#digital video disc

[tapesandelectronicsclub]

Watching a movie or show is so complicated these days, with all of these millions of streaming services popping up, titles getting removed from the platforms, jumping the prices, bad original titles on streaming, lots of cancelled one-season (or more seasons) shows, and neglecting these millions of old and lesser-known/obscure titles from their catalog.

The situation of listening to music isn't certainly better these days, with songs that users used to love getting removed from music streaming services and fading into gray text and faded cover art and artists removing their songs on these platforms. There are tons of music and songs that don't even appear on these music streaming platforms!

Thankfully, physical media is still alive, with hundreds of thousands and even millions of titles on VHS, Betamax, Laserdisc, DVD, Blu-ray, vinyl records, cassettes, CDs, and etc.

[hasellia]

Jax didn't change. At all. He is still the same arsehole from the first time we saw him.

From what I remember; he was dismissive of Ragatha, manipulated an emotionally vulnerable Kinger, pushed Gangle to her potential death and didn't give two fucks that Kaufmo died of dismay. All in episode 1

What changed, is that the audience saw what happens we Jax doesn't get his way.

Jax doesn't just seem "disappointed" here. He seems seething, like a child, and we get a good wide close up of his face just to make it's clear he's absolutely not happy in any way.

Episode 2 seems to be setting up how different people react to being in a seemingly inescapable scenario, a la time loop nihilism.

You have Pomni and Ragatha who try to reach out to others, trying to build a supportive collective. There's Kinger and Gangle, who are stuck in survival mode and need that support assistance. Not everyone is in the mental position to help out as they want to be. With enough time and reassurance, Gangle may be able to break out of her insecurities. Kinger... I'm saying this as someone who relates to Kinger the most out of the cast: I think my king is stuck with his chronic anxiety and neurodivergencies. Someone give him a Lexam and Intuitive. So with Jax...

Jax is playing a video game. To him, this is just Undertale with multiplayer and he wants to see what happens on the genocide route. He's so under stimulated for meaning that he wants to fuck around and find out. If you want to find out what happens in a boring co-op game, what's funnier? Jumping into the enemy pit yourself, or getting your buddy to jump in instead. He may not even see the main cast as other players. What separates Gumigoo from Ragatha? The princess? The goop monsters? ... Kaufmo? Jax just might have lost his sense of humanity in everything but himself. Cogito ergo sum. I think Jax is meant to be a criticism of people who unironically think everyone is varying degrees of those NPC roleplay videos.

So yeah, I never saw Jax as Bugs Bunny. He was always a toxic League of Legends player stuck in VR coop game to me. We're just thankfully spared of his gamer words. Maybe when we see more of Zooble, we'll see someone stand up to him. No promises.

[gravitywasneveranoption]

making a stimboard for all of @plxtypusbearr73 ocs: Reality (1/???)

Adelynn!

x x x

x (his art) x

x x x

[sadhornydemons]

The Mastermind episode and Beetlejuice Beetlejuice coming out on dvd is the only thing getting me through this month.

[dancinglowebearsatnightdotcom]

THE WEST WING TELEVISION SHOW STARRING MARTIN SHEEN, BRADLEY WHITFORD, ALLISON JANNEY... TOBY...

[luridparty]

when i first got pikmin 4 christmastime i played it so. so much. didnt move or function just pikmin 4 i went to bed but kept playing so i was up aaaall day and almost all night but i eventually tried to sleep but when i closed my eyes the hud was plastered over my vision and i could hear pikmin noises and it felt like i was still holding my switch even though i had secured it in its case next to the bed. i was like swatting at the air trying to find the off switch but i had what must have been pikmin-induced sleep paralysis and couldnt sit up or open my eyes. probably i fell asleep eventually through some grace of shigeru miyamoto then i got right back to it next day. naturally.

[acstation206]

<< = • 💿 NOW LOADING: ACSTATION INTRODUCTORY POST 909 💿 • = >>

…

Oh, hi! Didn’t see you there.

==

The name’s AC and I run this little convenience store of productions at the edge of the universe called ACSTATION. And yeah, as you can tell, at this point I’m pretty much your friendly-neighborhood enthusiast of basically anything 2000s - 2010s (or something in-between or related idk).

But aside from that, those productions in question have animations, general art / fanart, edits, memes, music, comics, OCs, etc. (at least in the near future hopefully) and they’re made primarily on the ibisPaint X, FlipaClip and GarageBand apps on iPhone.

==

Specifically for this site we also have:

= MASTERPOST(S) =

• “THE AMAZING DIGITAL ARCADE PARTY” 🕹️ - basically just an AU of The Amazing Digital Circus by the incredible Gooseworx except it’s arcade themed or whatever

==

= TAGS =

• "ac talks with you" 🎙️ - whenever I answer people's questions when they press the button by the top of this blog page that reads "i'm feeling curious :)" or just document the things that I like or the bits that happen throughout my daily life for fun or so... and maybe a peek behind the scenes of some art stuff I might be at right now... Again, for funsies. :)

• “ac art” 🎨- whenever I post art or animations featuring my own characters and some other random stuff… maybe some behind the scenes too if we’re lucky

• "ac music" 🎵 - same as ac art except it's... well, music and all that

• “ac analysis” 🤓 - when I geek out and ramble on in excruciating detail about a certain thing I hold dear to my heart or so, I guess this might be what the very first tag above is for in some cases but whatevs, just for organization sakes y’know?

==

= BOUNDARIES =

For now I only have a few of these and they're all obvious. "How original," yeah I get it. Though they're all are subject to change and might add some more depending on how I feel and what from I've seen and experienced on this site thus far.

ABSOLUTELY NO NSFW / OFFENSIVE ASKS + REQUESTS. Do that and you'll get an instant block, yadda yadda. Let's just keep it PG-13 in here, alright? -

By sending me a request doodle, you are fully aware and understand that I can't guarantee I'll have every correct detail unless it's been already specified as the request has been sent. I am a human being with responsibilities and can only do so much for so long. That being said, I would greatly appriciate it if you remain paitient and do not take it too personally if there's anything I missed or got wrong. -

You are more than welcome to use my art and music! Have it as a background on your Windows PC, have it as a thumbnail on a YouTube video, your profile picture, anything! Just credit me and we all good :)

Anyway, that’s all there is to it for now. Thanks for stopping by and have a nice day! :)

==

* Let’s stay in touch! *

https://acstation206.carrd.co/

[fozmeadows]

the older I get, the more the technological changes I've lived through as a millennial feel bizarre to me. we had computers in my primary school classroom; I first learned to type on a typewriter. I had a cellphone as a teenager, but still needed a physical train timetable. my parents listened to LP records when I was growing up; meanwhile, my childhood cassette tape collection became a CD collection, until I started downloading mp3s on kazaa over our 56k modem internet connection to play in winamp on my desktop computer, and now my laptop doesn't even have a disc tray. I used to save my word documents on floppy discs. I grew up using the rotary phone at my grandparents' house and our wall-connected landline; my mother's first cellphone was so big, we called it The Brick. I once took my desktop computer - monitor, tower and all - on the train to attend a LAN party at a friend's house where we had to connect to the internet with physical cables to play together, and where one friend's massive CRT monitor wouldn't fit on any available table. as kids, we used to make concertina caterpillars in class with the punctured and perforated paper strips that were left over whenever anything was printed on the room's dot matrix printer, which was outdated by the time I was in high school. VHS tapes became DVDs, and you could still rent both at the local video store when I was first married, but those shops all died out within the next six years. my facebook account predates the iphone camera - I used to carry around a separate digital camera and manually upload photos to the computer in order to post them; there are rolls of undeveloped film from my childhood still in envelopes from the chemist's in my childhood photo albums. I have a photo album from my wedding, but no physical albums of my child; by then, we were all posting online, and now that's a decade's worth of pictures I'd have to sort through manually in order to create one. there are video games I tell my son about but can't ever show him because the consoles they used to run on are all obsolete and the games were never remastered for the new ones that don't have the requisite backwards compatibility. I used to have a walkman for car trips as a kid; then I had a discman and a plastic hardshell case of CDs to carry around as a teenager; later, a friend gave my husband and I engraved matching ipods as a wedding present, and we used them both until they stopped working; now they're obsolete. today I texted my mother, who was born in 1950, a tiktok upload of an instructional video for girls from 1956 on how to look after their hair and nails and fold their clothes. my father was born four years after the invention of colour televison; he worked in radio and print journalism, and in the years before his health declined, even though he logically understood that newspapers existed online, he would clip out articles from the physical paper, put them in an envelope and mail them to me overseas if he wanted me to read them. and now I hold the world in a glass-faced rectangle, and I have access to everything and ownership of nothing, and everything I write online can potentially be wiped out at the drop of a hat by the ego of an idiot manchild billionaire. as a child, I wore a watch, but like most of my generation, I stopped when cellphones started telling us the time and they became redundant. now, my son wears a smartwatch so we can call him home from playing in the neighbourhood park, and there's a tanline on his wrist ike the one I haven't had since the age of fifteen. and I wonder: what will 2030 look like?

[failuretothrivehere]

Okay, screw off Microsoft

Disc-less -__-

No, I want my discs and physical copies of the things that give me dopamine. Because I don't trust you jerks to not take them away from just because ~you feel like it~

[miscpav]

DECtalk Flexidisc Demo 1984

[tapesandelectronicsclub]

Just like VHS, Betamax and Laserdisc, DVD is also outdated technology. However, DVDs are still in use.

[doyoulikethissong-poll]

The Jacksons - Blame It on the Boogie 1978

"Blame It on the Boogie" is a song released in 1978 by English singer-songwriter Mick Jackson. It has been covered by the Jacksons (formerly known as The Jackson 5), Clock and Luis Miguel. The song was co-authored by Mick Jackson (credited as Michael George Jackson-Clarke) as well as his brother David Jackson and Elmar Krohn. Although Mick Jackson recorded the song in 1977, "Blame It on the Boogie" was written in hopes of being sold to Stevie Wonder.

Despite the Mick Jackson original reaching a number 61 peak on the Billboard Hot 100 in September 1978, Epic Records that month released the Jacksons' version of "Blame It on the Boogie" as the advance single from the Destiny album. In the UK, both the Mick Jackson version and the Jacksons' were released within a few days of each other in September 1978. The UK music press, struck by the rival versions being by similarly named artists, declared a "Battle of the Boogie" which Mick Jackson recalls as "great publicity…There was an equal balance of interest from the media about both releases – A good example is that my version came out first on Top of the Pops… The Jackson's had the second week…Radio One played The Jackson's version and Capital Radio only played mine – It was fair." Mick Jackson himself in 2003 said of the Jacksons' version of "Blame It on the Boogie": "[the original] version had 100% of our heart and soul in it but the Jacksons' version had the magic extra 2% that made it incredible."

A promotional music video by the Jacksons was created for "Blame It on the Boogie" in 1978. The video, featuring the group's members dancing on a black background, relied heavily on electronic trail effects, created at Image West, Ltd. using then-cutting edge equipment: the Scanimate analog computer system and a Quantel DFS 3000 digital framestore. The video also appears on the bonus disc of the DVD box set Michael Jackson's Vision.

"Blame It on the Boogie" received a total of 78,7% yes votes! Previous Michael Jackson polls: #45 "Will You Be There", #114 "Why".

[fuckyeahgoodomens]

Link 1, Link 2 :)

Digital Good Omens 2 Sountrack is coming out in 4 days! 🥳 CD version in October! :) ❤ Coming soon on vinyl…

Out to Stream/Download from 25th August. Out on CD 13th October. Coming soon on vinyl…

David Arnold’s ‘end of the world’ complex and multi-genre soundtrack.

From the Award-winning composer of Sherlock and Casino Royale comes a follow up to the hugely successful, Emmy nominated Good Omens soundtrack.

Good Omens series 2 premiered on Prime Video on 28th July. The series follows the odd couple, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) in their quest to sabotage the end of the World. The six-episode sequel to the popular adaptation of the novel by Neil Gaiman and Terry Pratchett, concerns the Archangel Gabriel (Jon Hamm) arriving without his memories to Aziraphale’s bookshop. Aziraphale and Crowley attempt to find out what happened to Gabriel, whilst hiding him from Heaven and Hell, both eager to find him.

The Soundtrack

David Arnold’s soundtrack to Good Omens was first released in 2019 to favourable reviews, with BBC Music Magazine calling it “a rollicking trip to hell and back”. Blueprint Magazine described it as “a great listen” and Sci Fi Bulletin commented on “plenty of memorable themes” to conclude that “This is another work of art from Arnold”. At times nostalgic and eerie but always varied, beautiful and full of excitement, the Good Omens 2 soundtrack showcases Arnold’s every skill from his composer arsenal. Featured here are orchestral arrangements with sprinkling of Sugar Plum Fairy pizzicato and percussion, jaunty strings and mighty choral sweeps from Crouch End Festival Chorus. Added to the mix are rock guitar riffs, and psychedelic 70s sounds and all together they create a haunting otherworldly feel, complementing the fantasy and the quirky humour of the show. The spirited Waltz of the opening theme is also present in the second series and it wonderfully sets the scene for fantastical mayhem. In series 2, this robust, evocative, and funny music entity, becomes yet again another character in the story. Award-winning composer David Arnold is well known for his blockbuster scores, including Stargate, The Chronicles of Narnia: the Voyage of the Dawn Treader, Hot Fuzz, Paul, Independence Day, 2 Fast 2 Furious and Casino Royale as well as for his TV work such as Sherlock and Dracula. Also available: The original soundtrack to the first series of Good Omens >

Tracklist

– Disc 1 – Chapter 1: The Arrival 1. Before the Beginning 2. Good Omens 2 Opening Title 3. Into Soho 4. Something Terrible 5. To The Bookshop 6. Maggie and Nina 7. He’s Smoking 8. Tiny Miracle 9. Heavenly Alarm Bells Chapter 2: The Clue 10. Avaunt! 11. The Song is the Clue 12. It’s What God Wants 13. A Mighty Wind 14. Whales 15. Gabriel Returns 16. His New Children 17. Am I Awful Now? 18. Fallen Angel Chapter 3: I Know Where I’m Going 19. Police Arrive 20. Scotland 21. We’re Going to Hell 22. People Get a Choice 23. My Car is Not Yellow 24. Beelzebub in Hell 25. The Book 26. The Fly 27. Mr. Dalrymple 28. We Need to Cut 29. I’m Going to Save Her 30. Crowley Goes Large 31. Not Kind 32. Beelzebub Isn’t Happy – Disc 2 – Chapter 4: The Hitchhiker 33. Hell-O 34. Nazi Zombies 35. March of the Nazi Zombies 36. Crowley Pep Talk 37. The Magic Shop 38. Catch The Bullet 39. Zombies in the Dressing Room Chapter 5: The Ball 40. I’ll Let You Have It 41. We’re Storming a Book Shop 42. Monsieur Azirophale 43. The Candelabra 44. Here Comes Hell 45. Gabriel Gives Himself Up 46. Shax 47. The Circle Chapter 6: Every Day 48. Bin Through the Window 49. Gabriel Leaving Heaven 50. The Halo 51. Gabriel Revealed 52. Gabriel’s Love Story 53. Leaving The Bookshop 54. Gabriel and Beelzebub 55. Crowley and Muriel 56. I Forgive You 57. Don’t Bother 58. The Biggest Decision 59. The End?

[feverdreamjohnny]

The Epitaph of Anything Goes

I decided that this morning I would talk about The Museum of Anything Goes and the subject of lost media.

For the uninitiated, The Museum of Anything Goes is an obscure "game" released in 1995 by Wayzata Technologies, a company that is so far under the radar that I was unable to find any useful information about it outside of TMoAG.

All I could uncover is that they published a few multimedia projects (which are essentially lost now) alongside some asset discs (clipart, SFX, etc.). That's it.

The brains behind Wayzata are even more difficult to locate these days: there are only two main names credited inside of TMoAG - Michael Markowski and Maxwell S. Robertson.

The game alleges that Michael and Maxwell are well known in the art world, but any additional information about the duo is scarce beyond the confines of the museum. Attempting to search for either name online turns up plenty of rabbit holes - but none of them have anything to do with the Michael and Maxwell responsible for TMoAG.

This is particularly fascinating because it essentially means that TMoAG is the only accessible record of their lives. Before we dig any deeper into that statement, let me step back and actually address what this game is.

The Museum of Anything Goes is, by definition, a virtual art museum. Functionally it's a prerendered point-and-click adventure game where you can explore a bunch of multimedia exhibits that give the surface-level impression of a children's edutainment game, but once you start exploring further it reveals a side that firmly plants the game's feet into a haze of substance abuse and surreal humor.

Many exhibits are essentially just toying around with the astonishing new powers of CD-ROM. Everything has to make noise. Everything has to spin and flitter around. There's an air of genuine excitement for the medium, and I can't help but find it extremely charming.

The game also functions as a scrapbook, filled to the brim with photos of random trips to the zoo and snow-mobile rides with friends. At one point we even get insight into something as specific as Michael's one-year job as a tutor at a Chicago middle school, where he talks about how it opened his eyes to how poorly funded and mismanaged the school system is.

It's simultaneously quaint and chilling to see so much personal history packed into a world doomed to obscurity. As I explore the deeper parts of the museum, I contemplate if the creators are still alive today. It's a bit morbid, but imagine that - you create a single obscure game with your friend and it's all the world can see. TMoAG is currently the only surviving piece that gives any insight into who these two men were.

While many exhibits are lighthearted or nonsensical, there are occasional moments where the game dips into the eerie.

One exhibit has the player kill a man by dropping him from the sky, and after burying him you open the coffin to a video of a rotting pig carcass being put into an incinerator.

Other exhibits just feature simple 3D renders shifting around a dark screen while haunting groans play in the background.

While I would never refer to the game as "scary," its darker moments combined with the occasional mature subject matter definitely begs the question: Who is this game for?

You have to remember that this game came out long before the concept of "alt-games" had become codified in the digital space. Sure, unconventional digital art had been around before the advent of 256 colors, but TMoAG was being sold on disk as a game! It came out 2 years after DOOM hit shelves!

The trend of using the PC for entertainment was certainly on the upswing around that time, but It's not like TMoAG had a massive audience to find a niche in. With its mature themes it certainly wasn't suited for the kids market either, so who was it for?

At the end of the day, it's a moot question. We already know the target audience for The Museum of Anything Goes: Nobody. It doesn't have an audience because by its nature, TMoAG wasn't being made FOR someone, it was being made BY someone. It's a raw, unfiltered form of personal expression.

I think games like these are pivotal, because they question why people assume a game has to exist for the sake of being a consumable product. TMoAG certainly has the shape of a product: it features an intro cutscene, it has a tutorial, it features intuitive UX, it even has a map! These are all features that are solely integrated to provide comfort to an end-user. But once you actually wander around the museum for a bit, you realize how bizarrely its packaging fits its contents.

I think TMoAG is criminally underrated. It's not because its core content contains some earth-shaking truth, it's because the game defied all odds and cheated death.

How many thousands of other personal projects were deemed a little "too exotic" to be archived? How much history was lost these past 40 years as the digital space evolved and ate its old skin?

God knows how many other TMoAGs we'll never learn about because they weren't lucky enough to be preserved.

The Museum of Anything Goes isn't just some nonsensical art piece, it's a grave marker for so much lost media. Its existence is a reminder that some people's lives were fossilized, then macerated into nothing because a construction company built a skyscraper over them. The only evidence we have of those other games existing is this little fossil that somehow slipped out from under the skyscraper unscathed.

Even though so much has been lost, TMoAG survives as an epitaph.

[hellenhighwater]

hey so how come lawyers like so much PAPER?

sincerely, the person in the copy center who has to print all these goddamn binders

Man, it is the worst. I grew up file clerking for my dad and it was so terrible that I decided I would never be a lawyer. SO much paperwork. Ugh. Horrible.

But also, if you're in trial, you want all of the information in the entire case at your fingertips, and you want to know exactly where every piece of info is--which means that you have it hard copy, because a laptop can glitch or lag or crash but paper abides.

Also, in a lot of circumstances, you need a physical item in order to admit something as evidence, because the court physically marks it with a sticker label. So you print photos, documents...even for video files, you have it on a disc or USB that the court can put its little evidence sticker on. And then, depending on the type of trial, all that evidence may go with a jury into a jury room to look over, and you don't really want to give them a wholeass laptop, because that's just asking for improper non-evidence information to be considered.

And if you're feeling like a jackass when complying with discovery demands, you can give the requested information on physical paper and that's fulfilling the demand (unless it was specifically for digital format) but it's not searchable in the way that a PDF would be--you can't control+F for the info you want, you have to read through reams of paper. Which you should do, for thoroughness, but...it's time consuming. So you can play petty little games and give people hardcopy to make their lives marginally more difficult.

Ultimately though, lawyers just really love deforestation. Fuck them trees.