#conceptually as a fun nostalgic moment

[artemisbarnowl]

Yoooo guess who found not courting (but sorta a bit courting) EMAILS from 2013. Its me i found them and damn that boy was bonkers in love with me

[redpiperfox]

it's that time again~

Album listen-thru of Ive's Switch~

All in all, the aesthetics in color of early 2000s (bless, they didn't follow the mainstream sound of how people are categorizing early 2000s nostalgia alsdjkfhklasjdfh), the Ive elegance woven into a bright, spring album, A+, 10/10, much enjoyed!

Now song by song:

해야 (HEYA)

What a fun song~! Absolutely won me first listen, definitely has that ethereal dusky wind-in-your-hair backlit euphoria to it, riding on top of a little high-heel, chin-up confidence. Powerful and pretty, in a stunning sort of way.

Yujin's part in the second verse runs rent-free on loops through my head, and the pre-chorus to chorus Ascends, I love the little transition/nod sound between them, and the way everything bursts into the chorus-- and that even that eruption of sound still outdoes itself and explodes in the final chorus, high note overlaying and all.

Visually, what a pretty mv! Exactly the sort of thing I expected from the teasers we got, and captures a sort of aesthetic that perfectly fits and conceptualizes Ive's niche. The set reminded me of that one Twice set in Scientist, but perfectly set it in a cultural and very specific nostalgic-reminiscent mood that I absolutely adore. Pastels and clouds and all. And tying it in with the lyrics? Absolutely beautiful, love!

Accendio

I won't lie, the first line set me off a little XD Why are we talking about priests, what's going on girls lol BUT THEN-- the actual ascension in the chorus outro? Those harmonies and chord building coming out? Hello there~!

Lyrically, it perfectly encapsulates the entirety of the album, and I think the chorus achieved the perfect balance in catchy and elegant that Baddie was setting them up for last comeback. I also love that I could catch this battle between evil and good in the production before the mv dropped-- the second verse drops you straight into a basement of bad intentions, and retrospectively makes that opening line confession make so much sense. It gives the pre-chorus the desparation before the chorus comes in with it's commands-- it's spells of protection almost.

And then the mv!!!

Oh what an mv. Everytime a storytelling mv graces us, I want to put it on a pedestal and run a presidential campaign for it because THISSSS WE NEED MORE OF THISSSS~~~

I love main character Gaeul, I love the girls power up moments into Sailor Moon-esque heroines, and then battling evil versions of themselves, (shoutout to the stylists, oh, keep doing what you're doing!!) I loved all the fight sequences, I loved the quirky plot of keeping this wand safe and then losing it, I love the ambience and color of the whole story-- it supported the music so well? The fast moving parts, the scenes where we could gasp as Yujin slammed her hand into the glass and beckoned us back, the throwback into the timeline, the fight sequences~

Really well done, Ive. A beautiful mash of elegant into a fun turn-of-the-season summer comeback.

Blue Heart

Heyo, Wonyoung written beauty!

The production draws straight from the lighter parts of Accendio, in that protective but smiling, fun image, in a spell, a promise of letting you come close but never as close as you want. It fits perfectly between Ice Queen and Accendio, in a heroine protecting herself, floating just above it all, but when she drops into the mess of it in the chorus, it's fully armored and confidently winning. And I do love the verses and the ascension in the bridge where it really does feel above the clouds and touched in the pastels of a free sky, and how perfectly it contrasts with the chorus.

Lyrically, I'll let her speak for her own song, because there's something really precious and admirable about the work she put into this song (end of the article):

tldr; She writes it as a tribute to female idols in a harsh industry and the image and personality they chose to put out in comparison to their inner strength to protect themselves.

I also want to include lyric analysis by @aidollze on twitter, with a special shout out to Ms Wonyoung for her legal work in bringing down a youtuber for defamation against kpop idols:

Ice Queen

Sent me right back to Hypnosis from their full album, instant love.

Musically, the production is like a bubbling, clear and fresh bubbling spring in the verses that freezes into the chorus, sharp angles and prisitine edges. It's sea-curly hair and curious smiles over the shoulder into combed back buns under a tiara, looking down their noses, critical, moving from level playing fields to a power play.

The lyrics only supported the imagery it gave me, and even added this undertone of the daughter of Halsey's Castle, especially if coupled with Blue Heart's message, which? Gives me all the brainworms? But anyway XD

Wow

How fun~ This feels like a run through a water park or summer vacation in a theme part in the chorus, and the sit-back and reminisce breathlessly in the verses and bridge.

It's funny how the lyrics talk about being opposites but attracting so well, because it gives me that rush of planets spinning frantically and almost out of control when together in the chorus, and then throwing each other out of their orbits to observe and wonder from a distance, only to be thrown back together for the thrill of it again.

Reset

"Kiki, do you love me, are you riding--"

Sorry XD A little more in the brightly colored jungle, in the weeds and unknown of things, before that lovely little astronomically intrumental production into the chorus, where you're stuck to this fun beat, childish in it's fun, almost. I don't know! This song is somewhere between the jungle rhythm and the intergalactic kids ride! And then it finishes and drops abruptly, like it's only there to quickly pass you by before you can hop on and join.

A very fun and chill ending to a bright mini album, that leaves you feeling light!

Ive always has my attention, and if the sheer vocal talent between Liz and Yujin isn't enough, their commitment to their niche of elegance while being able to try and sort invent concepts, has me tuning in each and every time.

Would love to hear thoughts people had on this comeback or on Ive in general!!

[thefearandnow]

Audio Drama Sunday: 11/29/22

So its been almost a full month since I stopped checking Twitter and one of the things that I always loved reading on a Sunday was all the lovely Audio Drama Sunday threads where I discovered a ton of amazing fiction podcasts. Inspired by those and my goal to write more on tumblr I thought it'd be fun to put together my first Audio Drama Sunday post and try to make it a semi-regular thing. Mostly to just get my thoughts down and get through my listening backlog but also for podcast recommendations!

Quiet Part Loud

I posted about this a couple weeks ago (I'm including the past two weeks in this post) but Quiet Part Loud is high on my list for favorite podcasts of the year. The Monkeypaw created, Mac Rogers written, Jordan Peele executive produced Gimlet show really delivered on the hype and I'm excited that there's possibly going to be a season 2. Though the premise sounds very similar to like a Limetown/Black Tapes sort of podcaster/investigator type of thing going on, the way it's written actually reminded me more of last year's comedy series Dark Air starring Raine Wilson (though of course this one is squarely horror, also very Burned Photo in terms of plot). They do an excellent job conceptually and aesthetically grappling with audio as a vehicle for social terror across history and mediums, which is the type of shit I live for! I thought the story was really well paced, the second half of the series had some incredible stand out episodes and the last two episodes were very satisfying. I think this show has a ton of re-listen value and I'm excited to see what happens in the next season. The only bad part of this podcast is that it's a Spotify exclusive so not as many people can listen and I'm not really sure it's worth a subscription if you don't already have it. But if you already have Spotify and love horror I can't recommend enough!

The Goblet Wire

The Goblet Wire is probably one of the more unique podcasts I've listened to: a surreal horror scripted role-playing collection of bite sized portraits (it'd be a stretch to call some of them stories). Very similar to John Darnielle's Wolf in White Van. And last week I finally listened to the last two episodes, which I thought really helped give the whole first batch of episodes a true sense of a series arc. Which I don't think it necessarily needed, but it felt like the end of a season y'know? I love the writing, the simplicity of the format but complexity of the imagery. It's such an open ended concept and I'm looking forward to hearing what the next set of writers do in the next batch of episodes. On top of the show itself being fun to listen to it's just like an incredible thing to exist as a platform for indie fiction podcast creators to collaborate on and make crazy shit. I've got a ton of other podcasts to check out from the plugs at the end of each episode and it just feels so like underground comics community vibe.

We're Alive: Descendants

We're Alive was the first audio drama I ever listened to but I dropped off somewhere in the middle. I tried to get back into with with Gold Rush but felt too lost from the original story line and felt intimidated by going all the way back. But when I saw that they were doing this most recent Descendants season I decided to give it another shot and... it's sorta like my guilty pleasure listening. Like it's nostalgic mainly. It's like their Hunger Games moment which I'm into but for the most part everything that I'm excited about so far during the season gets watered down in clunky dialogue or slow moving plot points. And overall the episodes end up being too long and kinda boring. This last week I listened to Episode 7 (parts 1 and 2 which is a whole other thing) and I can't tell if it all went over my head because of a ton of lore and character work I missed but I definitely felt confused. I'm still gonna keep listening cause at this point I'm invested in figuring out how it all goes down from a story perspective and it feels like this next episode will finally connect the two concurrent story lines. I'm curious to see if longtime fans have enjoyed this season; I've found it an easier entry point than Gold Rush and I like hearing about the regional evolution of the infected, I'm definitely enjoying it even if it's a bit slow.

Welcome to Night Vale

Seems a bit basic to be adding WTNV here but I have been inspired recently to go back to some select episodes, all of them recommendations from this post. And yeah: Night Vale is still such a classic with hilarious writing, fun concepts and undeniably influential style. So far I've only listened to a few early episodes (The Glow Cloud episode is 100% gold) that I was already familiar with and it's been really interesting to listen back to them after listening to Start With This for the past few months. I have a completely different appreciation for what they were doing with this show as it was coming out, like when I was heavy into Night Vale I think I took it for granted that this show existed and was perfectly weird and couldn't really wrap my head around the talent and thought that went into making it so special. I'm really enjoying my trip down memory lane but I'm also really excited to hear some new ones y'all recommended so I'll probably be carving out some space for future posts about my wtnv backlog.

Honorable Mention:

This isn't audio drama but I do want to note that the "Qatar's World Cup" episode of Throughline was really a great listen and worth the hour or so for anyone who's even vaguely following the World Cup or if you saw that John Oliver video. Throughline is one of my fave non-fiction podcasts and episodes like this one feel especially valuable in terms of their research and production.

[salmankhanholics]

★ Zupee ropes in Salman Khan as brand ambassador!

February 17, 2023

The partnership reiterates Zupee’s commitment to provide meaningful entertainment through skill based online casual and board games.

Zupee, the online skill-based gaming platform has today announced Salman Khan, as its brand ambassador. With this association, Zupee aims to expand its presence in the growing skill based online gaming space and pave the way to establish skill based gaming as the most preferred form of meaningful entertainment.

|As part of this partnership, Zupee launched a brand campaign, ‘10 minute mein game ho jayega’, which aims at driving awareness around Zupee’s unique proposition of fun byte sized games such as Ludo Supreme, Trump cards Mania and Snakes & Ladders Plus amongst others, which players can enjoy in short and convenient playtimes of just 10 minutes. The campaign features Salman in his effortless and larger than life avatar playing a host of different games on Zupee.

Speaking on the partnership, Zupee’s founder and CEO, Dilsher Singh Malhi, said “We are thrilled to have Salman Khan on board as our brand ambassador. Zupee’s portfolio of skill based casual and board games are enjoyed by a diverse set of audiences. His mass appeal cuts across borders, demographics and cultures, as one of the most loved and iconic stars in the country. We are certain that this association will help in deepening consumer connect and propelling Zupee’s vision of bringing joy to players lives through meaningful entertainment even further.”

Salman’s witty charm and fun demeanor fit perfectly with the brand’s ethos as the campaign’s core proposition pivots towards enjoying fun and byte sized 10-minute gamepelays. Working with Salman was an absolute delight and we are sure online gaming lovers will enjoy seeing their favorite star share that experience with them.” He further added.

Sharing his excitement, brand ambassador and actor, Salman Khan said, “Zupee is one of India’s leading skill based gaming platforms. Zupee’s fun and interesting take on classical casual and board games like Ludo & Snakes & Ladders certainly brings back the nostalgic feel and are a great way of entertainment on the go. The brand’s vision of bringing moments of joy to people's lives through these casual & board games that can engage and entertain strongly resonated with me and I am excited to partner with Zupee to celebrate India’s growing love for gaming.”

Vikram Tanwar, co-founder of UBT, Salman Khan’s talent management company added, “Zupee has become popular within a short span of time among avid gamers in the country by being one of the first one's to augment culturally relevant games and make them inherently skill based. This association will further help get more casual and board gamers on board and aid the growth of the online gaming industry even further”

This association is structured by UBT(Uniworld Being Talented), conceptualized by Leo Burnett and produced by Nirvana Films. The new campaign will be amplified via a 360-degree approach which features a soon to be launched TVC, digital, outdoor and social activations.

[zjohnsonarts246-003]

ARTS 246 - Week 2

In the assigned reading for this week, I found the exploration of ancient writing and typography particularly fascinating. The diverse range of materials used in earlier times, such as the utilization of heavy clay tablets for writing and communication, stood out in stark contrast to the commonplace sheets of paper prevalent in contemporary times. The contrast of these mediums highlighted the evolution of typography over the centuries. Personally, I developed a profound appreciation for the Early English Gothic style, prevalent during the 13th to 15th centuries, as showcased in photos 1-31 on page 5. The intricate details and ornate elements of this style captivated me, offering a glimpse into the rich historical tapestry of typography. Furthermore, my admiration extends to the woodblock designs featured on page 8, particularly in photos 1-51, owing to their compelling stylistic design and texture. These elements not only serve as a source of inspiration but also underscore the dynamic nature of typography throughout different periods in history.

In the initial stages of my work on our inaugural project, I have chosen to conceptualize and develop a vibrant musical experience titled NextGen Fest—a celebration of Hip-Hop, Pop, and R&B genres. This festival is designed to encapsulate the essence of the early 2010s, a period dominated by iconic artists that resonated with the emerging generation, often referred to as Gen Z or NextGen. This particular timeframe holds sentimental value for those who came of age during their elementary and middle school years. My project aims to transport attendees to the dynamic and memorable moments of this era, characterized by a fusion of fun, hipster aesthetics, and vibrant neon atmospheres. Moreover, NextGen Fest will pay homage to influential artists like Drake, Katy Perry, Nicki Minaj, and Justin Bieber, who played pivotal roles in shaping the musical landscape of that time. Through this festival, I aspire to recreate and celebrate the cultural impact of the early 2010s, offering a nostalgic yet contemporary experience for the audience.

[gb-patch]

Hi~! I have a question. My friends and I are making a visual novel of our own, and I wanted to ask if you had any tips (I love your games, I hope we can reach that level of quality). Thanks!

That's cool ^^. I hope you have fun making it, and it's nice of you to say our games are good quality! But I'm afraid I'm not sure how helpful the tips I could give will be. Increasing the quality of a project isn't exactly something that can be done through general suggestions and I don't know what engine you're using or what you're going for, etc. I'm sorry.

I will say that, in my opinion, there are three stages devs go through in conceptualizing their project and sometimes devs get stuck at the second part and the game is finished under those circumstances. Getting all the way to third usually increases the quality a lot.

The first stage is the idea that you just want to make a game. Who knows what it is, but you want to do that. The second part is having an idea of what you want it to be like and what you don't want it to be like. It's a good place to be, but there's still a level of disconnection. The best stage is the third, which is to really, really understand what your own game is as a whole, individual concept. It's not comparisons to other things or fixing problems you had with something else or a jumble of ideas that you're just going for or a game that's created in a certain way because that's how games seem to work. You've gotten a true grasp on your own intentions and each decision is made with the goal of creating the specific vision.

i.e; Your game doesn't have bad endings because every VN has bad endings, it has bad endings because they are needed for what you're doing. Or the game doesn't have bad endings because they wouldn't do anything. There's just endings and the players can determine how good or bad they are for themselves, or there's only a variety of different good endings, or there's only one single ending, or whatever.

And if you're making it with the aim of getting it out to an audience who will enjoy it, I can give one other piece of overall advice.

Even if it's true that you do want people to like your game, I find it more relaxing and often more effective to never make your game with the intention it being something people like. It's not about liking, it's about convincing. First yourself, and then others. You've seen something in this idea and you're gonna do everything you can so that when people play, they've seen what you saw. This is also why being at stage 3 in conception is so useful. You don't have to jump through hoops for or to read the minds of people you don't even know. You've come to know a thing as valuable or worth some time already, your goal is to pull it off in a way that other people will hear the case you've made for your own concept and hopefully they'll agree. Or at the very least, they'll see what you were trying to do and understand it even if it's not their preference. You can't win them all or perfectly get an idea across every time for everyone, but you can try for it if you know what you're going for.

When I made Our Life: Beginnings & Always it didn't matter if the player coming into thought the childhood friend trope was boring or super cute, I knew what the concept was to me. I'd pictured an experience that was genuinely sentimental, nostalgic, and had a relationship based on shared moments over a lifetime together that actually happened. The genre, gameplay style, presentation, and everything was meant to show that. In the end I think players got to experience what I imagined for myself and I think that's a wonderful thing.

Good luck creating your own project!

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[cryptic-flash]

"Polygon Wave EP" created by the change in the production system and the relationship with Yasutaka Nakata who came closer to Perfume (Natalie Interview Sep 2021)

Page 1 - about live show

Page 2

Which was the most memorable performance of this concert for you?

Kashiyuka: The first performance of "Polygon Wave (Original Mix)". Originally, we were going to perform the version that was released earlier, but when we were deciding which song to include on the EP, Yasutaka Nakata said, "This is the one!" About two weeks before the concert, I asked MIKIKO-sensei, "I'd like to change the song to this one, can you do the choreography in time? "I'll do my best at ......! (laughs).

I'll do my best." (laughs) That's pretty sudden.

 "Polygon Wave" is also the title of the show, and this song was the concept that ran through the entire show.

Nocchi: But I didn't just say, "Let's record a song that will be important for the live performance. When I had a chance to talk with Mr. Nakata last December, he said, "Let's just record a song without thinking about what it's for. If it's good enough, you can use it for something else." He suggested that we go to the studio and record the song after it was written, and the first song we wrote was "Polygon Wave. The first song that came out of that process was "Polygon Wave." I think that kind of rough, uncomplicated feeling is easier for you now. All the songs we recorded this time have a different and new atmosphere. Among them, it seems that "Polygon Wave" was the first song that Nakata felt was appropriate for everyone to hear, and from that point on, we started talking about various things.

Kashiyuka: The songs "∞ Loop" and "Android &" that will be included in the EP were also recorded at that time. When we were recording, we hadn't talked about an EP yet, but since "Polygon Wave" was chosen as the theme song for "The Masked Singer," we decided to release a single. He said, "I want to put a lot of 'Polygon Wave'! I thought, "That's new" (laughs).

Nakata-san also likes this song a lot, doesn't he ?

Nocchi: I think Nakata-san had a clear idea of the world he wanted to show us. We also thought it was a great song, so we thought, "If that's the case, why don't we just release this one song first?" Then Mr. Nakata said, "If we make an EP, we'll make another version. We said, "If you're going to make another version, we'll do it live."

Kashiyuka: We've never had so many different mixes of the same song before, so we'd talk about things like, "Which 'Polygon Wave' should be the first song? We talked about it. I thought it was unusual for you to have such an opinion on the song order. It's always easy to decide, but we had many discussions.

"A closer relationship than that between "producers" and "singers.

Kashiyuka: In the past, we'd record songs after we'd decided on a release or a tie-up, but this time we were free to write and record without thinking about whether we'd use them or not, so the pace was faster than usual. When we were recording, people would say things like, "We might not use this song," but since we've already sung it, we've grown to love it (laughs). (laughs) So I sang it, thinking, "I hope it doesn't disappear. (laughs) So I sang the songs while thinking "I hope they don't disappear". In fact, I recorded songs that were not on the EP.

A~chan: Mr. Nakata's mode was different. He's always been a fast songwriter, but what happened to him?  It was so fast. I think he had a clear idea of what he wanted.

Nocchi: You and Nakata-san talked a lot before and after the recording, didn't you? We talked about our old music, our stance when being interviewed, what we hope Perfume will be like in the future, and what we want to do.

In the last interview, you said that there were only two songs that you made demos for and rejected (see Perfume "Perfume The Best "Cubed"" interview). That's a big difference.

What was the recording process like?

A~chan: we talked for hours.

Your relationship with Nakata-san is completely different from what I've heard from everyone.

Nocchi: Yes. Before, we used to talk about such things only in the occasional discussions. Nakata-san used to only reveal a little bit of what he was thinking, but this time, he was overflowing with it on .......

Kashiyuka: This time, I was happy to feel that we were working together at a closer distance than the previous relationship of "producer" and "singers". "I thought, "Oh, it was easier for Mr. Nakata to work this way. I'm not sure why I didn't realize that until now (laughs).

I'm curious to know what songs you recorded but didn't include in the EP.

Kashiyuka: The song we played at the end of the live the other night is also not on the EP, but we recorded it at that time. We don't even know if that song is finished (laughs). (laughs) But I liked that song so much from the moment we recorded it that I told MIKIKO that I wanted it to be included in the live set list.

 It's rare to play a song in its current state in a live performance. In rock bands, they sometimes show off songs that they are still working on.

Kashiyuka: That's true (laughs).

Nocchi: But we wanted to sing that song at this live, because it expresses the message that Perfume wants to convey to the fans now. It might not be released for a long time, or it might not be released at all, but we were aware that this live performance would remain as a video for a long time.

Page 3

`A desert world where all organic matter is made up of digital bits.`

So, I felt that both "∞ Loop" and "Android &" selected for this song are similar to the world view of "Polygon Wave".

Nocchi: I like both of them very much. The music is stylish and light without being mechanical, but "∞ Loop" is about the scary feeling of living in a world where time loops, and "Android &" is about falling in love with an android.

A-chan: Nakata-san told me the meaning of the lyrics. The main character of "Android &" is actually an android who thinks he's completely human. That's why the title of the song ends with "&", but it's supposed to be like "Android & Human". It's interesting, isn't it?

Kashiyuka: But we didn't know the titles of either "∞ Loop" or "Android &" until the songs were announced (laughs). (laughs) When we were recording, we said "loop" and "android", so we thought that was the name of the song, but when the information was released and we read the news article, it said something different. "But when I read the news article after the information was released, it said something different. "Is this "&" a typo? I thought, "Is this okay? I contacted them just to make sure. I asked him if it was okay, and he said, "Nakata-san told me it's "Android &". The other song is called "Mugen Loop" (laughs).

Nocchi: The lyrics of "Android &" are kind of harsh, looking at the world from a bird's eye view (laughs).  It's a song with a clear story, so I hope you'll write a story based on it.

A~chan: It looks like it's going to be hard to draw the CG (laughs).

Kashiyuka: But we can probably cover the motion with the data we've collected so far (laughs). I feel that Nakata-san had envisioned a total world in this EP.  He wanted to express the whole thing like a movie.

That's right. I thought it was a very conceptual composition that "∞ Loop" depicts a world that keeps rebooting at the end of the day, and the song "System Reboot", which means "reboot", is included at the end of the same work.

Kashiyuka: Nakata-san's image for this EP is "a beautiful & broad desert, but all the trees and organic matter growing there are made of digital bits. It's a world with a sense of discomfort," he said.

Director Yusuke Tanaka's signature "Wow, I'm so scared"

You made a dance practice video for "Polygon Wave", didn't you? It was the first time for Perfume to make a video focusing on the choreography, but it seems that there was a demand for a video where you can see every detail of the body movements, and the response was great.

Nocchi: I'm so happy (laughs). It's not often that I get to dance in sneakers, so it was fun to film.

A~chan: Whenever I appear on a music program, I always take a short video of myself dancing and submit it to the TV station. I can't show that kind of footage to the public, but the atmosphere of the dance practice video is similar to that. It's hard to dance in heels, so just wearing sneakers made it really easy.

I heard that you're working on a music video for this song, will there be a lot of dance scenes in the music video?

Nocchi: Basically, it's like a dance video.

Kashiyuka: But we just shot it, so I haven't watched it yet (laughs).

A~chan: It's a video with a clear world view, so I'm sure you'll understand how to listen to this song by watching it. Is this real? Is this real or is this virtual? In the music video, the three of us are driving together, and in the middle of the road, we're like, "What? It ends with Yusuke Tanaka's signature "Wow, this is so scary! (laughs). During the shooting, I was dancing so hard that my legs became sticks.

The choreography is quite complicated, isn't it?  It's a collage of past songs, updated with the skills of the three of us, and it's the culmination of Perfume's dancing to date.

A~chan: What! Is that so? I thought you were doing it consciously, but it's not like that?

Nocchi: I wasn't conscious of it at all. To be honest, I just thought, "I've never done all these moves before" (laughs).(laughs)

Kashiyuka: When I was being choreographed, I took it as "new movements for a new song", so I didn't feel anything special. But we didn't talk about such messages.

A~chan: I thought that the arrangement of the song had various old tastes. I thought, "That sound in the background is the one they used in 'Polyrhythm'! It brings back memories! I'm nostalgic!

─ Speaking of which, the newly recorded "Polygon Wave (Remix)" is a very interesting remix, with a series of tones and phrases that remind me of various Perfume songs.

A~chan: I think Nakata-san has that planned out! I mean, he said something like that, didn't he?

Oh, so that's what he said. I was listening to the song thinking that it was like a concept live "Reframe" that reconstructed Perfume with the most advanced production, and that it was like your own "Reframe" that reconstructed Perfume's history in one song.

A~chan: Yes, yes. When you've been doing this for a long time, you get to make this kind of music.In many cases, remixes are done in a way that is different from the artist's usual style, as if to say, "This could be interpreted in this way," but this remix has more of a Perfume feel to it.

Nocchi: Yeah, I was expecting it to be weirder, but when I listened to it, it sounded so much like Perfume (laughs).

Page 4 - upcoming Reframe etc.

src : https://natalie.mu/music/pp/perfume17

[056crowshit6556]

Disillusionment in the characters of Mitzi May and Mordecai Heller

I wanted to discuss what I find to be a fascinating relationship between Mitzi and Mordecai.

There’s no better place to start than with Ivy Pepper’s dream sequence in “Nightmare”.

Okay, so breaking this scene down. The three characters Viktor, Mordecai, and Mitzi surround a tree which represents Atlas, or at least, a conceptualized version of what Atlas has become, everything he built, and everything he represented. Ivy calls the thing they’re surrounding a “ghost”, and asks why they don’t turn around, i.e. move on with their lives. Why don’t they leave?

Mitzi and Mordecai are attached to the tree by a blue ghostly mist. It’s specifically attached to their eyes, showing how their connection to Atlas gives them ‘vision’, focus, purpose, and foresight.

I find it particularly fascinating that Mitzi and Mordecai are the ones attached to this tree by the soul sucking/soul giving light, but I think it’s appropriate considering that Atlas was their entire world. He is what connects Mitzi and Mordecai, which is what I’m going to try to explain through this post.

Both characters were born and raised in abject poverty (appropriately enough, one came from ‘northern’ poverty, the other ‘southern’ poverty— a subtle but efficient dichotomy between the two). Both had talents that Atlas fostered, both of them liked how Atlas made them feel special, both of them vied for his attention, which is the main source for the animosity and connection between them in the first place.

I’m interested in their relationship because I find it fascinatingly bitter, complicated, mysterious, and for some reason, very tender. Not tender as in affectionately warmhearted, but tender because both of them are a soft spot in each other’s memories. Mitzi acknowledges Mordecai as “a helping of salt to rub in her wounds” and Mordecai states that he has “mixed feelings” about this meeting. That I’ll explore in a moment, but first, it stands to mention what Mitzi says to Asa in “Heartstrings”:

“You only know someone until you don’t”

Which to me, might be a little tongue-in-cheek on Mitzi’s part, suggesting that she knows something about Mordecai that no one, not Asa or even us, the readers, fully understand. If there’s something about Mitzi’s character that has been shown so far it’s that she goes through the motions of social grace and banter while maintaining a sense of condescending, underlying humor about the irony of situations. This line went over my head until I went back and read it, and the subsequent scene of them talking in the car further adds to the implication that they know each other more intimately than expected.

Being taken in by Atlas, they were exposed to each other as a consequence of circumstance. They both shared Atlas to a degree which bordered on the unhealthy, because I don’t think they formed identities beyond the ones they formed in relation to Atlas. With the added fact that they were both fairly young and impressionable when Atlas took them in, and the subsequent familial rivalry and resentment their relationship created, there’s no surprise that they’re both disillusioned and blindly clinging to the dead tree as seen in Ivy Pepper’s dream.

The problem I see between Mitzi and Mordecai is that because of circumstance, they had to be vulnerable with each other, and even though jealously may have created resentment between them, I think the two flashback scenes in “Hamstring” and “Confessional” state multitudes about that resentment. It’s not just jealousy, (Mordecai asserts that he has no interest in defending her, which sounds petty and jealous although he could have valid reasons— it’s unclear at this point), but I figure that the other layer to Mitzi and Mordecai’s resentment of each other stems from the assumption that they were vulnerable with each other at some point. Whatever happened at this moment, which Mitzi refers to as a “bad memory”, altered their relationship in some form or another.

“What’s left to question between you and I?”

“That remains between us.”

I can’t imagine Mordecai taking too kindly to anyone he has to be vulnerable with, and I don’t think Mitzi would enjoy admitting she has weaknesses or flaws either. It’s one of the reasons I find their characters to be so similar. Neither of them like dropping their protective facade but I think in the past they did with each other. (Mitzi’s facade being a socialite debutante, Mordecai’s facade being a cold-blooded sociopath). I think they perform traits of those facades, but the problem is I think those traits were fostered and encouraged by Atlas, maybe without him even meaning to. It’s like...two children will act a certain way because they can tell those actions please their parent. It’s really sad and really distressing but that’s the way these two characters operate in the realm of the story.

The man Mordecai is interrogating, Grombach, states that Mordecai doesn’t seem like the “cake-eater” type, but he does fit right in with that crowd.

And Zib, who knew Mitzi before she met Atlas, states that she’s not the sleepy eyed girl he found in Georgia anymore in “Blood-money” (although I think Zib might be looking at Mitzi through nostalgic rose-colored glasses).

Case in point, Mitzi and Mordecai’s characters are alot more multi-layered and complex than simply a socialite-flapper and a triggerman-cake eater, although they did perform those roles reasonably well.

(That’s one of the reasons why it’s difficult to tell who is taking the gun in that particular flashback. Mordecai claims that Mitzi didn’t shoot anyone, so it’s reasonable to assume that Mitzi is handing the gun to Mordecai. (I could be completely wrong but it’s fun to speculate). She taught him how to maneuver, or at least interpret, social situations. In turn, he could have done something, or helped her, commit a murder. It’s ugly but that’s his speciality. If Mitzi is handing the gun to Mordecai and asking him to eliminate someone, then in such an instance she stops being “Atlas’s little wife” and starts being a boss. Maybe Mordecai trusted her judgement on it and the plan went horribly wrong, and so he blames her for it. There’s alot to unpack there so I’ll just leave it at that).

This idea of creating a persona is even perpetrated by Mitzi, who claims Mordecai to be her ‘little project’ in the mini-comic “Photoplay”— and although I’m sure he was reluctant at first, Mordecai allowed Mitzi to help him integrate into Atlas’s society— the 1920s flapper way.

(Not to mention that line from Mordecai: “You like it because he likes you to like it?” That sums up perfectly what I’m trying to get at— I’m not saying Mitzi’s interest in photography is a facade, or Mordecai’s interest in being a bookkeeper or a hitman is a facade either, but what I’m getting at is those interests were directly correlated to Atlas and were absolutely influenced by Atlas. They call each other out for using Atlas’s money or clothes, and I imagine there’s been other times where they purposefully nitpick the other when Atlas gave them a gift. It’s jealousy in its most blatant form).

That one line by Mordecai is so good because it encapsulates the way their relationship was at the beginning before “things visibly deteriorated.” They were both butting heads with each other, nitpicking the other because they knew how Atlas changed both of their lives. It’s so childish but definitely prevalent among siblings— Mordecai thought he had some sort of upper hand, that he was his own person, but Mitzi reminds him that he’s wearing Atlas’s shirts, inevitably reminding him that he can’t escape Atlas’s influence. We want to think we’re our own person, free from influences, but those closest to us inevitably remind us where and what we came from.

And neither Mitzi or Mordecai can hide from each other the fact that Atlas took them in and gave them financial security, food on their plate, clothes on their back, and a sense of purpose. He made them feel different than how they actually feel about themselves. This is expressed by Serafine to Mordecai in “Redivivo” and “Keepsake”:

“And like dat, he’s lit up a path out de black mire you got yourself in. Shinin’ a direction for you, real clear. His direction. But once you take dat direction, once dat light is on you, dat’s all you got. De other loa leave you. You are obliged to him only, always. Or else you are lost again.”

And in “Vestige”, Mitzi admits that she liked how he made her feel special.

Serafine sums it up pretty well: Mitzi and Mordecai found someone that ‘lit up’ the path in front of them.

I want to briefly mention their interaction in “Hamstring” and “Monomania”. Mordecai speaks very differently to Mitzi than the three other male characters in the story (I’m referring to Zib, Rocky, and Wick). It could be the mysterious nature of their relationship but the conflict it adds to the story is intriguing nonetheless. More so, I always got the impression that he spoke to her as an equal. Zib doesn’t like that Mitzi’s capable of deceit, Rocky places her on a pedestal and views her as a damsel-in-distress, and Wick sees her as the elegant flapper widow of the late Atlas May (and a romantic interest, not a business partner). The difference between the aforementioned relationships is that Mitzi and Mordecai don’t want anything from each other, and they call each other out quite bluntly— Mitzi tells him he can’t treat her as both an enemy and a confidante, Mordecai places some blame on her for Atlas’s death. So when I say that their relationship feels equal to me, it does seem that they have an equal amount of dirt on each other, but at the same time, they tell each other the truth. Two cats in the same boat and the boat’s name is Atlas? Such close familiarity means they can’t hide things from each other, not really, and they can’t raise their expectations of the other person when they already know that person’s limits. In contrast, Zib wants Mitzi to run away with him and forget Atlas, Rocky wants her approval, and Wick wants her because of his romantic interest in her. I’m not saying their intentions are wrong or mistrustful, in fact, they aren’t. All characters have motive, it’s what drives the story. The thing is, they’ve all created misconstrued personas of Mitzi, but I don’t get the impression that Mordecai has, and I don’t get the impression that she’s construed a false premise of him either. 

That’s the consequence of “growing up” together, building an identity alongside someone, and then, as Mordecai puts it, they witness each other’s identities “visibly deteriorate”— whatever happened between them before Atlas’s death was the incident which revealed each other’s vulnerability. Mordecai tells Mitzi to “keep her charade” out of the way, insinuating that he knows she’s capable of putting on appearances, but it’s a possibility that he’s trying to remove her from the bootlegging business because he doesn’t want to see what happened to Atlas happen to her. Personally, I would love to see the narrative ironically drive Mordecai to lose his current composure (a kind of karmic retribution for looting Lackadaisy’s storeroom, even if his underlying intentions were to push Mitzi farther away from the business, he still did a great job of putting her life in danger). I don’t know if that voodoo sigil Serafine carved on his chest is going to do anything, but if it did, it could make him behave in a way that would expose his charade as Asa’s hired gun as well as his persona as a cold unfeeling triggerman.

Mitzi continues to run the Lackadaisy Speakeasy out of commitment to Atlas; Mordecai continues to take out targets for Marigold out of commitment for obtaining the truth about Atlas’s death— but the problem here is that they’re doing these things in service to a ghost. Neither of them can make things go back to the way it was. Atlas is dead, and without him, they’re lost. Their current commitment to Atlas is commitment to his memory, which is why in the dream sequence they stare blindly into his ghost, tethered to the dead tree.

And clinging to a ghost is a dangerous path to choose.

The lines “You’re obsessive” and “You’ve brought [losses] on yourself in your persistence” stands out to me.

In my opinion, Mordecai is projecting when he tells Mitzi she’s bringing shame to Atlas’s memory, because in an ironic way he’s kind of doing the same thing? This is coming from the same cat bastard who was running ‘round the woods stripped down to his underwear killing people on Marigold’s behalf like he ain’t got no goddamn sense. Literally our first introduction of Mordecai’s character in the comic paints him as an incredibly unhinged individual, so I think the irony of him saying Mitzi is embarrassing is just as hypocritical as Mitzi saying he’s obsessive. It’s so poignant and so deliberate how they project these things onto each other.

(Mitzi accuses Mordecai of being obsessive and she’s right, but her reluctance to give up the Speakeasy is borderline obsessive too. On a brief side note, it’s sad to think about but I genuinely think he’s going to get himself killed because he can’t let go of Atlas. And likewise, Mitzi is going to get into some kind of trouble (either with Wick or the law) because she’s clinging to Atlas’s memory and everything associated with his memory. They’re both obsessive to a degree and it’s showing through their self-serving choices throughout the story thus far. I could be wrong about this but my assumption is that Mitzi refuses to give up the Speakeasy because she feels some sort of underlying guilt, and Mordecai refuses to give up searching for answers because of a sense of obligation; but as stated above, Mordecai projects his feelings of guilt onto Mitzi, and Mitzi projects her feelings of inadequacy onto Mordecai).

The big elephant in the room is whether or not Mitzi and Mordecai conspired to murder Atlas. Personally I think no, but I do think they did something that indirectly caused his death. Perhaps they took out someone together, and that created a chain of events which led to Atlas’s demise. That would further instigate their obsessive guilt over what happened, but it’s a mystery for now.

It’s because of their fixation on Atlas’s memory that they’re both attached to the dead tree in Ivy Pepper’s dream. If they weren’t, they’d be lost in some desolate exodus across the desert landscape, a wasteland similar to the one conceptualized by T.S. Eliot in his work “The Waste Land.”

A few lines from the poem paint an eerie landscape similar to Ivy’s dream:

and

lastly

“I was neither living nor dead”

It’s a common theme among modernist literature that, as William Butler Yeats stated in his poem “The Second Coming”, the “center cannot hold.” After the horrors of World War I, combined with the rapid growth of consumerism and materialism as well as a decline in religious faith, things seemed to “visibly deteriorate”, people in the early 20th century were so disillusioned with the state of things that they felt they had no “center” to keep them tethered to this world; in a sense, what could give them a purpose or sense of meaning? At the end of the 19th century, Nietzsche famously quoted “God is Dead”, but it wasn’t in praise of humanity for turning towards science and reason, but despair because it begged the question: If God is Dead, then what the hell do we believe in? What do we put faith in?

In the case of Mitzi and Mordecai, that faith was in Atlas May.

Trees make excellent visual representations of “centers” in storytelling because our ancient ancestors considered the tree to be their home, their safe haven, the “center” of their world. Why else do trees continually reoccur as symbols of centrifuge throughout mythology, storytelling, and religion? Why else would it be called the tree of life and the tree of knowledge in the book of Genesis, or the World Tree Yggdrasil in Norse mythology, or the Kabbalah in Judaism if it wasn’t alluding to the fact the we evolved as a species alongside the trees?

It makes sense that the story’s center is Atlas, represented by a tree— but that’s the problem— Mitzi and Mordecai are centering themselves around a dead tree. But the memory of Atlas is what continues to give their eyes “light”, and so they don’t look away to face the reality that they are lost in a habitual wasteland.

With Atlas gone, both characters experience disillusionment with either themselves, the world, and maybe even their perceptions of Atlas. Basically, they built their identities around him, and I think they gave each other their most honest representations— which resulted in a sort of strained tenderness between the two which defers foremost to bitter resentment.

[louistomlinsoncouk]

Interview: Louis Tomlinson Talks “Kill My Mind” & Debut Album

After experimenting with everything from EDM to acoustic ballads, Louis Tomlinson finally found his sound on “Kill My Mind.” The just-released single is a throwback to the fuzzy, indie-leaning pop/rock of the ’90s and early ’00s. Which is not a coincidence given that it was inspired by the bands Louis grew up listening to on UK radio. (Think Oasis and the Arctic Monkeys). The song also sets the tone for the superstar’s debut solo album, which will be similarly raw and organic.

I spoke with Louis about his gutsy new single on Friday (September 6) and he recapped his search for a sound that was authentic to him. The “Miss You” hitmaker then revealed that his debut album is finally finished and gave some insight into its tracklist. He also reminisced about his heartwarming “Two Of Us” video and fond memories of being in One Direction. Other topics of conversation included the “Kill My Mind” video, upcoming live shows and his next single. Find out more about the 27-year-old’s solo journey below.

It feels like you really found your sound with “Kill My Mind.”

I think it’s important for any artist to play around with different sounds and find a place in their industry. For me, it frustrates me now that I’ve got four or five singles that just feel different sonically. It’s important to me, and something I’m going to focus on moving forward, to have a real identity as an artist. With the album that is really, really important to me. I feel I found my home on “Kill My Mind,” definitely sonically and the way it makes you feel and how it sounds to you. Yes, it feels good.

Was it a matter of finding the right collaborator or producer?

Definitely. You need someone who is going to embrace your ideas and embrace you for who you are. I did quite a lot of different sessions with producers in America. Everyone has their own opinion of what they think you should be. With some people, you can go into the session and say, “This is who I am, let’s work with this.” Whereas in other sessions, I can sometimes feel producers trying to pull me certain ways. When I found Jamie Hartman, who I wrote quite a few songs with including “Kill My Mind,” I didn’t even have to explain too much about who I am or what I want. We were just on the same page straight away.

It definitely has more of an indie sound. There’s also something quite ’90s about it. Was that your intention?

Yes, I’m a massive fan of ’90s music. I always talk about when I grew up, pop Radio had the like of Amy Winehouse, Arctic Monkeys and Oasis. Now it’s a little bit more urban-leaning. I just went with what I grew up with. That’s where my influences lie.

I think that really comes through on the song. It’s a bit fuzzier and more organic than what you heard on radio right now.

That’s a big compliment. I appreciate that, thank you.

As you said before, you now have maybe five songs that all sound very different. Will you go back to those songs and tweak them?

Well, there are some songs like “Two of Us,” for example. That is just a really simple, organic ballad that fits in line with what I want to do. There are songs like “Back To You” with Bebe Rexha that I absolutely love but, sonically, even just melodically, it’s so set on what it is. Whereas the Steve Aoki song, I have actually reworked to try to fit more in line with “Kill My Mind.” It has been stripped back and that worked straight away actually. I think it’s kind of song dependent really.

I can’t wait to hear the new version.

It’s such an anthemic melody. Anyway, it leads to that guitar-driven stuff. It works pretty well actually.

How far along are you with an album or an EP?

I’m done! I’m finally finished recording the album thank fuck. That took fucking ages. I’ve probably got another two or three more singles after “Kill My Mind.” So the album’s probably going to be out early next year. I’ll be relieved the day the album is out, I can’t wait for that day.

It must be so exciting to have it in the can.

Oh, definitely. It’s been two or three years in the making and when I was in One Direction, we were literally putting out an album once a year. It does feel like a long time for me but I’ll feel really proud when I get it out. I’ve been quite meticulous with it. I’m really excited to hear the feedback.

Who else have you worked with apart from Jamie Hartman?

Let me think about this, who else have I worked with? There’s a guy called Sean Douglas, who actually also wrote “Kill My Mind” and wrote with him on a couple of tracks. I’ve probably done sessions with close to 75 different producers. I think what I’ve realized and learned during the process is that finding the right writing and creative partners, who are all on the same page, is priceless. I have also worked with Wayne Hector, Steve Robson, Julian Bunetta also. There are probably four or five songs that I wrote with Jamie, so they really will be a big chunk of the album.

Will those earlier singles be on the album?

They will be, definitely. I’d say, maybe 30 percent of the songs on the album were written longer than a year ago. There are some songs that are so special to me and I think they mean a lot to the fans. Some of those songs also represent that time in my life in whatever way. So I couldn’t necessarily start fresh, but once I’d written “Kill My Mind,” I kind of found my sound. Once I’d written “Kill My Mind,” there were three or four songs that followed on from that, and it was a little bit more straight forward because we knew exactly what we were aiming for.

I can imagine “Kill My Mind” sounding great live. Have you thought about a live show or tour?

I’m lucky enough to be playing a show in Madrid. They’re doing a Coca Cola festival and I’m headlining one of the days. I’m really excited about that. I’m doing 10 songs. Now, to this point, I’ve only done three or four songs on the odd radio show. So I’m really, really excited to get out and get a reaction and feed from the audience. I know, “Kill My Mind,” is naturally going to make the transition to a live show and I’m pretty confident it’s going to be fun. So I’m really excited about that moment.

How different is it standing on stage by yourself compared to being in a band with other guys?

I’ve done the odd performance. I feel like I’m growing into that. It won’t be so new to me, but doing 10 songs and creating a show about me on the stage, it’s a little bit, I would say, daunting. There’s naturally more pressure. That’s another thing I’ve realized from working on my own as a solo artist. I have to stay across absolutely, everything and all of a sudden, I’m so meticulous about every single detail. When I think about the tour, it’s going to be an even more rewarding situation for me because when we put it on, I will literally have painted this picture from the ground up, so it’s something that really excites me.

You mentioned “Two of Us” a little bit earlier. I love that song.

Thank you.

The video was so touching. Who came up with that idea? That old guy is a legend.

Oh my God, honestly. Of all the things that I’ve done in the last 12 months, that is definitely one of the best things. It was an absolutely amazing experience. I think it was a conversation between me and the record label. We talked about different, interesting ideas that we could do for the video. Everyone should watch that video and be inspired. Not from my story, but from Richard’s story. That old guy recently lost his wife and it was raw to him, but I’ve never met anyone with such an amazing view on life. Although he wasn’t dealt the best hand, he lived so happy and so fun, and he was up for anything literally. He was a proper, proper, brave old guy and I was really taken aback by him as a person.

Has he inspired the way you approach your own life?

Definitely. I think that I have the luxury of now being able to see that the glass is half full as opposed to half empty. Richard really taught me that. There are some things that we did together, which he had obviously never done before. It takes a brave man of that age to do new things. Yes, we can all learn something from that, definitely.

Have you thought about what you’re going to to do for the “Kill My Mind” video?

I’ve already filmed the “Kill My Mind” video, and the next video actually. I’m really excited about this. It’s with Charlie Lightening who directed a documentary about Liam Gallagher. I’m really excited about that. Visually, he’s really cool. Conceptually, for “Kill My Mind,” I wanted it to be like all the Oasis videos I love. I wanted it to be more about the performance. Not focusing too much on a narrative and just being lit really well. I think we pulled it off. I’m excited about that one.

I can’t wait to see it. Do you know when it’s coming out?

Yes. What day is today? Friday. I think it’s due Monday or Tuesday. I think we’ve got some last few notes to do before signing off. So, yes, early next week.

Do you enjoy the visual element?

Yes. I’ve always been quite inclined to get involved in conversations about that. To be honest, sometimes One Direction was so manic, there literally wasn’t time to be across as many things as I am now. It’s really, really rewarding. It’s the same buzz that I get off writing songs. Like when we sat and we spoke about the idea for the Richard video, “Two of Us.” Then you actually watch the final piece, you’re like, “Wow, we’ve actually created something really interesting.” To a certain degree, important, that’s proper refreshing. Definitely.

You mentioned some of the One Direction videos. Has enough time passed that you can look back on it and feel nostalgic or does it still feel recent to you?

It still feels recent but there have been numerous times where I find myself kind of reminiscing about old videos on YouTube, interviews, or performances, whatever it is. There’s still that side of the nostalgia where you miss it as well. It’s like looking back on your school days or your university days. It gives you that funny feeling in your stomach where you miss it, definitely.

You said you filmed a video for the single after “Kill My Mind,” how long will we have to wait for it?

Because I have other songs that don’t really reflect the overall identity and sound of the album, I just want to get as much music out as I can before the album comes out. I’m pretty sure the plan is to release a song every month or every six weeks, so there’s more music out there. I want to really drive home who I’m trying to be as an artist. I think the next single’s coming middle of October, something like that.

Thanks so much for your time. Good luck with the album.

Thank you. I appreciate that.

[mostlysignssomeportents]

After more than a decade, Cecil Castellucci and Jim Rugg's YA classics The Plane Janes are back!

[I adored Cecil Castellucci and Jim Rugg's YA graphic novels The Plain Janes and Janes in Love, which were the defining titles for the late, lamented Minx imprint from DC comics. A decade later, the creators have gotten the rights back and there's a new edition Little, Brown. We're honored to have an exclusive transcript of Cecil and Jim in conversation, discussing the origins of Plain Janes. Make no mistake: this reissue is amazing news, and Plain James is an underappreciated monster of a classic, finally getting another day in the spotlight. If you haven't read it, consider yourself lucky, because you're about to get another chance. -Cory]

Cecil to Jim: How interesting or difficult was it for you to go back to match a style from 11 years ago?

Jim: It was impossible!

When I started drawing Janes Attack Back, I was so anxious. You can’t unlearn how to ride a bike and a lot of my style from 11 years ago included my limitations as an artist. I hope I’m much better now than I was then. But when it comes to style, I just couldn’t quite do it the same. After a page or two, I stopped trying. I figured that as long as the character designs, grayscaling, and lettering were consistent that it would be a 90 percent match. Combined with the different ink colors, I think it flows pretty well. But it was definitely tough to figure out in the beginning.

It was interesting for me to revisit the original art and to get back into characters that I had spent so much time with, but that was over 10 years ago. It was a very strange feeling in my head. Nostalgic but also filtered through thousands of pages of progress since I drew the first two books. It was like studying a different artist, trying to get back to that style.

How much of an issue was this from a writing perspective?

Cecil: It was the same!

When we first did Plain Janes it was my first time moving from prose to comics and I remember that I called you up crying once because moving the story from panel to panel was so difficult to figure out at first. Comics is not prose! But now I have a better understanding of comics and I would write those books way differently now. So it was hard to go back to being more naive. But it was an interesting challenge for sure.

Cecil to Jim: We had sort of hammered out this story as a four book thing back in 200. For Janes Attack Back, we compressed. Is there anything that we left out that you kind of wish we’d been able to keep?

Jim: I’m very happy with how this turned out. I remember we planned to have the Janes all go their separate ways for the summer. I think you did a terrific job compressing that. We still see them do their own things and drift apart. I like these characters so our original plans were fun--seeing them on their own allowed a different side of them to emerge.

But I think the story works best in this final version. I don’t miss the longer solo adventures. Although I refer to the Janes as my X-Men, since they are a team, and team books often have spinoffs where characters have solo adventures. So maybe a longer solo adventure would be fun. I did draw quite a bit of Brain Jane at space camp many years ago! But overall, I say no. I’m so happy with this final story that I don’t regret anything we cut to make this final story! Who knows, we could always follow the Janes as they go off to different colleges and post high school adventures...

Cecil: I’m glad I have those Brain Jayne space camp pages. But yeah, I don’t miss their solo stuff. I’m glad that we just really follow Main Jane. But it’s interesting because I think that kind of goes with the question above. I think writing that whole Janes Go Summer was the book that I would never write now because I’ve learned that you can just go to the next best part and you don’t have to tell every part. Like moving time from panel to panel.

Cecil to Jim: What was the hardest thing to draw? And which art attack did you love the most?

Jim: Not exactly an art attack, but I think my favorite art thing was when Jane visits the museum in France and she appears in several paintings. That was fun to draw, but also it fit the story perfectly. As a cartoonist, that’s the best I can hope for--when the art gets to shine within the context of the story. That moment feels magical to me--in terms of both the story and the art.

Does the school dance count as an art attack? I like flowers so when the gang covered their dresses in flowers and Brain Jane hit them with a spotlight, that was something I enjoyed drawing.

Cars are hard to draw. Kissing is hard to draw. Crowds are tough. Perspective...I could go on and on!

Jim to Cecil: Craft--is there a difference between writing a novel and writing a graphic novel? If so, what are those differences?

Cecil: There are more words in prose. That seems obvious, but it’s a big deal because that’s what you paint your pictures with. So you can really dive into the minutiae of a moment but it’s very different than with comics where you dive into a moment because you are really dictating what you want the brain to pay attention to. And you have to really understand that each reader is going to have a wildly different understanding of what that picture should be. In comics, it’s right there. So you can be very specific and focused and the words are not really important. They are but I throw out a lot of them.

I think I over-write my script as a scaffolding for you, the artist, so you don’t have to do all the mental heavy lifting. But the best thing about comics is the throwing out of words. And silence. You can use words to describe silence but it’s still very busy and loud. But in a comic, a silent page or panel speaks for itself, and you can have a pause and rest that you can’t have in prose. I love writing both and that is why I really think that a story tells you how it best wants to be told. Because prose and comics have different gifts in terms of telling the tale.

Jim to Cecil: I sometimes describe The PLAIN Janes as my X-Men comic since it is a “team” book. So I’m curious if you have a favorite character in The PLAIN Janes?

Cecil: Oh! That’s so hard! I mean of course it is a team book and I love that you always referred to it as an X-men comic. They are superheroes in my mind; each overcoming things inside of them and bringing their own special skill to solve a problem.

But it’s too hard to pick which one I love! I mean, I identify with all of them for different reasons at different times. I guess that is what makes a good team. But I do have a soft spot for both Brain Jayne and Theater Jane. I think that they both have such distinct voices and points of view that they were fun foils to write for Main Jane.

Do you have a favorite?

Jim: I love Theater Jane’s exuberance! And of course there are things I love about all of them. Good job on giving them unique traits and personality. But I would say in the end, I enjoyed Payne. She was a foil and heel and that brought the best out of all of the Janes. She was like a mirror that forced the Janes, especially Main Jane to really think about her values and what she wanted to do in her art practice. We had talked about Payne for a decade. Seeing her in action and seeing Main Jane play off of her was the best. Plus her anger at the status quo is something I remember feeling as a teenager.

Jim to Cecil: Write what you know, right? With that in mind, what parts of The PLAIN Janes are closest to your own personal experiences/truth?

Cecil: Yes. Although the apple doesn’t fall far from the tree, of course it is put through the ringer and shook up to come out as something very different. Like Main Jane, I was in a bombing when I was young. The IRA blew up a stage where the British Army band was playing. I was in the most damaged house, a beer museum. A window shattered above me and it was very scary. (I write about this incident in my memoir, Girl on Film).

I remember the next day, my family took me to an art museum and there were huge skylight windows everywhere, and I thought they would explode down on me. So I kept focusing on the art. And so while no one was injured in the attack that I was in, and I did not find a John Doe, I certainly found solace in art when I most needed it.

Another thing that came from my life directly was just engaging in street art and loving conceptual art. How that kind of art can say so much and be so profound. I’ve talked before about walking through subway stations filled with Keith Haring chalk drawings in the 80s and that being so inspiring. That idea of art being everywhere and being a delightful surprise. The core truth of The PLAIN Janes is that ART SAVES. That is probably the most true thing I believe.

How about you? Was there anything that you brought to the book that was close to your experience or truth?

Cecil: I was an art kid in school, so that made sense. And also the feeling, like I was an outsider and wanted more than school and a small town could provide. Some of the art class stuff brings back memories. The biggest thing for me were the friendships. The way the Janes pulled for each other and supported each other as they followed their own interests. I’ve been lucky to have that kind of support in my life. Some of those moments felt true to my own experience. And yes, I believe art saved my life--whether it was the stories and art I consumed or made. It had a huge impact on my life and helped through good and bad times.

The Plain Janes [Cecil Castellucci and Jim Rugg/Little Brown]

https://boingboing.net/2020/01/07/janes-janes-janes.html

[pinkyheaven]

Ruki: Everyone, it’s been a while.

I was trying to sort out my thoughts and while thinking about various things I didn’t notice how it was already April. Thank you, everyone, for the 03 “Passion is Ferocious” tour once again!! Of course, this tour was very nostalgic, we went with all of our strength into it and it was very fun, but from the moment we released NINTH, we had lives in halls or big live houses, so on top of that, I think that it was a tour where coming back to our origins and performing in these small venues taught us one new thing in this band - to express ourselves with nothing else, but our own bodies. 

It was an amazing experience. Let’s definitely do this again 🤘🔥

Also, LIVE TOUR 18-19 THE NINTH TOUR FINAL "9th" in Yokohama Arena was announced!! The title “9th” is quite different from our usual conceptual titles and it has the same name as the album with the strong idea of “We want to show you the GazettE that we are right now after releasing 9 albums”. This is an important peace that will work as a connection to our next steps. Because nothing lasts forever, I want to make it a special day where we can show the best versions of our current selves to all of you. Since I want for this moment to last forever, I want to deliver the best day that I can possibly anew each time. Let's all explode on September 23rd. 💣🔥 In order to do this, we’re going on a world tour starting at the end of this month so we could grow even bigger and stronger 🔥 I’m convinced that the band can grow a lot during this time because it already happened during the time of DOGMA. I absolutely believe that the GazettE will get even cooler, so we’ll go all around the world from the end of this month! Also, I want to deliver the music that we’re able to crate right now to everyone in the world as fast as possible!! Everyone, once again, please treat us well!!! 🔥💣🤘

#thegazette #ninth #tour #tourfinal #9th #passion is ferocious #enhancement #phenomenon #worldtour2019 #99.999 #unfinished

(April 7, 2019)

[hlupdate]

After experimenting with everything from EDM to acoustic ballads, Louis Tomlinson finally found his sound on “Kill My Mind.” The just-released single is a throwback to the fuzzy, indie-leaning pop/rock of the ’90s and early ’00s. Which is not a coincidence given that it was inspired by the bands Louis grew up listening to on UK radio. (Think Oasis and the Arctic Monkeys). The song also sets the tone for the superstar’s debut solo album, which will be similarly raw and organic.

I spoke with Louis about his gutsy new single on Friday (September 6) and he recapped his search for a sound that was authentic to him. The “Miss You” hitmaker then revealed that his debut album is finally finished and gave some insight into its tracklist. He also reminisced about his heartwarming “Two Of Us” video and fond memories of being in One Direction. Other topics of conversation included the “Kill My Mind” video, upcoming live shows and his next single. Find out more about the 27-year-old’s solo journey below.

It feels like you really found your sound with “Kill My Mind.”

I think it’s important for any artist to play around with different sounds and find a place in their industry. For me, it frustrates me now that I’ve got four or five singles that just feel different sonically. It’s important to me, and something I’m going to focus on moving forward, to have a real identity as an artist. With the album that is really, really important to me. I feel I found my home on “Kill My Mind,” definitely sonically and the way it makes you feel and how it sounds to you. Yes, it feels good.

Was it a matter of finding the right collaborator or producer?

Definitely. You need someone who is going to embrace your ideas and embrace you for who you are. I did quite a lot of different sessions with producers in America. Everyone has their own opinion of what they think you should be. With some people, you can go into the session and say, “This is who I am, let’s work with this.” Whereas in other sessions, I can sometimes feel producers trying to pull me certain ways. When I found Jamie Hartman, who I wrote quite a few songs with including “Kill My Mind,” I didn’t even have to explain too much about who I am or what I want. We were just on the same page straight away.

It definitely has more of an indie sound. There’s also something quite ’90s about it. Was that your intention?

Yes, I’m a massive fan of ’90s music. I always talk about when I grew up, pop Radio had the like of Amy Winehouse, Arctic Monkeys and Oasis. Now it’s a little bit more urban-leaning. I just went with what I grew up with. That’s where my influences lie.

I think that really comes through on the song. It’s a bit fuzzier and more organic than what you heard on radio right now.

That’s a big compliment. I appreciate that, thank you.

As you said before, you now have maybe five songs that all sound very different. Will you go back to those songs and tweak them?

Well, there are some songs like “Two of Us,” for example. That is just a really simple, organic ballad that fits in line with what I want to do. There are songs like “Back To You” with Bebe Rexha that I absolutely love but, sonically, even just melodically, it’s so set on what it is. Whereas the Steve Aoki song, I have actually reworked to try to fit more in line with “Kill My Mind.” It has been stripped back and that worked straight away actually. I think it’s kind of song dependent really.

I can’t wait to hear the new version.

It’s such an anthemic melody. Anyway, it leads to that guitar-driven stuff. It works pretty well actually.

How far along are you with an album or an EP?

I’m done! I’m finally finished recording the album thank fuck. That took fucking ages. I’ve probably got another two or three more singles after “Kill My Mind.” So the album’s probably going to be out early next year. I’ll be relieved the day the album is out, I can’t wait for that day.

It must be so exciting to have it in the can.

Oh, definitely. It’s been two or three years in the making and when I was in One Direction, we were literally putting out an album once a year. It does feel like a long time for me but I’ll feel really proud when I get it out. I’ve been quite meticulous with it. I’m really excited to hear the feedback.

Who else have you worked with apart from Jamie Hartman?

Let me think about this, who else have I worked with? There’s a guy called Sean Douglas, who actually also wrote “Kill My Mind” and wrote with him on a couple of tracks. I’ve probably done sessions with close to 75 different producers. I think what I’ve realized and learned during the process is that finding the right writing and creative partners, who are all on the same page, is priceless. I have also worked with Wayne Hector, Steve Robson, Julian Bunetta also. There are probably four or five songs that I wrote with Jamie, so they really will be a big chunk of the album.

Will those earlier singles be on the album?

They will be, definitely. I’d say, maybe 30 percent of the songs on the album were written longer than a year ago. There are some songs that are so special to me and I think they mean a lot to the fans. Some of those songs also represent that time in my life in whatever way. So I couldn’t necessarily start fresh, but once I’d written “Kill My Mind,” I kind of found my sound. Once I’d written “Kill My Mind,” there were three or four songs that followed on from that, and it was a little bit more straight forward because we knew exactly what we were aiming for.

I can imagine “Kill My Mind” sounding great live. Have you thought about a live show or tour?

I’m lucky enough to be playing a show in Madrid. They’re doing a Coca Cola festival and I’m headlining one of the days. I’m really excited about that. I’m doing 10 songs. Now, to this point, I’ve only done three or four songs on the odd radio show. So I’m really, really excited to get out and get a reaction and feed from the audience. I know, “Kill My Mind,” is naturally going to make the transition to a live show and I’m pretty confident it’s going to be fun. So I’m really excited about that moment.

How different is it standing on stage by yourself compared to being in a band with other guys?

I’ve done the odd performance. I feel like I’m growing into that. It won’t be so new to me, but doing 10 songs and creating a show about me on the stage, it’s a little bit, I would say, daunting. There’s naturally more pressure. That’s another thing I’ve realized from working on my own as a solo artist. I have to stay across absolutely, everything and all of a sudden, I’m so meticulous about every single detail. When I think about the tour, it’s going to be an even more rewarding situation for me because when we put it on, I will literally have painted this picture from the ground up, so it’s something that really excites me.

You mentioned “Two of Us” a little bit earlier. I love that song.

Thank you.

The video was so touching. Who came up with that idea? That old guy is a legend.

Oh my God, honestly. Of all the things that I’ve done in the last 12 months, that is definitely one of the best things. It was an absolutely amazing experience. I think it was a conversation between me and the record label. We talked about different, interesting ideas that we could do for the video. Everyone should watch that video and be inspired. Not from my story, but from Richard’s story. That old guy recently lost his wife and it was raw to him, but I’ve never met anyone with such an amazing view on life. Although he wasn’t dealt the best hand, he lived so happy and so fun, and he was up for anything literally. He was a proper, proper, brave old guy and I was really taken aback by him as a person.

Has he inspired the way you approach your own life?

Definitely. I think that I have the luxury of now being able to see that the glass is half full as opposed to half empty. Richard really taught me that. There are some things that we did together, which he had obviously never done before. It takes a brave man of that age to do new things. Yes, we can all learn something from that, definitely.

Have you thought about what you’re going to to do for the “Kill My Mind” video?

I’ve already filmed the “Kill My Mind” video, and the next video actually. I’m really excited about this. It’s with Charlie Lightening who directed a documentary about Liam Gallagher. I’m really excited about that. Visually, he’s really cool. Conceptually, for “Kill My Mind,” I wanted it to be like all the Oasis videos I love. I wanted it to be more about the performance. Not focusing too much on a narrative and just being lit really well. I think we pulled it off. I’m excited about that one.

I can’t wait to see it. Do you know when it’s coming out?

Yes. What day is today? Friday. I think it’s due Monday or Tuesday. I think we’ve got some last few notes to do before signing off. So, yes, early next week.

Do you enjoy the visual element?

Yes. I’ve always been quite inclined to get involved in conversations about that. To be honest, sometimes One Direction was so manic, there literally wasn’t time to be across as many things as I am now. It’s really, really rewarding. It’s the same buzz that I get off writing songs. Like when we sat and we spoke about the idea for the Richard video, “Two of Us.” Then you actually watch the final piece, you’re like, “Wow, we’ve actually created something really interesting.” To a certain degree, important, that’s proper refreshing. Definitely.

You mentioned some of the One Direction videos. Has enough time passed that you can look back on it and feel nostalgic or does it still feel recent to you?

It still feels recent but there have been numerous times where I find myself kind of reminiscing about old videos on YouTube, interviews, or performances, whatever it is. There’s still that side of the nostalgia where you miss it as well. It’s like looking back on your school days or your university days. It gives you that funny feeling in your stomach where you miss it, definitely.

You said you filmed a video for the single after “Kill My Mind,” how long will we have to wait for it?

Because I have other songs that don’t really reflect the overall identity and sound of the album, I just want to get as much music out as I can before the album comes out. I’m pretty sure the plan is to release a song every month or every six weeks, so there’s more music out there. I want to really drive home who I’m trying to be as an artist. I think the next single’s coming middle of October, something like that.

Thanks so much for your time. Good luck with the album.

Thank you. I appreciate that.

[onestowatch]

Kid Quill Breaks Down His Hip-Hop Concept Album, ‘Sunset Diner’ [EXCLUSIVE]

Kid Quill makes music for dreamers. The Indiana artist on the rise blends hip-hop and soul with a nostalgic ‘70s and ‘80s flair that is only elevated by his innate gift for storytelling. It is a notion that comes into focus on his captivating third album Sunset Diner, a hip-hop concept album for those aforementioned dreamers. 

The 13-track release is a world unto itself, painting a cinematic picture of a night out at a diner, accentuated by otherworldy string arrangements and Kid Quill’s distinctive flow. The seemingly simple premise builds the foundation for a sonic journey brimming with life that pulls you in and never quite lets go. Kid Quill’s Sunset Diner is made to lose yourself in. 

Check out Kid Quill’s track-by-track breakdown of Sunset Diner below. 

“Meet Me at Sunset”

Cinematically, I wanted to introduce the concept and sonic landscape of the album with this intro. Think of the beginning five minutes of a movie, but told thru music. Tried to make it just as fun as it is bouncy and emotion-provoking.

“Door Closed”

This song picks up right where the intro leaves off as they bleed into each other. This one is all about lyrics and production. I wanted the production to be this whole journey and let my voice navigate and travel through it.

“Wait Here”

Sonically, this is the grittiest song out the 13 and it's meant to stand for being defiant and rebellious. For me, this is one of my favorite drum pockets on the album. I wanted the song to build on itself so when you got to the bridge it could feel like this big grandiose "breaking free" moment.

“Streetlights”

This was actually one of the first beats we made for the album. I was inspired by the choir on "You Can't Always Get What You Want" by The Stones and wanted to pay homage to that type of sound. To piggyback off of “Wait Here,” we wanted this one to feel like the listeners "get away" song.

“Make a Wish”

This song is meant to sound triumphant and celebratory. We wanted to really push boundaries and use an eclectic palette of sounds. Organ, strings, trumpet, 808s, electric piano, gritty synths, light synths, grimy bass, etc.

“Jukebox”

The production on this is the most reminiscent of the 80s out of any song on the album. I really liked the idea of having a song driven by synths, and then breaking it down to a pretty piano/string part. The last minute-and-a-half of this song is some of my favorite music on the album.

“Flipside (postlude)”

This postlude is all about the cinematic side of things. Wanted to try and paint this picture like you're watching a movie.

“1001 Reasons”

We stumbled upon this really cool piano part that we effected to make it really bouncy and a fun backbone to the song. We built the rest of the production around that by adding our late ‘70s, early ‘80s sound pallet. If you think cinematically, this is the romantic comedy episode of the album.

“Chat (w/ the sky)”

From a conceptual side, there's a lot of space and astronomical references throughout the album up to this point. So that's where the production on this song took shape. We wanted it to feel spacey and futuristic, and we drove that concept by trying to sonically build a lift-off sequence with music to the last 40 sec. of this song. The whole process of it: walking up to the ship, preparing for lift-off, and blasting off.

“Good AM (interlude)”

Another strictly cinematic sequence I did with my old high school marching band. On my other albums, I did a lot of skits, but on this album I wanted to do those with music. It's meant to represent morning time, but also wanted use it as a musical tribute to Mac Miller, hence the title “Good AM.”

“Last Night I Had a Dream”

We chose to keep this song broken down and more focused on my vocal and what I'm saying. On the last verse, I broke into tears while recording it and we chose to keep those takes where I was crying instead of re-doing it. The bridge is another one of my favorite moments of music.

“Indiana”

This is the craziest one to me from a music standpoint. It has no real structure, but at the same time I think it still makes sense. We chose to go back to an eclectic sound palette: rhodes, strings, 808s, autotune, melodica, light/intense BGV's, and a trumpet we put a lot of FX on.

“Memories”

Being that we were inspired by the sounds of the ‘70s and ‘80s, I wanted the last song on the album to sound the most inspired by that to musically drive home our concept. We even tried to mix the vocal the same way as they would have back then. The album ends with a two-minute guitar/piano solos.

[ladyfl4me]

A,E,F,G,I,J,K,L,M,N,O,P,Q,R,S,T,U,V,W,X,Y,Z ;o

Okay *cracks knuckles* let’s go! F, M, and S have already been taken from this list, so feel free to send in... B, C, D, or H, I guess. Yeehaw. This is really fucking long.

A: How did you come up with the title to [TMWCIFTC]? -- It started, as many things do, as a bad pun. The novel The Spy who Came In from the Cold was a cold-war spy thriller, about a British spy who goes over to East Germany as an apparent defect, except he’s actually there to spread misinformation and fuck shit up. He falls in love, becomes disillusioned with his superiors, and is shot dead over the corpse of his lover after climbing over to the east side of the wall. Needless to say, this is nowhere close to what happens in TMWCIFTC. I chose it early on because of the literal meaning: there’s a moth(man), he’s coming in from the cold WV weather, boom shaka laka, we have a title. Over time, though, it’s evolved into another meaning. Indrid himself is coming in from an isolated, lonely existence: he’s rejoining the family that cut ties with him, he’s in love, he’s warm and safe. The moth sure did come in from the cold, and hopefully he stays that way.

E: If you wrote a sequel to [TMWCIFTC], what would it be about? -- Hm. Considering my entire TAZ fic career is a tangled hairball of sequels and prequels, I kind of have this base covered. At the moment, TCOS - aka The Children of Sylvain, the sequel to TMWCIFTC - is about three things: a Pine Guard road trip race against time and the feds, the Spanish Sylvan Inquisition That Nobody Expected (least of all Jake and Hollis, who have to set aside their differences and past conflicts to save Kepler - and who knows, maybe they’ll fall in love along the way), and Alexandra the Interpreter getting woke to Sylvan politics and doing what she can from the inside to change them. In other words, it’s going to be a massive sequel that is the finale of the Amnesty alternate universe I’ve created. It’s this series’ Endgame. (That reminds me, I need an actual title for this collection of stories I’m writing. The “Tin Cinematic Universe” doesn’t quite have the ring to it that I’d like.)

G: Do you write your story from start to finish, or do you write the scenes out of order? -- eh, it kind of depends. It’s like a buffering bar on Youtube videos. I outline what I can until I run out of ideas, then start writing, then add outlines to the end, until the outline is complete and I just have to keep writing.

I: Do you have a guilty pleasure in fic (reading or writing)? -- I don’t have one for reading, but for writing, I fucking love structuring chapters around songs. Classical or otherwise, I love music. All my stories play in my head like a movie screen, and I just do my best to describe what I’m seeing in my head with an accompanying score. It’s not so much a guilty pleasure as it is a writing process. Frankly, I don’t think I actually have a guilty pleasure; the act of writing itself is all the happiness I need.

J: Write or describe an alternative ending to [insert fic]. -- An alternate ending for The Devil Went Down To Georgia would be... interesting. It ended with Boyd-as-Jersey-Devil scaring the pants off some poor broke college kid, who stole his worthless fiddle; then he changed back, and he and Ned went on their merry way to go break into Aubrey’s house and send everything down the drain. If there was one thing that I could change in there, it would be how fast Ned ran. If he ran a little faster, he would have seen the alley; he would have witnessed Boyd turning into the Jersey Devil, or at least turning back into himself; and he’d get a very rude awakening as to what Sylvans are and that his partner (in crime, and everything that mattered) was a fucking cryptid. God, that’d be a fun AU to write. Who knows, I might go do that someday.

K: What’s the angstiest idea you’ve ever come up with? -- At the moment, the only angsty idea that I’m actually conceptualizing is a Hollis/Jake angsty breakup for TSG. (Spoilers, I guess.) I once wrote a very grimdark ending to TMWCIFTC where everyone fell through the ice and drowned. It wasn’t fun. I’ve also mentally killed off each Amnesty protagonist and NPC in various ways, but I never felt comfortable writing them down. I only write angst with a happy ending because those are the kinds of stories I need to hear.

L: How many times do you usually revise your fic/chapter before posting? -- 9 times out of 10, I just throw it into the void. I write as much as I can in big chunks, and then kind of hope for the best. TMWCIFTC, for example, is a completely unedited, unbetaed vomit draft. I usually do a quick reread of my oneshots to catch grammar and spelling errors, but other than that I just trust myself that it’s fine.

N: Is there a fic you wish someone else would write (or finish) for you? -- Can I get some kind of resolution for To the Edge of Night? Can I please get some kind of resolution for To the Edge of Night??? I was 14 chapters into that bastard before I a) became a more casual MCU fan and b) discovered TAZ. It was such a niche fic with such a niche structure - LOTR as galactic Asgardian propaganda to cover up Odin’s mistakes - that at some point I lost interest in it. I just saw Endgame though, so now I might get some inspiration for stuff to bastardize.

O: How do you begin a story–with the plot, or the characters? -- Characters. When coming up with character backstories, I can usually find ways to slot their lives together that necessitate a plot. I love character-driven stories, where their actions actually do shit and their words actually mean something, in favor of getting dragged along behind the plot like tin cans behind a car.

P: Are you what George R. R. Martin would call an “architect” or a “gardener”? (How much do you plan in advance, versus letting the story unfold as you go?) -- I’m definitely an architect, but in a really messy way. My friends can attest that I do an insane amount of planning for each story - often in their DMs, sorry about that, Fae, Cro, Indy and Aline 😬 - and all that usually ends up in a stream-of-consciousness rant outline on Google Drive. Knowing where the story is going helps me a lot, but the planning I do is definitely just building flower beds in which to sow seeds. Or building a greenhouse. I plan the bare bones of a story, and things get really wild within it, but it does follow a logical plot structure.

Q: How do you feel about collaborations? -- I have a lot of respect for the people who can successfully pull it off, but idk if i’d ever want to do one myself. I get really possessive of my stories and ideas and like to be the one in charge of their execution. That being said, some collabs have produced amazing stories. I don’t mind reading collab fics, but actually being in a collab grates on me more than it should.

R: Are there any writers (fanfic or otherwise) you consider an influence? -- I’m definitely influenced heavily by Neil Gaiman. I read American Gods and Good Omens a lot while I was trying to write TMWCIFTC; not only was it a good brain break, but I was able to pick up a lot of tips on scene pacing, concise yet expressive language, and character interactions. My creative wriitng professors have always told us to read so we know what to steal - not in terms of content, but in execution. 

On the fanfic side, @miamaroo is a huge inspiration for me. I’ve been reading Northern Migration a lot recently, and I love how its canon divergence is so worldshaking and so complex, but is still familiar in nostalgic yet terrifying ways. I read it back in October, went, “Huh, I wanna do something that wild. And if miamaroo can do it then I sure as fuck can too,” and I started planning TMWCIFTC during that one month dead zone the McElroys took last year. Northern Migration is one of the best, most coherent, most stunning, and most incredibly written TAZ Balance AUs I’ve ever read, and if I hadn’t read it, I wouldn’t have been inspired to take the fuckall huge plunge into TMWCIFTC.

S: Any fandom tropes you can’t resist? -- Bed sharing and cuddling, hand kissing, wrist kissing, whump, sympathetic villains. Canon divergent AUs are my absolute favorite things to both read and write. Anything that would turn me into Charlie Kelly slamming his finger on a bulletin board screaming, “CAROL,” is a fic I would give my life for. 

T: Any fandom tropes you can’t stand? -- Not a fan of a) woobification and b) flat villain characterization, to the point where the story is riding on villain tropes instead of an actual person or plot. Character nuance is always something I look for when I read. I don’t usually get bitter about tropes, though; some stuff, when subverted, works really well. I fully subscribe to don’t like, don’t read, don’t write, which is why I don’t write anything that warrants AO3 content warning tags or an Explicit rating, in favor of focusing on plot. Every author has a reason for what they write and how - be it their level of experience, personal preference, or simply the joy of writing something and getting it out there - and I respect that. Within reason, of course.

U: Share three of your favorite fic writers and why you like them so much. -- 

@miamaroo, for reasons I’ve already discussed. My favorite TAZ Balance author hands down. Read Northern Migration and give it the love it deserves, or I’m replacing all the faucets in your house with silly straws.

@transagentstern. Fae has a bunch of absolutely incredible fics and an amazing grasp on characterization. We come from the same place with AUs, in that canon is but the bare planks on which we put the drywall of our plot an characterization. They structure AUs and character backstories from the ground up in believable and emotionally raw ways. Also they have great music taste. I especially like their interpretation of Indrid in Moth to the Flame; he, like all the other characters in the story, is far from perfect, and his character arc is explored in relatable ways that I love to read. 

@keplersheetz. Aline - theneonpineapple on AO3 - researches like a motherfucker and has a wealth of knowledge/experience/viewpoints to draw on, making author-author interactions with her an absolute delight. She’s also doing the lord’s work with rarepairs. Spin a wheel, find a ship, and she’s probably written for it or at least conceptualized it. Reading her character studies and stories of the old Pine Guard - aka Mama’s original crew, before the current PCs joined - is always a delight. I’ve also hashed out a lot of details for The Children of Sylvain, especially for Mr. Boyd Mosche, guilt-wracked Jersey Devil extraordinaire, with her help. 

V: If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose? -- Not gonna lie, I’m fine with a lot of stuff that’s out there right now. It’s been a hot few months since I’ve actually stopped to read fic, but from what I recall, most of the fics I’ve read have done a good job of keeping things intact.

W: Do you like more general prompts, or more specific ones? -- The vaguer, the better. With really specific prompts, it usually feels as if the story’s been written for me already; with vague, general prompts, I have more agency to explore my own ideas. Some accompanying detail is usually nice, though. For example, the coffee shop/college/flower shop AUs that @transagentstern​ wrote are my ideal prompt for drabbles: premise, a little bit of open-ended detail, clear explanation of what’s going to happen while leaving the rest up to the imagination. Good stuff. If it’s for a long-form piece, though, I prefer full agency, or even just some time to lie facedown in the dirt and wait for an idea to strike me.

X: A character you enjoy making suffer. -- Yes.

Y: A character you want to protect. -- Tim.

Z: Major character death–do you ever write/read it? Is there a character whose death you can’t tolerate? -- I do read lots of major character death, yeah, though not always for TAZ. There’s something cathartic about seeing a character die, but sometimes it sits wrong with me in ways that I don’t like. As for writing, I’d rather kill a character for a reason rather than for shock value/for the Feels, though said Feels can accompany the reason. 

[le-souriant]

#MusicMonday Review - May 2022

#MusicMonday is the hashtag I've been using for quite a while to share music recommendations from up-and-coming artists. Always fresh, and always different, trying to look for trends before they become one. You can check April's review for more music.

It's the beginning of summer! Let this month's bands take you to a journey around the world for a mashup of genres, topics, and a touch of mystifying lyrics. Let's have a listen, with a word from the artists themselves. 🎧

House Parties – Tiny Rooms

Rage, flares brighter than these fireworks Red deeper than an unmarked phase I thought we had gone past this

One sided mind, tunnel vision insight oh Footprints in a line

Put your trophy up for the world to see and lay your fists right through the wall

Start up your engines, as we begin our musical journey in Dallas, TX with an energetic Pop Punk track about picking never ending fights, just to finish with pitch black indifference:

"The song is about being stuck with someone who abuses you whether what the situation may be and you just want out but you can’t."

Disorientations – Allied

Now believe me when I say I never won a battle anyway Those things require the right apply

I don't believe in trying to fight them all I gather around my fears and try to see them as my allies

We fly now to Antwerp, Belgium for a track that channels distress through a bassy Post Punk don't give up attitude:

"Basically the song is about facing anxiety and for me how I've learned to cope with it. We are 3 close friends who had some tragic moments in life, like loss of a close friend/parent. The feelings of powerlessness, grief, generated a lot of anxious thoughts on me. The harder I tried to fight it, the more I discovered it's not beatable. It's just part of the process so I could better take peace with it and put more focus and energy in positive things.

This song tells a story about struggling with anxiety after unexpected experiences with tragic loss. In such situations, you can start to run into enclosing walls, leaving you haunted by fear. The only way to deal with this is by embracing the inevitable pain that it entails, becoming allied with the emotions you want to run from."

Manuel Rod – Sinmigo

Quedarás lastimada, sentirás que me extrañas No hallarás ni una forma de vivir sin mí Quedarás atrapada, besarás gente extraña Buscarás el abrigo que tenías conmigo Y no, no podrás respirar, sinmigo, sinmigo!

Me siento triste, pero por ti Tú ya perdiste, yo renací Ya vete lejos, fuera de aquí Hasta respiro mejor sin ti!

For our third track, we move back to Zamora, Mexico, for a beat driven Latin Pop song about moving on from someone you used love:

"It is a song that I composed about 3 years ago, I was inspired by the end of a relationship and how my feelings were evolving, first I felt heartbroken and full of sadness, but later as the days went by I realized that it was not I was the one who lost, and musically I was inspired by the music that I listen to, that I like!"

PAPERWEIGHT – Scapegoat

I need a scapegoat because I'll never know when I'm falling through the cracks waiting bracing to attack and now I'm so low

New continent, and more Pop Punk splashy beats, catchy hooks, and certainly mysterious fun from Melbourne, Australia:

"Every track on this EP other than Scapegoat was conceptualized prior to jumping in the studio - Scapegoat was the one song that we actually wrote with (producer) Stevie Knight on the spot!!! Haris likes to be cryptic with his lyrics, we still don't know what it's actually written about 😝"

Humble Armada – September 24

Seeing far, but never seeing faces And every time I go, I get stuck up, I get stuck upon of you

But I'll get by without you Don't compromise your life, just because I'm right in front of you

To end our trip, we move from Melbourne to Perth, for a dreamy acoustic Pop that will take you right into autumn, with all its nostalgic falling tree leaves:

"The song was definitively inspired by a previous experience/person I knew but think it’s a pretty generally relatable topic, knowing the right person at the wrong time."

Listen to them and much more on the Playlist

@osornios

[spocksmalewife]

My thoughts on MOM below the cut!!! [SPOILERS, OBV]

it was so much fun! Had me in the first half, ngl (before the attack on kamar taj) b/c the dialogue was like fanfic (not in a good way) and I thought it was just gonna be another one of those films where marvel tries to cram in as many new characters as possible, but it seems like after the attack Raimi was able to have a lot of fun with it! 

I looooove how unhinged they made Wanda in this. She was like all the classic horror baddies wrapped into one. You could see the nods to shit like the ring (crawling out of the gong) and Carrie (exiting the burning room covered in blood with her fingers gnarled), and zombies (thanks, Raimi!) 

The leaning in to horror in general was so much fun, and just how crazy they went conceptually with it. And how they tied it into real witch and demonology lore! Like the mirror dimension scene was one of my faves, I love how they had to cover all the reflective surfaces so Wanda couldn’t escape. Love the little meta sprinkled in about how our dreams are just alternate versions of ourselves, and the whole ‘’ever dream of falling off a really tall building? That was probably me’’ (in that case, some universe hopping bitch out there probably really despises me cuz that’s all I dreamed about for a good few years lol). That being said, this movie is probably not good for those who suffer with psychosis 😬 

The learning about the dreamwalking scene was fantastic, not just because of the direction and campy warped filming, but the music was so damn good! The electric guitar was so reminiscent of the shitty 70s Doctor Strange movie, but in a nostalgic and fun way lol. Thanks, Danny Elfman! Also, what a cool concept! 

Also, idk why ppl on twitter were shitting on Danny’s score for this? Sure, it’s weird to listen to it on its own, and it’s not ~the greatest~ but it worked so well in the movie! Also they were complaining about how he shelved Strange’s leifmotif, but he actually used it within the first 10 minutes of screentime? (granted he didn’t use it anymore lol probably because of all the crazy shit going on there wasn’t really a quiet moment with him)

It ended up being a more Wanda-driven film, but I’m not mad! I love how they did her arc in this. Also, I don’t like how they’ve been making Strange out to be this wise-guy joke cracking type. He’s basically just Stark 2.0 now. I feel like he would be much better off played as the straight man (partly b/c benedict can’t act the jokey type </3).

I’m so glad that Wong is the sorcerer supreme. It would have been far too stupid to have Stephen be it since Wong obv knows more than him lol

I’m so happy about how they treated Christine in this! Seeing her have a prominent role, I was dreading that they’d try to shoehorn her and Strange together but they left it just like they did the first movie!; A complicated mess of feelings, and ultimately respected Christine’s original decision (because Strange is an asshole, and I’m glad that we got the ‘I was afraid’ candidness from him). 

Also wanted to point out the return of that glowing cauldron from the first movie when kaicilius asks Strange ‘‘you don’t know how to use that, do you?’’ but this time Christine does lolol. There were other continuity successes that I really appreciated, like the vaulting boots that baron mordo had. The watch playing a prominent role was really sweet too.

Not much to say about America, probably b/c this is still her first appearance and she hasn’t been established yet. She’s cute tho! I hope she finds here moms.

I initially thought the tribunal ‘Illuminati’ name/concept was stupid, but finding out that Strange established it while coked up on the darkhold, it makes more sense. 

Gore! Gore! Gore! So much creative gore!

I just really loved the fucking with reality. Not just the universe hopping, but the blurring of the barriers between the mind and reality. The Charles Xavier scene where he tries to rescue otherWanda from her mind was gorgeous! The use of liminal imagery in this and in general across the film was so lovely.

Just the batshit balls-to-the-wall plot development. Strange can’t dreamwalk in his home universe b/c he needs a variant body to inhabit? Why not the dead body of otherStrange they just interred!!?? Oh he needs to fly to the crypt? Why not make a cloak out of the demon psychopomps that have been pestering him!!!!!??? Fuck it!! ((btw, ABZJharding... were you a creative consultant on this?)) It’s like that whole creativity test where it asks you all the things you can use a paperclip for and the true ‘creatives’ ask ‘‘well, can it be 50ft tall and made of rubber?’’ That’s Raimi.

The music note battle scene specifically was weird (but a good example of the above), so I could just see Raimi putting it in so Danny could have fun scoring it :P

I love the nods to the comics, specifically Bachalo!Strange ! The octopus creature at the beginning, the third eyes, and the red scarf that is just the cloak in disguise! Also, love how the creatures can’t be seen unless they’re revealed with magic. Another detail from the comics! I’d love to have them explore Stephen’s ‘magic toll’ in the future and have him have to start eating magical foods to keep up. 

CLEAAAAAAAAAAAAAAAAAAAAAAAAA (that’s all ~<3)

Side note: It was kinda cruel what stephen did to that hotdog vendor, and it was played for laughs? He was just worried some rando was stealing from a museum!

Ultimately, the characters in this were all treated with respect, and I appreciate that. It would have been so easy for Raimi to just write this off as another stupid marvel film, but it looks like he actually cared about making something both fun and satisfying. Thank you!