leaves efficiently. Unfortunately, the rest of the “Wyoming Sessions” albums will be a bit of a mixed bag and Kanye’s erratic behavior on continues causing concern for his mental well being. DAYTONA shines bright as the most cohesive and sturdy of those albums with “If You Know You Know” being the best song to come from the whole session. With GRAMMY nominations and ending up at the top of many writers “Year End Lists” it’s time Pusha finally gets his shine Lord WIllin’ seemed to promise, only 16 years later.

Proof: If You Know You Know / The Games We Play / Come Back Baby / Santeria / Infrared

9. The 1975 - A Brief Inquiry Into Online Relationships Genre: Indie Rock / Alternative / Synth-Pop

Through their first two albums, The 1975 was a band I enjoyed, but also wanted to enjoy more then I actually did. Their 2013 self titled debut album was an entertaining and engaging soiree of synth-pop and alternative music as a new aged love child of The Killers and My Chemical Romance. There was a definite growth and increased dexterity in their second album, 2016’s I like it when you sleep, for you are so beautiful yet so unaware of it, as the same influences are present but with a sprinkling of seduction and soul. What always took me out of their projects though was their abundance of influences often working against them. The projects missed a level of connectivity I desire. I appreciated the daring nature of the band to explore but some of those swings didn't feel fleshed out enough to connect completely in the context of the albums. When I first heard one of my favorite songs of 2018 “Love It If We Made It”, I thought something seemed different. It seems the band has finally discovered the missing ingredient; or maybe found the excess ingredient(s) to leave out. A Brief Inquiry Into Online Relationships is a masterful mixture of experiences and influences with a message really cemented in 2018. The experimentations are a bit more radical, but very strategic and only help build up the motif of the whole album. You can still hear the underlying emo-rockers heartbeat from their debut but this time ran through a Bon Iver inspired auto-tune. The themes of how technology can dictate our lives for better or worse give the whole album a context for any listener to identify with. Songs like “Settle Down” and “Somebody Else” from their first two albums were still in 2018 go-to songs for me; the talent was always there. Seeing the band develop and evolve to make this elaborate project is quite the feat to be respected and admired.

Proof: Give Yourself A Try / Love It If We Made It / I Like America & America Likes Me / Sincerity Is Scary / It’s Not Living (If It’s Not With You)

8. 3LAU - Ultraviolet / Ultraviolet (Remixed) Genre: Electronic / Progressive House / Dance

It’s been a long time coming for American DJ 3LAU (Justin David Blau) to finally release this blistering debut. First winning a remix competition for a Tiësto song in 2011, 3LAU made a name for himself over the years as a remix and mashup DJ; intermittently dropping one-off singles here and there. Ultraviolet shows the wait was well worth it. Being a multi-instrumentalist, 3LAU developed his own manipulation techniques of his instrument riffs and vocal samples creating lush melodic environments within his music. The result is a picturesque form of house music that can easily whisk you away in it’s vast, sparkling habitats.

Proof: Touch (Feat. Carly Paige) / Fire (w/ Said The Sky Feat. NÉONHÈART) / Walk Away (Feat. Luna Aura) / Star Crossed / You Want More (Feat. MAX) // Touch [Zeds Dead Remix] (Feat. Carly Paige) / On My Own [3LAU Electro Remix] (Feat. Nevve) / Star Crossed [3LAU DnB Remix] / Walk Away [Hibell Remix] (Feat. Luna Aura) / Fire [Paris Biohm Remix] (w/ Said The Sky Feat. NÉONHÈART)

7. Lykke Li - so sad so sexy Genre: Pop / R&B

Since her debut album in 2008, the vulnerable music of Lykke Li has been a staple in my headphones. I have enjoyed her delicate voice, always ripped with so much emotion matching the impacting lyrics dealing with love and heartbreak. Li’s previous album, I Never Learn was an onslaught of slow and gorgeous, stadium-pop ballads meant to be felt while singing along with at the top of your lungs. The listless themes are continued but this time the album’s expression is more with a glossy, sexy R&B persona; a change I personally am really feeling. With hints of The Weeknd and Rihanna as influences so sad so sexy is Lykke Li’s most sensual sound, one that suits her unique voice and songwriting well.

Proof: hard rain / deep end / sex money feelings die / so sad so sexy / better alone

6. Her - Her Genre: Alternative / Indie Rock/ Soul

Starring an upcoming tragedy in the face, the smooth French duo didn’t waiver or turn to negativity. Instead they focused on life and love. With one of the duo diagnosed with a terminal cancer, together Victor and the ill Simon carefully plotted out their debut album. They released two EPs the previous two years with standout tracks including “Five Minutes”, “Quite Like” and “Swim” which served as a strong introduction to the world, but Simons unavoidable death at age 27 was in August of last year. With the careful pre-planning Victor was able to finish the debut album in his best friend’s memory. Her is a sultry and warm affair. Simon’s bouncy guitar playing, Victors ominous key tones with both of their soft yet confident vocals create a free flowing and sexy sound that is very gracious and admiring of its female muse. Every song has an understatedness to it while it subtly exudes its passion. It’s unknown if Victor will carry on with Her without his best friend, but I am glad they were able to add this exclamation point to Simon’s life.

Proof: Five Minutes / Blossom Roses / Neighborhood / Wanna Be You / Swim (Feat. ZéFire)

5. Bishop Briggs* - Church Of Scars Genre: R&B / Soul / Pop

London born, with Scottish heritage, Bishop Briggs bursts on the scene with this debut album like a strategic boxer. Starting every song with subtle body blows to connect with a potent haymaker every chorus. Her main weapon is a dominant voice that every chorus she lets loose to acts as an imposing yet engaging flex of emotion and power. Born Sarah McLaughlin, Briggs took the name of her parents Scotland hometown as her stage name to not be confused with the well known Canadian singer whose music you hear on sad commercials about puppies. McLaughlin moved around in her childhood from London to Tokyo to Hong Kong to LA and has picked up an amalgamation of influences to use at her disposal in her music. One of the biggest musical influence apparent is her cerebral use of gospel music. Utilized as a form of strength and command at every hard hitting chorus drop which gives room for her tremendous voice to punch your ear drums like a boxing bag.

Proof: Tempt My Trouble / White Flag / River / Hallowed Ground / The Fire

4. DJDS - Big Wave More Fire Genre: Synth-Pop / R&B / Electronic

Timing can be a fickle thing. Sometimes by the slimmest of margins it can go against you, or go in your favor. DJDS’s career seems to be capitalizing on some impeccable timing that is all going in their favor at the moment. First, back in 2016, while finishing up their sophomore album, the LA producing duo were invited to work on Kanye West’s The Life of Pablo album; eventually earning them a GRAMMY nomination. This monster co-sign would help open doors they never had open in their previous years making music. In the two years they spent making this album they collaborated with people that eventually would break out on their own including Empress Of, Amber Mark, Marco McKinnis and Khalid. Those two years are summed up in this fascinating piece of genre blending music. There are moments of bouncy hip hop, sinuous Synth-Pop, Soulful R&B, scenic Indie Pop and fist pumping electronic dance.  Big Wave More Fire at times is as infectious as any other pop album and at times can be a bit artistically challenging to the listener, yet never loses its strong sense of place.

Proof: Trees On Fire (Feat. Amber Mark & Marco McKinnis) / Why Don’t You Come On (Feat. Empress Of & Khalid) / I Get By (Feat. Amber Mark & Vory) / Pick Me Up (Feat. Kelly Zutrau, Vic Mensa & Vory) / Falling (Kelly Zutrau & Marco McKinnis)

3. Kasbo* - Places We Don’t Know Genre: Electronic / Synth-Pop / Future Bass

ODESZA is building quite a roster on their Foreign Family Collective label including the 23 year old Swedish producer Kasbo. With his debut album here, Kasbo shows he’s more than deserving of being part of this collective with this sonic display of dexterity in melody. Places We Don’t Know is an an album that knows it’s comfort zone and is confident enough to never deviate while also avoiding diluting itself. The glossy electronic textiles that stitch the album together track to track build a cohesiveness that makes it a front to back enjoyable experience; without any drop in quality filler. More exploration in the sound may be desired in future releases to avoid sounding stale, but in terms of a debut this pleasant project introduces him nicely.

Proof: Your Tempo / Aldrig Mer (Feat. TENDER) / Roots (Feat. Amanda Fondell) / Over You (Feat. Frida Sundemo) / Bleed It Out (Feat. Nea)

2. Jacob Banks* - Village Genre: R&B / Soul

The initial and most jarring entity you feel when you enter the universe that is Jacob Banks’ music is the gravitational pull that is his empowered voice. The British singer’s raspy and authoritative vocals can relay both a confident strength and introspective vulnerability in one tone. You are able to personally feel the emotion behind every note that leads to a compelling listen no matter how many times before you’ve heard the song playing.

Banks backs up his mighty voice with equally potent and diverse backings. Some of the songs come equipped with thunderous bass lines and percussions with light keys tap dancing among the turmoil. Some take a more straightforward approach with light and jazzy horns and funky grooves. Then some songs have transparent backdrops that almost go away completely, stripped down to a bare pallet for Jacob to command.

Whatever the situation Banks’ vocal prowess prevails. I predict the accent to continue and at a more exponential pace as more become familiar with the impressive singer.

Proof: Chainsmoking / Love Ain’t Enough / Prosecco / Be Good To Me (Feat. Seinabo Sey) / Unknown (To You)

1 Kendrick Lamar & Top Dawg Entertainment - Black Panther The Album - Music From And Inspired By [Motion Picture Soundtrack] Genre: Hip Hop / R&B

It’s probably getting pretty anticlimactic having Kendrick 1st or 2nd on my lists every year. But for the fourth year in a row Kendrick finds himself here again. Black Panther was one of 2018’s greatest cinematic achievements and smartly they looked to Kendrick to make a vivid and dynamic soundtrack to match.

Kendrick shows he has his finger on the pulse for Hip Hop and R&B in 2018 enlisting some of today’s best including The Weeknd, Vince Staples, Anderson .Paak, Travis Scott and of course members of his TDE crew ScHoolboy Q, Ab-Soul, SZA and others. He grabs some of today’s best up and comers with Khalid, Jorja Smith and SOB X RBE. Surprises us with a couple unexpected James Blake features. And finds some new international artists not very well known in Saudi, Babes Wodumo and an absolute fire verse from Yungen Blakrok.

I cannot express how perfect of a curated Soundtrack this is. The music is diverse enough to cast a wide net but also has an underlying and unifying vernacular throughout to make one cohesive project. The production is rooted in African sounds with poly-rhythmic percussion and themes inspired by African ancestry as well as themes incorporated from the movie itself. Kendrick may or may not have been physically there during most of these recordings but you can feel his direction and influence throughout. His impact is not overpowering or controlling either but rather a supportive and inspiring collaborator that keeps the various ships steered in the correct converging direction. When a o-k but also phoned-in verse by Future is really the album’s low point, you know you’ve done something right.

Most may point to the crowd pleasing (and for good reason) songs like “All The Stars” with SZA and “Pray For Me” with The Weeknd as their album highlights but mine is the sneaky vigorous Vince Staples and Yung Blakrok featured “Opps”, that has quite the bite with it’s bark.

My admiration for Lamar is well documents on this blog. He really is controlling the way progressive and impacting hip hop can grow. Drake may have the numbers, but Kendrick is the more commanding artistic virtuoso making music in 2018. Kendrick knows it damn well and uses T’Calla as a metaphor for his spot on the throne of Hip Hop in the album opener: “Because the king don’t cry, king don’t die, king don’t lie, king give heart, king get by, king don’t fall. Kingdom come, when I come, you know why…”

Proof: Kendrick Lamar & SZA - All The Stars / ScHoolboy Q, 2 Chainz, Saudi & Kendrick Lamar - X / Khalid & Swae Lee - The Ways / Vince Staples, Yugen Blakrok & Kendrick Lamar - Opps / Jorja Smith - I Am / Ab-Soul, Anderson .Paak & James Blake - Bloody Waters / Zacari & Babes Wodumo - Redemption / The Weeknd & Kendrick Lamar - Pray For Me

Others:

Good:

Above & Beyond - Common Ground, Action Bronson - White Bronco, Albin Lee Meldau - About You, Alessia Cara - The Pains of Growing, Allan Rayman - Harry Hand-On, alt-J - Reduxer, Ambrose Akinmusire - Origami Harvest, Aminé - ONEPOINTFIVE [Mixtape], Amnesia Scanner - Another Life, anaïs - before zero, Anderson East - Encore, Anderson .Paak - Oxnard, Ann Marie - Tripolar, Anne-Marie - Speak Your Mind, Apollo Brown & Joell Ortiz - Mona Lisa, Apollo Brown & Locksmith - No Question, Aquilo - ii, Arctic Monkeys - Tranquility Baseu Hotel & Casino, Ariana Grande - Sweetener, A$AP Rocky - TESTING, Atmosphere - Mi Vida Loca, Audio Push - Cloud 909, August Greene - August Greene, Ava Luna - Moon 2, Bad Gyal - Worldwide Angel, Bas - Milky Way, Bazzi - COSMIC, Bea Miller - Aurora, Beach House - 7, Beacon - Gravity Pairs, Bebe Rexha - Expectations, Bekon - Get With The Times, Belly - IMMIGRANT, Big Red Machine - Big Red Machine, Birdman & Jacquees - Lost at Sea 2, Bishop Nehru - Elevators: Act I & II, Bishop Nehru - Emperor’s Nehru Groove [Mixtape], Black Atlass - Pain & Pleasure, The Black Eyed Peas - MASTERS OF THE SUN VOL. 1, Black Milk - FEVER, Black Thought & Salaam Remi - Streams of Thought Vol. 2, The Blaze - DANCEHALL, 6LACK - East Atlanta Love Letter, Blood Orange - Negro Swan, Blu & Nottz - Gods in the Spirit, Titans In The Flesh, B.o.B. - NAGA, Bob Moses - Battle Lines, Bobby V - Electrik, Boogie wit da Hoodie - International Artist, BØRNS - Blue Madonna, Boy Pablo - Soy Pablo, The Breeders - All Nerve, Brez - The Grl., BROCKHAMPTON - iridescence, BROCKHAMPTION - Saturation III, Buddy - Harlan & Alondra, Bun B - Return if the Trill, Camila Cabello - Camila, Camp Cope - How To Socialize & Make Friends, Capital Cities - Solarize, Car Seat Headrest - Twin Fantasy, THE CARTERS (Jay-Z & Beyoncé) - EVERYTHING IS LOVE, Cardi B - Invasion Of Privacy, Cat Power - Wanderer, City Girls - Girl Code, City Girls - PERIOD, Chance The Rapper & Jeremih - Merry Christmas Lil’ Mama Re-Wrapped [Mixtape], Chanti Darling - RNB, Vol. 1, Charlie Puth - Voicenotes, Chelsea Jade - Personal Best, Choker - Honeybloom, Chromeo - Head Over Heels, Chris Dave and the Drumhedz - Chris Dave and the Drumhedz, Christina Aguilera - Liberation, Christine and the Queens - Chris, Chrome Sparks - Chrome Sparks, Claptone - Fantast, Clean Bandit - What Is Love?, Cloud Nothings - Last Building Burning, CloZee - EVasion, Col3trane - BOOT, Courtney Barnett - Tell Me How You Really Feel, Cozz - Effected, Craig David - The Time Is Now, Curren$y, Freddie Gibbs & The Alchemist - Fetti, Cut Chemist - Die Cut, Cypress Hill - Elephants on Acid, CZARFACE & MF Doom - CZARFACE Meets Metal Face, Dashboard Confessional - Crooked Shadows, Dave East - P2, David Guetta - 7, Death Cab for Cutie - Thank You for Today, The Decemberists - I’ll Be Your Girl, Denzel Curry - TA13OO, Dillon Francis - WUT WUT, The Diplomats - Diplomatic Ties, Dirty Projectors - Limp Lit Prose, DJ Critical Hype - The DAMN. Chronic [Mixtape], DJ ESCO - Kolorblind, DJ Luke Nasty - Cruise Control, DJ Koze - Knock Knock, DJ Mustard & RJmrLA - The Ghetto, Django Django - Marble Skies, Dr. Octagon - Moosebumps: An Exploration Into Modern Day Horripilation, Domo Genesis & Evidence - Aren’t You Glad You’re U [Mixtape], Drake - Scorpion, Durand Jones & The Indications - Durand Jones & The Indications, Earl Sweatshirt - Some Rap Songs, E^ST - Life Ain’t Always Roses, EDEN - virtigo, Eligh - Last House on the Block, Elephante - Glass Mansion, Elephante - Glass Mansion Remixes, Ella Mai - Ella Mai, Elley Duhé - DRAGON MENTALITY, Emily Warren - Quiet Your Mind, Eric Bellinger - Eazy Call, Estelle - Lovers Rock, Everything Is Recorded - Everything Is Recorded, Evidence - Weather or Not, Excision - Apex, Exitmusic - The Recognitions, E-40 & B-Legit - Connected and Respected, E-40 - Gift Of Gab, Family of the Year - Goodbye Sunshine, Hello Nighttime, Father John Misty - God’s Favorite Customer, Fat Tony & J.KELR - Full Circle, Felix Jaehn - I, FELIX SANDMAN - EMOTIONS, Fischerspooner - Sir, First Aid Kit - Ruins, Flatbush Zombies - Vacation In Hell, Florence + The Machine - High As Hope, Francis & The Lights - Just For Us, Franz Ferdinand - Always Ascending, Freddie Gibbs - Freddie, Fre$h - frēsh•ism, Future & Juice WRLD - Future & Juice WRLD Present… WRLD ON DRUGS, G-Eazy - The Beautiful & Damned, Getter - Visceral, Ghostface Killah - The Lost Tapes, The Glitch Mob - See Without Eyes, The Go! Team - SEMICIRCLE, The Good, The Bad & The Queen - Merrie Land, Gorgon City - Escape, Gorillaz - The Now Now, Greta Van Fleet - Anthem of the Peaceful Army, GRIP - PORCH, Gunplay - ACTIVE, Half Waif - Lavender, Hinds - I Don’t Run, Hollie Cook - Vessel of Love, HONNE - Love Me / Love Me Not, How To Dress Well - The Anteroom, Hovvdy - Cranberry, Hybrid - Light of the Fearless, Ice Cube - Everything Corrupt, IDK - IDK & Friends :), Illa J - John Yancey, Illenium - Awake (Remixes), I’m With Her - See You Around, Imagine Dragons - Origins, The Internet - Hive Mind, Interpol - Marauderm, J. Cole - KOD, Jackie Hill Perry - Crescendo, Jacquees - 4275, Jacques Greene - mixtape [Mixtape], Jade Novah - All Blue, Jaden Smith - The Sunset Tapes: A Cool Tape Story [Mixtape], Jain - Souldier, James Bay - Electric Light, Janine - 99, Janine The Machine - High Places, Jauz - The Wise and The Wicked, Jay Park - Ask Bout Me, Jay Rock - Redemption, Jean Deaux - Krash, Jedi Mind Tricks - The Bridge and the Abyss, Jeff Tweedy - WARM, Jericho Jackson - Khrysis & Elzhi are Jericho Jackson, Jess Glynne - Always In Between, Jessie Reyez - Being Human In Public, Jim Jones - Wasted Talent, Joey Purp - QUARTERTHING, Jonas Blue - Blue, Jorja Smith - Lost & Found, Juice WRLD - Goodbye & Good Riddance, Jungle - For Ever, Justin Timberlake - Man of The Woods, Justine Skye - ULTRAVIOLET, Kacey Musgraves - Golden Hour, Kalin White - Why You Still There?, Kamasi Washington - Heaven and Earth, Kanye West - ye, Kash Doll - Brat Mail [Mixtape], Kayzo - OVERLOAD, Keith Sweat - Playing For Keeps, Kevin Gate - Luca Brasi 3, Keys N Krates - Cura, K.Flay - Everywhere is Somewhere, KIDS SEE GHOSTS (Kanye West & Kid Cudi) - KIDS SEE GHOSTS, Kimbra - Primal Heart, King Tuff - The Other, Kirk Knight - IIWII, The Knocks - New York Narcotics, Kodaline - Politics of Living, Kodie Shane - Young HeartThrob, Kooley High - Never Come Down, The Kooks - Let’s Go Sunshine, KR - In Due Time, Kygo - Kids In Love (Remixes), KYLE - Light of Mine, Lacrae & Zaytoven - Let The Trap Say Amen, Lake Street Drive - Free Yourself Up, Lane 8 - Little By Little, LANY - Malibu Nights, LAUREL - DOGVIOLET, Lauv - I met you when I was 18. (the playlist), Leikeli47 - Acrylic, Lenny Kravitz - Raise Vibration, Leon Bridges - Good Thing, Let’s Eat Grandma - I’m All Ears, Lily Allen - No Shame, Lil Peep - Come Over When You’re Sober, Pt. 2, Lil Wayne - The Carter V, Lissie - Castles, Little Mix - LM5, Lo Moon - Lo Moon, Logic - Bobby Tarantino II [Mixtape], Loyd - Tru LP, LP - Heart to Mouth, Lucy Dacus - Historian, Lupe Fiasco - DRAGOS WAVE, Lyrics Born - Quite A Life, Mac Miller - Swimming, MAJOR. - Even More, Major Lazer - Afrobeats [DJ Mix], Mariah Carey - Caution, Mario - Dancing Shadows, Marion Hill - Unusual, Marsha Ambrosius - Nyla, Marshmello - Joytime II, Masego - Lady Lady, Masta Ace & Marco Polo - A Breukelen Story, Matthew Dear - Bunny, Mayorkum - The Mayor of Lagos, Medasin - Irene, Meek Mill - Championship, Melody’s Echo Chamber - Bon Voyage, Meshell Ndegeocello - Ventriloquism, Method Man - Meth Lab 2: The Lithium, Metric - Art of Doubt, MGMT - Little Dark Age, Mick Jenkins - Pieces of a Man, The Midnight - Kid, Migos - Culture II, MihTy - MIH-TY, Mike Shinoda - Post Traumatic, Mike WiLL Made-It - Creed II: The Album (Music Inspired by the Motion Picture), Mikky Ekko - FAME, Mimicking Birds - Layers Of Us, Mirah - Understanding, Mitski - Be The Cowboy, Miyah Folick - Premenitions, Moon Taxi - Let The Record Play, Morgan Saint - ALIEN, Mr Eazi - Life Is Eazi, Vol. 2 - Lagos to London, Mulatto - Mulatto, Mumford & Sons - Delta, Murs - A Strange Journey Into The Unimaginable, Muse - Simulation Theory, Myá - T.K.O. (The Knock Out), The Naked and Famous - A Still Heart, Nas - NASIR, Natalie Prass - The Future and the Past, Nathaniel Rateliff & The Night Sweats - Tearing at the Seams, Nef The Pharaoh - The Big Chang Theory, The Neighbourhood - The Neighbourhood, Ne-Yo - GOOD MAN, N.E.R.D. - NO_ONE EVER REALLY DIES, Nick Grant - Dreamin’ Out Loud [Mixtape], Nicki Minaj - Queen, NIKI - Zephyr, Nile Rodgers & CHIC - It’s About Time, Nipsey Hussle - Victory Lap, NJOMZA - Vacation, nobigdyl. - SOLAR, Noname - Room 25, N.O.R.E. - 5E, Now, Now - Saved, NR - Before It’s Too Late, ODIE - Analogue, Onra - Nobody Has To Know, Ookay - WOW! COOL ALBUM!, Pac Div - 1st Baptist, Pale Waves - My Mind Makes Noises, Passenger - Runaway, Parliament - Medicaid Fraud Dogg, Parquet Courts - Wide Awake!, Paul McCartney - Egypt Station, Paul Simon - In the Blue Light, Penelope Trappes - Penelope Two, A Perfect Circle - Eat the Elephant, Peter Bjorn and John - Darker Days, Phonte - No News Is Good News, Phony Ppl - mō’zā-ik, Phora - Love Is Hell, P-LO - PRIME, pluko - sixteen, Poo Bear - Poo Bear Presents: Birthday Music, Popcaan - Forever, Poppy - Am I A Girl?, Porches - The House, Post Malone - beerbongs & bentleys, Preme - Light of Day, Prince - Piano & a Microphone 1983, Princess Nokia - A Girl Cried Red [Mixtape], Prolifgate - Somewhere Else, PRyhme - PRhyme 2, Quavo - Quavo Huncho, Ralph - A Good Girl, RAY BLK - Empress, Rhye - Blood, Reason - There You Have It, R3HAB - The Wave, Rezz - Certain Kind of Magic, Rich Brian - Amen, Rita Ora - Phoenix, RL Grime - NOVA, RL Grimes - NOVA (The Remixes, Vol. 1),  RL Grimes - NOVA (The Remixes, Vol. 2), Robyn - Honey, Rome Fortune - Beautiful Pimp 3, ROOSEVELT - Young Romance, Royce Da 5’9” - Book of Ryan, R+R=NOW - Collagically Speaking, Russ - ZOO, Ryan Beatty - Boy In Jeans, Saba - CARE FOR ME, Sabrina Calaudio - No Rain, No Flowers, St. Beauty - Running To The Sun, SAINt JHN - Collection One, San Holo - album1, Sango - In The Comfort Of, Sean Paul - Mad Love: The Prequel, Shamir - Revelation, Sheppard - Watch The Sky, Shopping - The Official Body, Sidney Gish - No Dogs Allowed, Sigala - Brighter Days, Simian Mobile Disco - Murmurations, SiR - November, SKYGGE - Hello World, Skyzoo - In Celebration of Us, Slushii - DREAM, Smashing Pumpkins - SHINY AND OH SO BRIGHT, VOL. 1 / NO PAST. NO FUTURE., Smino - NOIR, Snail Mail - Lush, S’natra - Subject To Change, Snoop Dogg - Snoop Dogg Presents Bible of Love, Snow Patrol - Wildness, Soccer Mommy - Clean, Sofi Tukker - Treehouse, Son Lux - Brighter Wounds, SOPHIE - OIL OF EVERY PEARL’S UN-INSIDES, Starchild & The New Romantic - Language, Stefflon Don - SECURE [Mixtape], Steve Angello - Human, Steve Aoki - Neon Future III, Steve Hauschildt - Dissolvi, Stonie Blue - Blood Y Moi [Mix], Stro - Nice 2 Meet You, Again, Styles P - Dime Bag, Styles P - G-Host, Summer Walker - Last Day of Summer, Summerella - First Day of Summer, Surpentwithfeet - soil, Swearin’ - Fall Into The Sun, Swizz Beatz - POISON, Tamia - Passion Like Fire, Tammy Rivera - Fate, Teyana Taylor - K.T.S.E., Thatshymn - Pacific Standard Time, Thunderpussy - Thunderpussy, T.I. - DIME TRAP, Tinashe - Joyride, The Ting Tings - The Black Light, Tirzah - Devotion, Tokyo Jetz - Bonafide, Tokyo Police Club - TCP, Tom Misch - Geography, Tommy Genesis - Tommy Genesis, Toni Braxton - Sex & Cigarettes, Toni Romiti - Tomboy, Tory Lanez - LoVE me NOw, Tory Lanez - MEMORIES DON’T DIE, Towkio - WWW., Tracey Thorn - Record, Traci Braxton - On Earth, Travis Scott - ASTROWORLD, Trevor Jackson - Rough Drafts, Pt. 1, Trevor Powers - Mulberry Violence, Trey Songz - 11 [Mixtape], Trey Songz - 28 [Mixtape], TroyBoi - V!BEZ, Vol. 2, Troye Sivan - Bloom, Tunde Olaniran - Stranger, tune-yards - i can feel you creep into my private life, Two Feet - A 20 Something Fuck, Tyga - Kyoto, Unknown Mortal Orchestra - Sex & Food, Until The Ribbon Breaks - Until The Ribbon Breaks, Usher & Zaytoven - “A”, UZ - The Rebirth, The Vamps - Day & Night (Day Edition), Vance Joy - Nation Of Two, Various Artists - Fifty Shades Freed [Motion Picture Soundtrack], Various Artists - Ninjawerks, Vol. 1, Various Artists - Spider-Man: Into The Spider-Verse (Soundtrack From & Inspired by the Motion Picture), Various Artist - Uncle Drew [Original Motion Picture Soundtrack], Vicktor Taiwò - First Movement, Victoria Monet - Life After Love, Pt. 1, Victor Oladipo - V.O., Wild Nothing - Indigo, What So Not - Not All The Beautiful Things, Wet - Still Run, Wiz Khalifa - Rolling Papers 2, The Wombats - Beautiful People Will Ruin Your Life, WSTRN - DOU3LE 3AK, Xzibit, B-Real & Demrick - Serial Killers: Day of the Dead, Years & Years - Palo Santo, Yellow Claw - New Blood, YG - STAY DANGEROUS, Yhung T.O. - Trust Issues, Young Fathers - Cocoa Sugar, Young The Giant - Mirror Master, Youngr - This Is Not An Album, ZAYN - Icarus Fall, Ziggy Marley - Rebellion Rises, Zion I - Ritual Mystik, Zion I & DJ Fresh - The Tonight Show [Mixtape], ZHU - Ringo’s Desert, Z-Ro - Sadism, 5 Seconds of Summer - Youngblood, 88GLAM - 88GLAM2, 88rising - Head in the Clouds 

Meh:

Ace Hood - Trust The Process II: Undefeated, Amen Dunes - Freedom, Animal Collective - Tangerine Reef, AWALNATION - Here Comes The Runts, BANDGANG - In Too Deep, Benny - Different, Caitlyn Smith - Starfire, Carnage - Battered Bruised & Bloody, The Chainsmokers - Sick Boy, cupcakKe - Eden, cupcakKe - Ephorize, Curren$y - Parking Lot Music, Curren$y & Harry Fraud - The Marina, Daughters - You Won’t Get What You Want, Dave East - Karma 2, Dave Matthews Band - Come Tomorrow, DJ Critical Hype - More 9th (Drake & 9th Wonder Mash Up), DOM KENNEDY - Volume Two, Don Toliver - Donny Womback, Eminem - Kamaze, Fetty Wap - For My Fans, Fetty Wap - Bruce Wayne, Frankie Cosmos - Vessels, Future - BEASTMODE 2, G Herbo & Southside - Swervo, Ganja White Night - The Origins, Helena Hauff - Qualm, Hop Along - Bark Your Head Off, Dog, HUNCHO JACK (Travis Scott & Quavo) - HUNCHO JACK, Jack Huncho, Jean Grae & Quelle Chris - Everything’s Fine, Jeezy - Pressure, Keith Ape - BORN AGAIN, Kevin George - Hopeless Romantic, Larry June - Very Peaceful, Lil Durk - Just Cause Y’all Waited, Lil Pete - 4EverFocused, Lucis - Nude, MadeinTYO - Sincerely, Tokyo, Metro Boomin - NOT ALL HEROES WEAR CAPES, Matt and Kim - Almost Everyday, MGMT - Little Dark Age (Matthew Dear Album Remixes), MIKE - Black Soup [Mixtape], Mr Twin Sister - Salt, Nightmares On Wax - Shape the Future, OSHUN - Bittersweet, Vol. 1, Owl City - Cinematic, Palm - Rock Island, Prof - Pookie Baby, Raury - The Woods, Rae Sremmurd - SR3MM, Red Cafe - Less Talk More Hustle, Reese LAFLARE - Reese LAFLARE, Rich The Kid - The World Is Yours, Rico Nasty - Nasty, SHIRT - Pure Beauty, Shy Boys - Bell House, Slim Thug - The World Is Yours, Slum Village - The Lost Scrolls, Vol. 2 [Mixtape], Social Club Misfits - Into The Night, Steve Perry - Traces, Takeoff - The Last Rocket, Too $hort - The Sex Tape Playlist, Trae Tha Truth - Hometown Hero, Various Artists - Future Presents: SUPERFLY (Original Motion Picture Soundtrack), Various Artists - 9th Wonder Presents: Jamla is the Squad II, We The King’s - Six, Westside Gunn - Supreme Blientele, Wifisfuneral - Ethernet, Yves Tumor - Safe In the Hands of Love, Zaytoven - Trapholizay, 03 Greedo - God Level, 24hrs - HOUSES ON THE HILL

Bad:

Eminem - Revival, Jack White - Boarding House Reach, Kay! & Kenny Beats - 777, Lil Baby - Harder Then Ever, Quintin Miller - Q.M., Sheck Wes - MUDBOY, Starlito - At WAR With Myself Too, Trouble & Mike WiLL Made-It - Edgewood [Mixtape]

[metalandmagi]

August Media Madness

Well, August may have sucked for me personally, but that doesn’t mean I didn’t keep track of all the media I consumed this month! And spoiler alert, I watched a lot of movies involving adorable talking bears. Although, I have a feeling that as soon as the fall television premieres start, I’ll be watching a lot less movies.

July’s media

Movies!

Dear Evan Hansen

Thank you bootlegs. This isn’t a movie, but I didn’t want to make a separate category for plays when I’ve only seen one this month. Anyway, if you haven’t heard of it, Dear Evan Hansen involves an incredibly anxious teenage boy who is tasked by his therapist to write motivational letters to himself. Unfortunately, Connor Murphy, an angsty boy who goes to Evan’s school sees one of the letters, takes it, and promptly decides to kill himself, with the letter still on his person. Everyone ends up thinking he and Evan were friends and that this letter was a suicide note that Connor wrote to Evan...and a beautiful fake gay relationship friendship was born. Call me basic as hell, but I’ve watched this show twice now, and listened to the soundtrack more times than I can count, and it’s turning into my favorite musical. There are so many important messages in it, and it takes you on a roller coaster of emotions. Every character does good and bad things, and no one is blameless or innocent...except maybe Zoe Murphy. If anything just listen to the soundtrack. 10/10

Night on the Galactic Railroad

Cats...on a mystical train...This seems like the kind of movie they would show you in film school. Very dull plot and characters with the themes being the main takeaway. What even is the plot of this movie? Darker, grittier, furry version of the Polar Express? Incredibly boring slightly more religious version of Over the Garden Wall? I just kept watching it because the main character looks like a cat version of Kagayama Tobio in middle school...cat-gayama. 4/10

Paddington

An adorable bear from South America travels to London and gets into all sorts of trouble with an English family. It’s very charming and sweet, and the aesthetic in this movie is on point, like Wes Anderson directed a children’s movie. This is one of those movies you hear about where everyone loves it, and you think it can’t possibly be that good, but then you watch it and you were wrong! So wrong! 10/10

Paddington 2

Naturally. This time an adorable South American bear goes to prison, and his family tries to clear his name. Again, A+ aesthetic and imagery, but I think I preferred the plot of the first movie a little more because everyone was all together. 9/10

Christopher Robin

Do you like Winnie the Pooh? Do you like jaded adults finding happiness in their lives again? Do you think the movie Hook had a good premise but was extremely long and kinda boring and could have been a better movie with a little tweaking? Well this is the movie for you! Christopher Robin has grown into an overworked adult, and his old friend Winnie the Pooh inadvertently helps him reconnect with his wife and daughter (and also his inner child) just by being the sweet, clumsy, dry humored bear we all know and love. I was so skeptical of this movie at first, and I was absolutely blown away by how funny and meaningful it was. 100/10

The Road to El Dorado

Two lovable Spanish con men named Miguel and Tulio are accidentally swept away on a journey to the fabled city of El Dorado, where everything is made of gold. Once they reach the city, the locals believe they’re gods due to an (un)fortunate series of coincidences, and the con men try to keep up the charade with the help of the best character in the movie, Chel (who I’m pretty sure caused an entire generation of lesbians’ sexual awakening). This is one of my favorite animated movies of all time and one of the reasons I wish Dreamworks would go back to their 2D animation days, where the visuals and music were just as stunning as 3D movies are now. This movie is a classic, and I desperately want a sequel! 10/10

To All The Boys I’ve Loved Before

When Lara Jean thinks it’s a good idea to write 5 secret love letters to 5 boys that she’s had crushes on over the years, everything is fine until her little sister mails the letters to all the boys (because even a 6th grader knows Lara Jean is lonely and emotionally stunted as fuck). This is a Netflix original movie that was adapted from the book by Jenny Han...which I haven’t read, but now I really want to. Overall, this was super cute, but I wasn’t really crazy about the boys. They weren’t horrible people or anything, and they never pressured Lara Jean or made fun of her for being “innocent”, but they were just kind of bland. I’m much more interested in the other boys we didn’t see in the movie! But the family relationships were so heartfelt, Lara Jean’s fashion sense is AMAZING, and the acting/casting was awesome. 8/10

Summer Wars

I...don’t even know how to describe the plot of this one. A teenage boy named Kenji goes on a country holiday and pretends to date an acquaintance of his in order to impress her enormous family...but it’s really about an AI that becomes sentient and wants to mess up the world through this universal internet program called OZ that’s kind of like a mashup of Facebook and Second Life...but actually no it’s about family sticking together and using a Japanese card game to save the world…but apparently it’s got the same plot as the Digimon movie because they’re both directed by Mamoru Hosoda. Yeah...

Guys, I have a confession to make...this has always been my favorite Mamoru Hosoda movie. Everyone falls all over themselves saying Wolf Children is the best Mamoru Hosoda movie, and that’s great for them but it doesn’t even come in second for me. Summer Wars means a lot more to me personally because I come from a big extended family, and when I first saw this movie, I was blown away by how accurate the family dynamic was. There are so many characters, but everyone has their own personality. Not to mention the music makes the summer atmosphere so on point. And I’m not going to lie...I bawled like a fucking baby the first time I saw this movie. So anyway, I like Summer Wars more than Wolf Children, thanks for coming to my TED talk. 10/10

Atlantis: The Lost Empire

Unappreciated researcher Milo Thatch goes on an expedition to find the lost city of Atlantis.

Okay, there are two kinds of Disney fans in this world: Treasure Planet fans, and Atlantis fans. And I will support Treasure Planet as the best underrated vaguely steampunk inspired Disney movie until you can pry my 15 year old dvd copy away from my cold dead hands. But Atlantis is pretty good too. I could write essays comparing the two and why both of them should be successful but weren’t. My main problem with it is that the characters are great, but I feel like we don’t see enough of them, and as a kid a lot of the humor went by so fast that I completely missed it. Also the glowing eyes and spirits taking over the Atlantian princess’s body freaked me the fuck out as a child. NEVERTHELESS! This really is a great movie, with extremely well developed lore and well designed characters that chills me to this day. 8/10

Deadpool 2

The merc with a mouth is back, and man there’s so much going on in this movie I won’t even try to explain the plot. I literally had to go back and add this in because I was so into this movie when I was watching it that I forgot to write it down! Even though I really liked this sequel, I think I liked the first one better, just based on how much I laughed. There was so much going on plot wise, but it really seemed to work for this movie. There were also a lot of great new characters (Domino is my favorite character of the franchise now), but since there was so much stuff going on, a lot of jokes and plot lines were sort of hit and miss. Anyway, I’m sure everyone’s seen this one by now but just in case, I highly recommend it. 9/10

Books!

The Adventure Zone Graphic Novel: Here There be Gerblins by Clint McElroy (technically all the McElboys) and Carey Pietsch

Yeah yeah, for anyone who doesn’t know I’m Adventure Zone trash okay. TAZ is a DnD podcast where 3 brothers and their father create one of the most famous campaigns in history involving three idiot adventurers going on a quest to find a missing person and getting sucked into a much larger grand plan to protect the world. This graphic novel is a visualization of the first arc. I don’t even really like Here There be Gerblins all that much, and yet here I am. Oh well, the art was amazing, and of course I already knew the story. But it was kind of hilarious to see the name changes they had to make to some of the characters and places. I was a little disappointed that the ending was so rushed, and we don’t really spend time around the moon base before The Director is in our face changing the Lunar Interlude parts but whatever. 10 dead gerblins/10

The Darkest Minds by Alexandra Bracken

When a disease that only affects children kills off nearly all the kids on the planet, the survivors are left with supernatural powers and are taken away to concentration camps in order to “protect” the public. I’ve been wanting to read this for a long time, and since the movie just came out I thought it was the perfect time. This is one of those books that some people adore and some people hate. I thought it was just okay. For everything that I didn’t like, there was something to make up for it. Personally, I felt that Bracken focused on the wrong part of the story. Everything takes place years after this disease has come, and I think it would have been more interesting to see everything from the children’s points of view when this disease was first starting. I would focus on each different character as a child and how they wound up in their respective camps. Oh well, there’s way too many pros and cons  that I could delve into, but you like the YA dystopian genre then I say go for it. I didn’t like it enough to read the other two books (not yet anyway). 7/10

TV Shows!

Camp Camp

You know how there are summer camps that specialize in science, or acting, or space, or whatever? Yeah Camp Camp is about a summer camp that throws literally everything you can think of into one summer camp. If you don’t believe me, just listen to the theme song. Seriously though this is one of the best shows I’ve watched all year, but boy howdy this is not one for young children. It’s like Gravity Falls and Rick and Morty had a baby! Anyway, the characters are both surprising and hilarious. David the camp counselor (voiced by Miles Luna) is genuinely likable when you think he’d be the most annoying person on the planet, and the kids are so accurate it’s scary. Also Yuri Lowenthal is in it. And Griffin McElroy has a recurring role where he plays A GHOST! I’ve never been into Rooster Teeth stuff, but they have a winner with this one. 10/10

The Marvelous Mrs. Maisel

After her husband leaves her, Midge Maisel gets super drunk, goes on stage, and gives a hilarious rant about her relationship at a small comedy/talent club and somehow gets sucked into becoming a rising comedian as a woman in the 1950s. It’s good. Great acting pretty funny, but Midge and her agent/manager Susie are the only likable characters. Everyone else just kind of...sucks 8/10

Voltron Season 7 (spoilers)

Okay, I know everyone had mixed feelings about this season, but I did come out liking a lot of it. It had a lot of flaws (I really thought it would be Shiro’s season, and man was I wrong), but this is the sort of thing we can’t really judge until the last episode of the series is finished. I like to think of the positives: the action was amazing as usual, HUNK IS GETTING MORE AND MORE DEVELOPMENT EVERY SEASON, I refuse to believe the team introduced Adam just to have him killed off immediately so he’s still alive in my mind, we get to see everyone’s reunions with their families, the lost in space episode was cool, and say what you want about the game show episode, but I loved it! There were a lot of good things so it was easier for me to look past the...not so great aspects of the season. 7/10

Galavant

A musical comedy mini series involving a renowned medieval hero named Galavant on a quest to rescue his ex girlfriend from her “evil” husband King Richard. But maybe she doesn’t want to be rescued. Well, that’s just the first season. It’s best to go in knowing as little as possible. I remember liking it when it first came out, and it’s still pretty cute...but sometimes I feel like it’s trying too hard. A lot of the music isn’t really...memorable, but the characters are likable so it’s still worth the watch. 8/10

Disenchantment

Speaking of medieval comedies...Princess Bean doesn’t want to get married, mystical elf Elfo doesn’t want to live in an enchanted forest where everyone is happy all the time, and Bean’s personal demon Luci just wants to watch people suffer. Honestly, I wasn’t very into this show at first, but something compelled me to just keep watching, and by the end I was totally into it! This is one of those shows where you think there isn’t going to be a plot, but then the last few episodes come up and smack you in the face! 7.5/10

Round Planet

A documentary parody...mockumentary...satire...That’s really not a great way to describe it. It’s a nature documentary with funny commentary. I like nature shots and animals so I liked it, but there’s a lot of tangents and running jokes and British references that sometimes don’t land. Oh well, if you like unconventional documentaries, just watch it. 8/10

Honorable Mentions

DnDnD: I don’t think I’ve ever talked about this podcast before, but there’s a DnD podcast made by Practical Folks (aka the Drunk Disney youtube channel). It’s pretty good! I want an Adventure Zone crossover now!

The Legend of Zelda: Breath of the Wild: Every time I think I’m out, it pulls me back in. I finally got the DLC and spent most of this month playing this freaking game AGAIN!

The Heathers soundtrack: I finally listened to the Heathers musical soundtrack...and I didn’t love it. There are some good songs in it, but overall I’m unimpressed. And I never could really get into the plot, I’ve always thought it was really weird and over dramatic.

Legendary by Stephanie Garber: I’m about halfway through this book, which is the second in the Caraval series. And it’s pretty good! More on that next month.