#it definitely would’ve made quarantine a hell of a lot easier

[chryblossomjjk]

OMG I FEEL SO SEEN. I avoided BTS for years because I didn't feel like being obsessed yet and I knew once I gave in I'd be obsessed I saw Jimin on Twitter and he was so beautiful I muted his name

FRIEND ITS SO BAD LMAO LIKE I HAVE ALWAYS BEEN BOY CRAZY AND I HAD JUST GOTTEN OFF MY DIRECTIONER ERA AND SAW THEM BLOWING UP (gifs from the dope music vid were fucking everywhere) AND I WAS CURIOUS BUT I WAS LIKE YEAH NO LET ME NOT AND THEN TWO YEARS AGO THEIR CARPOOL KARAOKE WAS IN MY RECOMMENDED AND HESITANTLY I WAS LIKE …. i guess one video won’t hurt

[thekillerssluts]

We’ve Got A File On You: Win Butler

In a year when a lot of our plans have been on hold, Win Butler has been busy. In April, the Arcade Fire ringleader let us know that the band had been working on music shortly before lockdown, and then he let us hear some of it. Last week, on the night of the election, the band debuted a new song called “Generation A.” Apparently, Butler was one of the people who found quarantine more inspiring than suffocating. Just a couple weeks ago, he amended his previous hints with the update that he’s written “two or three” Arcade Fire albums thanks to having to stay still all year long.

It seems like there’ll be a whole lot of new Arcade Fire goings-on to parse sometime on the horizon, but that isn’t the reason Butler and I got on the phone one recent October afternoon. Butler’s not quite ready to talk about forthcoming music yet, aside from saying this era of writing gives him flashbacks to that which preceded The Suburbs and promising “The new shit is about some of the best shit we’ve ever done” as we say goodbye.

In the meantime, there have been some milestones this year: The Suburbs turned 10; Butler turned 40. There is, of course, a whole lot of rich Arcade Fire history between their early ’00s origins and now. There are too many high-profile collabs to dig through, too many pop culture crossovers to cover, in just one conversation. But before Arcade Fire’s next chapter begins, while we both had a moment of quiet at home in the year 2020, Butler and I took some time to dig back through highlights and surprises from across his career.

Appearing In Bill & Ted Face The Music (2020)

How did this happen?

WIN BUTLER: They were filming in New Orleans. I’m kind of the exact age where Bill & Ted really has a soft spot in my worldview. [Laughs] That was just like, yeah, of course I want to be in the Future Council. That’s the part I was born to play. No, it’s funny, it was just one of these random things that come through the email. Usually, it’s, “Nope, nope, nope, nope.” But this was, “Tell me when, tell me where, I’ll be there.” It was on soundstages. When we were filming it, Tommy Lee from Mötley Crüe was back there, and he sort of disappeared at some point. I got to bring my son, who’s six. He was hanging out and we were talking to Keanu about Canada and punk bands back in the day. It was a pretty sweet hang. It was a bright spot in 2020, let me put it that way.

You say you get these emails — is that random stuff they want Arcade Fire to do, or there’ve been other cameos you turned down?

BUTLER: Oh, no, it’s mostly random licensing or stuff that goes to the junk box. But every once in a while, it’s like, “Hey, that sounds like a nice way to spend the day.” I started out in film. I went to Sarah Lawrence College in New York around 2000. I had really wanted to go to film school, and I could never get in. [Laughs] Initially, the song “The Suburbs” was an idea I had for a film and it seemed easier to make a song than a film.

The Suburbs (2010)

That was a convenient segue. The Suburbs just turned 10. I was wondering if you have gone back and revisited it much amidst that anniversary.

BUTLER: The whole experience of Funeral was such a rollercoaster. We were on the road so long. We didn’t have much of a break going into the second record. For The Suburbs, Régine and I — I don’t think we saw anyone for a year straight before we even started demoing or anything for that record.

It was a time in my life… I don’t know, I was in my late twenties, and there were all these details of my childhood in Houston. You know, I moved to Canada when I was 19. [Houston] almost felt like this other life I had. I would close my eyes and imagine riding my bike through town and trying to find the edges of my memory. There was kind of all this emotion that came up through that, and I wanted to capture it. It’s funny, as a songwriter, most of the time I feel like my mind is living in the near future. You’re listening for these little signals in the air. This was almost inhabiting the emotional space of these memories but thinking about it as the future.

When you say it like that, I’m curious if the album feels different to you now that you’re a father yourself and another 10 years down the line. Like another layer to that refracted youth, sort of?

BUTLER: Totally. In a way, I feel like the last year has been a parallel to that year before The Suburbs. Then I was kind of a hermit by choice, and this has more been the world conspiring to make me a hermit, but it has been a really introspective. In a sense, the material that we’ve been working on feels the same way, this hybrid of your emotional landscape and the future.

It’s almost seasonal, like a trade wind that blows in once in a while. I remember we played with Neil Young when he was still doing the Bridge School Benefit and hearing him sing “Old Man” as an old man, almost like he wrote the song when he was 22 to sing when he was 80. I think there’s an element on that Suburbs record that’s like that as well.

Winning The Grammy For Album Of The Year (2011)

Obviously that was a huge turning point for Arcade Fire because you won the Grammy the following year. As a suburban indie fan at the time, I had no real grasp on how big certain bands were. From where I was, it was pretty trippy that you guys won that.

BUTLER: I mean, tell me about it. It was definitely pretty trippy.

There are very, very early moments of you guys getting linked up with some iconic artists. Arcade Fire got plenty of respect from the beginning. But at the same time, the Grammys is something different. That’s a moment of mainstream insurgency. Ten years on, you’re one of the big indie bands of your generation, but also one of the only rock bands to get to that level in recent times.

BUTLER: I don’t know it was the best record that year, but it was definitely the best record nominated that year. I mean, we were up against a Lady Gaga remix record and like, Katy Perry. We weren’t up against a great Eminem record, we were up against a not-that-great Eminem record. In a certain sense, I was like, “Well, I think we should win.” [Laughs] I think we had the best record.

I remember in high school Radiohead and Björk were the two [new artists I loved]. I bought The Bends the day it came out, I bought Homogenic the day it came out. And then everything else I listened to was artists that had broken up 20 years earlier. I remember watching the Grammys the year OK Computer was nominated and it didn’t win, and I was just like, “Oh, that thing must not mean anything then.” I remember Dylan won, and it’s a really great Dylan record, but objectively OK Computer was the best record. So if that didn’t win, then what the hell does that thing mean? After that, I didn’t think about the Grammys that much. It wasn’t on my list of my dreams of my career and what I could accomplish and what I wanted to do.

For me, I was looking more at a band like the Cure or New Order, these bands that were really just artistic entities but you would hear them at a pharmacy once in a while. Like, I’d hear “Bizarre Love Triangle” come on in the pharmacy in Houston and just be like, “Is this from outer space? What the fuck is this?” My dreams for our band was to do for other people what those bands did for me, which was just throw me a fucking lifeline. Because I was just like, “What is this world, and where are my people, and how can I feel OK existing?” My grandfather played in big bands and played with Louis Armstrong, and he bought me a guitar when I was 15. I held on to that thing — if I didn’t have that I don’t think I would’ve made it out of high school. It literally saved my life. I don’t think I could exist without that.

For me, the Grammy thing was strangely moving. Even up until the moment we won, I just felt like an interloper. Even when we won, people looked at us like aliens. Like, “Who? What?” You know, I’m a competitive person. It was really exciting. Cool, awesome, the universe makes sense for one second. It’s interesting, I didn’t expect it to mean anything until we won, and then it meant something.

David Bowie (2005, 2013, Throughout)

I alluded to this earlier but: The Grammys were like an industry stamp of approval. From the beginning, however, you guys were embraced by a lot of elder artists — particularly artists who were influences on the band. One I wanted to talk about was David Bowie. He was a very early supporter; you performed together in 2005, which turned into a live EP. Then he shows up on “Reflektor” in 2013. Somewhere around 2015, you talked about how you’d come to regard him as this professor-type character in your life. He came to your first New York show, right?

BUTLER: Our first headlining show, when we played at the Bowery, Bowie and David Byrne came to that show.

Wow, no pressure huh.

BUTLER: It sort of set the table. Like, “Well, I guess this is how it’s going to be right out of the gate.” [Laughs] It’s funny, I have a photo of David in my studio that I look at when I’m working sometimes. It’s just him in a dressing room with one of those kind of Hollywood mirrors behind him. He really… I don’t know, he felt some sort of spiritual connection with us. It wasn’t like he wanted anything from us. I just think he wanted to say, “Hey guys, you’re going on the right path, keep going.”

I was emailing him over all those years. I don’t know if you have anyone close to you that’s died and you go back and read those emails, it’s really these strange digital fragments of someone you care about. After he sang on “Reflektor,” Régine and I bought him a painting in Haiti as a thank you gift. We were supposed to mail it to him and we got busy and forgot about it, and in the interim he passed. I knew he wasn’t well, but I didn’t know he was dying. Maybe a couple months later I remembered the painting and I dug it out and it was a painting of a black star. A voodoo painting of a black star with rays coming out of it.

I didn’t know anything about his record being Blackstar or anything like that. Now it’s on the wall of my bedroom. Shit like that sometimes happens in my life. I take it for what it is. I don’t know exactly what that means and I just feel grateful… I don’t know man. Even just how inspiring, what he put into his art even in death. He’s someone I think about at least on a weekly basis.

Backing Up Mick Jagger On SNL (2012), Playing With The Rolling Stones (2013)

Obviously that was an ongoing relationship, and you’ve worked with David Byrne too, and you referenced playing with Neil Young. Still: Being onstage with the Rolling Stones seems particularly daunting.

BUTLER: We were Mick’s backing band on SNL. SNL is maybe one of my favorite American institutions. I don’t know if it’s the Canadian thing since Lorne [Michaels] is Canadian. The first time we did it, it was just like, “This dude is my friend.” I don’t know if Lorne’s kids like Arcade Fire or something. But I was in New York randomly and he was like, “Mick’s doing a thing,” and I said, “We do a pretty amazing cover of ‘The Last Time,’” and he said “Come on down, let’s do it.” Then we’re Mick’s backing band. I don’t know, pretty fucking cool.

What is Mick Jagger like to work with?

BUTLER: Mick is like: As soon as the light goes on, he’s a different person. When he turns it on, it’s like this muscle memory — like if you were with the greatest ballet dancer ever, and you say go and this energy comes out of him that is so practiced. It’s someone who’s an absolute master, after practicing something for decades and decades and decades. That was pretty amazing to see. You’re chatting with someone, we’re at the piano and we’re talking about an arrangement, “OK, let’s do a run,” and then, “Boom! Shit!” There he is.

It’s this other level. I feel like people at that level, music’s not something they’re fucking around with. [Laughs] Music is a spirit. You hear something, and if it strikes a chord with you, it connects something at your deepest core. People like that, when you see them do their thing, it really is this other plane. It’s not this show thing. It’s more of a possession. You can hear it in the music.

I feel like I’ve listened to more music during COVID than any time since I was like, 18. I had this moment when I was listening to these amazing records from the 1950s. You can hear the room. It’s almost like audio VR — you can hear the drummer here and the bass player over here. There’s a sense of space, particularly to that older music. It’s a snapshot. If you hear “La Bamba,” right now, that is what it is. It’s a spirit captured on vinyl, on a piece of tape. It’s alive within that.

With people like Mick, they’re a little bit closer to the spirit of rock ’n’ roll — a literal spirit, not a figurative spirit. Bowie was the same. When he played with us in Central Park, the second he hit the stage he’s illuminated. You’re like, “Oh, shit, that’s what it is.” He’s a human when you’re talking to him and as soon as he’s in it, he’s touched by another thing.

SNL (2007-Present)

I’m glad you brought SNL up, because you’ve been on it a bunch of times, but you’re also one of the musical acts they’ve brought into skits. Like, they actually wrote a game show around you. How does that work? Did they write that sketch with you guys, or you walked in and they’re like, “Hey, by the way…”

BUTLER: I can’t remember, I think we’ve been six or seven times. We’ve been there for a couple different casts at this point. The Lonely Island dudes, those are so my dudes. In another life, I would’ve been in Lonely Island, that would’ve been my dream to just fuck around with my friends; when we were first writing music we were kinda joking around because you’re too insecure to try. A lot of times [at SNL], we’ve played for the staff when we’re there, because you get so fired up to play one or two songs and you’re playing live so your endorphins are running so we just sort of keep playing afterwards. I feel like they appreciate that, it kinda feels like you’re on the same team or something.

I was backstage at SNL once last year, and it is pretty crazy to see it all from the inside like that.

BUTLER: It’s so crazy. They write it all that fucking week, and then to see the differences between the dress rehearsal and the live show. They do a little meeting in Lorne’s office. They’ve done the dress rehearsal and it’s still this tiny office and every cameraman and every cast member is crammed in this little office and Lorne’s like, “Make it a blue light instead of a green light at minute 23, and change this word to this word, I don’t think that’s funny, change that, OK, go,” and everyone’s got pencils writing this down. It’s still fucking that. And you know, it hits and misses sometimes, but they’re doing it.

How long did you have to work on your De Niro impression for that skit?

BUTLER: It’s actually more of a Billy Baldwin impersonation, but it seemed to work for De Niro as well. [Laughs] My only real impression is I can look exactly like Billy Baldwin if I want to. If there’s any casting directors reading this and you need a Billy Baldwin impersonator, I’m your man.

LCD Soundsystem’s Goodbye Show (2011)

You’re the one who ended up serendipitously coining the title of the live album.

BUTLER: [Laughs] That is true. That was genuine. He was being a little talky.

I moved to New York before I moved to Montreal, and I would go to the city and go to shows and I didn’t see one fucking thing that was good in the whole year. I was like, “Wait, I thought New York was the shit, where is it?” All I saw was bad, very industry bands. I couldn’t find anything, I wasn’t cool enough to figure out what was going on. There’s very few bands that I really think of, like bands of my generation where I heard them and thought “These are my people.” For me it was the Yeah Yeah Yeahs, LCD, and Wolf Parade. When I heard those bands, I thought, “These are my fellow pilgrims.” It was art, DIY, no bullshit, just trying to make something great that communicates to people. It’s real and emotional.

James is really just one of us. He’s just such a great engineer and really into the way things sound and really passionate about details. It’s rare to meet people like that. James was working with us when Bowie came in, when we were in Electric Lady. James had never met Bowie before. The first 7” he ever bought was “Fame.” We’re in this studio, and the last time Bowie was there he had cut “Fame” with John Lennon, in the same studio. We were all like, “This is the right place to be.”

James is just a man after my own heart. We did a tour with them on Neon Bible. We were playing to a thousand people in Salt Like City and I was like, “Man, in a couple years a lot more people are going to wish they were at this show.” What a fucking great live band.

Scoring Her (2013)

What kind of headspace did you have to get into for this vs. making an album?

BUTLER: Spike [Jonze] came to a bunch of our early shows on Funeral. The second I met him he was just immediately one of my best friends. He thinks about the world the same way. Even though we work in different mediums he was someone I knew I’d be working with in some capacity. I was visiting LA and I was staying with Spike just randomly one time, in the early days of him working on the script for Her. I was reading the script and immediately thinking about how it could sound, and I was like, “Well, we should fucking do the score to this movie.”

When you’re working on a record, it’s so rigid, what works on a song and what doesn’t work on a song. It can be so limiting in a way. Within the band, there’s so many different talents and color palettes and things people bring to the table, so it was cool to do something where the boss is the picture. It doesn’t matter how anyone feels about a piece, if it’s working for Spike, if it’s working in harmony with the picture, that’s what the boss is — the emotionality of the picture. It’s not about you, it’s in service to this bigger thing. It was a cool opportunity for all of us to use different aspects of things we do, and to work with Owen [Pallett], who had done a lot of strings on our records. It uses a totally different part of your brain.

Do you want to do more of that kind of work, or was it this specific story from Spike that spoke to you?

BUTLER: I can say pretty confidently that I’ll work with Spike in the future. It definitely takes a lot of energy. It’s definitely something I’m interested in, but I feel like while I’ve got the juice it’s good to spend as much energy writing songs as we can. It’s pretty fucking hard to make a record, believe it or not.

Future’s “Might As Well” Sampling “Owl” From Her(2017)

Are you a big Future fan?

BUTLER: I love Future. There’s something in the rhythm of the thing he does that actually reminds me of some music from Haiti, in this really deep, subtle way I can’t put my finger on. There’s something almost mystical in the way he sounds, and I thought that was really cool that they sampled that soundtrack. His shit does sound like the future still. I think it’s pretty special.

The Reach Of ”Wake Up” (2004-Present)

This song has had this big pop-culture reach over the years. U2 used it as their walk-on music in the ‘00s. It was used in the trailer for another Spike movie, Where The Wild Things Are. Macy Gray and John Legend both covered it. Microsoft ripped it off for a commercial. It was used in a commercial for LA’s bid for the Olympics.

BUTLER: That Microsoft money went to Haiti, by the way. They did rip it off. [Laughs] Thank you Microsoft.

As far as I know that’s far from an exhaustive list, too. It’s just one of those songs that’s gone out and become a part of the atmosphere. Even a lot of big bands don’t necessarily have a song like that. What do you think it is about “Wake Up” that’s registered in so many different contexts?

BUTLER: From the time we wrote that song to now, the biggest difference in my life is I’ve traveled the world and I’ve been able to play music in all these different cultures and feel the ways different countries feel music. Not only listening to the music in other countries but seeing how they feel the music I play.

I remember around The Suburbs we played in rural Haiti. It was our first time playing in a place where nobody in the audience had any of the reference points of the music we played. We were playing in the mountains, there were people walking in barefoot to the concert. We were playing these songs we had been touring the world with, and the energy from the crowd was so different. The things they responded to, the things they felt, it actually fundamentally changed the way I heard my own music. It made me start to think about music not just from my own perspective but culturally how people hear it and feel it.

I think the one thing that kind of transcends everything across all cultures is melody. Régine was playing that melody on piano in our rehearsal room. I hear it like it was yesterday. It was like, “That’s the shit.” [Laughs] Being present and being in the room, hearing something and really giving yourself to it, just singing that shit like it really meant it and feeling the power of that melody and trying to push it until it breaks. That’s something I think about, just how great it is to have people to play music with. To say it like you mean it.

I remember singing that song in Montreal, in these lofts. Most of our early fans, the first time we played that song, they were like “Fuck this shit, I want the acoustic shit.” People were so negative. I remember a lot of early fans didn’t come to our shows after that because we were suddenly screaming at the top of our lungs and playing electric guitars. It was like, “Everyone here hates this, that means we must be going in the right direction.” [Laughs] But yeah, don’t be discouraged if people hate something. It doesn’t mean shit.

https://www.stereogum.com/2105395/win-butler-interview-spike-jonze-arcade-fire-snl-mick-jagger-david-bowie/interviews/weve-got-a-file-on-you/

[windandwater]

so I started adderall and hoo boy. lemme tell you. what a wild feeling, in so many ways, but especially right now where I’m like “I’m not doing anything shouldn’t I be panicking” and my brain is like ��no. you have a lot to do. but you’ve also been working really hard. so it’s okay to take a break for a few minutes” and I BELIEVE MYSELF??

WOW

anyway here’s some stuff under the cut about it because I can’t believe how well this is working out.

background: I’m hypoglycemic. one big reason I decided to do this was, I was having this issue where I get depressed if I don’t eat sugar. I was eating sugar to feel joy. I am at risk for diabetes but even if I wasn’t this is not...great. I’ve always had to watch my blood sugar and I’ve always been careful about what I eat but in recent years, the amount of actual dessert/candy I eat has gotten mildly out of control and my doctors have told me to watch my sugar and I just...wasn’t able to.

one of my coworkers who is also not-neurotypical and as such knows her shit, told me that this whole “sugar to feel joy” thing is an ADHD symptom. I knew I had ADHD (I’d been diagnosed in high school) but wasn’t being treated for it, but had never been told this was a symptom, and at that point I was like, you know what, fuck this, I can’t get my health under control on my own if I’m not being treated for my mental health as well. I’m talking to my psychiatrist about this.

so I did. enter adderall. and now I wanna talk about it because it’s been FASCINATING and I am all about brain medication when you need it. so here goes!

also I live-tweeted my first 24 hours on adderall because it was SO WILD and I’m so glad I did even though I have three (3) followers, more on that in a minute

(me: I can’t tell if it’s working, it’s supposed to kick in in 30 minutes but--wait I think my brain just went bOOP

coworker: is bOOP good?

me: it’s WEIRD)

the good

Y’ALL THE SUGAR THING WORKED IMMEDIATELY. oh my god I was stunned. absolutely stunned. I still absolutely have a sweet tooth and enjoy eating sweets but I can eat a normal amount, at normal times, and not because I need to feel something. it’s because I want to eat something sweet. I can’t believe in 24 hours I went from complete inability to control myself to just...not having to. brains!! who knew!!!

I focused on an entire conversation the entire time. the entire time. I was even very stressed because my blood sugar was low and I needed to eat, but I was able to put that aside because I knew I could deal with it when the conversation was over! WHAT THE HELL!

since then it hasn’t been that easy because conversations are, quite frankly, often very boring, especially for work. but it’s easier to focus when I need to, and not zone out halfway through or have to do something else in order to focus. or start stressing/thinking about other shit that doesn’t matter. I can listen to what people are saying!!! for an hour! it’s crazy!!!

I wasn’t tired all day! this is also part of the bad. you’ll see.

I feel more in control of my days now, and less like time is speeding by at a rate I don’t and can’t comprehend. I’ve gotten fairly good at planning out and prioritizing my time anyway, but now it’s like...better. and easier.

executive function is online, and as I alluded to, no more self-guilt-tripping if it takes me a minute to get to things. they’ll still get done! it’s okay! if I don’t do something right away I will still do the thing! I have years of experience parceling tasks into small pieces so I do them, but less so with not still getting on my own case about not doing them right away.

if I don’t have music or a podcast playing at all times, I can still focus on work. it’s still pretty nice, it’s just not absolutely necessary. this is throwing me off hardcore but it’s kind of nice to be able to be in silence occasionally.

I can still multitask but if I’m NOT multitasking I don’t feel like I’m going insane, and also, I don’t feel like my brain is hanging by a thread at all times that might break and cause everything to explode.

a tweet I made: “I was researching something and when I got frustrated I kept at it and didn't have to go take a break to do something equally frustrating and pinball back and forth between them until they both got done. I might have just been weaponized? “

it’s true. researching/looking stuff up is one of my skillsets and...I’ve been weaponized.

the bad

my appetite is allll fucked up. we’re adjusting the type of medication I’m on to try and mitigate this but wow it’s an appetite suppressant and wow that’s not okay when you’re hypoglycemic and have to keep your blood sugar up.

my sleep is also fucked up. anxiety keeps me from falling asleep and I’d gotten to a good place re: falling asleep at night. however I was also in a very bad place re: sleeping constantly (sleep apnea? quarantine depression? who knows!). but waking up constantly during the night ain’t the solution, chief. so we’re also adjusting to see if we can do something about that.

regarding that: the first night, I literally just did not get tired. it was very upsetting. if I hadn’t tweeted about it I would’ve had an out and out panic attack, but one of my friends talked me off the ledge, telling me she had the same experience when she first went on it. I was not warned and I wish I had been. I was still able to sleep (she wasn’t, when it happened to her) but hoo boy. no thank you.

pharmacies like to babysit you when you’re on controlled substances. ugh.

more shit to keep track of. ughhhhhhhhhhhh

unfortunately, I had a hard time finding mainstream resources for this stuff online. I’ve read a lot from tumblr and heard from other people’s experiences, but when I went looking for, say, information on adderall & sleep...a lot of it is related to addiction. I had a similar problem with ADHD & sleep: I wanted to know more about whether ADHD can make you really tired like I was, or whether it was just an insomnia type of thing, and there just wasn’t a lot out there. this isn’t really a problem with the drug, but like...it’s a pain when you really want to learn more about something, aren’t in a place to talk to your doctor yet, and are just left to the wind with the mainstream internet assuming you’re abusing a substance.

definitely also felt like I had to lay the groundwork with my doctor...I had been planning to talk to her about this for a while, so I mentioned my ADHD diagnosis early on so I could bring it up at some point and not just out of the blue ask her for meth. this stuff is hard.

(not making a statement of any kind of recreational drug use/addiction, just...I hate the US medical system. a lot. everybody loses.)

so that’s how it’s going! sorry for the long post, but I did want to document this somewhere besides twitter, and maybe some of y’all are interested.

oh also, my other favorite thing that happened is my doctor said to try to keep track of when I take the medication and it wears off, and I literally told her that that would also be a good marker of whether or not it’s doing its job, because in my natural state I literally cannot remember to do that, with anything, ever. and I did! I managed! WILD

anyway end the stigma. ♥️

[crqstalite]

💗I'm curious about nia 👀

NIA!! My beloved! My boy!!

(I say like I’ve had him for more than three months, tops. His schtick is supposed to be posted Friday but I’m cheating and yelling about him now.)

I absolutely love this guy, I don’t have a lot of reserved characters on the roster but he is one.  And he’s the kind of character that’s such a direct opposite to me that he’s definitely becoming close to one of my favorites. (but shh, don’t let the others hear you)

this also got really long so buckle up

He’s known to come off as really intimidating at first glance, but I don’t think he knows that. It’s a little comical at times, because this guy is six feet, biotic, and could probably crack a skull with his little finger without even breaking a sweat -- and while he doesn’t show it, he is genuinely confused why everyone tends to avoid him. He’s not that hard on them. He’s not very loud either. Which leads to the fact he’s pretty rarely in a bad mood, lots of things he kind of just...accepts?? are happening and gets to work on a solution rather than worrying about it. His resting face just says otherwise. A lot. Not that he has much to say either, he’s one of the quieter COs most have had and those assumptions go uncontested for quite a while. Small talk? You’re getting nowhere with this guy. He will literally give you one word answers and he’ll think that’s totally sufficient. He’s more confused why everyone else leaves without another word or makes an excuse about why they have to go. He doesn’t think all the extra words are necessary, and he isn’t great with watching his tone either. Not something that was really made a priority when he was years upon years younger.

The only reason Kaidan and Ashley were able to break through to him was because they? Didn’t really know him very well, and so they didn’t have the same preconceptions that others did. Nia didn’t have a family of his own since he was orphaned on Earth pretty early on, so hearing about Ashley’s and her relationships was a bit comforting instead of alienating like he’d assumed. He hadn’t known you could have real relationships (after all, most of his never progressed past co-workers and acquaintances) like that, and Ashley’s stories made him think about reaching out to old crewmembers. Or maybe read a little poetry to understand what she was quoting at him. Nia hadn’t had many biotics on his crew before either, and learning from Kaidan and hearing his story opened his eyes to a lot of things he’d never thought of before. He couldn’t relate on not feeling human, but he could relate on being feared. I think they learned quite a bit from each other in those early days. Both of them were a bit startled on how well he could read them though, even when they may not have actually said anything.

Friends were not typically in his wheelhouse, ever. Being avoided? Relatively normal. Having people actually seem happy to see him? Weird. Someone’s inviting him to play poker with the rest of the team? Terrible. What in the world provoked you to do that. He can’t really fathom that people just...do things out of the good of their heart. Yet there the pair of them were, talking about something other than Saren whenever he came by to visit. Sure they seemed a little offput by the fact he didn’t have a lot of filler conversation to offer back at them, but they got past that. Somehow. There were a lot of awkward attempts at jokes.

(He’s still bewildered by their good will. Originally he thought the pair of them and the rest of the crew wanted something from him. He was quite wrong.)

[I haven’t decided how he ends up with two VSs on his hands. But y’know what? Fuck Virmire. I am not afraid to hand wave.]

After his death though? Holy shit, everything’s put into a bit of perspective. It doesn’t change him completely, no he would’ve been a fool to think it would’ve made him a happier person or hell, even a normal person. But he ends up...missing the old crew? He doesn’t have Liara with him to follow up on his primer abilities, or Tali if someone gets too close, the list went on and its unsettled him. They had some lasting effect on him, and he finds himself more likely to reach out a bit to others. He can’t really bother on saying more than a few clipped sentences at a time, but he’s...more present when he puts real effort into it. Tires him out a lot though. But he already died once, if he does again, does he want his place in the world to be noted by fear and avoidance?

By Mass Effect 3, he’s just tired. This guy has skirted death two separate times now, the Reapers are still dogging him, his own military won’t listen to him, he feels more alone than he has in years...you get the picture. He actually is far more prone to snapping now, and that intimidating aura he has is very real these days. Not that he’d yell on purpose, but sometimes people push him just too far when he’s already on the edge. Same guy who snapped a metal spoon.

Now, I can’t quite figure where he gets the idea in his head that out of everyone else, he genuinely just prefers Ashley and Kaidan’s company. It’s not like he picked at random either, something about them just made the world a bit more...bearable? Easier to deal with? While he’s out of touch with himself, they’re starting to pick up on his tells. And that’s...really weird. He’s not sure he likes that. They’re prying too much about how he’s doing dealing with the war, but for some reason he doesn’t have the heart to tell them to stop. Or really give proper answers either.

Where’s that oh moment though? Couldn’t tell you. Not yet at least, again Nia’s really new and so is his entire thing. I know, I know ‘not every ship has to have Shepard involved’ but it’s my quarantine and I get to choose the coping mechanism. I just think the three of them would be cute together, facing the end of the world head on knowing someone has their back the whole way through.

And y’know, cuddle piles. I think they’d be happy together after the war.

(Deciding between Ashley and Kaidan when making a character is a bisexual’s nightmare, I hope you know)

[pixel-cat-1]

I just finished The Outer Worlds

I don’t really ever use this blog for more than reblogging stuff, so this is probably coming out of left field for anyone who follows me, but as you see in the title, I beat The Outer Worlds not a couple of minutes ago. I have some thoughts I’d like to talk about while their fresh, and this is as good a place as any to do that lol

So, what did I think of it? Overall, I think The Outer Worlds is okay game that ultimately fails to meet up in many regards to not only Obsidian’s golden child, Fallout New Vegas, but in some departments even regular ass Bethesda games from years ago. And that’s honestly such a shame, because TOW had so much goddamn potential and yet I finished it and felt practically nothing for the entire last level and final ending sequence.

The main issue I think is that ultimately speaking, TOW doesn’t necessarily do anything different from any other RPG I can think of, and it doesn’t do anything like that super well. 

For example, the combat’s good on a technical level. The controls and mechanics are fun to use (especially the dodge system), but the enemies tend to either range from “complete curb stomp bitch babies” to “bullet sponge that’ll kill me so fast I won’t even know what happened.” Most fights weren’t particularly engaging, and I was basically handicapping myself but not using the companion abilities for about 75% of the game (I don’t know why I never tried pressing the d-pad buttons, but yet again, when I can just shoot shit and huff an inhaler, I didn’t need to think too hard). The disparity of how difficult the game can be is often confusing, and I was more often limited because of my ammo count more so than my ability to play the game.

The RP aspects can be good at times. There are plenty of skill checks that reward you for being a smart little egg, and a part of RPG’s I like is being able to avoid combat and make people happy, and generally make myself useful, so that was fairly fun. Overall the dialogue options and the performances by most VA’s left me not feeling like I was being hindered in acting and responding to situations how I’d like, so at the very least, that didn’t let me down.

The music was overall enjoyable, although very forgettable, and sometimes a bit all over the place: there’s Western-y guitar ambient tracks, also some more techno-y ones? Elevator music that sounds like they got it from a royalty free website. This kinda wish-washyness ties into multiple issues I had with the game I’ll get into further on.

The graphics are good, which isn’t necessarily shocking anymore because every game looks good. There are some aesthetic choices I liked, that being things like the Art Deco style architecture and advertisements from the loading screens. Terra 2 is gorgeous as all hell, with the skybox being particularly amazing (I’ve often fantasized about Earth having rings, so this partially fulfills that fantasy). Monarch is overall also very well done, with making it look and feel like a hostile shithole with ravenous wildlife. The looming gas giant overheard also does a good job of making me feel dread, which is about as much of that feeling I ever got. However, the game never really maintains a distinct “style”, rather it collages a bunch of them at once. Because for all the aesthetic of the Art Deco style that they do for cities like Byzantium. there’s like 10 levels/areas that are just generic as all hell “sci-fi space shit” that you’ve seen before. And then there’s Scylla, which is so fucking boring in design I don’t know why it’s even in the game.

This creates an issue where it’s like they wanted to make the game look Bioshock, but some people wanted something out of Mass Effect. But some people played Borderlands, and wanted to go for the wacky space bandit and hostile environment feel. But they also wanted to stick it to Bethesda, so they made is vaguely look like a Fallout game as well. It’s hard to describe in text, so I’m just gonna post these and show it best I can

^ It looks like space Bioshock here

^ And here it reminds me more of Borderlands than anything else (it’s a lot easier to see if you look at it from the ground, rip)

Scylla is literally just a rock. As far as I can tell, you could probably fucking avoid the damn thing if you avoid side quests. There’s fucking nothing there. Just enemies, a few side quest things, an empty town and a giant terraformer thingy that’s interesting to look at for like 4 seconds. And despite what you’d think, no, there is no low gravity. That would’ve at least made this place have some interesting gimmick or mechanic, but no. It’s just a fucking dumping ground for side quests. God. Fucking. Damnit.

All science-y buildings just look like this for the most part across all levels. It’s not bad, just very generic and same-y.

The Groundbreaker’s fairly interesting, until you realize that all it is is essentially a giant corridor front to back. Actually, scratch that, it’s two corridors! One of which is this Back Bays area overrun with criminals. How do you get to this clearly dangerous and isolated part of the ship? Well a fucking elevator smack dab in the middle of the pavilion of course! So anyone can just go up or down into this apparent no man’s land part of the ship by literally going into it via an elevator. Dear god.

^Monarch definitely has one of the best looking environments in the game, tied with Terra 2 down below

But what absolutely fucks the game overall is despite how much effort they put into making everything look nice (regardless if you actually like it or not), the overall level design in terms of function and whatnot? Mind numbingly boring.

All levels are really small maps with (at most) a handful of major buildings or towns depending on the scale, and the rest is just a bunch of abandoned buildings with some enemies, or a crashed ship or something. There's just...nothing going on with half of these dungeons.

Also the vast majority of buildings have a “Quarantine” sign out front or is locked in some capacity, which means you could have 4-5 buildings in a random batch of them along a road, but only 2 you can explore. And since all the fucking interiors across multiple planets look the exact same, it leads to an incredible feeling of sameiness in a game that has you running around an entire solar system. How the fuck even??? I’d argue fucking Fallout 3 handled this better. At least there was more to do! More overall dungeons and levels! Did I miss something? Am I just fucking stupid and I missed the all the good shit?

Combine this with the wish-washy aesthetics and music, it leads to an incredible feeling of not really knowing what to make of things. You’ll just be sprinting around, shooting all the red things on the compass just to get it over with by Monarch. And when you realize that LMG’s are just...the best weapons in the game as far as I could tell, and there’s no real downsize to them, you’ll just fucking run around gunning everything down while some forgettable track plays in the background until some enemy with a weirdly large health bar forces you to think for a bit before you get back to running around and shooting shit again. 

Despite this though? I still overall enjoyed the combat. I liked running around and becoming the 4th Horseman. Plus with the mechanics overall being fun to use, it wasn’t really that bad. But I can’t say on an objective level I think it’s good for a game to feel like that. Because despite how heavy handed I’m being right now (and will be throughout the rest of this impromptu review), I don’t hate this game. 

Sound design is overall very good. Guns make satisfying shooty shooty bang bang noises, and as I said before, the VA’s are overall very good all around. Parvati stands out as the most interesting character to listen to in general. She has a lot of informal speech patterns that makes her distinct, and is generally a treat to listen talk. At worst, you get a character like Nyoka, who doesn’t sound bad by any real means, but for a lot of her dialogue, I felt they should’ve slowed it down and focused on getting her emotions down. But it certainly wasn’t bad.

Storywise? This game wasn’t particularly interesting. I’m gonna put the keep reading thing here because I want to avoid spoilers for anyone who hasn’t played yet and cares about them. Long story short, I think the game was good, but very disappointing given what it could have been. I enjoyed myself for the most part, but often found the lack of anything super special to really hold it back from achieving something I think the gaming industry needed in an era of, ironically enough, hyper greedy corporations with no morals to speak of.

So, what did I think of the story? And I guess by extension, the side quests. Overall, I think the main story was...not very good. There was a lot of good stuff inbetween though, and a lot of side quests and little things definitely were enjoyable. But the plot is just not nearly as engaging as it should be. Given how short it was though, that might’ve been a mercy.

The story, as roughly as I can summarize is, is that you’re a colonist frozen on the colony ship “Hope.” It’s been adrift for 70 years, but you’re woken up by a guy named Phineas Welles (he’s basically Doc Brown, but nicer). The Board (which consists of the 10 companies who own and run the colony/solar system) try to stop him, but they fail, and you’re escape podded onto Terra 2, near a dying town called Edgewater. The pod accidentally kills the contact you were to meet, so now you’re gonna steal his ship and use it to do shit basically.

Along the way, you pick up a ragtag band of miscreants and general shitheads and kill a lot of people and wildlife in a quest to stop the corrupt Board from running the colony harder into the dirt than they already have. It’s very by the numbers, more or less. I guess.

The immediate issue is that, despite being able to join the Board and betray Phineas if you want, there’s absolutely no fucking reason to do that. Not a single goddamn reason, other than for the evulz. This creates an issue where I feel no reason to deviate from the Phineas side of the story. And I know what someone might be thinking “But Pixel! The Board is supposed to be evil!” And I am absolutely aware of that. But the thing is, so was Caesar’s Legion in Fallout New Vegas. And yet, that faction is often considered just as interesting and compelling a faction for the game as the NCR or Mr. House. People will, to this day, still argue over who had the best idea for solving the Wasteland’s issues. Because despite how evil the Legion is, they still had very valid points about the NCR and how horribly corrupt and bloated it was. And there was absolutely an argument to be made about how safe they made their lands for those under their ownership. Stuff like that that makes you actually consider and think about whether or not you're actually making the right choices for the whole of the New Vegas wasteland, and by extension the rest of the Western part of America.

Here? There’s no contest. There is no necessary evils. There is no good reason the Board does anything. No logic, no reason. All they can do is fuck shit up even more, and that makes them such a boring, vague antagonist that there was never a moment in my mind I actually considered working for them. Any potential moments they had to sway me or dashed aside by them constantly proving how they could never actually fix the problems they made. And if that was the intention? Then Obsidian fucked up.

People remember the villains that raise a point a hell of a lot more than they do villains that are just evil for the sake of it (there are obviously exceptions, for an RPG? you need a compelling villain). And that’s why no one will remember this game in a decade. It pales so hard in comparison to New Vegas, it’s not even funny. It’s on par with Fallout 3, at best. Which wouldn’t be a bad thing if the whole point of this game was to make a statement against an increasingly morally bankrupt Bethesda.

Let’s look at, per se, Skyrim. Paarthurnax was a supporting character with an interesting backstory: he’s Alduin’s brother, who is the main antagonist. He is a dragon that secludes himself on the top of the tallest mountain in Skyrim, who meditates and focuses on suppressing his inherit evil dragon nature. Despite this nature, he chooses to be good. And he asks a very compelling question.

"What is better? To be born good or to overcome your evil nature through great effort?”

In a single sentence, Skyrim asked a more though provoking question than the entirely of The Outer Worlds. And if you played F:NV, then it’s probably weird to hear that, because F:NV was full of moral and philosophical quandaries. So where did it all go?

The thing is, people forget that the Obsidian that made F:NV is dead and gone. The actual people who made that game have all moved on from that company. This is the child trying to replicate the success of it’s parents, without entirely understanding exactly what the parent did to achieve what it achieved.

The biggest difference between F:NV and TOW is that F:NV really forces you to think. TOW just doesn’t require that, at all. 

Phineas good, Board bad. No thinking required.

I think the real warning sign is at the beginning of the game as well. Edgewater, the first town in the game, is dying. People are leaving and the town's also dealing with a disease epidemic. The town’s leader’s answer? Cut off power to the deserters, and force them to work harder despite the fact the town’s basically dying because of the overworking and disease. Despite the fact there’s not even enough medicine to heal everyone, and they have to play favorites with who lives and who dies.

What the fuck logic is this? Why would I ever choose that?

The only other choice, unless I missed a compromise solution (which I would’ve wanted) is to route power to the deserters and finish off the town more or less. The deserters wouldn’t take in everyone though, so a lot of people would die anyways. But even then, she’s still clearly the more competent leader. There’s not a goddamn contest. 

It just continues like that the whole game. I rarely had to think about who I’d side with. because the solution is obvious. The literal only reason I’d side with the corporations is if I was being evil, nothing else.

The best the story gets is when you need to make a compromise on Monarch between MSI (a corporation who got the boot from the Board) and the Iconoclasts (Religious people who are anti corporation). If you work with the second in command of the Iconoclasts, you can depose their extremist, dipshit leader and work out a truce. Which is good! It rewards the player for this too, when these factions come to help in the final level of the game (and when you see specific characters you could save helping out, that also make it feel like your decisions had an impact). You see the two factions...standing next to eachother, which isn’t much, but it’s about as much change you see in the game.

Which is also another thing that TOW fails to accomplish: a sense of longevity with my decisions leads to me feeling that, despite making the right choices, nothing really changes. 

Going back to Edgewater, you’d think after a while, I’d come back and the town would be entirely gone or something, right? 

Nope.

Some NPC’s stood outside the factory forever, as did some guards. There weren’t any lights on. That’s about it.

Well, certainly the Deserters must give me more quests to help out, which can lead to me establishing them and helping them help the Edgewaterers, right?

No. Very quickly you realize there’s very little do or talk about with NPC’s after you do monumental decisions. The only functional difference is an opinion slider, which is another imitation from F:NV that means fuck all. The only in game things it affects is: a) The prices of venders of that factions

b) Whether or not that faction will shoot you on site.

That’s it as far as I noticed. The best idea they had, that being that factions can love you, but also fear you just doesn’t do anything. As far as I could tell, at least.

I’d love to be wrong, because I was so excited to see what would happen to entire settlements and after I helped them. After I made important decisions that’d change the face of the colony. And I felt so disappointing when it became apparent little actually mattered. 

The companion sidequests aren’t too much better. The pacing is so weird, sometimes, depending on how available certain planets are. Parvati’s was especially jarring, despite it being the best written by far.

It basically is you helping her get with an engineer chick from the Groundbreaker. It’s pretty adorable overall, and without a doubt has some of the better writing character wise, but the pacing was so fucking weird. It initially starts with you getting Parvati to talk to her about engineering stuff. They say they’ll email and stuff about engineering stuff. which is neat. So I run around, finish up all the side quests on the ship as I can, then head back to my own ship. I did not go back to my ship at all during this. 

When I come back, Parvati immediately tells me that she and the engineer, Junlei, have been messaging and getting flirty and now she has a crush and it’s just like “Dude, were you texting her while we murdered all those bugs in the engine?”

It’s doubly funny as well, because Obsidian wanted to avoid the player having romanceable characters. Which makes about as much sense as you think. Once source said the reason was that they wanted you to focus on roleplay, and not trying to bang anyone you found hot (okay?). Another just said they weren’t ready for it. And I believe it. As much as I think romance would’ve been another good thing to add depth to this game, I bet you they’d have fucked it up. It’s just funny. Even Fallout 4 had pretty acceptable romances.

Granted the system was fucking basically “Kill shit together until you wanna bang” but fuck, it was something! It also doesn’t help there’s a bunch of cuties all over this game: Huxley stands out as an adorable muffin who becomes a generic NPC at the end of the MSI/Iconoclast questline, despite the fact you can even repair her journal terminal with zero indication at you can do it, which is good! Let me just do things to be nice! But she literally just sits there after you rescue her with a few dialogue options which goes away after the peace deal, and it's so fucking frustrating that I want to enjoy the characters more, but none of them seem to have more than a paragraph's worth of depth to them and it's so sad.

Even the companions are like this. At the beginning I’d try and talk with Parvati about anything, but the only dialogue options would be about getting her out of the party, and that’s it. I can’t ask her what she thinks of things, or of the current quest/situation. There’s such a weird lack of depth in a weird amount of areas, that it felt almost worse than playing a Bethesda game.

I think the penultimate disappointment of the game is, fittingly, the final level, Tartarus. Which is fitting, because it feels very hellish. Not the planet mind you, or the prison which it takes place in, but just the complete lack of anything super special. It’s just the same kind of environments you’ve already run through, but bigger and with more bullet sponge bad guys. Which is funny, because jumping around and killing an army on a purple hell planet that has perpetual lightning storms would’ve been sick as fuck, but nah, gotta run around on Scylla instead of anywhere else compelling.

In my playthrough, MSI, the Groundbreaker, and the Iconoclasts came to help me deal with all the fucking goons, which was mostly cool because I didn’t have to deal with the tediousness of killing every last one of corporate goon myself.

This is about as big of an impact your decisions come to as far as I’ve noticed. Which isn’t saying much.

You meet the Chairman of the Board here, by the way. I just shot him and kept moving. shrugs

There’s also a last minute villain in this Sophia person, who is also apparently on the Board? It’d help if there was a list of the Board people, which could’ve been on a terminal somewhere. Maybe I’m dumb and never found it, which is plausible. 

The final boss fight, (I hesitate to call it that) is just somewhat large robot. It’s a bullet sponge with respawning combat drones flying everywhere and they’re very annoying. I died once after around 10 minutes of fighting, then using Parvati and Felix’s (he’s another companion, he’s also okay I guess) combat abilities I knocked it down and layed into the robot’s weak spot. He died very quickly.

So depending on how you do it, the final fucking boss is either stupidly hard or mind numbingly easy. I don’t know which is worse.

So you go past the dead robot, gun down Sophia in one shot, and save Phineas. You basically become the leader of Halcyon, there’s a F:NV-esque slideshow and commentary about your actions that somehow is worse that New Vegas’s, credits roll, and you sit there thinking “That’s it? That’s really it?”

Yeah, that’s it. 

It’s such a let down, especially because this was supposed to be Fallout New Vegas’s spiritual successor. But all it does it make me want to play that game instead of this one.Which is probably what you should do regardless if you pick this game up or not.

There’s a bunch of other mechanics and stuff I never brought up. There’s technically a character customization screen, but you literally only see your character in the select menu, and there’s no third person. There’s a barber in Edgewater who’s also a doctor, and yet you can’t even get a haircut from him (again, failing to match up to even Fallout 3). 

There’s these Mods you can put on armor and guns, and you find them by the bucket full so you’ll always have those. Just get an aim stabilizing one for an LMG and you’ll be fine. You can also tinker your armor and weapons, making them stronger if you spend credits on it (why not the armor and weapon parts, I’ll never fucking know). You can repair your stuff at a workbench, which is advisable. Just take all the weapons and armor you pick up, take it apart for parts, and never worry about it again. You’ll get money from quests, so buying those parts is meaningless and a waste of money

There’s also hacking and stealth and stuff. Stealth is such a non...thing in the game. There’s no silencers, but since all enemies decided to put cotton into their ears, there’ll be plenty of times I shoot someone, and a guy ten feet away heard fucking nothing. Plus there’s this disguise mechanic where you pick up ID guards and get a hologram disguise that wears out as you walk (passing speech check from suspicious guards restores it), so it’s not like sneaking around was ever a priority. Just put your points into the speech. Stealth is a dump stat more or less. 

Oh yeah, Parvati’s an ace lesbian. Which is nice that they handled that way in a non-dipshit way (you can also identify as ace in certain dialogue with her in her companion questline, which is funny considering they never let you fuck anyways, so it’s weird that you even have the choice). My only complaint is that they should’ve put this representation in a better game. 

What’s funny is that, despite everything, I don’t even hate this game. I feel a remarkable numbness, followed by a desire for something better. I spent about a week burning through it? If I had more free time, I could’ve finished it sooner probably. I can’t say I didn’t enjoy it. It was pretty fun for what it was, but knowing that this is somehow supposed to match up to what F:NV was is sad, and a sign of how bad the gaming industry had fallen. 

The only difference here is that unlike the Outer Worlds, I can’t purge the rot of the gaming industry with a haelstrom of plasma bullets.

Would I recommend this game? I guess. There’s still some fun to be had, but don’t expect anything too major or interesting. Get it on sale, it;s not worth $60 right now. There’s apparently DLC coming out for it eventually? I might play it, and I might post an update to this review, or make a seperate post for that eventually. Depends on how well this one does? Or if the DLC makes me feel enough emotion to type something out like this in 2 straight hours.

[elucere]

sad late august quarantine thoughts

When quarantine first started, I really thought this would be easy for me. And in some way, I was right. This has been easier for me than the average person and, arguably, much better than the first half of my year. I graduated in December and didn’t land a single job after pretty aggressively applying during my last semester. So during the months of January and February, I was completely broke and moved in with my family. I didn’t have any money or means to do anything but sit at home all day and wallow.

Being a student was such a core part of who I was and to suddenly lose that and have nothing to fall back on really did a number on me. Not only that, but the self-hatred was killing me. Not being able to snag a job was entirely my own fault- I just wasn’t good enough. The weight of failure followed me everywhere and I felt so completely defeated all the time. I was trying my best to stay busy one way or another but it felt impossible to find the energy to do anything. I filled my time by watching 12 seasons of Criminal Minds or cramming 30 DCOMs within one week. And when I wasn’t doing something stupid, I was crying. I found a job right before quarantine started and every single day I’m thankful. It was truly no less than divine intervention and it truly made the difference with quarantine. 

More than anything, though, what helped with quarantine is the fact that I’m used to being alone. My junior and senior year of college, especially, I didn’t really make friendships with the people I dormed with and none of those previous residential relationships followed me. At this point, I was eating every single meal alone. When I was upset, the only relationships I had to fall back on were ones I cultivated online. I already had a less than traditional college experience. The only parties I went to were my club’s socials and beyond the people I met there, I had nothing. Even then, if I was in large groups of people I would just completely shut down or not go. At first, being alone 90% of the time was very depressing. I cried a lot. But then, I got used to it. 

Which, when you think about it at first, isn’t that bad. The moments you have with yourself are just comfortable, neither really good or bad. And people say to live in the moment, yaknow? But moments only last so long. We don’t spend most of our time doing exciting things or going to exciting places. Like, hell, I work a 40 hour work week, do you think I’m trying to live in the moment? No, we spend most of our time reflecting and looking forward. Live in the moment is only a sentiment that’s worth so much. I remember going to Disneyland 4 years ago and when I was riding Big Thunder Mountain, I remember thinking to myself, “You’re in Disneyland this is your favorite place and you’ve been looking forward to this trip forever. Enjoy this moment.” And honestly, I would’ve probably enjoyed that moment just as much even if I didn’t have that moment of reflection. That temporary gratitude is only worth so much. But the memory of that trip is still able to give me happiness. Life is a collection of moments and you get to pick what stays with you. Living for and in the current moment is exhausting and not everyone can find enough joy in the little things to fufil them.

Getting used to your own company isn’t inherently a bad thing, but I think I was doing it for the wrong reasons. I would decline large outings, minimize my attempts at making friends, spend at least a year not talking to people in a group before I felt comfortable because I was so wrapped up in my insecurities. That’s what it all boils down to, I suppose, at least for me. Because when I’m out with other people, I’m happy for a few hours, and then I come home and it’s just straight crippling self-hatred. “Was I funny enough? Was I annoying? Did they like talking to me? I should ask if they enjoyed themselves? They won’t answer honestly even if they did. How would I know, then? Would they not invite me out again? And if they don’t, that just sucks. If they told me what was bothering them, I could fix it but now they aren’t giving me the chance.” And it goes on and on and on until I’ve convinced myself I’m the worst. And then eventually, the person does drop me because I basically projected all that insecurity onto the relationship and made those worries true. And then because I’m worried about doing that to someone else, I end up internalizing all my worries and it just gets worse and worse to the point where I have to go to the bathroom and cry during outings because I already feel like I’ve let everyone down. At this point, when a friendship begins to drift, I’ve already cut that person off in my mind because I’ve convinced myself that this was just an inevitability of the friendship, that I was never good enough for them and they were just talking to me until they found something better. Being alone may have denied me happy moments with others, but it also prevented me from creating painful memories.

This is where social media has kind of crippled my ability to form relationships with people too. Because I don’t want to reach out to a close friend and share this, no that’d scare them off. So let me post about my deepest fears and pain to like 100+ people on my finsta. That’s healthy and normal. Let me complain on my 300+ follower twitter account. And then I develop an unhealthy relationship with those sites when I don’t get the response I’m expecting. Posting online is like having friends without gambling individual heartbreak. When I put effort into a tweet or a project and it doesn’t get acknowledged, I feel it reflecting badly on me. It’s only a matter of time before I get caught up on how I come off online too and suddenly, it’s hard for me to post. I don’t know what to say. I’m not getting engagement, everyone must hate me. I don’t feel close to anyone. Everyone else has such close friend groups and it’s so hard for me to find that for myself, so what’s the point? So I get overwhelmed and leave for a while, but it’s a cycle like anything else in life.

Being so wrapped up in people’s hypothetical perceptions of you sucks so much. In April, I started writing for DiscussingFilm. Film criticism wasn’t really something I imagined myself doing and quite honestly I’m not sure how I ended up there. I’m grateful for the opportunity and everything it’s given me, but it also gives me something more to be insecure about. I’m a chronic overwriter. My stuff is way too long for no reason. That may just be my style, but when I read other people’s reviews, I burn with jealousy. They’re able to condense their thoughts so succinctly and clearly. We have the same words at our disposal, the same complexities of the human language, and yet how I express a thought is so much more awkward and jumbled. I hate it. And I sit at home, stressing to high heaven over some 1.2k word review just sick with worry about how others will perceive it. What they’ll think of it. If they’ll be disappointed. I can’t imagine a bigger heartbreak than the thought of someone opening my work, reading it, and thinking that it was a waste of their time. And that has most definitely happened somewhere in the world and I feel just so powerless to stop it.

That goes beyond insecurity though and speaks more to the feelings of powerlessness. This standard that you’ve set for yourself and if you can’t reach it, you feel awful. Not everything is in our control, but we have to assign a certain level of personal responsibility to it or else the chaos is overwhelming. It’s a fine line to walk, and honestly, I don’t know how to do it. How much of someone else enjoying my work within my control? Or getting hired? Or other people’s perception of me? If they think I’m funny or annoying? Probably less than I’d like to admit, but definitely a lot less than I’m comfortable with. Because even when I’m insecure, I’m still living in a logical reality where my actions have nearly complete control of other people’s perceptions of me and I could easily change them. But it’s not that simple and I don’t think it ever will be, really. So what am I supposed to do about it? Just stop stressing?

One of my favorite musicals is Newsies. The protagonist, Jack Kelly, is obsessed with leaving New York and going to Santa Fe and just becoming a cowboy. He feels trapped by the city and Santa Fe is his idealization of freedom. There’s a moment where he’s talking to his friend and she asks him if he’s going there or if he’s running away. Because, you see, if you’re going there and it’s not the right place you can go somewhere else. But if you’re running away nowhere will ever be the right place.

So when I was in high school, I idolized the concept of going away to college. I thought that if that happened, I would finally have the space to be myself and finally be happy. So when I had a really bad college experience, I realized college was my Santa Fe and I was running away. I had brought all of my baggage with me and my insecurities and my emotional turmoil and nowhere will ever be the right place for me until I work through those things. At first, I thought my problem was the people, so I cut them out. But now, I know that’s wrong.

Quarantine has given me a lot of time to self reflect. Who am I? What do I like? But more than that, it’s revealed to me how incredibly lonely I’ve kept myself. And I’ve always felt this way and somehow each year I manage to push myself more and more away from others. Newsies ends with Jack deciding to stay in New York because he realized he didn’t really want to leave, he wanted a reason to stay. He wanted to feel loved and valued, which is what we all do. To try and trick myself that the best way to protect myself is to shut myself off was stupid. Dumb. There are at least 35 DCOMs that come to this conclusion and I shouldn’t be having this conversation at 22.

I think what did it for me was the realization that I would be in the same place with or without COVID. It’s one thing to say that you’re sad because of all the things you can’t do, but the realization that you wouldn’t be doing those things regardless hurts a little more. It’s being accutely aware of how much you’ve taken for granted. The fact that I’m feeling just as fine now, amidst a global pandemic, as I have my entire life just speaks to how awful the mental prison is where I’ve trapped myself. Just because it’s always been this way doesn’t mean that it’s the best way for me. I deserve to do better for myself, but why won’t I let myself have it?

Normally, I’d internalize this. But that doesn’t really push me to change. Sometimes, all you need is for other people to recognize how you feel so you don’t really feel as alone. I don’t really expect people to read all of this. There’s so much happening in the world that we feel powerless to fix. I try so hard to do my part but it’s just exhausting. So many injustices are than the problems of one person feels so trivial. But I’d like to imagine that the struggles of trying to find yourself, especially right now when we’re so disconnected from another, is universal. This is one thing that we can fix. I am so sick and tired of being lonely and just hating myself so much. I want to be better, I want to feel better, and I want to figure this all out. But I’m not quite sure how. Vocalizing this all feels good and it feels productive, but at this point I just don’t know how to talk to people. But I’ll try and I guess that’s all I can really do.

Quarantine and a global pandemic may be a box we’re forced in, but it doesn’t mean we have to put ourselves in a mental one. When quarantine is over, we are going to walk out of it as new people and now is the time to decide what commitnments we want to make and what actual changes we’re going to work towards during this time to make sure those wishes for ourselves become a reality. 

I love all of you so much. You have value and are appreciated in your life. People are so complicated and sometimes it’s hard to grasp that everyone else has lives that are just as complex and nuanced as your own. Everyone is struggling and everyone is succeeding simultaneously in this big, increasingly chaotic world. So give yourself some credit and know your worth. It’s hard to define who you are, especially when you don’t really have others to compare yourself to and better define the differences. But also, remember people aren’t just one thing. Just follow what you like, try new things, and look inward just as much as you look outward.

[jainarepellista]

Tower of God S2ch271 Rough Translations

Hey! Sorry for missing a chapter last week. I was out of the country and forgot to set up my queue -_-

This week’s as well as next week’s would be queued posts too so if there are any changes between the preview and the official, they won’t be reflected in them. Thanks!

...Welcome. Travelling warriors of the Tower. // I am an/the administrator of the Hidden Floor, "Big Breeder" "Chung" [T/N: Big Breeder is the title; Chung is the name]

I have come to give you the Grand Quest

for successfully getting rid of all the evil energy in this place.

So shall we proceed with the Grand Quest // after you have a short break?

Go sing a song to help relax the minds and bodies

of our warriors over here, jesters!

(Sing! Sing! Sing!)

Urgh-!!

They have protected~ this beautiful village~ // by getting rid of that giant octopus~

(Ah~)

They are the true warriors of this place~

(Ah~)

(Ah~)

............

Oh great~ // warrioors~

(Aaah~ ♪)

I feel more tired..

??F Hell Train - Hidden Floor - 08

Hey, // do we really have to go one after another while escaping?

Won't it take us about three (and a half) hours if we keep this up?! // We could already be there if we just use BongBong.

............. // We can't do that.

Ever since I came here, I have experienced death with them several times. // Even if it's a bit slow, I want to escape with all of them.

I don't want to become someone who just throws their friends away! [T/N: regular YHS is so pure ;;;]

(Huhu-!!)

...He was nicer when he was younger..

(So what happened to him..)

(How is it)

(Do you see any soldiers)

.....I don't know..

!!

Hm? // What's that all of a sudden?!

This tremor..!!

Could it be they've already..?!

Th..ey have.. alrea..dy..!!

Big.. Bree..der..!!

It's Big Breeder..!!

What?! Already!?

That was too fast!!

Yu Han Sung-ssi, Big Breeder came out?!

..What do we do now?

...........

We..'ll go.. ahe..ad first..

What?!

As.. that g..irl said, ..if it..'s jus..t us // we c..ould get.. out of.. h..ere much.. faster.

W..e co..uld first.. esca..pe and ..stop th..em fro..m cle..aring ..the G..rand Quest. // Eve..ryon..e c..an liv..e if ..we ta..ke ca..re of.. Big.. Bree..der.

Go. I also know the way out. // We believe in you.

Bon-ssi..

But if we escape and fail to stop Big Breeder..!!

I know. We'll be trapped here until the next time.

But isn't it better to chose the option that doesn't have a high chance of everyone dying?

We have been abandoned by Big Breeder anyway. // The only one we believe in in this world is you.

That's right, Yu Han Sung-ssi!! // We believe in you!!

Please stop Big Breeder together with Batis-nim!!

Everyone..

............

I understand. We will go first.

I thought about it.. if it's just us, we could use a different route.

A different route?!

It's too dangerous for normal people.. We have to hurry. // Or else, we'll all die if the people outside clear the Grand Quest.

Then let's go!!

We'll also keep on moving forward!! // Let's believe in Batis-nim and the others!!

Yeah!! Let's go!!

We've died a number of times already anyway!!

There's nothing to fear!!

glint-

1 hour after- // Bard's Village

Hmm.. Then- // how about we get started?

This is your-

"Grand Quest".

If you clear this, the forbidden fruit will be dragged into the abyss

and you can move on to the next stage.

I'll open the scroll now.

...Wait. // I want to ask you something before we do that.

Yes?

Can you.. tell us where the data of the "young King Zahard" is?

.........

?

By Zahard.. do you mean the King of the Tower?

That's right.

His data is certainly in here....

But I do not know where he is. // He came in here before I even existed..

If you want to meet him, you'll have to find him yourself.

........Ah, is that so?

(Data of Zahard?)

...That guy // That look he gave just now..

seems like he's hiding something..

Then, let's move on with the Grand Quest.

He knows where the data of Young Zahard is.

The "champion villain" that will be your opponent this time-

is the "Mama Long-Tailed Tit" [T/N: so... tempted... to call it.... Mama Tit..... SIU why]

Eh..? // Long-tailed tit..?!

!!

Chiiirrp!!

Hm..?

Wh-what the!! What's that little thing?!

Chiiiiiirrp-!!

This bird is the "champion villain"!?

It looks weak..

Chief.. the long-tailed tit // is a bird from the D-rank quest.

Why did such a low level villain appear?

............

Big Breeder-nim.. what are you thinking..

The "Mama Long-Tailed Tit" is the champion villain of the long-tailed tits. // It is very weak. You could say it's the weakest among them?

It is very defensive of the eggs on its head that it protects, so you shouldn't attack there first. // Although its maternal love is strong, its skills are terrible.

What..?! So you mean you intentionally summoned a weak villain for us?

That is correct. // Actually, I accidentally bumped the difficulty level of your previous quest.

This is a place to welcome and prepare those who have cleared the Hell Train // not a place of a harassment.

It is our little gift to you.

Actually.. // it's so that you can clear

this stage a bit faster

I want to see you kill your friends that are inside the "forbidden fruit"-

How great. As expected of Big Breeder-nim!!

................

What will we do, Koon? // ..Wanna attack it first?

...Wait!!

It could be a trap!! // Even the octopus before was stronger than it looked.

You're too cautious, blue turtle!!

Shut up, gator.

What.. is this uneasy feeling..

That guy.. // is he hiding something..?

..What is this?

Is this the "different route".. // that you were talking about?

....Yes. Like I said, this is impossible for normal humans.

The quarantine area is composed of four large shelters and each shelter has their own exit.

That's why reaching the final exit takes a long time because you'll have to go back and forth many times. // But when you think about it, the quarantine area is spherical. And all the exits lead to its bottom.

If you can accurately figure out the drop points

You can pass through each shelter at the shortest distance.

Of course, you'll have to fight off the soldiers that will crowd at the explosion and then land at the right spot.

But if it's just us, we can do it.

No, maybe it's the easier way.

Although it's a bit dangerous!! // But it's the only way now!!

Oi!!

You'll get lost if you don't follow me carefully!! So watch out!!

..Should we  trust him?

....There's no other way. // Let's go.

Shit!!

I hope-

those outside won't take on the Grand Quest yet..!!

30 min later-

Chiiiirrp!!

..Maybe it's better to attack.. Koon? // We haven't touched it for a long time already.

Just wait a bit longer. // I don't feel good about this.

Feeling, feeling!! You keep on saying that!! Let's just attack it already!! // This is like the Floor of Tests all over again!!

Shut up, gator!!

Somehow.. I feel // that this is a trap..!!

Big Breeder is definitely hiding something from us.. So..!!

That bird is hiding a tremendous power!!

chirp?!

...So that blue hair.. is "that kind" of person..

(Look!! She's taken aback!! She's flustered because she was planning to betray us!!)

(What do you mean she's flustered!! She's just surprised!!)

(A dragon will definitely come out of it once we attack it!!)

He can solve difficult problems well // but he takes a long time solving easy problems..

....If I knew..

(Tch...)

I would've summoned a stronger villain.

(Don't let your guard down, everyone!! She's waiting for us to attack first!!)

(Arrgh!! You're so frustrating!!)

(

(I'm going to fking die from frustratioooon!!)

Well, it won't change anything even if it's a bit late..

(chiirrp!)

(chiirrp!)

They can take their time completing this quest-

Since those guys will never be able to open that door anyway-

Follow me!! We're almost there!!

!!

Is that.. the exit?

Yes. It's the only exit that is connected to the outside. // Surprisingly, there are no traps and and no soldiers on the other side.

But there's no way to open it.

I've broken through all the traps coming here- // But when I saw that door with an empty window that you can't input any password in, I realized

Aah. From the very start, Big Breeder had no intention of letting us escape from here. The reason he made this complex maze,

and have us run around and die many times looking for the exit // was simply to mock us.

I suffered a lot just to get to this exit // but I couldn't actually get out~ I mean

What the heck!!

So I waited for you. // I know you have to power to bring down those people.

..............

If it's you..

you can easily open it.

Go on.

A door that you can never pass.

If Big Breeder is Young Zahard's underling.. then if I use..

..this power, then perhaps..

Shinwonryu!!

....!! // It... o..pened!!

!?

What, isn't that too easy!?

(I'm a bit disappointed.)

W..e..couldn't... open.. it.

I knew it..!!

This person is him!!

..It'..s open?

V-ssi..!!

Big Breeder-nim!!

(Where are you going!!)

(Aaaarrrgghhh!!)

(..........)

Big Breeder-nim!! It's an emergency!!

...?

Those guys in the quarantine area....!! The.. the exit..!!

They broke the exit and escaped!!

(What..!?)

This place..

It's outside the quarantine area!!

Finally..!! We finally succeeded in escaping, Batis-nim!!

...Y..eah..

Could you look at this? Rose.

I wrote the lyrics to that song I composed the other day.

It's not yet finished but..

This..

is a really beautiful song.

It's a song of praise!!

To the great Big Breeder-nim!!

Batis-nim?

.........

Let's go.