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daggerzine · 5 years ago

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Sohrab Habibion from SAVAK (and Obits, Edsel, etc.) fills in the gaps.

I first noticed the name Sohrab Habibion in the Sub Pop band Obits nearly a decade ago. He’d then gotten in touch with me a few years back when he sent me the last Savak record, Beg Your Pardon (the band’s 3rd). I did some backtracking and realized he was in the old DC post hardcore band Edsel, whose music I enjoyed. We got to talking and I realized this guy’s had a pretty interesting career and I needed to find out more. He was more than agreeable to an interview on the DAGGER site. Oh and dig this....he recently he began posting some videos that he took of shows in the DC area in the mid-80’s, which is discussed below. Let’s all thank our lucky stars that someone was there with a video camera at shows back then.

Back to SAVAK, they have recently released their fourth full-length, Rotting Teeth in the Horses Mouth (on the Ernest Jenning Record Co label, like the last few) and it’s a terrific record. The kind of post-punk that’s not afraid to pOp! and vice versa. So needless to say Sohrab had plenty to talk about. Let’s take a trip both down memory lane and back to the future as well.

Sohrab.... always pushin’ the hair products.

Did you grow up in the DC area? If not how did you end up there?

I moved to the suburbs of DC in 1979. My mom and I drove through Hurricane David from my grandfather’s house in Leonia, New Jersey to Annandale, Virginia with all of our possessions in the back of a Chevy Chevette. We had just left Iran because of the Revolution and, after a short stay in Bergen County to gather ourselves and do some research, my parents decided that we would resettle in the DC area.

Do you remember what the first record you ever bought was? First concert?

First record: It was a cassette of Love for Sale by Boney M. Actually maybe that was a gift from a friend. Either way I think of it as my first-owned album. I quickly had the lyrics to “Ma Baker” memorized and never gave a second thought to just how weird the cassette cover art was. If you’re not familiar, perhaps imagine an S&M dungeon version of Ohio Players? As a 7-year-old I think it just didn’t register. More interesting is that the producer, Frank Farian, was also the guy behind Milli Vanilli. If you’re up for it, I recommend doing some Googling about Mr. Farian, who was born Franz Reuther just after the start of World War II in a German valley settlement once known as the “Town of Leather.” It’s good stuff, I promise.

First concert: A friend’s older sister drove us to the old 9:30 Club to see one of the club’s 3 Bands for 3 Bucks nights. I remember feeling pretty excited about being in a part of town I didn’t know and seeing all kinds of people I didn’t ordinarily see. This was probably 1983 or 1984 so it was heavy on the New Wave look. In the basement of 9:30, once you’d squeezed down the narrow flight of stairs, there were bathrooms as well as a small counter that sold records and tapes. I bought The Halloween Cassette—a WGNS comp with Gray Matter, United Mutation, Velvet Monkeys, Malefice, Bloody Mannequin Orchestra and others—and the Minor Threat record that compiles the first two 7”s. On our drive home the DJ on WHFS played the song “Minor Threat,” which we literally had in our hands, and the whole thing felt tremendously serendipitous.

During his tryout with the Washington Bullets (Elvin Hayes beat him out).

At what age did you pick up the guitar?

One night my mom came home from a school fundraising auction with an acoustic guitar that she’d won in the raffle. I actually think it might be the only time anyone in my family has ever won a raffle. I was 13 or 14 and discovering that I was not as good of a baseball player as I’d hoped or wanted to be and the guitar felt more connected to my interests, so I started to teach myself chords and rudimentary scales. It wasn’t long before I was able to get an electric guitar and make a complete mess of sound in neighborhood basements with friends.

How old were you when the punk rock bug bit you?

Thirteen, I think. I’m pretty sure it was 7th grade. I didn’t know a lot about rock music. Having spent a chunk of my early life in Iran, I missed the boat on a lot of big, American rock’n’roll moments. I was 9 when I was first exposed to KISS by neighbors who were also in the Boy Scouts and so I kind of lumped all that costuming together and the whole thing seemed silly. Special badges and membership cards and various allegiances you were supposed to declare. I felt disengaged from a lot of things in the suburban culture around me, so punk made sense upon its arrival. It took some time to sort things out, like what made the Dead Kennedys good and The Exploited bad, but once that initial door opened, I never turned back. If anything it just opened additional doors to other subcultures and underground movements and marginalized artists and thinkers. Punk helped me recognize that my sympathies will always be with the disenfranchised, the unheralded, the amateur, the wandering tinkerer.

How and when did Edsel get together?

I met Nick Pelliocciotto and Geoff Sanoff (who wouldn’t be in Edsel for a few years) at a Government Issue show at the Hung Jury Pub. Nick and I briefly played in a band with Jim Spellman (Velocity Girl, High Back Chairs, Foxhall Stacks), but that fizzled out. So Nick and I were looking for a bass player when we saw Steve Ward play a cover of “White Rabbit” at a high school talent show. Nick and I agreed that Steve looked cool (he really did) and, when we ran into him in the parking lot, he passed our test by answering that his favorite DC band was Happy Go Licky. We started practicing in the basement of the house Nick, Jim Spellman and I lived in off Reno Road in the Cleveland Park neighborhood of DC. We didn’t know what we were doing. Nick played me a bunch of records I had never heard before and we would talk about various details in the music. He made me aware of the way certain things interacted, like the bass guitar and the kick drum. I’d never considered that. I was also unfamiliar with singing in a band, so was starting from scratch. A lot of it began as rhythmic sing-song-speak-howling that could be heard somewhat above the volume of the band. I’ll never forget recording our first demo at Inner Ear with Michael Hampton. When it came time for me to do the vocals we were all surprised by what they sounded like and Michael nicely said, “Why don’t we call it a day and you go home and work on some melodies that we can record tomorrow.” Ha! When Nick and I got back to the house we listened to a bunch of albums to get ideas for vocal melodies. The one that resonated with me was Midnight Oil’s 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and it helped me understand how you could take a simple line and move it around with chord changes. I didn’t figure out what phrasing was for some time to come, but that was the start. Thank you Michael, Nick and Peter Garrett.

How/when did you end up in NYC?

Well, it’s a circuitous story, but . . . Edsel toured a lot between 1993 and 1995. So much so that I moved back into my parents’ basement to avoid paying rent for a place I wasn’t going to be spending any time in. My folks are lovely and it was a fine arrangement, but I missed having an apartment of my own. On tour in Chicago I was presented with the opportunity of a cheap living situation in a city that I liked, so I moved there. I had this fantasy that the band could keep it together while being in 3 different cities—Geoff had moved to NYC and the two Steve’s were in DC. Not a chance. I had a good year in Chicago, working at the Empty Bottle and playing with different local musicians, but Edsel basically succumbed to inertia and I decided to move back to DC to make a solo record. My parents had a cabin in the Shenandoah Valley and I went there for a period of time with my 4-track and the hopes of discovering whatever my version of Leonard Cohen and Brian Eno might be. That didn’t happen, but I learned a lot about recording myself and making mistakes and stumbling on things I liked that I hadn’t intended. Around this point I got a call from Michael Hampton, who’d moved to New York City a few years earlier. He said his neighbor in the West Village had moved out and he wondered if I might want to take the apartment. I was feeling pretty untethered and the idea of giving Manhattan a shot was exciting, so in November 1997 I packed up my books and CDs and headed up here. I’ve since crossed the bridge over to Brooklyn, but have no plans of leaving. I love this city and all of its flaws.

How about Obits? I know Alexis was in Edsel….had you known Rick already?

Alexis played in Edsel for a few reunion shows we did in 2013, but he wasn’t in the original lineup of the group. I first met Alexis in 1985 when Lünch Meat, his band, played with Kids For Cash, my band, at my local community center. He and I also share a birthday and a similar sense of humor, so when he joined Obits after the departure of Scott Gursky, our original drummer, it was an effortless transition. I’d also played with Alexis in Girls Against Boys on a 2002 European tour that Eli couldn’t do. I was Fake Eli and got to play bass on some of my favorite GvsB tunes, which was a blast. Alexis has a humorous diary from that tour: http://www.gvsb.com/euro_diary/index.html

Here’s an excerpt just so you know it’s worth the clicks:

“scott has determined that we should get rid of all the equipment and excess drummers and bass players and just travel with a painted sheet (we in the biz call this a scrim). that way he could have a band painted on it and just cut out the head of the singer and stick his own head through. this would reduce overhead and be a whole lot less of a hassle than having squabbling bass players and drummers with no IQ whatsoever.”

Rick and I met at an art show of his in the summer of ‘99. In fact, in looking to clarify the year I came across this email I sent to a friend:

“Last night my friend Hiroshi took me to an opening of his friend Rick Froberg’s work in some unknown Lower East Side apartment/gallery. I was shocked at how incredible his stuff was. His etchings like Goya’s, his prints like a German expressionist and his paintings like a weird amalgam of Raymond Pettibon and Norman Rockwell. But everything was very original despite its familiarity. He gave me one of his prints and I actually ended up buying one of his paintings. I’m really excited about it.”

Funny thing is that on that European GvsB tour I was wearing a Hot Snakes shirt. Little could I have guessed that I’d be in a band with Alexis and Rick 10 years later. Or maybe I could’ve? Our behavior and patterns are probably more predictable than I’d like to admit.

Anyway, long and short of it is after meeting Rick we started hanging out and as Hot Snakes was winding down in the early aughts he proposed we get together and strum our guitars. We had a good time and kept at it until things started to take shape. Fast forward a bit and our friend Speck browbeat Rick into playing with her band, Orphan, at Cake Shop. That was early 2008 and the internet did us a favor by sharing a bootleg recording of our gig, which led us to signing with Sub Pop. Seems just as weird now as it did then, but so it goes! The band was a hoot to be in and we had a grand time, particularly touring. The trips we made to Europe, Australia, Japan and Brazil were fantastic. I never thought I’d be able to do that playing scrappy rock’n’roll music. All the people that we met, the local specialties that we ate and drank . . . and drank . . . and then ate some more. Unforgettable. Until I forget them. Then I’ll refer to the documentation.

Obits.....always ready to rumble (notice the switchblade comb in Froberg’s pocket).

Tell me about the end of Obits and the beginning of Savak? Who came up with the name?

The end of Obits was a little unexpected. At least the timing of it. All bands end, so it wasn’t surprising in that regard, but we had a French tour planned and had been offered some East Coast dates with Mudhoney, so it was a bummer not to be able to do those. But it had been a cold and miserable winter and Rick had some family stuff to marshal, so it felt best to call it, which is what we did on April 1st, 2015. The April Fool’s part wasn’t intentional, but I liked that it happened that way, what with being in a band often feeling like a cosmic joke anyway. But we’re all still good friends and very much in touch with each other. Funny thing is we’d actually written a fourth record with two drummers, as Matt Schulz had started playing with us as well (we did one show with both Alexis and Matt, which was fun), so on my hard drive somewhere are the demos and jams for that, including covers of “The In-Crowd” (https://youtu.be/KYbwk26mYJA) and Beasts of Bourbon’s “I Don't Care About Nothing Anymore.” (https://youtu.be/IpWi4OxhJXY)

Towards the end of Obits I’d started getting together with other friends to make noise. I was playing with Greg Simpson and Matt Schulz, doing instrumental versions of Hooterville Trolley and Shadows tunes, and separately with Michael Jaworski and Benjamin Van Dyke, just bashing out riffs. I asked all involved if they would want to combine the two and everyone was into it. The nice thing was Michael and I got to write with two different drummers, which opened up new ideas, and for a band that was just getting the swing of our internal vocabulary, it helped jumpstart the mojo.

I can’t remember at what point we were talking about band names, but when Viet Cong couldn’t take the heat for their name and decided to change it I made a joke about calling our group SAVAK. Then the more I thought about it the more I liked it and the group was on board, so we ran with it. The Iranian side of my family was a bit perplexed and bemused, but they all understood that this was a rock’n’roll outfit and not some creepy tribute to the former secret police in Iran. I’ve come to appreciate how that type of band name is a good litmus test. With a moniker like SAVAK you can see who actually knows anything about global political history, but more importantly you immediately know that anyone who takes issue with it isn’t likely to be interested in or even be familiar with punk rock or underground culture. So that person’s opinion on the subject doesn’t hold weight for me and I’ll attempt to redirect to a different subject that could be entertaining to chat about, like food or wine or bicycle maintenance or John le Carré books or, I dunno, HTML/CSS?

Savak has been recording pretty consistently…how did the new record come together so quickly? Who came up with the title?

Michael Jaworski, the other guitarist, singer and co-songwriter, came up with the title of Rotting Teeth in the Horse’s Mouth. Apparently it appeared to him in a dream and, well, I just liked the way it sounded. Both in that it reminded me of the DK’s classic Fresh Fruit for Rotting Vegetables and as a play on the idiom “hearing it straight from the horse’s mouth,” since the current mouth we hear more often than is good for anyone’s mental health has enough proverbial rotting teeth to fill the mouth of a giant armadillo.

We worked on the album over a period of months. Sometimes we would get together with Matt Schulz, our drummer, and hammer stuff out. Other times either Michael or I would start something at home and build it from there. The main thing was to keep it feeling like a band had cut it together live, regardless of how accurate that may be on any given song. We started with 16 tunes, ditched 2 of them that weren’t as developed, and recorded the remaining 14. Then we picked the 10 that sounded the most cohesive for the album and the others will come out as singles later in the year. We spent many intensely focused hours editing, overdubbing and trying to really hone in on what each tune needed. I like discreet events in music and subtle details that may not make themselves evident for a few listens. A keyboard that only appears in the second verse or a backing vocal that’s buried deep in the right channel of the outro or a flanged cymbal crash at the top of the chorus. Stuff that doesn’t have to happen in the live version but makes the recording a little richer without being overbearing.

SAVAK, just before diving in.

In Savak, re; the songwriting process, is it both you and Michael together or do you write independently?

There’s always a collaborative element. We each add or edit the other’s songs to some degree. That’s one of the things I really like about our partnership. We actively try to keep our egos out of the way. And while we may not share the exact same taste about every little thing, we trust each other’s sensibility. I think that willingness to let go of our own ideas makes them more interesting and strengthens the working relationship.

Tell us about working with Arto Lindsay?

Rick Froberg was employed as an illustrator at a web-based, digital media shop in SoHo called Funny Garbage and he helped get me a gig making music for cartoons and video games they were producing for companies like Cartoon Network. I had access to a recording studio on a floor above our office which was run by an incredibly talented musician/producer named Andres Levin. One day ‘Dre asked if I could work on a session with a friend of his for a gallery installation. It seemed interesting, so I agreed. The guy showed up with two pillow cases that he wanted to put on his arms and flap wildly in front of a mic. His idea was to pitch the pillow case recording down a few octaves and add a lot of reverb so it would sound like a giant bird was flying. I don’t remember if he was pleased with the results, but we had a blast trying, and it turned out that fella was Arto Lindsay. He got in touch with me soon after about recording his next album. I was direct about the fact that while I was brisk with the ProTools and could run sessions efficiently, I was not a real engineer who knew about microphone placement and how to apply compression, etc. He said that was fine and arranged to rent a recording rig for his apartment and we got straight to work with Melvin Gibbs, who is Arto’s writing partner, co-producer, and bass player. We made Invoke in 2002 and two years later we made Salt, once again doing the whole thing in his Chelsea living room. Arto’s a wonderful guy, as is Melvin, and we had a terrific time together. I also learned a lot. He has such a deep knowledge of avante garde music and art and a whole world of Brazilian culture that he can tap into. And Melvin is an incredible musician, so getting to see how he approached assembling Arto’s ideas was fascinating. He was also forgiving with the fact that a punker like me was trying to edit Brazilian rhythms when I was having an impossible time even identifying the first beat of the groove. There was a lot of, “Please just tell me where the ONE is.” Arto knows a wide array of people and the process of making a record with him was very much about getting it done, but not at the expense of the vibe, so if someone dropped by you’d just have to roll with it. Sometimes that person would bring their instrument and overdub on a song or two, so I had to figure out how to be flexible about the recording process to make sure it was gonna be smooth for all involved, regardless of if it was a violin player or a guy doing a percussion track using a cardboard box. I ended up calling Geoff Sanoff for advice quite a bit—to the point where Arto would joke, “Is it time to call Geoff?” Ha! But he knew the deal going in, so all was fine. The experience of making those records was great and I got to meet some interesting folks. Also my appreciation of Brazilian music completely exploded. An unexpected and super cool project with Arto, Debbie Harry and Mikhail Baryshnikov also came from that. Another side note: when we were recording Invoke there was a song which Arto wanted to get Animal Collective involved in. This was 2001 and they were still more of a record store employee kind of band, but Arto had a couple of their CDs (Spirit They’re Gone Spirit They’ve Vanished and Danse Manatee, I think) and was really into them. We arranged to go into Stratosphere Sound, the studio that was owned by Adam Schlesinger, Andy Chase, and James Iha, where Geoff Sanoff worked, and do the session there. They had an interesting way of working—they would manipulate all of the instruments, including live drums, and have everything run through their PA and then have Geoff mic the PA speakers. So the final thing was this gauzy, mushy, blur that was like a sonic paste. They totally knew what they were doing and I was particularly impressed with Noah/Panda Bear as a musician.

Speaking of legends, how did you begin collaborating with Michael Hampton?

First we should be clear that we’re not discussing “Magic” Mike Hampton AKA Michael “Kidd Funkadelic” Hampton. According to Discogs, the Michael Hampton I know is “Michael Hampton (3)” of Brief Weeds fame. He’s a few years older than me so I missed his days in SOA and The Faith, but I was a fan and saw him in Embrace and One Last Wish. I attended American University in DC and ran into him on campus, told him I also played guitar and suggested that we “jam sometime.” Knowing him now this detail cracks me up because I’m positive I freaked him out and that he was horrified by the idea of “jamming” with an arbitrary, long-haired frosh. Some time after Edsel started we asked Michael to help produce our demo, as we were clueless about the studio. And when he was in Manifesto our bands played together and we got to be better friends. After he moved to New York, it was he and his wife, Monica, who encouraged me to move here. They also introduced me to my wife. And for the last 15 or so years we’ve worked together on soundtracks for indie films, documentaries and commercials. I can’t recall how that collaboration first started, but I love working with Michael. He’s got a quick wit, so there’s lots of yucks involved, but he also has a remarkable knack for music composition and knows how to layer ideas for perfect cinematic effect. As a guitar player he remains one of my favorites. Michael’s distilled Bob Andrews from Gen X and Captain Sensible and George Harrison and all these choice rock’n’roll and punk players into something distinctly his own.

Somewhere in Madrid, Spain (Spain Radio Nacional)

Tell us your top 10 desert island discs?

That’s tough. I’d like to ensure a bunch of different moods are covered, so let’s see . . . how about:

Hamza El Din - Music Of Nubia

Tsegué-Maryam Guèbrou - Éthiopiques 21: Piano Solo

Mark Hollis - s/t

Skip James - Today!

Charles Mingus - The Black Saint And The Sinner Lady

Mission Of Burma - Vs.

The Rolling Stones - Sticky Fingers

Television - Marquee Moon

The Velvet Underground - s/t

Wire - 154

Who are some of your favorite current bands?

Bed Wettin' Bad Boys, Cable Ties, Contractions, FACS, Gotobeds, Grey Hairs, Hammered Hulls, Hot Snakes, Light Beams, METZ, Mint Mile, Modern Nature, Patois Counselors, Pays P., Rattle, Skull Practitioners, Slum of Legs, Sunwatchers, Tanning Bats, TK Echo, The Unit Ama.

I know I’m forgetting stuff. There’s a ton of excellent music being made right now.

What’s next for Savak? Once the lockdown is over will you guys tour?

It’s hard to be certain about anything these days, but I do know we’re eager to play once the Javel water has cleared. My hope is that we reschedule our UK tour as well as the shows we had on deck with Archers of Loaf. We were also trying to coordinate a Japanese tour, which we’d love to do, so I’ll add that to the list.

In the meantime we have a couple of non-album singles coming out later in the year.

I love making music, so whatever form it needs to take to make it work given our circumstances I’m fine with. Wanna jam on our phones? Hit me up!

SAVAK’s new one- Rotting Teeth in The Horses Mouth

BONUS QUESTION: Tell us about all of those shows you recorded in the 80’s and have been putting up on the Dischord page? Great stuff!

Thanks! My mom bought me a Sony Betacam in 1985. I honestly had no inclination towards videotaping anything prior to this, but I think she may have thought it was a positive thing for a teenager to get involved in instead of playing Atari or hanging out at the Orange Julius at the mall or whatever. So I had this camera and I started taping what I was doing, which was basically going to shows. I didn’t think much about it and I never watched the tapes afterwards, so just slowly built up a collection of recordings that sat in a box at my parents’ house for years. It wasn’t until James Schneider started working on what eventually became the Punk the Capital movie that the tapes were unearthed. Then Scott Crawford wanted to use them for Salad Days and had the genius idea of getting Dave Grohl’s production company to digitize them, as they wanted footage for that Sonic Highways show. So at Scott’s suggestion I sheepishly asked if it was something they could do and they immediately said yes. I was pretty stunned by their generosity. The tapes themselves are now part of the Punk Archive in the DC Public Library, which is both cool and hilarious. The idea of random stuff I videotaped when I was 15 being part of an institutional archive is pretty absurd. Now that I’ve got this extra pandemic time to spend in front of my computer, I’ve been editing down each set, adjusting the light balance so the footage is less murky and also remastering the audio so they sound better. The timing of the Dischord Records Fan Page on Facebook is fortuitous, as it provides a reasonably eager audience for what might have otherwise just been a few additional gigs of server space being cooled in a Google data center in Moncks Corner, South Carolina.

“Who you callin’ a low life?”

www.savakband.com

www.savak.bandcamp.com

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quietdaysco · 5 years ago

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Primrose Path - Devlog #011

It's a brand new year and a brand new milestone! We've really missed you. Have you missed us? It's so great to be back!

Last devlog we said we were taking a break for the holidays. And we did, but between new jobs, family, college, and festivities, you couldn’t fully keep us away from the dream! All of December and January, we wrote. And now?

The common route first draft is finished!

For such a wide and important aspect of our project, this is no small feat. We've been at the script for six months counting, and it felt so good to get another step closer every single day.

Check the facts for yourself:

Main Game Progress

Writing

Common Route:

Rough Outline: 100% ✓

Revised Outline: 100% ✓

Draft Script: 100% ✓

Words: 128,164

Scenes: 99* / 99

*Scenes are counted when they are ready for internal review, qualifying them as complete for the first draft.

Did you see that number? Yes, it's not a mistake. The common route is over 128,000 words! We love every part of it and we're very proud, but the journey isn't over yet.

You might be thinking: “All that and you've only done the common route?!”

Yeah—it's a long journey, but one that we're happy to share with you!

Since this is a major milestone, we wanted to share a few words of our experience until now:

Elm says...

I feel simultaneously relieved, proud and dead inside and, like all creatives and developers, I hope I get to keep feeling like this as we continue to hit milestones. Primrose is definitely something I consider to be too big a project, but I also refuse to let it go. It is a learning experience and a proud moment. As someone who has written things, but never really considered themselves a writer, this is a surprising feat and one that fills me with a great sense of calm. If I knew one day, I'd be working a full-time industry job with the typical hours and somehow managing to write over 65,000 words in just under half a year in my scarce free time, I would have said that's nice, but unrealistic. (If you told me I was going to work with someone else and double that, I might have told you to politely close the door on your way out.)

Nonetheless, I think I finally found my calling as the child who wrote manuals and to do lists before approaching middle school. Developing baselines are important for any project, and without it, I don't know where we would be. I remember saying, rather casually, we should be tracking our progress to establish a baseline as this is a first for us. I didn't realise it would be such an integral part of our process and leading to an understanding of what we can achieve. It started off as a nice thing to have, but without it I strongly believe I wouldn't be able to finish a project. That's not so uncommon, I think. We all have that pile of unfinished things that we don't expect. Except this time, I'll see it coming a mile away and work around it.

How much did data help us? I don't know. Our current average is 21,000 words a month between us. That's including a very low December, and a very high (39,000-word) January. I don't know if that's because our goals averaged at 20,000 more words a month, or if that's genuinely our limit, but it seems to be a healthy rate to allow us to do other things with our time.

I've always had an interest in production and management, a change in self has come over over the past year. One that is more confident, positive, understanding and encouraging towards myself and others. Creating a project is less like tending a well-oiled machine and more like cultivating a garden. Cogs wear down and get replaced, but people don't work like that. We need space and understanding, time to reflect, encouragement and the ability to know when we've had enough. I'm sure that shift of thought is just me developing a stronger sense of self, but it's one that I welcome and I hope will be reflected in the work I produce with Coda.

In the past, I've adamantly liked to work alone. I've wanted to push myself to the high standards I hold myself to, and I do feel it's unfair to treat anyone but myself like that. I still think this is true, but there is also pleasure in sharing work with others. When you're tired, someone else can carry the project forward. When you split the work, the other brings in an interesting and exciting twist you hadn't yourself considered. I truly believe, some of the best work isn't created alone. With everything we do, we bring a little of ourselves into it and we make it personal. This story is significant in size for two people to attempt, but there are bigger, emergent narratives out there and maybe one day we can be a part of that too.

Until then, I'm happy to just make the kind of games that you load up on a quiet day.

Coda says...

This is the first time I’ve ever written this much content for a story in my life. 57,000 words in half a year. As much as I’ve entertained trying out hypernarrative models in personal projects, this is the first time I’ve actually done so. This is also the first time I’ve ever worked with Elm, and if I didn’t have such a competent, versed, and approachable partner, this passion project would have quickly become an untamed chore, much farther behind in progress than where we are today.

I’ve learned a lot over the past six months. I’ve been learning how I reframe my motivation to work so that I’m not chasing whims but developing a self-disciplined ethic. For me, that heavily involves pre-planning and tracking explicit goals. Elm operates similarly having such a strong interest in project management, so building up our workflow this way was to both of our benefits.

I’ve learned that I have a growing interest in narrative design. I’m spending more and more of my free time listening to lectures on theories and models to leverage player interactivity and agency, reading materials on mapping consequence, utilizing channels other than dialogue to exposit information, and learning new ways to breathe life into a scene.

And in deconstructing these concepts and figuring how to incorporate them, I find myself growing more and more with the characters. These characters are all stitched together from personal experiences—some as recent as these past couple months. They’re also those of friends and family, of passersby, of vocal strangers. They’re things I love, things I tolerate, and things I could do without yet exist. They’re research of facts, opinions I might share or reject, and trivia. These characters are points to make, and those points evolve and refine as we do.

My final thoughts are, whatever this project ends up becoming, I’ve enjoyed it so much. There are times when Elm and I have glanced at each other’s scenes and for me at least, I’ve had genuine reactions that’ve run the gamut. I have honestly gasped at these words before. I’ve laughed a great deal. I’ve nodded along and I’ve shaken my head. I’ve felt something. Whoever you are, reader, I hope you will too.

We hope these words mean something to you. If they don’t resonate, then at least they give you an idea of who we are as individuals and as a team!

So, what are our next steps?

We’re reconvening to address any pressing concerns.

The next few weeks will focus on a review pass for consistency and game flow.

Afterwards, we’ll move onto the final revision of the common route, assess, and then mark it “Done” once and for all! We'll have something else to offer once we do!

Oh, before we forget...

Here’s the last of our favorite unrevised snippets from these final two months:

RAFAEL: You've done me a wonderful favour. RAFAEL: And maybe saved my life. MC: Does it have something to do with the two over there? He glances over woefully. RAFAEL: No, they'll definitely try to kill me.

PRIYA: Someone is spreading a rumour that you had to meet with two extremely questionable kids in a trench coat. MC: God, is that what people are saying? PRIYA: No, that's what I'm saying, and if you don't fess up the rumour will only grow.

HARPER: It's a restraining order. HARPER: Been a while since I've seen one of those. This branding is nice, don't you think?

One of the pheasants stops and stares at us. It spreads its wings, revealing the second pair beneath them in a captivating display.

He buttons up his blazer. JUN LAU: (squint) Stop staring. MC: Literally, are you one to talk? JUN LAU: I’m not staring at your tits though, so don’t stare at mine. MC: Oh my God, I wasn’t even looking! It’s a lie because I totally was and I look so dumb for lying because he can read it all over my face, oh crap. Walk right past him, just walk, go go go go.

A light flurry falls from the night sky. The moon gazes through a break in the clouds, just enough to line them and every drifting snowflake in silver. A few flakes land on my nose and eyelashes.

I hum for brown paper packages tied up with strings. He recognizes the tune and smiles at me.

If this is the kind of content you like to see, we’d love for you to jump into our Discord server! We occasionally share much longer unrevised excerpts and discuss the game in much more depth with our community.

Behind The Scenes

Greyson Update

We’ve finally nursed Greyson back to health from a nasty bug, and upgraded him to the newest OS (as it goes with tech these days). He seems ready to get back out there on Twitter and help in March!

One thing we noticed about the old Greyson is despite being cheerful, he spent nearly all of his time talking to himself, not utilizing the tools available to him to increase his presence. With his recent bug fixes, the new Greyson is now going to be out there actively searching for folks in need of some encouragement, widening his reach! If you get a message from Greyson, feel free to reply back! After all, he’s always there for you!

Side Projects

Clearly, Primrose Path is a large project and one that means a lot to us. We're under no illusion that this project will take a few more years. It's a little like our magnum opus in that regard and we're giving it everything we've got.

However, we're not the type who can sit in the dark for years on end. At Quiet Days, we recognize the benefits and importance of personal projects, and that is something the two of us will be doing more often. Whether it's game jams or comics, we hope to share them with you!

We’re focusing on monthly devlogs for our Tumblr, but we have to ask: Are there other kinds of content and updates you folks would like to see here? We want to know! Shoot us a message in our Ask the Devs inbox here on Tumblr, or hit us up on Twitter, Discord, and Lemma Soft!

Socials

• Micro-updates on Twitter! ♦ Factoids with Greyson! • Writing Progress on GitScrum! • Live art development on Twitch! • Art logging on Instagram! • Ask us anything here! • Continue the discussion on Discord! • Master thread on Lemma Soft!

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kimbisaurus · 6 years ago

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My first almost D&D but Not DND session!

Soo way back when, my dad gave me a book - a AD&D DMG from a market stall. And it was soo intriguing - but completely almost incomprehensible. A DMG made some sense - but all the numbers & mechanics were weird alien concepts that followed no simple path (some went up, others went down - and there was all these weird changes to add or subtract everywhere! AD&D was a chaotic book to say the least). Later, I’d discover my school had an original D&D players guide (ok, it was actually just the D&D book. There was only meant to be one. It was the very first book every made & meant to be a all in one concept). Suddenly things made sense - and we even had 2 modules. D&D could be had! Sooo I went to a friends house & he loved the concept. He also loved elves - no really, you have to understand he worshipped elves soooo much his ears gear almost 2 inches longer & pointy when he was leaving highschool. it was OMG scary. No surgery, no fakes - just straight up brain power misspent to reshape his body after his favorite image. He was already kinda tall & thin. And a pale skinned gaming geek naturally... So all he needed was to grow out his hair & grow pointy ears. Sooo he did... Kinda freaky... Kinda explains a lot about being human - and yeah, ‘Worshipped tolkieen type elves’ is the best description I have. But otherwise a nerdy nice guy. Annyyywayyy, I went over (pre-elf state) & asked about D&D. And he produced a rulebook - for Lord of the Rings. I didn’t care, we’re doing this. So we rolled up some characters. He had a Warrior or a Paladin I think. And I had a rogue - were-tiger. The LOTR RPG was a point buy system similar to white wolf games. You buy advantages and flaws to gain talents/powers/magic/skills & flaws. I found some for balance, jumping & damage resistance. And something like claws/teeth. Add in some rogue skills & movement skills & I was set! Now my friend was the by the book type - which I thankfully cured immediately by suggesting we do a ‘By the seat of our story pants’ session - we just started. Soon we were running atop rooves of the city doing a chase scene - totally awesome for a thief. And the paladin was running below trying hard to keep up. Rogues are totally awesome! Ooohhh yes! Anyway - we dived into this brave new RPG world. We had lots of fun. At some point we decided our setting was Faerun’s Waterdeep - we’d read a D&D novel about it & that was all the inspiration we needed. We also grew our party to like 3-4 people, maybe 5? And we were working for the political movers & shakers of Waterdeep. But we started with 2 characters chasing a thief across rooftops... Using a completely alien system that had almost no magic what so ever - improvising everything from rules to dice. We knew D&D needed d20s, so we rolled d20s plus our skills. That worked well. Damage was a d6 or 2d6 for something big. Life was soo simple - then we got loot! And we had a DMG for that! OMG, but my mate surpassed me here. Suddenly we had a gnomish inventor with a self moving carriage. It was steam powered.. ish... Magic steam I think... And we ended up with a self shooting crossbow on top at somepoint. That was actually scary - it shoot anyone & everyone, sometimes even us! I remember leaping from the rooftop of our carriage as it steamed it’s way over snowtopped fields, leaping for our opponent’s horses & chariots. I had to make so many agility checks (or was it balance?) - and aced them all. I was a were-cat & I knew where to specialise. Movement skills! Later our paladin died - and we wanted him back. So we planehopped over to the elvish heavens to steal his soul back (we’re adventurers after all! We know we’re here to loot the place!) So the GM distracted us with various scenes of heaven. I was really tempted to try and open this ornate obsidian door that seemed to glow with red runes everywhere. It was chained up with heavy mithril chains & magic locks - and omg it was so tempting... But the party managed to guess it might actually be a portal to the Nine Hells & dragged their curious kitty away... Then the GM tried to distract another player with a beautiful glade. However it was the Kitty who ended up wandering inside & being all curious. There was an elf there & we talked a lot. We kinda got into a debate about religion - and realized we had the same goals, but completely opposite perspectives on how to achieve it. We laughed a lot as everyone else realized the GM & I we’re arguing the same points from the opposite side of the lens. After that, I decided I liked this god - and well our campaign was slowly getting a VS Evil Hell Demons vibe. So believing in a particular god was appropriate. We did a lot of the ‘I pay homage to each different deity when I do something related to their portfolio’ type of prayers - partly as jokes & partly just to be characterful. So having one God was kinda cool. Anyway this elf asked if I wanted to start on the path as a cleric. Sure I said - now the other players had noticed when the GM said this god was forgotten on our world (it was a grey hawk god I think? Some other setting besides Faerun either way). And we’re pretty powerful folk now. We dance with the city’s politicians, royalty & gentry. We go to fancy parties & hang out with the royal poisoner, do work for the head Assassin sometimes & we even helped out the temple of helm so much we have a writ from the High Priest of Helm - allowing us shelter, food, aid & even a few coins from any temple of Helm. Amazing right? Well imagine my surprise when someone introduced me as a cleric of ‘Long Forgotten God’ when we finally retrieved our Paladin’s soul, avoided accidentally opening the door to hell a second time (It glowed and everything! I mean spoilt sports!) and we went to a royal ball to our success & our Paladin’s resurrection! Cleric’s were kinda a rare thing - we had lots of priests. But they could do no more than light healing (cure wounds & disease, produce food & water kinda magic. Very limited- because the system was also kinda limited in regards to magic) but clerics could open portals, summon angels & do real magics. Of course, I had 1 spell (*cough I had just enough exp to buy 1 ability cough*) - and slightly elfin features. There was the promise of an elven lifespan if I was a dutiful cleric though. So almost immortality was a pretty cool boon for a were-kitty... Now you’re wondering what the catch was - because there was one. I was just a cleric of this god. The only cleric actually. I’d been charged with spreading the word & given a cool title. Cleric! And then someone finally completed the sentence - we walked into the Royal Ball - and I was announced as the High Priest of ‘Long forgotten Elven God’... High priest... Yeah... The GM saddled me with ‘promote my faith’ & ‘High Priest’ in a political campaign... Now the GM was cool - the royal folk gave me a plot of land to cultivate into a druid glave with an underground cave/temple space. Which was cool. I even got a gold grant to help transplant soil & plants to the space. And it was near the Temple of Helm. The High Grand Temple of Helm... Where we have that lovely writ of aid... Soooo I maybe started preaching on the steps to the Temple of Helm... About my new god. And that made the High Priest of Helm just a little mad... Then we summoned a angel. The GM read about this spell where you could trade goods & gold to gain the service of angels. And they were anime angels that could build cities in days instead of months. Or nuke cities filled with undead and such... Sooo we traded some stuff from our stash & roll a d100 like all good gamers asking for a miracle. Got a 99 or was it a 100? That called forth some angels, saved our city in a big climatic battle & then sponsored a massive party - and our Angels turned DJs & Dancers and we jammed all night long! I mean we literally had them in our service for 2 days, so we just jammed & partied, then cleaned up the city some the next morning. Amazingly, given how rare Clerics with real magic were, this had an impact on the populace... Preventing the Devil Apocalypse, Summoning Angels & Jamming with the rarest of planar beings after kicking all the BBEG’s collective butts! Yes we made an impression... Now prior to this I had established a kitty theme for loving high places. I always liked to sleep atop these massive columns that adorned the Temple of Helm. 20 to 30m tall columns that were under an even taller roof - so I could nap up there or watch the city flow below me like ants... it was awesome! Which meant I was now awoken by crowds of faithful, flocking to the temple of helm, to wake my charrie up with shouts for wisdom & sermons. I’d tell stories on the front steps (just so I was taller than the crowds. They had a bunch of statues to climb over and leap atop too!) & it was sooo fun! Anddd the GM was secretly making rolls to see if the High Priest would finally snap & do something evil against me... Even turn to the devils just to ‘silence’ this menace to their god... I totally stole so many of their followers... I mean the GM saddled me with being a High Priest... So I lied, tricked & teased my way into becoming the most popular cleric in the city. You let the rogue make a faith after all. This is totally before we ever read Terry Pratchett btw - So you can’t think I’d ever read Going Postal or Making Money. All original madness I’m afraid :) - And yeah... I nearly broke apart the campaign world in my childish teasing of Helm’s chosen... Heeh... Still almost no remorse there :P Sooo that was my role in our first campaign. I mean, we fought wars, assassinated assassins trying to kill us in our supposed sleep, raced steam chariots & besieged armies! We stole artifacts, invented flawed intelligent items like repeating crossbows (we had a sciencey type player who got on well with the mad gnomish inventors guild) and ended up nearly killing the party 3 times with our own repeating crossbow (twice we luckily ran out of arrows, the third time we had to throw a boulder onto our carriage - and boy was that expensive to fix...) And don’t get me started on the politics... It literally flew over my teenage head... I was so clueless then. I even was tricked into being a high priest... Seriously, our party laughed me out of the room when I realized my easy-street lazy rogue was now saddled with actually working & promoting something, raising funds & even having to preach to get followers... And then people worked out I was actually a really good talker & on state debate teams... I just really enjoyed being lazy, stealing & leaping my way through problems... Anyway... long rambling stories... Probably not that interesting - but OMG my fondest memory is just that beginning - we rolled up characters & started playing before we read the mechanics. We invented everything we needed in 5 minutes & learnt some real rules later - which we half ignored as we tried to recreate the spirit of DND with d20s & Lord of the Rings Character Sheets. Still have that sheet too! If you ever want to start a game - just take whatever books you have and go for it. Don’t stress about the rules, make stuff up. Borrow the Advantage/Disadvantage system from fifth Ed - and just go with the flow. If it feels like success, tell the player. If it doesn’t, describe the player's misfortune...

#RPGs #RPG Storytime #First Session #OMG I am such Cheese!#No Regrets!#D&D #DND #Not actually D&D #Fake Rules #Just go for it #No rule

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