#independent and to keep up with Sonic all served to allow him to be with Sonic‚ be useful to Sonic‚ and to not feel weak. So to me he could

[hadesknockedupintheunderworld]

What would the prime tails think about modern tails?

Interesting...

Well, anon, I'll be real with you. From what I've gathered thus far, Modern Tails' characterization is inconsistent at best, so I think it would depend upon which game Prime!Tails gets to know Modern Tails from.

For example, I think if we look at Sonic Adventure Tails, given the fact that Prime does incorporate games canon into its timeline (despite the confirmation that it DOES take place within the games timeline, with the inconsistencies that also poses with timeline stuff and characterization I think it's more helpful to analyze what games canon it clearly pulls from to form its own canon) Prime!Tails would see himself in this version of Modern Tails. Sonic Adventure Era version of Modern Tails strikes me as a plausible younger version of Prime!Tails if you only look at Prime itself and don't consider that Prime is meant to fit within games canon.

Likewise, if Prime Tails looked from SA era Tails, to Sonic Boom Tails, to Sonic Lost World Tails, to Sonic Forces Tails, and then to Sonic Frontiers Tails, I think the inconsistencies in characterization would also probably confuse him a bit (basically, "if these are all 'modern Tails' why are they so different in how they act or how independent they are?"). I think Prime!Tails can absolutely understand any given version of Modern!Tails' wish to be able to be as strong as Sonic and stand on his own. I get the vibe from Prime!Tails (especially compared to Nine) that he is a valued part of the team and can pull his own weight fighting, but that he isn't as effective as Sonic on his own (unlike Nine, who had to both learn to be effective in combat AND in strategic planning). So, to me, Prime!Tails is in sort of this in between phase. He can keep up with Sonic, he can fight on the front lines with others, he can sit back and play strategist or give advice, and he builds tools and fixes the Tornado, but (either perhaps from settling into his current role for so long or from coming this far only to stagnate) he isn't quite to the level of hero who can work alone and at Sonic's side effectively. In this way, I think he can understand how SA1/SA2 era and Sonic Frontiers Era Tails feel.

So...I guess my verdict is this. Prime!Tails would be simultaneously confused by the inconsistencies in characterization, but I think he'd actively try to sympathize with the versions of Modern Tails (either by relating to them with his past or his present as well as he can). With that being said, though, we unfortunately didn't get to see much of Prime!Tails in Sonic Prime Canon, so I think I could have a more solid answer if we perhaps knew more about him.

[themetalvirus]

ok, allow me a rant about the line between sonic's eyes for a second

if you don't see what i'm talking about, i have highlighted the line in red:

this isn't just there for no reason, it serves a purpose. it is the junction of sonic's eyebrows, which is important to establish here. it's the little crease to show separation of the eyebrows and intensify his expression. it's present in most official 3d models and renders of modern game sonic, which i believe has overexaggerated its importance in the eyes of some artists.

it can be very easily be stylized out while still keeping sonic recognizable and still looking like he has two distinct eyes! the brow crease is not important for sonic's recognizability or anatomy.

the Triangle of Delineation is what actually makes his eyes into two seperate entities! that's the most important part, and it's present in pretty much all interpretations of his design that keep the monoeye. they still need some degree of separation to read like eyes. it's the Triangle that helps separate the eyes from each other!

(otherwise his eyes just look like a visor. don't be like ron lim, kids)

the eyebrow crease can most be easily seen as an eyebrow crease appearing and disappearing as he scrunches his muscles in the movie design! once again, the crease is not essential for modern sonic to be readable as modern sonic.

so why, why, why, why, why god why do i see people draw him like THIS???

this does not read. it looks like he has four eyebrows. it looks like he has two expressions on at once. the crease stays on his 3d model when his eyes open wide because his eyebrows can't move independently of his eyes in most rigs and the brow crease is dug right into the model itself. it is a technical limitation and stylistic choice. double eyebrows like this, however, do NOT occur in official art.

in several artists' interpretations of him, the eyebrow crease stays even if he is making varied / wide eyed expressions, and there is only one continuous shape for each eyebrow; no additional putty tubes put on top. i've also noticed that artists who commit to The Crease are more likely to reign in sonic's worried expressions so they don't have to lift his brows too far up and away.

with artists like evan stanley, who like to utilize movement of the brows for expression, the crease can disappear. if he is making a worried expression, the Triangle of Delineation stays, but the crease tends to move upward with the rest of his expression; if it stays, his brows are one continuous shape until the junction of his eyes. (i'm aware there's also some yardley in here)

now let's add the Crease to a few of these and see what it does to the expressions:

yikes..... see what that does to the readability and shapes?

so, in conclusion: keep in mind that the junction of his eyes has a stylistic purpose, and sometimes that stylistic purpose can be detrimental to whatever you're trying to get across on sonic's (or any other monoeyed character's) face! if you're creasing his eyebrows, make sure the brows are each one continuous putty-snake shape, and don't muddy up what you're trying to communicate by adding more eyebrow shapes. this has been a PSA

[robotnik-mun]

More Robotropolis Notes

Predictably I decided to take another crack at a ‘Free-For-All’ Sonic setting. Even more predictably, I focused on Robotnik crap. 

Enjoy some rambling, incoherent worldbuilding that’ll never go anywhere, folks!

V.E.G’s

Justice in Robotropolis begins and ends with the VEG’s- the Vassalization Engineering Gulags. The VEGs are the prison-fortresses of Robotropolis- massive installations where prisoners of war and criminals are sent to in order to be processed and either subjected to Roboticization or a slow, lingering death as a bio-battery. VEGs are enormous, multilayered complexes bristling with external weaponry and housing near endless numbers of robotic troops, and are dispersed all over the territories of Robotropolis. VEGs are strategically placed across the internal borders of Robotropolis, with a single VEG taking processing the prisoners of several surrounding territories and often acting as a nexus point between Zones.  The reason for this is due to Robotnik’s paranoia about the potential capture and reverse engineering of Roboticization technology- as such there are relatively few VEGs in proportion to Robotropolis’ organic population and geographic size, but each one is responsible for the Roboticization of thousands each year.

While Roboticization is the primary fate of anyone unfortunate enough to be shipped off to the VEG, there is another, arguably even more horrific fate- namely that of being converted into a bio-battery powering the very machinery that enslaves Mobius’ peoples. A refinement of the technologies designed for Badniks, to become a Bio-Battery is to be slowly killed over a course of many months or even two years, depending on the health of the subject. Subjects are placed within the life draining ‘pods’ of the batteries, wherein they are gradually drained of their life force until nothing remains but a decayed husk. The pod clusters are located in reinforced sub-basements, and due to their resemblance to grapes on a vine, some individuals with knowledge of their existence have morbidly compared them to vineyards.

Some VEGs, besides serving as Roboticization and Bio-Battery processing plants, also fulfill a secondary role of carrying out scientific research and development. One such ‘Science’ VEG is located within Robotropolis-occupied Trailius, where it serves as the HQ for the local Legion chapter and is administrated by Legion Prefect Maw the Thylacine. It is the only VEG to be entrusted to one of Robotnik’s organic agents, as the rest are exclusively staffed by robots.  

VEGs are not individually named, but are instead referred to by number, in order of construction- VEG-1, VEG-2, etc. The largest and most infamous of the VEG’s is the prototype facility first created by Robotnik, and designated as VEG-0.

VEG-0 was created by converting a massive volcano springing from the ocean, using its magma core as a thermal power plant for the entire facility. VEG-0 upon completion was set to immediate work, and by the present has been responsible for Roboticizing millions. It serves as the face of Roboticization, even as the task of creating Robian slaves was delegated to other VEGs. The subsequent VEG models were created smaller than the original and incorporated Bio-Battery technology to make them independent from Robotropolis’ main power grid, but even so, VEG-0 remains an ominous and terrible symbol of Robotropolis’ might in the eyes of its citizens and the world itself.

Prisoners at VEGs are not kept in cells, but rather in suspended animation within special capsules before being unloaded for Roboticization or Bio-Battery integration.

These capsules are essentially miniaturized, self-contained Bio-Batteries unto themselves, using the life force of the individuals imprisoned in order to be powered. While nowhere near as lethal as the Bio-Batteries proper, the capsules none the less are painful to be trapped in… which suits Robotnik just fine.

The Robotropolis Legion

The Robotropolis Legion (disparaged by many as ‘The Dark Legion’) wears many hats- it is at once the civilian government, law enforcement, and civil defense corp of Robotropolis, at least on paper. The easiest way to advance in Robotropolis’ society without being a scientist is to join the Legion, and the Legion eagerly takes all comers- collaborators seeking to be spared Roboticization, lunatics eager for someone heart, the destitute and desperate seeking ANYTHING in life… and rarely, even a few true believers of Robotnik’s foul vision join the Legion. All who join the Legion are granted cybernetic enhancements and military grade training before being deployed, either to the streets of Robotropolis’ Habitation Zones or to further Robotnik’s influence overseas. Many have come to know the image of the Legion Trooper- clad in red armor and in face concealing helmets abstractly resembling skulls, the troopers serve as constant reminders of Robotnik’s control over the denizens of Robotropolis and the promise of power to those who would willingly submit to his rule.

The Legion is surprisingly loose in its organization, compared to other military organizations and in contrast to Robotnik’s own demands for absolute order. The Legion is divided up into Chapters based around the location in which they operate, which depending on circumstance can be individual communities or general areas. Each chapter is headed over by a Prefect, who is in turn served by a commander, and oversees the various units of Troopers under their command. Beyond that though, each Chapter is essentially run as the Prefect in charge sees fit. So long as order is kept and Robotnik’s quotas are filled, Robotnik doesn’t care what his subordinates do as long as it doesn’t interfere with the efficiency of his empire.

In the early days of Robotropolis, this wasn’t the case- the Legion’s authority was more centralized, and there existed greater co-operation and synergy between the Legion chapters, with all Legions being under the direct command of The Grand Marshal of the Legion, whom also was an active participant in Robotropolis’ government. The first and only such Grand Marshall was one Conrad Targo, an Overlander general who betrayed his government to serve Robotnik. Targo was instrumental in the Legion’s formation and implementation within Robotropolis’ territories, particularly with Robotropolis main robotic armies occupied elsewhere, allowing the Legion to pick up the policing that would otherwise distract the machine armies from their primary function of conquest. This, in effect, made Targo the head of domestic defense and Robotnik’s effective third in command.

After an accident seemingly killed Robotnik and his second-in-command Snively, Targo briefly assumed control over Robotropolis. During this brief time, Targo instituted a draft for service into the Legion, intending to expand the cybernetic army. His reign however proved brief- sensing the weakness brought on by his transition of power, the Kingdom of Acocrn hoped to take advantage of the brief instability to decapitate Robotropolis’ leadership and thus weaken the foul city enough so that they might reclaim their homeland. A special, covert strike force was assembled and deployed into Robotropolis to assassinate Targo and to cause general mayhem within the Inner Empire in the hopes of causing widespread chaos across Robotropolis. Led by Colonel Tig Stripe, the squadron came close to its goals… only for Robotnik and Snively to re-emerge, unharmed and ready to reassume command of Robotropolis.

The assassins where subsequently destroyed, and a near-dead Targo was kept alive by artificial means. Julian had long been suspicious of Targo’s loyalties and ambitions, as well as his control over the Legion. His ‘death’ had been a ploy from the start to set Targo up so that he could fall, and to make his enemies on the global stage reveal their hands in this supposed moment of weakness for Robotnik’s Empire. In the aftermath of this incident, Robotnik eliminated the position of Grand Marshall and re-structured the Legion to grant each chapter greater independence from the other and more decentralized leadership in order to make them less able to organize against him. Finally, Robotnik roboticized Targo and then further modified him into a new breed of command class robot to oversee his SWATBot armies. Thus was Conrad Targo, Grand Marhsall of Robotropolis, reborn as Supreme Commander Brutus.

Since that time, the Legion has maintained its role as the effective state police of Robotropolis and the closest thing it has to a ‘civilian’ government. Members are afforded greater freedoms than non-members as well as better access to things like food, water and high end medical technology, for both themselves and their families. Robotnik maintains the relative inefficiency of the Legion because it keeps them divided and thus unable to organize towards overthrowing him, while providing additional targets for local resistance groups as well as a means of recruiting people into his service. Given that the robot armies of Robotropolis vastly outnumbers the so-called ‘Legion’, Robotnik is more than willing to put up the Legion’s presence… for the moment, anyway.

Technically, there are two Legions- the Home Legion, which policies the habitation zones of Robotropolis, and the Away Legion. The Away Legion is effectively a secretive terrorist army for Robotropolis, a series of subversive cells that seek to chip away at nations until they are vulnerable to invasion by Robotnik’s machine armies. The Away Legions are even more individualized than the Home Legions, and this creates a degree of friction between the two branches.

All of which proceeds as intended by Robotnik.

With the absolute loyalty of his robots to pick up the slack, he can afford distractions from his more flawed subordinates. Sooner or later, EVERYTHING will be machinery anyway.  

[megashadowdragon]

 (the person who wrote what was put below ) : eva-nine-has-a-sonic-rifle . tumblr . com/185806080409/a-lovely-thing-to-wake-up-to-part-2-the-ozpinning

*slams bookbag on table and sighs*

Do you have 90 minutes and an innate need to read bullshit that makes you want to gouge your own eyes out? I do, apparently. And dear, sweet, reasonable sir-adamus has been ever-so-kind as to feed the dark abyss that is my eternal smoldering wrath again. You know, adamus, the idiot who insists on making posts on Ozpin despite having the knowledge depth of a puddle about him. *cracks knuckles* Buckle up bitches. We’re doing this song and dance again.

“like, i’ve made a joke about how even Oz’s defenses of why he lies also being lies before, almost everything he has fucking said, even when there’s no reason to, has been a lie like, take for example, how he describes his reincarnation:

‘For thousands of years, I’ve walked the surface of Remnant, living, dying, and reincarnating in the body of a like-minded soul. The Professor Ozpin you all met was not my first form and clearly wasn’t my last. It’s… an extraordinarily strenuous process on everyone involved. […] I am the combination of countless men who’ve spent their lives trying to protect the people of Remnant. With every rebirth, my soul is eventually merged with another and I am changed, but my memories stay with me. This curse was bestowed upon me by the gods because I failed to stop Salem in the past. But we must stop her now.’

like, just ignoring the last two sentences (because ho boy was that all a fucking lie) - “I am the combination of countless men who’ve spent their lives trying to protect the people of Remnant. With every rebirth, my soul is eventually merged with another and I am changed, but my memories stay with me.” This. Is. A. Lie.there’s no merging, there’s no ‘combination’, he’s not some gestalt consciousness, he’s Ozma and the poor sap who is no longer the property owner of their own grey matter how do we know this? because the backstory shows us this”

Oh wow, we are off to a… FANTASTIC start.

The first part of what Ozpin says (from “For thousands of years…” to “…strenuous process on everyone involved. […]”) is true. We saw primary examples of Ozpin going through his incarnations accelerated over the course of gods-know-how-many-years. But since Adamus focuses on the second half I assume the inclusion of this was for context’s sake.

It is important to establish that the picture Ozpin gives us of how his merging process actually works is extremely vague. We know eventually his soul and his host’s merge, there is a change to the core soul as a result of that, and he remembers all of his past lives when he is in the next host. That’s all. We don’t know the degree that the core soul is changed, we don’t know HOW the merge affects Ozpin and the host, we don’t know if they become one with equal traits from both consciousness or if one soul becomes the dominant soul with traits of the other or if its something else.

Adamus assumes that they know the degree of the merge, despite as I said Ozpin being VAGUE, and deliberately ignores things like Oscar adopting Ozpin’s muscle memory and fighting skills. Or even this: “(to Oscar) I understand how you’re feeling. I went through the same panic and confusion” - Volume 4, Chapter 6: Punished

This can’t be referring to his first incarnation, in which he was indeed panicked and confused, but for different reasons, NOT because of a sudden voice in his head. Only his host would have had “the same panic and confusion” as Oscar had and Ozpin says HE went through that as well. That firsthand experience must have come from the host, which must be a part of Ozpin if he is referring to it AS firsthand experience.

Oh, but don’t worry, Adamus is going to try and use The Lost Fable to justify their assumptions, and considering how they think Salem is not an abuser, my confidence in their interpretations of this episode are eroded to the bone.

“when he wakes up in his first reincarnation, he’s just Ozma in a new body and acts such - the poor guy who had his consciousness suppressed hardly makes a peep for the remainder of his life (Ozma never even learned his name)”

1. Yeah, because he says his soul is EVENTUALLY merged with his hosts. It’s not instantaneous, so at the beginning, he really is just Ozpin shoved into another person’s body.

2. Ozma was under the assumption the body had no prior occupant, considering he overrode the previous occupant’s control by accident.

Also, more evidence for the merge: When the original person DOES choose to make a peep, its to say “What are we doing?”. Not “What are you doing?”, “What are WE doing?”. The original occupant’s wording is inclusionary, not quite as much as first person, but as if he and Ozma are cooperative (maybe not consciously given Ozma’s surprise at the voice) at some level.

“and we’re outright told by Jinn that this was Ozma’s MO with all his bodies until very recently:”

Not very recently given he’s learned to coexist with his hosts by the time Dadpin is his host and Dadpin was alive prior to the Great War and there are at least 2 incarnations between him and Beacon Academy Ozpin (The Inquisitor who asked Jinn The Question and the Last King of Vale) and there is an undetermined amount of time between the Inquisitor and the Last King of Vale.

“’Thus began a long and painful cycle of death and rebirth for Ozma. Some lives were spent in mourning, many were spent attempting to forget it all. But no matter what, his mind would eventually turn back to the task he had been burdened with. And as the centuries went on, Ozma began to learn the importance of living with the souls with which he had been paired.’

Ozma is treated as a throughline and the bodies he lives and discards are an afterthought, there’s no indication of a mingling of consciousness,”

Because half these incarnations we saw as a montage and never even saw what they were like, so there can’t be an indication of a mingling. For all we know, Ozma sat in the back of their minds and just watched shit unfold.

“no actual proof that these people were ‘like-minded souls’ because he never gave a lot of them a chance to live their lives once he moved in”

And we have no actual proof they weren’t like-minded souls when he did. Given the theming of the montage we did see of his incarnations (Darkness, misery, and drinking —> Light, moving forward), it is actually supported that they are like-minded souls given Ozma’s mental state at the time.

“and the later ones were only allowed to operate semi-independently out of courtesy (and i’m sure in no small part to Ozma becoming aware that while he can jack control pretty much whenever he wants, he no longer has the power to fight them off if they try the same), and none of them have a choice but to do what Oz wants or he’ll just take over and do it anyway - again, Oz only likes to offer the illusion of choice, not real ones”

Adamus: Ozpin can take control whenever he wants but plays the cooperative game because he’s aware he doesn’t have the power to keep control if the host fights for it.

Also Adamus: The host has no choice but to do what Ozpin wants because he’d just take over and do it anyway. Never mind that I just said that Ozpin can’t keep control if the host decides to fight him for it and we’ve seen that keeping control for strenuous periods like fighting in the Battle for Haven tires him out enough to take a backseat, or that if what I said was true then The Lost Fable wouldn’t exist as an episode because that was Ozpin at his most desperate and Oscar still managed to fend him off. The smoke I blow out of my ass made my eyes water.

“so it was a bunch of bullshit malarkey to garner sympathy, offer false hope to Oscar (because Oz is real good at piling that on) and continue to keep everyone in the dark about what’s really going on because he’s fully intent on leading them to their deaths for no real gain other than it’ll make him feel better about himself”

So, that was a bunch of misinterpreted bullshit by the Resident Ozpin Expert Adamus who continues to show they’re not qualified for this job by closing off with Ozpin is leading them to their deaths despite Ozpin having no intent to confront Salem because we’ve seen that is an exercise in futility. As if somehow watching everyone die would do wonders for Ozpin’s mental state.

But they seem to be under the impression that Ozpin is a compulsive liar, which he isn’t. He lies more than is beneficial to him, that much is certain, but he always has a reason for each lie he tells. Lying about the merge serves zero purpose, even in hindsight. If anything, it’s openly to his detriment because it would make Oscar more anxious and reluctant to trust him. Unless a possible reason for him to lie about the merge being a thing exists, he isn’t lying about it. It just wouldn’t make sense.

[sonisis]

.:The Rose Bride: Chapter 2:.

----------------------------------------

Ahh so I’m really happy to see a lot of people interested in this story, I’ve been working on it for about a month. As Always I’ll be posting the story to FF as well but here I’ll be posting Chapter art. 

----------------------------------------

The Rose Bride Chapter 2

A young Amy Rose was playing in the courtyard of her Grandparents estate trying to catch up to a few other Children that were playing there. Amy quickly caught up to a Dark green Hatchling “Ha ha! Tag you’re it!” Amy yelled with Pride.

“That’s no fair, you’re not supposed to be playing!” said the young green bird

“Huh? Why not? You guys are out here playing, why can’t I? This is my Grandma’s House!” Young Amy puffed her cheek and put her hands to her hips.

A Young orange male Fawn approached the two. “Because you’re the Rose Bride, and the Rose Bride has to stay inside and play with dollies!”

“You guys are no fun! Besides my dollies can’t play tag with me!” Amy then proceeded to tag the Young Deer but he didn’t move an inch.

Then a white bigger male Lion cub angrily came up behind the young hedgehog. “Why can’t you get it? The rule is you can’t play with us! Now go!” He gave out the loudest roar he could scaring Amy.

Amy sniffled a bit trying to hold back tears. “Fine! If you don’t want to play with me I’ll just find someone else to play with!” she left the boys behind and as she left their vision the boys proceeded to play tag amongst themselves.

Amy slammed the door behind her and ran to her Room, tears began to swell up in her eyes that they became too much to bare as they rapidly fell down her cheeks. “Who needs those stupid boys! I don’t! I still don’t even know what a Rose bride is, am I supposed to marry one of those stupid guys? YUCK! I only want to marry one guy and that’s Sonic the Hedgehog!” Amy huffed proudly as she looked at the Sonic poster plastered on her wall. “I know! Sonic can play with me!” Amy quickly rummaged through her drawer to find her tarot card deck “If these can tell my fortune then these should tell me where I can find Sonic! Oh please cards please show me where I can find Sonic!”

_________________________________

Amy Rose awoke from a nostalgic dream, she slowly rised from her resting spot while rubbing her eyes. A quick look at her surroundings told her she was not home first of all the bed she was sleeping in wasn’t hers, it had a big red comforter with red curtains drooping down the bed. Looking at the brightly lit room she saw the unfamiliar window adorned with sheer peach curtains that dragged down to the polished dark wooden floor. Then at the middle of the room was a small tea table with 2 matching chairs. As Amy continued to look around a slight panic arose as soon as she realized she was no longer wearing her signature dress but an odd Red uniformed jacket adorned with golden ropes on both arms and with a gown like red skirt. Amy began to remember what happened before she passed out, she was having a lovely birthday until that Jerk knight took her away! Now she was in an unknown room wearing unknown clothes, did that Jerk undress her? Either way whomever was responsible was getting a beat down from her hammer! Just as Amy was about to exit the room she heard a knock on that same door.

“Excuse me, I brought some tea.” Before Amy could answer the door slowly opened revealing the voice behind it. A tall but slim orange Stag carrying a silver tray holding a white porcelain white tea set. “It’s been a while, Rose.”

Amy took a step back “Who are you?”

“Sorry, it has been a while. My name is Bucky Stagsworth, I am a potential candidate for your hand Rose Bride.” Bucky walked over to a small round table in the middle and set the tea set down and began to pour two cups of tea.

“Rose bride, just what exactly is a rose bride? You didn’t change...change me did you?”

“Heavens no Rose, a maid dressed you. You have many questions and I have so little time. I only came in hopes to sway you to join me, but I will answer what I can, so please sit while we enjoy a quick cup of tea.”

Amy walked over to the small tea table and sat on the small tea chair. She grabbed her cup and looked into the tea to see her reflection. “When I was younger, my grandma said I will be proud to become a Rose bride, I thought she meant I was going to get married like her but with this going on right now I don’t think that means exactly what I was thinking.”

“You are right about one aspect Rose, you are to get married but you are to get married to an eligible knight. As far as the Rose blood has been passed down all the maidens have been able to summon special weapons, weapons that can not only be mass produced but are also indestructible. To a knight an unbreakable weapon is invaluable, so in return of usage of your special weapon us knights swore to not only protect the Rose bloodline but to serve swift justice where needed. Of course there’s only a few Rose maidens each generation so us knights must compete amongst ourselves to compete for your hand in honor. You are currently the last Rose to compete for.”

Amy took one last look at her cup before taking a sip from it. This was the first time she ever heard about her family history, admittedly once she found Sonic she just stuck to him, she was so happy to not only be with Sonic but to join him in his adventures. Ever since she met Sonic she hardly went back to her Grandparents house, she became her own independent person living in her 1 room apartment in Station Square. “Listen.. I respect history and all but can’t it just skip me? For one I’m still too young to get married.”

“Yes I understand that times change over the years but we can postpone the wedding ceremony until you’re ready but until then you must accompany your knight in case he ever needs to draw his weapon.”

This was beginning to sound very misogynistic and frankly it was making Amy very uncomfortable. “Listen, I’m my own woman, I can handle myself with my hammer and I can protect others without a knight.”

“I’m afraid that isn’t allowed Rose. As I’ve said before, Knights around the world have sworn to protect the Rose bloodline in exchange for your weapon.” the alarm on Bucky’s watch went off, he quickly shut it off before speaking to Amy one last time “I must go attend my duties, you’re free to roam the grounds here but not allowed to go past the property’s lines without an escort. I hope to become a successful candidate, Rose.” with one last curtsy Bucky left the room leaving Amy alone to her thoughts.

“HMPF! Why should my destiny be in the hands of an ancestor I’ve never met!”  Amy got up and looked outside of her window, she recognized the area, it was her Grandparents old estate and below in the garden area were a couple of men practicing their combat skills, one of whom was the Green bird that swooped in and ruined her party. Amy turned her back against the window. “Well they can’t keep me locked up in here! I’m my own woman and I don’t need some random guy I've never met! And besides, not once did he even ask for my name!” and with that Amy Rose stormed out of her room.

[dameedna]

John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old.

Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to a statement from his family.

Music Features

John Prine's Songs Saw The Whole Of Us

Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching "Hello In There," written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet "Angel From Montgomery." The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who's merely "another child that's grown old."

Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine's career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, "Sam Stone," is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)

Tiny Desk

John Prine: Tiny Desk Concert

Like "Sam Stone," many of Prine's songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song "Unwed Fathers" illustrates pernicious double standards pertaining to gender: The titular group "can't be bothered / They run like water, through a mountain stream," while the young women they impregnate are shamed and face consequences. Recorded for John Prine, "Your Flag Decal Won't Get You Into Heaven Anymore" criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he'd revisit on 2005's "Some Humans Ain't Human," which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.

             John Prine: In Memoriam                        

But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. "Some Humans Ain't Human" claims that inside the heart of these turncoats is "a few frozen pizzas, some ice cubes with hair and a broken Popsicle," while "Dear Abby" has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. "Bruised Orange (Chain of Sorrow)" uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.

And "Christmas In Prison" boasts one of his best lyrics — "She reminds me of a chess game with someone I admire" — while embodying his quiet irreverence. "It's about a person being somewhere like a prison, in a situation they don't want to be in, and wishing they were somewhere else," he wrote in the liner notes to 1993's Great Days: The John Prine Anthology, adding that "I used all the imagery as if it were an actual prison. ... And being a sentimental guy, I put it at Christmas."

Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to "Paradise," his cautionary tale about a coal country town destroyed and discarded by corporate interests.

Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. "I learned all those songs," he told NPR's Terry Gross in 2018. "And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff." Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: "I'd sit in the closet in the dark in case I ever went blind, to see if I could play."

Although Prine also started taking guitar lessons at Chicago's Old Town School of Folk Music starting in fall 1963, he still wasn't considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago's nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.

               John Prine, hanging out at Georgia State College in 1975.                                                            

                                           Tom Hill/WireImage                

Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of "Angel From Montgomery" (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.

Being in the spotlight didn't come naturally. "I had a difficult time listening back to them because I was so nervous," he told Fresh Air about his early records. "I didn't expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to ... that was kind of my escape, you know, from the humdrum of the world."

But Prine's early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, "I Saw Mommy Kissing Santa Claus." Prine slowed down his output in the '80s and '90s but expanded his sonic purview, co-writing "Jackie O" with John Cougar Mellencamp for the latter's hit 1983 LP Uh-Huh and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album The Missing Years, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005's Fair & Square.)

Starting in the mid-'90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013 and had a heart stent implanted in 2019. In 2018, he admitted to NPR's Terry Gross that his 1996 cancer surgery changed his voice.

"It dropped down lower, and it feels friendlier to me," he said. "So I can actually sit in the studio and listen to my singing play back. Before, I'd run the other way." He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999's In Spite of Ourselves, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, For Better, or Worse, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.

               John Prine at the Edison Hotel in Times Square, 1999.                                                            

                                           New York Daily News Archive/NY Daily News via Getty Images                

Prine's career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing The Tree of Forgiveness, his first album of all-new original songs since Fair & Square. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on Billboard's Top 200.

The Tree of Forgiveness ends with a song called "When I Get to Heaven," a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God's hand and encourage rampant forgiveness. (In a nod to his usual wry streak, he also said he'd enjoy a cigarette that's "nine miles long.") The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It's likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it's better interpreted as Prine providing a blueprint for how to live life with gusto while you're still here.

[onestowatch]

Discover 13 DIY Artists Doing It All

Streaming is king, influence is worth its weight in gold, and there has never been a better time to be a DIY artist. With the rise of platforms like Spotify, SoundCloud, YouTube, Instagram, and an ever-growing list of outlets that allow for artists to connect directly with fans, the day and age of major labels serving as gatekeepers between people and music is seemingly nearing its end. While major labels are by no means obsolete, DIY artists are estimated to generate over a one billion this year, a number that increases with each concurrent year. 

Beyond the idea of just existing a financially feasible option for artists nowadays, the notion of going completely DIY or signing to an independent label has given form to a musical landscape that shows no qualms in playing with the notion of recklessly bending genres or exploring newfound sonic territory. In celebration of a new wave of artists who are making the music they want to make, we present to you 13 DIY artists doing it all + an accompanying playlist for your everyday inspiration.

Aries

“how i made a hit song with a TRASH BEAT (SAYONARA).” Chances are you may have first stumbled upon Aries and one of his similarly titled YouTube videos before ever hearing his music. First cultivating an avid fanbase on YouTube with a series of instructional videos that varied from parody to hinting at the producing genius of the enigmatic artist, Aries’ rise to inevitable fame has been nothing short of unconventional. In similar fashion, his infectious and perfectly indescribable blend of alternative, emo, hip-hop, and electronic has gone on to rack him up plays in the tens of millions, while still remaining completely independent.

Choker

The endless comparisons to Frank Ocean may simply be because, much like the first time we heard Ocean ourselves, there is simply no worldly comparison to be found when it comes to describing Choker’s heavenly sonic musings. Yet, to simply call Choker the next Frank Ocean would be to do the genre-bending artist a grave disservice. Effortlessly blending elements of pop and atmospheric R&B with a voice that is sure to stop you in your tracks, Choker is an artist not to be slept on. This is music that is the very definition of timeless, existing lightyears beyond its time.  

girl in red

Perfectly imperfect may just be the best way to describe girl in red’s music. Chronicling the lived realities of Marie Ulven, a teenage queer icon for queer teenagers and beyond, girl in red’s music arrives as a perfect blend of lo-fi rock and bedroom pop. Tracks like “i wanna be your girlfriend” and “girls” feel like they could have been ripped straight from the pages of anyone’s teenage diary with their intimate nature and candid lyrics. Circumventing the major label route, there is an undeniable honesty to her work. girl in red in the sort of artist we have needed for ages.

LAUNDRY DAY

LAUNDRY DAY has turned a captivation with the all-minded approach of musical and cultural savants BROCKHAMPTON and Tyler, the Creator into a veritable mission statement. The New York five-piece outfit is not just seeking to create their own inventive style, but they want to be a band that, much like their initial inspirations, simply does it all. With countless hours already clocked in their bedroom studios, LAUNDRY DAY has emerged with a collection of music that illustrates a breathtaking range and capacity for evolution. We have no idea what exactly to expect from LAUNDRY DAY, but we can promise it will be big.

  beabadoobee

The shift away from major labels has brought not only a wealth of promising talent through new mediums, but has seen an explosion in artists who may not fit your typical pop mold finding homes at independent labels. beabadoobee is one of these artists. Signed to independent label Dirty Hit, the same people who gave us The 1975 and Pale Waves, the 18-year-old phenom crafts music that blends all the melancholy of any of the best bedroom-pop recordings with the raw edge of lo-fi ‘90s indie rock. The end result is a nostalgic yet novel to indie music for Gen Z and beyond.

Deb Never

Deb Never stands at the forefront of one of music’s fastest growing genre-bending subcultures. Carving out a niche for herself in the nebulous world of grunge meets dark pop, the Los Angeles artist’s delicate vocals skirt across ominous atmospheric production to deliver a musical vision that gives credence to the phrase “putting you in your feels.” As to be expected from the first female signing to WEDIDIT, Never’s music carries with it a palpable emotional weight, yet still finds a way to come across as light as air.

Sam.Sts

The next Rex Orange County may just be a teenager out of Indiana who goes by the name Sam.Sts. Releasing his first-ever series of singles while still navigating the treacherous waters of life known as high school, the bedroom-produced track “Applesauce” would go on to rack up over a million plays without any major label or outside support. Whether that be due to the references to King Krule and Dragon Ball or the sun-drenched nature of the whole affair is yet to be seen, but one thing is for certain, you need to be keeping your eye on Sam.Sts.

mxmtoon

mxmtoon came to music for the same reason so many people flock to the art form: a place to escape from day-to-day life. Self-described as rhyming diary entries, the Oakland-based artist’s idyllic musings doubled as both nigh-perfect acoustic pop songs and a way for mxmtoon to express everything she was unable to say in her face-to-face interactions. The result was plum blossom, a debut EP recorded alone in her parents’ guest room that stroke a chord with millions. Now, set to release her debut album the masquerade this fall, mxmtoon’s rhyming diary entries are poised to take a worldwide stage.

Ultra Q

It would be impossible to make a worthwhile list of DIY artists doing it all without giving a nod to the guitar-driven punk bands that practically coined the term “DIY.” And one of the best bands to emerge in 2019 from that space is without a doubt Ultra Q. Formerly known as Mt. Eddy, the teenage punk band returned from an indefinite hiatus that saw the four-piece outfit finishing high school and returning with a fully-realized musical vision. With only a pair of singles to their name, “Gool” and “redwood,” there is plenty to be excited about when it comes to the future of Ultra Q.

Tessa Violet

Long gone are the days of a major record label telling you what you need to be listening to. The rise of platforms like YouTube, Instagram, Tik Tok, and plenty more have given way to previously unconceived methods for artists to connect directly with fans. YouTube vlogger turned pop phenom Tessa Violet is one of these such artists who has turned her platform into a means of delivering euphoric moments of indie pop–flavored bliss. First striking gold with the DIY viral music video for “Crush,” which saw Violet transforming a family friend’s grocery market into one of the most eye-catching videos of 2018, the rising star has gone on to release a series of singles that have shown her veritable future in the world of pop.  

khai dreams

Truth be told, there is little I can tell you about khai dreams beyond how his music makes you feel, which is to say serene. The musical project of a half-Vietnamese singer-songwriter born and raised in the Pacific Northwest, khai dreams blends acoustic and electronic elements to superb effect. As if to exist in stark contrast to the overcast and rain that permeates so many projects from the Pacific Northwest, there is an inescapable warmth to every one of his tracks, even when those same tracks see him at his most wistful. To listen to khai dreams i tso give yourself over to his endless summer.

Yeek

If you were to ask what music sounds like in 2019, you may very well arrive at Yeek as your answer. The Los Angeles–based singer, songwriter, and producer originally from South Florida is thriving in a genre-less era. Blending distinctive elements of hip-hop, lo-fi, alternative rock, and pop-minded R&B with a reckless abandon, Yeek’s otherworldly amalgamation of sounds and moods come to life on the track. Seeming to never waste a moment in any of his impeccable genre-bending ventures, Yeek’s music is a deep-dive into the mind of a post-genre savant.

Los Retros

The rise of DIY music has allowed for a greater representation of cultures and voices that have for far too long been underrepresented in mainstream music. In the vein of artists like Cuco and The Marías, Mauri Tapia, who goes by the moniker Los Retros, is drawing upon ‘70s soft rock and leftfield Chilean pop to create a soundscape that spans generations of influence. Signed to independent record label Stones Throw, the 19-year-old Los Angeles artist may have only just finished high school, but his heartfelt songs are set to carry him to places far beyond far the horizon.

[the-nysh]

Opm loose ends and unknown plot threads

Notes I’ve collected from multiple rereads of the webcomic, on plenty of things that have yet to be addressed or concluded in the story. -MANY SPOILERS AHEAD-

The Organization’s true identity and motives. Responsible for the battle suits worn by Hammerhead (retrieved by two of their robot agents) and the robot sent to fight King (which Genos defeated and used to acquire new parts). Both instances were for collecting battle data. Supposedly they’re an independent group, but mysteriously have no other leads.

Whereabouts of the Mad Cyborg. Who it is, who made it, and whether or not it’s even still alive. Concluding Genos’ revenge arc and paving the way for how he decides to live afterwards. As of ch108, Genos’ hatred and determination to defeat it have not wavered, but by now, simply facing it and enacting revenge are not his only priorities anymore.

Saitama’s visit to Dr. Kuseno’s lab. Kuseno is VERY interested in meeting Saitama after everything he’s heard from Genos about him. Allowing Genos to bring Saitama with him ‘next time.’ Still has yet to happen!

The truth of Lady Shibabawa’s ‘the earth is in trouble’ prophecy, coupled with Psykos’ Third Eye glimpse into the future, the events of which drove her to madness and fueled her hatred of humans (inciting the formation of the M.A.). She has yet to reveal to Fubuki exactly what she witnessed. Unknown if the two prophecies are related, but some calamity is going to happen (it wasn’t Boros or Garou), and the recent increase in monster occurrences only fuel that ominous premonition.

The being called ‘God’: giver and (forceful) taker of Homeless Emperor’s light energy powers. The exchange which cost him his life via absolute primal fear to spontaneous combustion in one of the webcomic’s creepiest wtf moments. (Seriously, wtf happened – he appeared on another plane of existence and burned Homeless Emperor’s mind alive!) Unknown if this being is legit or not, but he appears at whim and seems to bear hostility towards humans. Only Zombieman knows of his existence now, wary that such a being may be the one pulling the strings. The term ‘God’ HAS been mentioned in the story before, particularly by Dr. Genus as the being who bestows upon everyone their given Limiter.

Garou’s whereabouts and next steps in life after his thorough defeat (physically and verbally) by Saitama. He regained his will to live and escaped execution after the child he saved vouched for his heroism. Whatever path he decides to pursue now will be interesting to see.  

When Blast will return. Revealed 18 years ago as Tatsumaki’s inspiration to become a hero. His costume and mannerisms bear considerable likeness to Saitama’s. He works another job and similarly only does heroism as a hobby, staying aloof and preferring to do things his way. H.A. representatives believe he will return only when the world is in grave danger. (hmm? Perhaps when the prophesized calamity finally happens?)

Both Sweet Mask and Bofoi (Metal Knight) have their eyes on Saitama. In Sweet Mask’s case, he’s become obsessed with the ‘beauty of overwhelming power’ witnessed during the Garou battle. (Sweet Mask’s monstrous powers are creepy enough, seriously what IS he!?) While Bofoi’s stable H.A. position has been further compromised by Saitama’s inadvertent interference (destroying his defense bots). He’s interested in challenging Saitama for his own gain (and keeping tabs on him), but he may have an added grudge against him now too! Genos will NOT like either of these creepy dudes targeting Saitama, that’s for sure.

Speaking of which, follow up on how Metal Knight is Genos’ enemy. (wtf and we haven’t even heard from Drive Knight since Boros! Except thanks to Murata adding him into the latest manga chs) Bofoi may have ties to the Mad Cyborg, perhaps even past history with Kuseno. Him targeting Saitama will likely give Genos added reason to hate him as well.  

How Lightspeed Flash and Sonic are related. Both of them have similar stances and techniques; they could be brothers or rivals from the same school. Both acknowledge Saitama’s strength in different ways too. In Flash’s case, he wishes to polish Saitama’s potential by training him.

Black Sperm and Rover, currently depowered and following Saitama for cover. Rover seems to have become an obedient demon pet, but Black Sperm is scheming to gain his powers back. Unknown if he has plans to turn hostile again or if he’ll stay in Saitama’s party as the ‘Dimple’ of opm.

Fate of the H.A and Neo Heroes. It’s uncertain how much longer the H.A will survive following the Garou aftermath. Their continued losses, scandals, and dwindling public support have left them scrambling to save face and recruit replacement personnel who have either resigned (like Bang) or transferred to the new upcoming hero group: the Neo Heroes, led by Accel. However, their promises to reform the H.A.’s base policies and better serve the people are dubious at best. Whether the H.A. runs bankrupt or salvages their current situation to compete against the Neo Heroes remains to be seen.

What’s inside Dr. Genus’ basement, supposedly concerning his research/evidence on Limiters. Zombieman requested the Dr. to try and remove his, but the process cannot be that simple. It’s unknown whether ANYONE other than Saitama has, or will be able to successfully break theirs (Garou failed). So far Saitama remains the sole exception, surpassing his body’s average physical limitations through the strength of his own willpower.  

How Genos will obtain the level of strength he seeks, unbound by the limitations imposed on him by his mechanical body. Coupled with a goal he can fully commit himself to in the long run, even beyond that of the Mad Cyborg. So far, his firm determination to stay by Saitama’s side remains unbreakable.  

How all these things will affect and/or involve Saitama. In the short term, whether his current H.A. residence will only be a temporary accommodation (if the H.A. falls), and in the long run, whether he will ever find the challenge he seeks OR realize there are other things in life that can bring him fulfillment. Acknowledging who his real friend(s) are will be a start…    

[ganymedesclock]

Do you have any advice for a person who is interested on becoming a writer? For instance, what should I keep in mind when creating an antagonistic character or a general setting? Something like that.

Disclaimer I do not purport to be any kind of authority on writing but I mean if you’re asking me for advice you clearly find me sufficient. This… ended up getting very long, so I’m going to limit this mostly to talking about villains.

I’ll get on a brief soapbox here. Antagonists don’t have to be villainous- that is to say, not everyone who opposes your character will be particularly mean, unpleasant, or unsympathetic. But on the topic of villains…

Do me a favor.

Take the “kick the dog” moment- where the villain does something spiteful, malicious, or petty to establish that they’re a villain- and burn it for me.

Having your villain do something bad specifically just to establish they’re not nice, they’re not the hero’s friend, they’re a bad person, tells us that you aren’t confident the rest of the narrative will tell us who to root for. It also cheapens the suffering of whoever or whatever is your “dog” in this narrative- lovely peasant village, defenseless orphan, random bystander, cute animal- by reducing them, in that moment, to just a prop.

Watching someone suffer is uncomfortable. If you’re going to use suffering, be sure you’re actually using��it meaningfully- and that emphasis can only be achieved with the use of suffering.

If your villain does something cruel or vindictive, make sure that it says something more meaningful about their character than just “this is the bad guy”. Ideally, it should also say something about the person on the receiving end of this.

Let’s look at some examples from episode 1 of Voltron: Legendary Defender. There are a couple of moments used to establish the Galra Empire, and Zarkon specifically.

Shiro, an astronaut, awakens in alien captivity. He overhears his captor discussing his capture with Zarkon. Shiro protests, vocally, stating that he represents a peaceful mission and he and his companions are unarmed.

An unseen figure in the armor of the empire strikes Shiro in the back of the head, cutting him off and knocking him out. During this entire sequence, the guard that strikes Shiro does not have their face in focus- they are in fact one of the mechanical drones used by the empire, all of which look the same, and do not have obvious faces or much way to emote.

Shiro wakes up shortly afterwards, on his back, being dragged by another drone, and passing cells of unseen people who are whispering to one another about him. 

This rapidly establishes a lot of things.

Shiro is a charismatic, proactive person. He’s a natural leader, a trait that becomes relevant later- the other two members of his mission have their faces obscured and are on their knees, when bits of their faces and personality were already established in an earlier scene- so Shiro alone is the one who speaks up, without hesitation. He takes responsibility for, and attempts to open diplomacy for, the entire group. This is also his first instinct- rather than trying to struggle against his restraints or fight.

It also establishes that the empire does not care. Not the person running the show, not the person they’re reporting to, and not the drone. Only one of them strikes Shiro, but the others watch in complete ambivalence. And that is exactly what it establishes: not malice- they don’t grin or have any amusement, or rub it in- but apathy in the face of suffering. 

This scene is us actively watching the seeds of what becomes a major thread for Shiro: a sense of helplessness and powerlessness. His autonomy and attempts to deescalate the situation are completely, harshly disregarded. It’s also an advance warning that many of the people affiliated with this organization go on to depersonalize Shiro heavily- they treat him as an object, or at best, an attack dog. They don’t really gratify his plea with an actual response.

Later, in a rather stereotypical villainous moment, Zarkon orders that same commander who was present when Shiro was assaulted, to be dragged off and executed- for refusing to stick to their post and die for his benefit. He states that weakness is a ‘disease’ that he will purge from his ranks.

It tells us Zarkon is a really mean dude, but, more importantly, it illuminates rather a lot of how he is an incredibly unrelenting and selfish individual. He demands everything go exactly his way, and he will actively burn valuable resources- trained, experienced soldiers- to achieve that.

It’s the first insight into several of Zarkon’s fatal flaws that allow the heroes to proceed at his expense. He doesn’t listen to anyone he deems insignificant- which actively cuts him off from useful information. He demands unwavering obedience from his servants, which cuts into their ability to strategize independently because he refuses to tell them anything. And, we later discover, the fact that he is so domineering in his ways has actively damaged his ability to interact with one of the major plot elements of the show.

It also tells us that the seemingly apathetic, cruel entities serving under Zarkon are themselves, to a certain degree, victims of a larger structure. They are in a climate where they have to develop that apathy and act as they are expected, or their lives are literally forfeit. 

The fates of Shiro and the unfortunate commander, at a glance, look like clean-cut “we did this so you would know they’re bad guys”, but, rather, tells us a great deal about the involved characters and the setting. Following up Shiro’s rough treatment with similar treatment of the commander tells us exactly where the root of this all is: it’s Zarkon- and his disregard for his own people already sets a motive for a faction that we do not encounter until the second season.

Bringing this back to original work: your villains are complicated. They have patterns and a consistent personality. “Evil” is not a personality trait. When you frame someone or something as evil, you are saying there is a moral wrong here, and it is important to think about what specific morals this villain violates.

To cite another example: Eggman from the Sonic the Hedgehog series is a villain, but he very often utterly despises, and in fact, works against the other villains. This is because Eggman’s particular profile is that he is an incredibly controlling person who has little qualms cutting into the freedom of others- but his driving motivation is to conquer the world and create a utopian paradise under his own control.

So any time Eggman encounters someone who is in favor of destroying everything, it’s repulsive to him. How horribly wasteful! Because what Eggman wants to do is build, build, build- and that’s exactly what he does with his endless mechanical minions and giant, larger-than-life death machines. He doesn’t even particularly like killing unless he’s pushed to it.

Multiple villains will not get along, any more than multiple heroes will. Characters are complicated and have their own motivations and perspectives. So it’s important to consider what about your villain is wrong? Where do they fail, and where might they actually have some good ideas and reasonable points- which they have to, in order to be successful at all.

The other reason why your villain should be complex is because even if they’re wholly terrible people- your audience should, in some way, enjoy them. They should be interesting. If the villain is so uncomfortable that the audience cringes every time they come onscreen and wishes it would end, that’s a problem. Even the horrific and morbid has its appeal, though that’s not to everyone’s tastes.

As I mentioned before, Zarkon from VLD is a very unpleasant person, and deeply flawed. But his complexity also makes him interesting. There are a select few people that he trusts and values the input of. There are people who only know him from a distance, completely misunderstand him, and outright venerate him. As obstinate as he is on having only his own way, he’s also an incredibly softspoken person who rarely raises his voice at all- partially because his presence alone can silence a room easily.

Think about what makes your villain interesting. This need not be a sympathetic trait, or something that attempts to “make up for” their maliciousness.

What are their hobbies? Passions? What’s important to them? Maybe your villain murders people without batting an eye because they don’t place much value on the lives of others but will exasperatedly hear out any telemarketer they get called by without complaint because the poor people have enough to deal with in their lives, and the villain abhors the idea of taking out someone who’s just making an honest living without a good reason to do so.

Do they have standards? What are they? Are the standards hypocritical, and if so, why, and in what particular way? It can be tempting just to pile up a bunch of scary or unpleasant-seeming traits on your villains to make them seem suitably bad but I’d recommend thinking about consistency and characterization. Flesh your villains out. Be confident that if you’ve made them a villain, it’s for a reason, and that will stand out. If they don’t seem so villainous after all, what’s the threshold that makes them seem reasonable? And how would they react to someone who crosses that threshold? Is it possible they themselves would cross that threshold, and what would push them to do so?

Again: as much as possible, do not use other characters as props. If your villain acts on someone, or has someone in their backstory to establish their character, think about the other persons’ side of things. How does knowing the villain drive the other character? Because every relationship is a two-way street. 

[frankoceanblogfan-blog]

What Makes Popular Music Popular?

In contemporary society, there exists a general consensus on what constitutes as popular music. It’s a definition that is hard to articulate, but it’s there. It is music that is, well, popular, for lack of a better word. But this word itself is actually very nuanced. It encapsulates many subtle complexities that are easy to overlook, yet hard to pinpoint.

What exactly makes popular music popular? Is it the sheer ubiquity of music that is characteristic of the modern era? Or is it something deeper, lurking in some meaning within the music itself? These two possibilities represent two generally competing schools of thought. The former suggests that popular music is more of a passive entity, existing for mere consumption. It is inescapable – present and available in almost every wake of life – and this is why popular music is popular. The latter, on the other hand, suggests that popular music is capable of holding some deeply-rooted meaning that artists intentionally weave into their works. Here, the music exists to be actively engaged with by listeners, and this is why popular music is popular.

After some careful observation, however, there’s nothing to say that these two possibilities must be mutually distinct. It need not be one precise, distinct cause. Rather, it can be a combination of numerous, intricate influences that combine to make popular music popular. 

Music — Anytime, Anywhere

In the modern age, music can be summarized by a two-word catchphrase: “Anytime, Anywhere.” In fact, this phrase is one that is discussed at length in Gopinath and Stanyek’s 2014 journal in The Oxford Handbook of Mobile Music Studies. In this piece, they state that the expression “accurately describes—as well as prescribes—an ideology of immediate and ubiquitous access to music, and its consistent appearance…lends credence (and continuity) to the notion of a ‘mobile music century’�� (p. 15).

This ubiquitous characteristic of modern popular is almost indisputable. It has been made possible by a staggering array of contributing factors, two of which will be explored here (namely, streaming and advertising). And while it will be easy to discern that popular music is indeed ubiquitous, it will be a much more difficult task to determine whether or not this ubiquity is why music is popular. In other words, it’s clearly apparent that the two have a relationship, but it is not necessarily one of cause-effect.

The first factor that perpetuates the pervasiveness of popular music in modern society is the adoption of streaming as the main form of listening. Streaming has allowed music to permeate society even further than was previously possible; it has become the new and primary way we listen to music. No artist better embodies this statement than Chance the Rapper. 

Chance the Rapper – one of the most prominent rappers in current day hip hop – is an independent artist who has never been signed to a record. A Rolling Stone article by Sarah Grant calls him “the most successful independent artist in popular music,” who “balks at the very idea” of signing to a record label. In fact, one of Chance’s defining characteristics is that he offers his music exclusively through means of streaming, in order to keep it free (or as free as possible). And yet, despite this fact, he has been a wildly successful artist.

Case in point, Chance the Rapper was the only artist to submit a streaming-only album for Grammy consideration in 2017, when he submitted his mixtape “Coloring Book” for Best Rap Album. He was up against moguls such as Drake, Kanye West, De La Soul, and DJ Khaled, all of whom had albums backed by recording labels. In face of this seemingly large adversity, Chance won the Grammy. And although it might not seem like it, this actually indicates a very significant turning point in the way that popular music exists in the modern day. 

First, it is noteworthy that the Grammys even allowed nominations for streaming-only projects. 2017 marked the first year that such nominations were permitted. Seeing that the Grammys are frequently criticized for being an archaic institution, their recognition of this new form of music production is markedly significant. Moreover, it is incredibly remarkable that Chance the Rapper was able to defeat the record-signed Goliaths in his category. This likely would not have been possible even a decade ago. The win was largely in part due to the noticeable shift in society towards streaming. It placed Chance the Rapper – a man whose success is entirely based on streams – up there with the biggest names in the industry.

This attests to the fact that streaming truly is the new that way we listen to music, as well as the new way that artists distribute their music. Starr and Waterman even comment on this trend, stating that “a new generation of artists have moved to cut out the middleman in an effort to reach their audience directly without the mediation of record companies” (p. 557). 

But how does streaming, as the main method of music consumption and production, contribute to the popularity of music? Does it contribute at all? Well, it certainly does contribute to the pervasiveness of music. Streaming liberates listeners from both physical and economic constraints that are often times a hinderance with “physical” music (e.g., records or CDs). For example, to listen to music with a record or CD, the appropriate music player must be physically present, which is inherently less portable than, say, a cell phone. And to possess the music in the first place, a somewhat cumbersome fee must be paid upfront: somewhere between $10 and $15 for the roughly twelve tracks that come with an album.

On the other hand, through streaming, music can be played anywhere with an Internet connection. And the only economic barrier that might exist with streaming is a subscription fee to some service such as Apple Music or Spotify. However, this fee is usually optional, to add additional features (such as no ads and unlimited song skips). But – and this is the important part – any fee paid always provides access to unlimited music. This is obviously not the case with a purchased CD. This means that, with streaming, popular music has much higher availability and mobility. Audiences can listen to whatever music they so choose, anytime, anywhere.

So, does this, in effect, make popular music popular? Before performing this analysis, it is important to introduce a second factor that contributes to the pervasiveness of popular music: advertising. In the 21st century, popular music has become increasingly integrated with advertising. To quantify this scenario, David Huron in his article “Music in Advertising: An Analytic Paradigm” presents the fact that “of the estimated sixty billion broadcast advertising hours encountered by North Americans each year, approximately three-quarters employ music in some manner.” 

Composer and musician Ben Neill is even so bold as to claim that “there is no difference between something that is considered art and something that is a commercial” (p. 238). To him, there is no difference between the art and the commerce of a song in advertising. Whether or not this is completely the truth, music and advertising clearly go hand in hand. One such example of this is Feist’s song “1234” appearing in a commercial for Apple’s iPod Nano.

The ad obviously utilizes the song to promote a product. However, something less conspicuous also occurs: the product in turn promotes the song. There is reciprocal, symbiotic relationship at play.

“1234” went on to be Grammy nominated for Best Female Pop Vocal Performance. Feist herself was even surprised by the impact that the ad had on the song’s popularity. She once told BBC News, “it did me nothing but favors because I’ve continued doing what I do, but with so many new open ears from so many more people than there were before.” And therein lies the critical point: advertising provides yet another medium for music to proliferate.

This begs the question, because popular music is so ubiquitous, is this what makes it popular? There exists the possibility that, through means such as streaming and advertising, popular music inundates our everyday life. We are surrounded by it. And there is no real underlying interaction between listener and song, because rather than us seeking the music out, the music seeks us out. We now forego the step where we ourselves must work to discover music that provides cognitive stimulation or emotional value, because it is no longer necessary. We can listen to any music, anytime, anywhere.

If the above situation is true, then the music that is popular is that which finds us. It is whichever songs find themselves on the airwaves of streaming services and the television screens through thirty second commercials.

In my opinion, however, this is not wholly the case. I do think that sonic ubiquity plays a role in making popular music popular. However, it is merely the first step. It provides the possibility for music to be popular; it serves as the platform upon which music can proliferate, and it leads to the possibility of engagement with listeners. I argue that this engagement is actually what makes popular music popular. Exactly how this occurs is explored in the following section.

Music with Meaning – Identities and Values

It is the undeniable ubiquity of modern music that provides the opportunity for music to become popular. But for music to actually be popular, there must be something within the music itself – some deeper meaning hidden in the songs that surround us. And by discovering this more profound layer in the music, listeners can develop a sense of connection, establishing a personal significance to the song. Artists achieve this by appealing to, and even creating, identities from their audiences that hold specific values. The moment that audiences develop a personal relationship with some message or other significance that they uncover in the song, the music becomes popular.

One example of an artist who accomplishes just this is Lady Gaga. Lady Gaga has defined what it means to be a female artist in the 21st century. In her journey to fame, her biggest obstacle has been facing pressures to act a certain way that is considered “female.” Through her journey, Gaga has identified with certain marginalized audiences in a special way, preaching values that her story and her music embodies.

Gaga is a fiery spirit who speaks her mind. She remains true to herself. She is not afraid to break boundaries. These are all qualities that, through her music, she can communicate to listeners, particularly female ones. Her documentary entitled “Gaga: Five Foot Two” details many of her struggles as a female artist. When speaking on being a woman in the modern music industry, she recounts how difficult it can be to deal with men of power. As she states in her own words, “those men have so much power that they can have women in a way that no other men can.”

Gaga has retaliated against these aggressions from the male-dominated industry by crafting a rebellious image and, more importantly, portraying her carefree and self-liberating ideals through her songs. In her same documentary, Gaga states that “when they wanted me to be sexy, when they wanted me to be pop, I always fuckin’ put some absurd spin on it to make me feel like I still was in control.” She doesn’t care what men think about her. She is unapologetically herself – independent and happy – which can be seen in her work.

For example, her 2011 hit song “Born This Way” conveys a message of self-love and freedom to her listeners, no matter who they are. This extends her appeal beyond her typical female audiences, reaching out to the LGBTQ community as well, as she preaches that people of all gender and sexual identities are equally justified in loving themselves. For example, the opening lines of the first verse directly address her own womanhood:

“My mama told me when I was young We are all born superstars She rolled my hair and put my lipstick on In the glass of her boudoir ‘There's nothing wrong with loving who you are’”

Later in the song, Gaga includes lyrics that appeals to audiences that are often marginalized for their sexual identities:

“No matter gay, straight or bi Lesbian, transgendered life I’m on the right track, baby I was born to survive”

“Born This Way” is an exemplary example of how popular music artists appeal to specific demographics, which in turns makes their music popular. The values and messages in Lady Gaga’s songs directly seek out young female (and queer) audiences, who might be struggling to find an identity for themselves in a society that places rigid standards on what is acceptable. If one of these listeners hears Gaga’s music and is able to personally relate to the hidden struggles or engage with the underlying messages, then they create an intimate, personal connection with that music. They either identify with the identity that Gaga has created, to the values that her songs preach, or to both. Whatever the reason, to them, the song now holds a special meaning. And this is what makes her music popular.

Another artist who accomplishes a similar feat is Kendrick Lamar. Kendrick, as a prolific modern-day rapper, plays a huge role in promoting certain ideals concerning race. He has a very prominent role in the hip-hop world, and he uses his position to express values that he holds to high regard. Particularly, through his music, Kendrick has established an important relationship with African American audiences. His music often focuses on topics centered around his observations on race relations in America. And because he is able to produce music with which his listeners can actively engage, his music is undoubtedly popular.

His song “The Blacker the Berry” released in 2015 is perhaps the most poignant manifestation of this. In this song, Kendrick boldly voices his uncensored opinions about racial injustices that he feels pervades society. Through the lyrics, he explores just what it means to be black in today’s America. His lyrics are charged, for example:

“This plot is bigger than me, it's generational hatred It's genocism, it's grimy, little justification I'm African-American, I'm African I'm black as the heart of a fuckin' Aryan I'm black as the name of Tyrone and Darius Excuse my French but fuck you — no, fuck y'all That's as blunt as it gets, I know you hate me, don't you? You hate my people, I can tell cause it's threats when I see you”

But not only does he express his viewpoints on what he sees as prejudice from whites to blacks, he also proposes a hypocritical condition that he notices in black America:

“So why did I weep when Trayvon Martin was in the street when gang banging make me kill a nigga blacker than me? Hypocrite!”

This song is obviously very profound in its message. However it is to be interpreted is up to the individual listener, but the main point lies in the fact that this song actually engages the listener on a personal basis, formulating a connection and giving the song meaning.

In an interview with MTV news, Kendrick shrewdly observes that people think “it’s just talk and it’s just rap. No, these are my experiences.” Kendrick himself knows that his music is more than just a sequence of notes and accompanying lyrics; they actually have profound implications. And by articulating his own personal values – especially those concerning race – in his music, Kendrick creates and then subsequently preaches to an identity out of his audiences. He breaks through the barrier between song consumer and song producer, relating to the listener’s own thoughts and experiences. Consequently, the listener associates the song with a deeper meaning. And this crucial step is what makes the music popular.

This theme, exemplified by Lady Gaga’s appeal to gender and Kendrick Lamar’s appeal to race, is one that is true of the entire popular music industry. Artists must be able to either find or create distinct audiences, and then relate to those audiences’ values, in order for their music to be truly popular. It is also important to note that these identities and values need not be as serious as discussed herein. They can be silly, superficial, or simplistic. But that does not make it any less profound to the listener – it still achieves the same goal of establishing a connection and thus attaining popularity.

Modern-day music listeners are surrounded by music. As explored earlier, music is anytime, anywhere. The intrinsic ubiquity of modern music is imperative, in that it serves as the platform upon which songs can attain their full potential in reaching as many listeners’ ears as possible. But this is not actually what makes the music popular. It is the subsequent consumer-engagement that does. Just because millions of people hear a song does not make it popular – the song can be consumed completely passively, without the listener even realizing that they are consuming it.  But once this listener unearths some deeper meaning and forms a personal relationship to the song, the game changes. That music is now popular, in every sense of the word.

Sources and Course Materials

Grant, Sarah. 2017. What Chance the Rapper’s Streaming-Only Grammy Nod Means for Pop’s Future. Rolling Stone.

Huron, David. 1989. Music in Advertising: An Analytic Paradigm. Musical Quarterly.

Markman, Rob. 2015. Kendrick Lamar has Strong Words for his ‘Blacker the Berry’ Critics. MTV News.

NME. 2008. Feist: ‘I was naïve about ‘1234’ iPod Nano advert. NME Audio.

Starr, L. & C. Waterman. 2013. American Popular Music: from minstrelsy to MP3. New York: Oxford University Press.

Taylor, Timothy D. 2013. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago Scholarship Online.