#neo anime oasis

[sagewindfeather]

I've been so busy, I forgot to mention that I'll be at Neo Anime Oasis this weekend. Table 11 in the Artist Alley. I have a ton of new stuff this year, so pop on by!

I wasn't originally going to go due to the changes, but I do really want to see all of my convention friends, and Boise itself one last time. Also it's been a slim year for me in terms of conventions, and with my wrist surgery in a month I need to do what I can for it.

[nerdandtie]

The Nerd & Tie Podcast: 187. A Bowl Full of Cope

[moonlight-farm]

Mod List

Alternative Textures Mods

Animal Scarecrows Animated

Animated Scarecrow Critters

Aster and Nari's Japanese Wallpaper and Flooring

Aster's Chests and Minifridges as Japanese-ish Bamboo Baskets

AT Fence Pack by Kaya

Aster's Big Furniture Pack for Alternative Textures

Aster's Painting Display Signs

Elegant Craftables

Equine Explosion - Horse Retextures

Flipping Flamingos

Frog Decorations

Gwen's Craftables for Alternative Textures

Hanging Flower Baskets

IdaIda's Furniture Recolor

IdaIda's Craftables

Magical Furniture

Medieval Buildings for Alternative Textures

Midori's Camping Set

MSaturn Floaties - Alternative Textures for Crab Pots

Mushroom Paths

Nano's Garden Style Craftables

Nano's Retro Style Furniture

Nyang Cat Scarecrows

Out-and-About Storage

Rosy Picket Fences

Shyzie's Rugs

Suitcase Record Player

Wall Basket Retexture

Warm Cozy Fireplace

West Elm Furniture by Atlas

Windmill Sprinkler

Custom Furniture Mods

Catmao Picnic Furniture

Gedian's Swing

Oriental Rugs and Tatami Set

Ornamental Garden Furniture

SinceWayLastMay's Orchid Pack

Who_M_Furniture - Happy New Year

Xiaoyang's White Flower Wedding Furniture

Yellog's Furniture

Content Patcher Mods

A Wittily Named Recolor

Arcades into Consoles

Cometkins Better... Mods

Cottagecore Fences

Everlasting Flowers

Fall Leaves

Farm Animal Facelift

Fresher Food

Global Warming - Mountain River with Water

Gopher Dig Spot

Grass for Summit

Gwen's Paths

Hat Mouse and Friends

Hippo's Cliffside Falls Farm

Industrial Furniture Set

Industrial Kitchen and Interior

Medieval DNT

Medieval Fish Well

Mi's and Magimatica Country Furniture

Movie Posters

No More Stumps in Town

Oasis Greenhouse

Owlie's Better Lilypads

Plantable Palm Trees

PPJA More Trees Retextured

Ran's Farm Decor

Redesigned Shed Layout

Rustic Country Town Interiors

Rustic Country Walls and Floors

Rustic Traveling Cart

Seasonal Garden Farmhouse V2 (Unofficial Update)

Secret Garden Frog Terrarium

Secret Woods Totoro

Simple Foliage

Simple Special Orders Board Retexture

Slime Hutch into Greenhouse

Solarium (Rooftop Spa House)

StarAmys Random Furniture Reskin

Trinkets

Visible Fish

Void Cat

Way Back Pelican Town

Zyr's Multipurpose Shed

DGA Mods

Animated Koinobori

Better Gemstones and Minerals Animated

Flower Power Furniture

Junimo and Bird Animation Lamp

Kedi's Pets Furniture

Koi Ponds and Tide Pools

Minakie's Custom Furniture

RoseDryad's Fairydew Decorations

StarAmy's Fairytale Furniture

StarAmy's Wild Greenhouse Furniture

Tenthousandcats' Firefly Lamps

JA Mods

Aquatic Plants

Cute Sweets and Desserts

Korea Blossom

Lumisteria Flowers and Crops

Neo's Succulent Farm

PPJA - More Trees

Quaint Living - Flower Garden

Succulents

Solid Foundations Mods

Shyzie's String Lights

Wildflour's Witchy Gardening Sheds

[linuxgamenews]

Get Ready for Phoenix Springs: A Neo-Noir Mystery Game

Phoenix Springs a modern neo-noir point and click game due to release onto Linux, Mac, and Windows PC. Thanks to the awesome team at Calligram Studio for all their hard work. Due to explore it's way onto Steam. Hey, have you been keeping an eye on Phoenix Springs? Well, there’s a bit of a delay — it’s now coming out on October 7th instead of the original September 16th release date. The team at Calligram Studio needs just a little more time to polish things up, which means we’ll have to wait a few extra weeks before diving into this neo-noir mystery on Linux. But honestly, that sounds like it’s worth the wait, especially with the title’s stunning neo-noir point and click games hand-drawn art. Which also pairs with its intriguing detective style story. Jigmé Özer, the founder of Calligram Studio, shared a message to all of us waiting for the debut: "Thanks to everyone who’s been so excited about Phoenix Springs since the announcement. We know it’s a bummer to wait longer, but we want to make sure the game’s up to everyone’s expectations. We hope you can stick with us for just a bit more as we aim for that October 7th release." Seems like they’re really putting in the extra work to make it something special.

Phoenix Springs – Trailer

So, what’s Phoenix Springs all about? It kicks off with Iris Dormer, a reporter who reconnects with her estranged brother. Only to end up in a desert oasis called Phoenix Springs. This place is full of mystery, with strange ruins and a community that’s, let’s say, a bit cryptic. As you explore, you’ll piece together the secrets of the place, the people, and maybe even some long-buried truths about Iris herself. Gameplay - wise, it’s all about putting the clues together. You’ll be talking with characters, gathering information, and tossing out the stuff that doesn’t add up. Plus, it’s fully voice-acted, which should make those conversations feel even deeper. The puzzles are designed to test your detective skills, and if you like titles that really make you think, this one’s probably going to hit that sweet spot.

Here’s what you can look forward to:

Full voice acting

Beautiful hand-drawn art and animations

A smooth and intuitive interface

A dark, neo-noir vibe

Some challenging puzzles to crack

Don’t forget to add Phoenix Springs to your Steam Wishlist! It’ll be available on Linux, Mac, and Windows PC when the neo-noir point and click releases on October 7th. Let’s hope the extra wait makes it even better!

[shop-korea]

The Best Korean Tuna Gimbap – The Only Recipe You’ll Ever Need!

Marines - Front Lines Battles

But I'm extremely - allergic to

Dust - and - Dirt

So another choice

Special Marines

Special Air Force

Special Navy

So I Choose - Special Navy

Perfect - Based on Disney+

Premium - No Ads - Miami

$15.83 like YouTube $15.83

'How to Succeed in Business

without Really Trying'

SOS - Special Blink

3 seconds to start

3 seconds to end

White Female - after - 5A

Bank of America - ATM

Lights on Car as she outside

Withdrew - Cash

Wake Up - Homeless - Hobo

10 Aug - also on the Internet

Firearm - Management

Republican Party - of Florida

'Leave - Homeless'

Went further fr Main Library

From the Huge Stairs - front

of - Sidewalk - Rocks - Land

No Trespassing - No Skating

Message - 'Kids you were

robbed by Walmart'

So Pointed 2 front of Bus

Stop - SW 1 St

2 Signals

US Air Force - SOS

God answered my Signal

Car Driving as She makes

Slow - 3 way Turn - I said

'Step on It' - She did faster

and left - Holy Ghost truly

commanded me - My scent

Straight - W Flagler St

New - Cafe Neos

SW North River Dr

Valet Parking

New SPORTS shoes

New Socks - Matching

Ugly Shirts - Bad Taste

Walls - Yellow Lit

Ugly Walls

Better than Poop

Corner - Apartment

Ugly Lobby - Ugly

Cement Parking Lot

Poop around fr Them

L on edge - New Route

Dennis - Hispanic - was

Craving my Shower scent

2 hardened his Paco - both

on Street - Open - Orgasm

from my - Scent - Him with

TomBoy - Blob - Hispanic 4

He has Beard - Copied

County Employee - Chris 4

He has Pimple Acne - scars

31 Aug - Birthday

Dennis - Hispanic Mentally

Ill - Pacing Opposite Street

How to get scent

Now - Very Dark - While I'm

Wearing Blk Gown

In the Dark Scrubbing inside

Have Not Showered

Hispanic Female - Jeans

11:33A - Bus 836 Exp

Her Own Bus

Best Time - 12:33P edt

Special Navy

Operation Titanic

Never Coed

Officers - Suites

Hallmark+

Walls replaced by Glass

Non-breakable - Small

Fishes - Scuba Diving who

we feed including small yes

Sharks So Fishes protecting

us - Unforgettable Uniforms

We will increase - Sea World

Perfect Knowledge of Whales

Big Groups - Singing Together

In Cold Weathers

Pregnant Whales The Maldives

Special Navy

Diving Competitions better

than - Stupid - Olympics - 4

2 near - Diving Board - 4 me

$900 Billion - Tax Paid

Winner - Takes - All

Gold - Silver - Bronze

Replaced

Ruby - Necklace - First

Sapphire - Second

Diamond - Third

1st - $900 Billion

2nd - $800 Billion

3rd - $700 Billion

Special Navy - Fliers

Submarines - No Torpedos

Legal Permit

Disney - Animated - 'Little

Mermaid'

Outside 4 Animals and on

Inside - Real Pretty - Going

Up - becomes - Parking for

Military Air - No Wind Sound

Dear Korean Girls,

South Pacific Islands

Oasis from Typhoons

Special Navy

Introducing - Legal Permit

On Seas - Magic Kingdom

Medical - Stops Submarine

Shelter from Storms

Disney Cruises called - Mom

Giving Birth in Ship

Our - Submarine - arrives

Free - Baby Delivery

Free - Dental Surgery

We will Serve - Cruises

also - on - Waters

Operation - Titanic

Perfect what Signal

to Give - Singing Whales

They LOVE people

How - Titanic - men could

be Rescued - Mrs Macy

Legal Permit

GBC Studios - present

Remake - of - 'Titanic'

Byeon - and - Yoo A

as - Mr & Mrs Macy

Musical - after - we

Perfect - Whales Signal

Love - 2007 - 'National

Treasure' - Part 3 - same

Stars - of - 2007 - Truly

Possible - New - Name

Cailey James - CJ

James Family

Special Navy CM

Commander - PR

Philippine Republic

Tax - and Smoke Free

Crime & Whiskey Free

Special Navy - Coming

[ratnas]

BANGALORE SIGHTSEEING PLACES LIST

In a country like India, with it’s extremities of temperature ranging from very hot summers and cold winters, I am grateful to be living in that part of the country and in a  city that  enjoys  a salubrious weather  throughout the year –  Bangalore in South India.

Initially, when I first moved  here , years ago, I was pleasantly surprised by  rains lashing the city perpetually every evening, this phenomenon  though  has waned now with the effects of global warming and urbanization. For tourists coming to India, Bangalore or the `garden city’   is a  must  visit destination.

So here is Bangalore Sightseeing Places List

BANGALORE’S BOTANICAL GARDEN – LALBAGH

 Owing to its mild, tropical climate, Bangalore is endowed with   immense  greenery. The huge verdant  parks  like  Lalbagh  gardens and Cubbon Park are testimonies,  and  are few of  the top places to see!  As  also the numerous  lush gardens, which are  oasis of fresh air,  dotting  every neighbourhood .

Bangalore has changed substantially over the years, constantly evolving,  growing into a cosmopolitan centre. Also known as the Silicone valley’ of India,  due to it being the software hub of the country.  Over the past decade, as I have witnessed, from being a quaint and peaceful  paradise,   to a glitzy metropolis.…with people from all over the world visiting for work or for leisure! 

BEST  PARKS   IN BANGALORE

LALBAGH BOTANICAL GARDENS

One of the top places to see in  Bangalore , are  the  glorious Lalbagh Botanical gardens.  Having  the most precious legacy –   founded  in the eighteenth century by the Mughal  rulers Hyder Ali and Tipu Sultan,  they were the gardens of the royalty! The park is quite well  maintained , blooming,  with an array of colourful,  aromatic  flora and fauna.

 Highly  recommended  is the  guided tour of the sprawling premises, that takes tourists around  in an electric buggy car. The high points of this tour is  that you get to know about some of the most exotic and unique collection of plants, trees and flowers in the park .  This tour halts  at vantage points, like the Crystal Palace and the serene lake, allowing  people to disembark,  click  pictures and revel in the verdant atmosphere.

https://travelsimplygo.com/wp-content/uploads/2020/11/B3.jpg

CUBBON PARK

Spread over 120 hectares,  the emerald green cover of the immaculate Cubbon Park is where the city  breathes literally.  Rejuvenate your body, mind and soul  by soaking in it’s invigorating  aura…..take a stroll or merely lounge for a while on the well manicured lawns; it’s a good idea to have a picnic here !  Surrounding the park are the restored neo-classical,  grand  structures of the High Court and State Central Library.

BANNERGHATTA  NATIONAL  PARK (WILDLIFE SANCTUARY)

 Experience the fascinating world of wildlife at the zoo.  Tucked away  in South Bangalore, close to the Bannerghatta forest,  this  place  is  worth a visit specially for wildlife enthusiaists and children.  Apart from myriad species of animals and birds, the sanctuary  has some other  splendid attractions .

Tiger safari – this is an enthralling encounter  and a top place to see, as the enclosed jeep takes tourists  inside the forest for spotting  the  majestic and  rare white tiger .

Elephant ride – equally thrilling is the elephant ride within the precints of the sanctuary.  Specially kids thoroughly enjoy the experience of perching  themselves on these gentle beings, their faces gleaming with joy and awe.

Butterfly Park –  not to be missed and like the cherry on the cake is another surprise at the zoo – a multi hued butterfly park .

TOP PLACES TO SEE 

VIDHAN SOUDHA

The magificient  structure of the State Legislative Assembly (Vidhan Soudha)  is an iconic landmark of Bangalore and one of the top places to see! Made of granite, with intricate stone carving work, the exquisite  building and the surrounding  lawns  looks all the more resplendent, glowing like a jewel,  on weekend evenings and public holidays when it is  floodlit.  

MAHATMA GANDHI MARG (M.G. ROAD)

https://travelsimplygo.com/wp-content/uploads/2020/11/B4.jpg

BANGALORE PALACE

BEST  PLACES TO SHOP  IN BANGALORE

PHOENIX, ORION AND UB MALL

Out of the numerous malls that have mushroomed in the city I would certainly vouch for the posh  Phoenix Mall in Whitefield and Orion in Malleswaram. They’ve got everything that you are looking for – be it  window shopping or purchasing from the plethora of  top brands, having a bite,  gaming, movies  or merely having a great time,  your spirits would surely be uplifted here!  If you are searching for an out of the world , luxurious shopping experience ,  head to the  opulent UB mall. Not only is the ambience and décor of the mall  stupendous,  all   international  brands, e.g., Prada, Gucci, YSL are available here.

CAUVERY EMPORIUM

Travellers with a penchant for local, ethnic stuff would be delighted to visit  `Cauvery’ – a chain of  State government owned Emporiums, having  branches on Mahatma Gandhi  road and Jayanagar, which are well known localities of Bangalore.  Karnataka being  famous for sandalwood , there are a whole range of exquisite handicraft products like carved  statues, figurines;  artefacts made of fragranted , pure sandalwood ; perfumes,  jewellery and a lot more. `Cauvery’ showcases the rich culture and heritage of Karnataka.

TASTE OF THE LOCAL CUISINE – MTR

To get  a taste of authentic south Indian cuisine, it is ideal to step into the legendary  ` Mavalli Tiffin Room’  or MTR on Lalbhagh Road . Though  interiors may not be very impressive , it  gives the  feel of an era gone by,  and  scores high on cleanliness and hygiene.  Relish the steaming  idli, dosa, sambhar, chutney or opt for the sumptuous meal ! And not be missed  is the piping hot  filter coffee, a speciality of this region ! Except for Monday, the restaurant is open on all other days.

NORTH  INDIAN FOOD

 North Indian food buffs , have plenty of  options. Check out  the tastefully decorated `Jamavar’ restaurant at the swanky five star hotel, Leela Palace, on Old Airport Road. Gorge on their   lip smacking curries, assorted Indian breads, tandoori starters, and end with some delicious dessert. Bangalore has a fine blend of the traditional and modern. 

[6-alpha-nebula]

Jumpchain List - The Origin Point System

Full jumpchain list of all 100 Jumps used to develop the Origin Point System - also known as the Alma Tyrian Galaxy.

1st Quarter - Neonate (1-25)

2nd Quarter - Juvenile (26-50)

3rd Quarter - Prime (51-75)

4th Quarter - Legacy (76-100)

Pokemon Trainer

Steven Universe

VA-11 HALL-A

Animal Crossing

Fire Emblem Awakening

Hyperdimension Neptunia

Maplestory

Fire Emblem Tellius

Dr McNinja

Nightmare Before Christmas

Miss Kobayashi's Dragon Maid

Mana Khemia

Restaurant to Another World

Undertale

Panty & Stocking with Garterbelt

The Gamer

Harvest Moon - Tale of Two Towns

The Hobbit

Avatar: The Last Airbender

Generic Magical Girls

Greek Myths

Death Note

Katekyo Hitman Reborn

Harry Potter

SBURB

Marvel Cinematic Universe Volume 1

Generic Isekai

One Punch Man

Transformers - Prime

Overwatch

Fire Emblem Elibe

Avatar: Legend of Korra

Greek Mythology

X-Men Movies - First Class

Adventure Time

Fire Emblem Fates

Persona Series

Kyurangers

Magi: The Labyrinth

Fire Emblem Heroes

Generic Xianxia

Sengoku Basara

Nier

Familiar of Zero

Recettear

Kekkai Sensen (Blood Blockade Battlefront)

Soul Eater

Nanatsu no Taizai (Seven Deadly Sins)

Merlin

NARUTO

Persona 4

My Hero Academia

Fairy Tail

Puella Magi Madoka Magica

Fate/Zero

Final Fantasy 7

Teen Titans

Hunter X Hunter

One Piece

Fate/Stay Night

Young Justice

Assassination Classroom

Gravity Falls

Beelzebub

Fate/Series - Apocrypha

Generic City of Adventure

Carnival Phantasm

Bleach

Persona 5

Fate/Kaleid Liner Prisma Illya

Kamen Rider Den-O/Kiva

RWBY

Worm

Nanbaka

Fate/Grand Order

Tales of Vesperia

Fate/Legends: Garden of Avalon

Kamen Rider Kabuto

Fate/Legends: Oasis of Fantasy

Sword Art Online

Assassin's Creed

Kamen Rider Neo-Heisei Part 1

Dragon Age

Kamen Rider Neo-Heisei Part 2

Touken Ranbu

DC Entertainment Universe

Kamen Rider Gaim

Kamen Rider Neo-Heisei Part 3

Justice League Unlimited

Marvel Cinematic Universe Volume 2

X-Men Evolution

Dragon Age Inquisition

Generic Dungeon Builder

Sailor Moon

Devil May Cry

Final Fantasy X

Arrowverse

Fate/Legends: Land of the Rising Sun

Log Horizon

Kamen Rider Decade

[juicemunchy]

I've started to make new stickers for any art booths I have in the future!! The idea is that they can hold hands 🙌

Here's all the Cryptonloids- I plan to add more Vocaloids/other Synths in the future, but first I'll be working on a few for other properties ✨

If you're curious, Moira Hugues (@/MoiraHugues on Instagram/Artfol) and I will be sharing a booth at these three cons this year (assuming nothing is cancelled)

-Gem State Comic Con

-NEO Anime Oasis

-FanX Salt Lake Comic Convention

[igazikutya]

Zajok a nappaliból – 2021 Grande Traxelektor – „Mind”

Elérkezett 2021 év összegzéseinek szokásos csúcspontja, amikor a 12 havi Traxelektor kb 80 órányi zenei anyagának java kerül szétválogatásra három kategória mentén. Az első a „Mind” nevet viseli, és csak körülírni tudom, középtempós underground elektronika, idm (intelligent dance music) ihletésű, gyakran leftfieldbe hajló nem tipikus nappali szobazene, sok táncolható darabbal. Nem emelek ki senkit, egyszerűen, mert igazságtalan volna, hiszen annyi közel erős alkotást tartalmaz a válogatás.Ha kritikai elemzést kerestek az alkotókról, többségükről olvashattok az előző 12 havi számban. Hazánkat a Haramia Tapes, Norwell, a Shokasava és az Új Látásmód Fúzió képviseli.

Grande Traxelektor „Mind” Spotify Playlist

(75/89,  7h10m/8h12m, 84%)

Grande Traxelektor „Mind” 2021 playlist

Aaron Dilloway & Lucrecia Dalt - The Blob [Lucy & Aaron, Hanson] Adam Pits - Magenta (Seb Wildblood Remix) [International Wafter The Remixes, Coastal Haze] Adam Pits - Piston Pump [Piston Pump, X-Kalay] Anthony Linell - The Final Words [Winter Ashes, Northern Electronics] Appleblim - Illusory Universe [Infinite Hieroglyphics, Sneaker Social Club] ASC - Space Echo (Echoes in Space Mix) [Defiance: Prelude, Horo] ASC - Triton [Sacred Sevens III, Modern Cathedrals] Atoloi - Umida Superficie [Inflorescenze, Sure Thing] Automat - Slacid [Acid Avengers 017, Acid Avengers] Benoit B - Dreelkrugz [We Come In Peace, Animals Dancing] Blawan - Close the Cycle [Woke Up Right Handed, XL] Bookworms - Wycoff [Alternative Group, Boomkat] Child Of The Waves - BloodLust [Basic Moves 15, Basic Moves] Client_03 - Default Mode Network [VA. - More Than Machine 2, Tronic] Clouds - Geistinh [The Parallel, The Parallel] Coco Bryce - D.L.P. [Wuthering Heights, Lobster Theremin] Controlled Weirdness - Destroy To Create [Sounds from A Disappearing City, Aaja] Deadbeat & Om Unit - Leaf [Root, Stalk, Leaf And Bloom, Midnight Shift] Detroit's Filthiest - Horizontal Bop [Smoke Suggests Fire, House of Underground] Emeka Ogboh - Danfo Mellow [Beyond The Yellow Haze, A-Ton] Eomac - Battle for Your Mind [Bedouin Trax II, Bedouin] Erobique - Tatortreiniger Theme (Plaid Remix) [VA. - Remix EP, Pudel Produkteg] Extrawelt - Streiflicht [Eigensender, Furthur Electronix] Franck Kartell - Fragile [VA. - More Than Machine 2, Tronic] Gary Numan - Is This World Not Enough [Intruder, BMG] Glenn Astro - Penduloop [Purple, Tartelet] Golden Bug feat. Vega Voga - Tokoyo No Kuni [Tokoyo No Kuni, La Belle] Guedra Guedra - كدرة كدرة - 40' Feet [Vexillology, On The Corner] Guedra Guedra كدرة كدرة - When I Run [Vexillology, On The Corner] Haramia Tapes - Limp [Daydreaming, Baroque Sunburst] Henry Greenleaf - Gem [Rush, Version] Hoshina Anniversary - Hane No Uta [Jomon, ESP] Hoshina Anniversary - Michinoku [Karakuri b/w Michinoku, ESP Institute] Humanoid - sT8818r (A664 Mix by Autechre) [sT8818r Humanoid, De:tuned] Israel Vines - Nosedive (Ectomorph Remix) [And Now We Know Nothing Remixed, Eye Teeth] Istota - Zzz [REM Phase, Diffuse Reality] Japanese Television - Falling Spikes (UNKLE Reconstruction) [EP III. Remixed, Tip Top] JASSS & Silent Servant - Años Perros [VA. - Ostgut Ton Fünfzehn + 1, Ostgut Ton] Jinjé - Cinétique [Open Unity, Mesh] Kessler - R2D2 On Crack [Foul Play, Holding Hands] Konduku - Mantar Kaya [Parlama, Spazio Disponibile] Kozmic Niggah - Homeworld (Edit) [Wormhole Of Time, Organic Analogue] Krust - Hegel Dialect (Unkle Reconstruction) [The Edge of Everything Remixes 3, Crosstown Rebels] Manslaughter 777 - Gainax [World Vision Perfect Harmony, Thrill Jockey] Marco Shuttle - Acrobat [Cobalt Desert Oasis, Incienso] Martin Gore - Howler (The Exaltics Remix)[The Third Chimpanzee Remixed, Mute] Martin Gore - Vervet [The Third Chimpanzee, Mute] Maruwa - Neo-Plant [Steel City Dance Discs Volume 24, Steel City Dance Discs] Michel Banabila - Hidden Story [Wah-Wah Whispers, Bureau B] Michel Banabila - Tic Tac [Wah-Wah Whispers, Bureau B] Mouse On Mars - The Latent Space [AAI, Thrill Jockey] µ-Ziq - Slade Treacher [Scurlage, Analogical Force] Nathan Fake - Vanavond [Sanxenxo, Cambria Instruments] nd_baumecker & Nick Höppner - Labskaus [VA. - Ostgut Ton Fünfzehn + 1, Ostgut Ton] Nic Arizona - Akalaton [Shavua Tov, Malka Tuti] Nic Arizona - Floating The Flood (Album Version) [Shavua Tov, Malka Tuti] Nicola Cruz - Naeku (Multi Culti Micro Dub) [Hybridism (Remixes), Multi Culti] Nicola Cruz & Nasiri - Third Eye Dub (Azu Tiwaline Remix) [Hybridism (Remixes), Multi Culti] Nihiloxica - Black Kaveera (pq & Ekhe's Recycle) [Kaloli Recycled, Crammed Discs] Nihiloxica - Tewali Sukali (Giant Swan Remix) [Kaloli Recycled, Crammed Discs] Nonnimal - Klapparstigur [Hverfisgata, Thule] Norwell - Broken Symmetry [VA - Dalmata Daniel x EXILES x Farbwechsel, Farbwechsel] Not Waving & Silvia Fendi - What Is Normal Today? [What Is Normal Today?, Ecstatic] Ohm & Kvadrant - Skagerak [Waves, Kontakt] Paul Hierophant - Returned Signal (Carl Finlow Remix) [Utopian Dystopias - Part Three, Exalt] Prefuse 73 - Remembering the Past Through This Riot Pt.2 [The Failing Institute of Drums & Other Percussion, Self-Released] Quixosis - Micropótamo [Rocafuerte, Eck Echo] Quixosis - Yéssica cuántica [Rocafuerte, Eck Echo] Rivet - Ordine Kadmia [On Feather And Wire, Editions Mego] Scalping - Deadlock (Laurel Halo Remix) [Flood Remixed, Houndstooth] Shokasava - First Rays Of The Sun [Chosen, Mana Mana] Sleepy Rich - Hyperspace [Solaris, Ilian Tape] Sun Genam - Pinski4ex [Aexion, Something Happening Somewhere] The Bug - Red Rhythms - No Version [Red Rhythms Vol​.​1, Self-released] The Exaltics & Helena Hauff - Creatura [Futuros, Solar One Music] The Future Sound Of London - Mib1 [We Have Explosive 2021, fsoldigital.com] The Future Sound Of London - The Whispering Masses [Music For 3 Books, Self-released] The JDs - Kitty Litter (Single Cell Orchestra Remix) [Proust EP, Pretension] The JDs - Proust (V3) [Proust EP, Pretension] Time Cow (Equiknoxx) - The President Eats Children [Equiknoxx Meets Feel Free Hi Fi, Digital Sting] Tomaga feat. Cathy Lucas - Very Never (My Mind Extends) [Intimate Immensity, Hands In The Dark] Tusken Raiders - Butterfly [Boundary Road, Self-Released] Új Látásmód Fúzió - A lehetőségek távlatai [VA - Dalmata Daniel x EXILES x Farbwechsel,Farbwechsel] Vatican Shadow - Nothing Lived There [SR-71 Blackbird Survivors, Hospital Productions] VC-118A - Aurora [Spiritual Machines, Delsin] Weird Weather - Devil's Dinner Plate [Succulents, LASH00] Weird Weather - Succulents [Succulents, LASH00] Years of Denial - Reverie [VA - Murder 02, Murder]

[darkershining]

Just watched episode 43 of Healin Good Pretty Cure.

Picking up where the last episode left off, King Byogen has evolved to become Neo King Byogen after absorbing Daruizen. King Byogen raises his arms and begins spreading a wave of infection throughout the entire city. Latte soon picks up the distress of every infected person and Element, and the Cures take a moment to realize the severity of the situation.

Shindoine reveals that King Byogen has been preparing his plan for quite a while, but in order to fully implement it, he needed to regain his true form and more power, and absorbed Guaiwaru and Daruizen for this purpose. The infection gradually begins to spread further, away from the city, and the Cures realize the whole world will eventually be infected unless they purify King Byogen. The Cures try to fight him, but discover that a barrier is blocking every single one of their attacks. Once King Byogen attacks, all four Cures are knocked out. Latte, the only one still standing, is approached by Shindoine, who asks what she intends to do.

Before Shindoine can grab her, Queen Teatine appears in a bright light. The Healing Animals are relieved to see that she’s recovered from when they last saw her, and the girls, seeing Teatine for the first time, look at her in awe. As King Byogen tries to attack again, Teatine easily blocks their attacks and jumps to the top of the tower. King Byogen comments that Teatine doesn’t seem to be as strong as when they last fought, and comments that she went into battle despite not having regained her full strength yet. However, Teatine states that she didn’t come alone, and calls out to the other Healing Animals that accompanied her. Together, the Healing Animals form a barrier to keep the infection from spreading further, and Teatine tells the Cures to use the time they have bought them to think of a plan to defeat King Byogen.

Shindoine goes to attack Teatine, but King Byogen, who currently can’t move due to the Healing Animals’ power, tells Shindoine to leave Teatine to him and instead to focus her efforts on eliminating the Cures. Asumi manages to get up and uses her powers to bring the other three girls and their Healing Animals to safety. Bringing them to outside the barrier, the girls look at the city from afar and wonder how they can possibly get past King Byogen’s barrier. Asumi thinks she might have an idea.

She tells them how seeing King Byogen absorb Guaiwaru and Daruizen has given her the idea that they might be able to get past the barrier by using the Byogen’s powers against them. Chiyu notes that while she might be onto something, how exactly are they supposed to do that? Asumi tells them that she will try to take in some of the Byogen’s power into her own body. Nodoka tries to talk her out of it, knowing how painful being infected with the Byogen’s power is and not wanting anyone else to go through that. Latte also objects, but while Asumi appreciated their concern, she states she has made up her mind. Asumi talks about how each of the girls helped her grow into the person she is today, and she’s willing to do whatever it takes to protect what she cares about. She goes on to explain that since she’s not human, she might be able to handle taking in some of the Byogen’s power better than them. Latte is convinced to go with Asumi’s plan, and promises to support her however she can.

Shindoine arrives, and the Cures quickly transform. Cure Earth tells the others to keep Shindoine busy while she tries to get her hand on any Mega Parts Shindoine might have on her. Shindoine hears her mention the Mega Parts, and quickly uses the one she has on herself to evolve even further. She proceeds to give the Cures a difficult fight with her new power, until Cure Sparkle has the idea to distract her by telling her King Byogen is nearby. Shindoine doesn’t fall for it, but Cure Sparkle’s trick does manage to have its intended effect as the other three Cures proceed to blast Shindoine with their Element Bottle attacks while Shindoine is yelling at Sparkle.

The Cures use the Final Healin Good Shower, returning Shindoine to her original form. Noting that the attack didn’t fully purify her, Latte suddenly has an idea, and manages to speak her first word, “Oasis”. Cure Grace, Fontaine and Sparkle quickly charge up the Healing Oasis, while Cure Earth holds onto Shindoine to make sure she doesn’t escape. As Shindoine is purified, Cure Earth quickly takes what remains of Shindoine’s power and absorbs it into her body. After it’s done, Cure Earth notes that while it feels strange, she thinks she’ll be fine. Relieved, the Cures prepare to head back and confront King Byogen.

Another good episode! So Shindoine was purified, meaning all three Tera-Byogens are now gone, and all that remains is the final battle against King Byogen. I wonder if they’ll truly be able to eliminate him for good, or simply reduce him to a state where he won’t be able to harm anyone for a while, kind of an As Long As There’s Evil situation. Also, two more sort of speculations of mine sort of came true, as I was wondering if Latte would speak her first words without the use of the mind-reading stethoscope before the end of the show, and if Asumi’s status as a nature spirit would come into play in a significant way in these last few episodes. All in all, this was a great episode for both Asumi and Latte. Also, Teatine and the other Healing Animals finally showed up, and I like the role they play, giving the Cures time to come up with a way to finish off King Byogen. And hopefully Asumi’s plan won’t backfire on her in any way.

I’ll be looking forward to the next episode!

[sagewindfeather]

I'll be at Anime Oasis this upcoming weekend! It'll be wonderful to see you all again after so long. I have a lot of new merch coming, so be on the look out for me and snag some up!

[razorblade180]

Two of a kind

[Oasis]

Neo:*walking* Adam! You around here? Pleased say yes and I didn’t come out here for nothing!? Adam!?

....

Neo:(Where could this man possibly be? Not like he can walk around anywhere he wants.) *knocking on door* A-

???:Can you stop screaming?

14yo Sienna: *opens door* This is a desert. You don’t have to talk so loud.

Neo:Oh hey, I remember you. Finally speaking full sentences again I see. And after all that work I spent teaching you how to sign.

Sienna:.....

Sienna:Who are you again?

Neo:Ummm Neo? N-E-O. I work with your dad and watched over you sometimes when you were small. Well, smaller.

Sienna:I’m almost your height.

Neo:Still tiny. Cannot believe you don’t remember me. Though, you were a bit in pieces back then. Things were bound to slip through the cracks.

Sienna:You....look familiar at least. I think. Adam definitely says your name a bunch.

Neo:Praising my work is he? *smiles*

Sienna:More like constant groaning about your dilly dallying? Whatever that means.

Neo:What!? I’m his best member and he complains about how I do things.

Sienna:I’m pretty sure he told me you’re number four. Five counting himself. Six counting Bla-

Neo:Okay! Okay! That’s enough jabs kiddo. Where is the guy anyways?

Sienna:Fishing with Jael. Mom is out getting side dishes for dinner. I actually managed to go to sleep for once until a voice started screaming...it was a nice hour while it lasted.

Neo:Hehehe, my bad. Well, can I come in and wait?

Sienna:.....

Neo:*pouts*...

Sienna:Isn’t that trick suppose to be the other way around?

Neo:When you’re cute it doesn’t matter.

Sienna:*folds ears and pouts* Please get off my porch.

Neo:.....

Sienna:......

Neo:Ugh, fine. I’ll just wait by the oasis. I want to give him my report and go home already. *walking away*

Sienna:You did a mission?

Neo:Yep.

Sienna:.....Was it cool? *wiggles ears*

Neo:I was undercover in an up and coming terroist orginization for a month. So yeah, pretty cool.

Sienna:Wow....how do you do that?

Neo:Do what?

Sienna:Be around dangerous people for so long?

Neo:That’s easy sweetie. I’m dangerous myself. I have been my whole life. Most people can’t tell though which makes it better. I’m just another pretty girl to most.

Sienna:I can tell. That you’re dangerous I mean. Also a bit unhinged.

Neo:Oh can you now? *looks at her*

Sienna:Yeah, it’s the eyes.

Neo:Different colors have you on edge?

Sienna:Not that. Your eyes...remind me of mine.

Neo:.......

Sienna:I’ve hurt people too, when I’m scared. Cornered like an animal. My heart starts to pound....

Neo:Then the only thing that matters is living pass that moment?

Sienna:Y...Yeah. Exactly. If it weren’t for Adam then even that might not have been possible.

Neo:.....You wanna know a secret? We aren’t quite the same. *walks back to her*

Sienna:How so?

Neo:You found the warmth of others far faster than I did. Not only that. *rubs Sienna’s face* I don’t think I was half as tough as you are when I was your age. Nowhere near as beautiful either. You’re quite the looker aren’t you? It’s a real talent to look so graceful while holding trauma.

Sienna:*red* I’m pretty?

Neo:Of course! Has that fuddy duddy parent of yours never told you?

Sienna:They say it, it’s just weird to hear someone else say it. Especially with rings under my eyes.

Neo:Pfft. Those aren’t anything. Wanna talk by the water while a wait for your pops?

Sienna:....We can wait inside, Neo.

Neo:*smiles* If that’s okay with you then sure.

[A couple hours later]

Adam:*walks in with Jael on his back* Sienna we’re back. Your sis caught you a bunch of trout. Right Jael?

8yo Jael:Zzzzz

Adam:*Smiles* That sounds about right.

Neo:Hey boss. *on the couch*

Adam:Oh hey N-

Sienna:*sleeping on top of her*Zzzzz

Neo:*rubbing her hair* Looks like you got two sleepy kids. Lucky you.

Adam:How long has she been asleep?

Neo:A few hours.

Adam:That’s surprising. She doesn’t doze off unless she’s exhausted or with me.

Neo:Jealous?

Adam:Thankful, she needs all the rest she can get. She remember you?

Neo:No, but I think this was a good reintroduction. This kid is really something else. It’s a miracle that she’s as put together as she is. You’ve done a good job keeping her alive.

Adam:Did she say that? I get to much credit. She survived all on her own. All I did was give her more options to go.

Neo:That’s more than what you and I got at her age. Maybe she’ll still find peace in life.

Adam:I wouldn’t be so sure. She’s very adamant about joining the organization. Says it calls out to her; she’s already training for boot camp.

Neo:Yeah? *looks down*......hmph, I can understand that. Well if she really goes through it then I bet she’ll be great.

Adam:I rather she find a different path. To be honest.

Neo:We both know that darkness like this doesn’t simply go away. It has to be navigated, not avoided.

Adam:Preaching to the choir. Everyone in this house has their own darkness, except for Jael. She...has a different trial that concerns me.

Neo:Her heart?

Adam:My name. Even know she’s starting to realize just how unique her situation is to be born into this household. Though I suppose I should count my blessings; what should’ve been five years with her is now eight and shows no sign of stopping. I’m glad that we’re even able to have the opportunity to deal with the problems of navigating her future. Though juggling both of their needs is a bit straining on Jacquelyn and I.

Neo:Well it takes a village. I’m always a call away. I already deal with the Arcs. A tiger cub is nothing.

Adam:....You’ve grown attached.

Neo:I have no idea what you’re talking about. I’m just making sure my future subordinate has a nice life.

Adam:I hate to break it to you, she wants to work with me. Also Ilia will make sure Sienna gets the fundamentals down.

Neo:Don’t trust me?

Adam:Jacquelyn would murder me if you oversee her. But....if she does seek you out or does need help-

Neo:You have my word. I won’t be a pathway for her. Just a safety net. Let her find her footing, or are you concerned that she’ll like me more in the end?

Adam:You should fear the mom.

Neo:I’m no stranger to beating a maiden. Number four in chain of command. Not because skill or efficiency maybe, but nobody out ranks me in the areas that require my touch. Except for maybe you, but I don’t have to tell you that now do I? *pink eyes*

Adam:*smiles*No, I think these days you have me beat. Alright, I’ll be counting on you to keep an eye on her as well. Thanks.

Neo:Don’t mention it. After all, you helped get me a voice. That and...I like the look in her eyes.

Sienna:Zzzzz

[tiesandtea]

The London Suede Come To America (1995)

"Some days I wake up and I feel absolutely bullet proof," says Suede mainman Brett Anderson. "When I wrote 'So Young' I wanted a song that was like that... pure raging excitement."

By Michael Goldberg, Addicted To Noise (ATN), San Francisco. Archived here.

ATN was founded by Goldberg, who previously worked as an associate editor and senior writer for Rolling Stone, in 1994. It was one of the first online music magazine that offered audio samples and video interview clips with its editorial content. The first issue came out in December 1994. (x, x)

In the midst of a February/March club tour of America, ATN caught up with Anderson in Detroit for a frank chat about naked men in dog collars, the New British Invasion, the Sex Pistols, and his drug(s) of choice.

Suede leader Brett Anderson is a wisp of a man, who claims not to court controversy despite provocative album cover art and such lyrics as "I want the style of a woman, the kiss of a man." Yet he's caused plenty of controvery. Consider his comment to Details that he's "a bisexual man who's never had a homosexual experience." Sexual ambiguity sells, as has been clear since Elvis appeared on the scene some 40-plus years ago.

Suede bring Bowie's Ziggy Stardust sound (and androgyny) into the '90s. These Brits know how to make hits. "So Young," "The Drowners," "Metal Mickey," and "Animal Nitrate" were brash, infectious pop confections that begged to blast from car radios. They flew up the charts in Britain upon release.

Dog Man Star, the group's second album, is a song suite, an hour of metallic bang-a-gong rockers and ethereal ballads. Anderson can sing as trashy as the late Marc Bolan, but he can also hold his own crooning with the likes of George Michael or, going back some decades, Bing Crosby. And he's not afraid to go against convention­­in fact, he seems to relish it­­ freely admitting that he liked Kriss Kross records and just can't understand the popularity of grunge rockers Pearl Jam and neo-punks Green Day and the Offspring.

Anderson and bassist Mat Osman grew up in Haywards Heath, a bland suburb located 40 miles south of London ("Quite a horrible little place," Anderson told one reporter). His father took odd jobs; in recent years he's driven a taxi. His mother died of cancer in 1989. His father was a fan of Liszt, going so far as to name Anderson's sister Blandine, after the composer's daughter. He first heard both the Beatles and the Sex Pistols playing on his sister's phonograph.

Anderson felt like an outsider from as early as he can remember. And he always wanted to be a rock star. In fact, he says he assumed everyone wanted to be rock stars, and was flabbergasted the first time he met someone who didn't.

Away from the raucous punk and post punk scene of the late '70s and early '80s (he was 7 years old in 1977, the year of the Sex Pistols), Anderson romanticised being in a band, and dreamed. Ask him his influences and he doesn't hesitate: the Beatles, the Stones, Bowie, the Sex Pistols, the Smiths, "and punk bands like Crass."

In 1985, at age 15, Anderson strummed an acoustic guitar and sang on the street for spare change. He says he played in "hundreds" of bands [clearly an overstatement] but eventually landed in London with Osman. They placed an ad in the New Musical Express which brought them guitarist/songwriter Bernard Butler, and some time later replaced their drum machine with Simon Gilbert.

By April of 1992, before they'd even had a record released, Melody Maker put them on the cover, declaring, "The Best New Band In Britain." Funny thing is, they lived up to the hype.

And they've managed to survive their 15 minutes of fame. Anderson expects the group to record another album following spring and summer tours of Asia and Europe, then return to tour America in the winter. The album won't be released until next year.

In the midst of a February/March club tour of America, ATN caught up with Anderson in Detroit for a frank chat about naked men in dog collars, the New British Invasion, the Sex Pistols, and his drug(s) of choice.

Addicted To Noise: I found it interesting that "So Young," off your first album, was about that feeling of invincibilty experienced when one is "so young," a sentiment more recently expressed in the Oasis' hit "Live Forever."

Brett Anderson: "So Young" came from our first flush of success and the desire of everyone around you to kind of settle you down. The desire of people to almost build a rock star career, and to actually take all the joy out of it, the pure joy you get out of being in a band that people love. It was one of those songs that I wrote with an audience in mind. There's certain songs that you have to hear sung back at you. One of the things that I loved about "The Drowners" [their first UK hit], it was written as a quite personal thing but the way the song works best is when you've got 2000 people singing, "You're taking me over." I did have in my head the vision of 5000 people singing back to me with "So Young." I love that. It was supposed to be quite anthemic, it was supposed to be quite stupid. I didn't want to be turned into some kind of intelligent, literate pop star, you know what I mean?

ATN: Why not?

Anderson: I don't think there's any place for intelligence in music. I can't see the point. Music's instinctive and it's natural and it's dumb. It's real dumb.

ATN: What were you trying to communicate in that song?

Anderson: There's just a feeling of absolute invincibility that you get sometimes, especially if you've been in bands a long time and it's taking you a while to actually convince people. Some days I wake up and I feel absolutely bullet proof. I wanted a song that was like that. That was actually almost pure raging excitement.

ATN: The cover of your latest album, Dog Man Star, depicts a young man lying naked on a bed. Who is that?

Anderson: The picture is from a book of photographs I've had for a long time. It's actually the husband of the photographer who took it and it was taken the day after they split up. It's a beautiful picture. It's something I've had for a long time and we've never made a record that really fit it, and then we did. It was one of those things where I took it into the band and everyone went "Ah, that's the one."

ATN: Both album covers are controversial in their own way.

Anderson: They're not meant to be in the slightest. You should see the original of the Suede album. The picture we used is actually cropped. The original full picture, the woman on the right is naked in a wheelchair and the other one is kneeling to kiss her. It's a beautiful picture. And we got the right to use it. But one of the things we did was to phone up the two models in the picture to check if they were all right with it because it's an image that's going to be seen all over the world and one of them didn't want it used. Which is fair enough. It's a twenty year old picture, or whatever. But I just liked the mood of it so we cropped it. But it wasn't intended to be controversial. I mean one of the things people always say is it's so androgynous. Which is really weird, cause in the original you can tell it's two women. But anyone who is shocked by two women kissing in 1995 is a fucking half-wit.

"If we wanted to be controversial we'd have called the album I fucked dogs," says Anderson. "It's fucking easy to be controversial and difficult to be good."

ATN: Yeah, but that's what's so interesting particularly about America. I've lived in San Francisco all my life and in San Francisco, as you know, is a very sexually liberated city. But you go to Kansas, or some of these places you go through when you tour, and it's like the Stone Age.

Anderson: I know. America is definitely like three or four different countries. No, there was no intention to be controversial. I'm not really interested in being controversial. If we wanted to be controversial we'd have called the album I fucked dogs. It's fucking easy to be controversial and difficult to be good.

ATN: In putting two women kissing on the cover of that album, what did you want to say?

Anderson: Nothing. It's a beautiful image. I don't give a fuck about things like that, what people will think. One of the funny things about that is you had all these people phoning me up going, "Yeah, we think we're offended by your album cover but we're not sure. Cause we don't know what it is." Oh, well it's a man kissing a woman. "Oh." Only kidding, it's two women. "Oh, we're offended then." No, no I was joking. It's actually a man and a woman. "Oh we're not offended then." It's the same fucking picture. It's not for me to think about. I'm not going to think about it.

ATN: But you got that kind of reaction to the first one and then you put out Dog Man Star. You're saying you weren't courting controversy with that cover?

Anderson: Not in the slightest. It's because we come from Britain where no one gives a shit. Really. And to think that a semi-naked man is in any way controversial is one of the great horrors of this century. You should have seen the original fucking cover for Dog Man Star, man.

ATN: What was that like?

Anderson: It's from One Hundred and Twenty Days In Sodom . You know that film? Passolini?

ATN: I haven't seen that.

Anderson: It's fantastic. It was the naked man in a dog collar snarling at the camera. That was a fucking brilliant picture but we couldn't get the rights to that. So perhaps we should have gone with that and then I could be discussing controversy with you. I don't think it's a big deal. There are people who are professionally outraged nowadays . That's their job. But no one's actually outraged. They just think they ought to be.

ATN: It's a position they take.

Anderson: Right. It's my job to be outraged by a naked man. And it's the woman over there whose job it is to be outraged by a naked woman.

ATN: Do you think there's a New British Invasion really going on right now? Can it be compared to what happened with the original "British Invasion" in the '60s? And do you think that that's what's going to happen?

Anderson: No I don't think so. It's all very well for a bunch of people in the media to get excited about it, but a British invasion is when British bands start selling a lot of records in the States, and at the moment British bands aren't selling any records.

ATN: It seems to me that some of the bands haven't been getting the kind of shot that they should get over here.

Anderson: We've certainly felt like that. It's always been quite strange for us 'cause the records have kind of leapt out everywhere else, all over Europe and Japan. The records just sell more and more each time. But we've found that American radio is pretty hard going. And radio and MTV are pretty much what make you over here.

ATN: You're over here, you're touring. Are you feeling like there's any kind of change yet in the reception?

Anderson: Absolutely. It's probably different for us because we've got pretty much a hardcore cult following over here. So we've never had a problem in the US. It's always been very comfortable for us. We've always had a very good time here. Whether or not that translates into anything kind of mainstream, we'll have to see. There's definitely a different musical climate in England and a different musical climate in America. I don't think the bands have ever been less connected. And I think that's a real shame. I think all the great music in the world has been universal music. I'm not really interested in flying the flag for Britain. I don't give a shit, really. I'd like to make records that turn the world on. That everyone wanted. I think the whole thing is a bit of a red herring.

ATN: What are you saying?

Anderson: The whole idea of British Invasions and American renaissances. It does away with the concept of people just making good records.

ATN: There are some really great English bands right now. Suede, Oasis, Bush, Elastica...

Anderson: I think definitely the British music scene has fucking woken up a little bit and realized that you can't just sit around and make cool records for your mates. But I think there's a long ways to go. And things are still pretty divided between Britain and the US. There's no way you could hear a record and say, "I'm not sure which country that comes from." That's quite a shame, I think.

ATN: One problem is that people in America aren't really getting exposed to the new British rock & roll.

Anderson: That's the frustrating thing. I don't mind being hated. There's loads of places we go where people have heard us and they despise us. Yeah, it's really frustrating to know that people just haven't heard of you. And the real divisions in American radio. For a while I spent 24 hours a day listening to alternative radio. I think it's horrifying [the way bands are pigeonholed]. I think it's completely un-American. And I think it's a real problem for a lot of British bands, 'cause a lot of British bands fall between the genres. I mean I don't think of us as an alternative band and we'd sound pretty exotic on alternative radio. But then if you try to get us on Top 40 radio, they say we're too alternative. The problem is if you don't immediately fit into something quite comfortable. American radio has become more and more compartmentalized, which is a shame because it's a totally un-American attitude. One of the things that Americans have always been respected for is the breadth of what they're into. America has been the place where people like Black Sabbath and they like Portishead. I think it's quite sad that it's actually being carved up, kind of like demographic radio.

ATN: Dog Man Star seems more introspective, with a lot more ballads and slower material than the first album.

Anderson: A lot of changes between this album and the first one are just to do with having the time and the money to make the record that we always wanted to make. The first record is filled up with live tracks and things we've been playing for a couple of years. And when you're starting out you write big storming rockers that actually grab people's attention. You're desperate to be heard. Whereas this one we knew people were actually going to listen to it. It's a bit more subtle. We wanted to do something that you could really just lose yourself in, that you could dive into. And we wanted to actually make an album rather than a collection of singles. We sat and wrote it as an album. You know, we wrote the songs in one batch and all of the songs are like little cousins of each other. And it's supposed to be a whole album that you can actually live in and from the minute it turns on you just get swept away by it. There are a lot of changes of mood in it and a lot of changes of pace. Like one long song with an introduction, verses and choruses and even an outro.

Anderson: But I don't think it's more introspective. I think it's less introspective.

ATN: Really?

Anderson: Yeah, I think it takes on the world a bit more. I think the record takes the world on, whereas the first one was probably what was happening in our heads. This one lives in the real world.

ATN: Give me an example of that.

Anderson: Something like "We Are the Pigs" or "The Asphalt World." They're not about just what's going on in my head. They're about the people around me and the world about me and the city around me and the country around me.

ATN: Did you go somewhere to write the album?

Anderson: I did. I was living in a place called Highgate. It's a very strange place. It's a beautiful little bit of London. It's like the 14th century or something. It's got like a village green and people have rabbit hutches in their gardens and it's between two of the fucking roughest bits of London. I basically just shut myself in a bare white room for about three months and I didn't do anything but just sit and write. It's quite an inspiring place because it's very quiet and very calm but you're seconds away from real degradation and squalor. I find it quite inspiring. I need a bit of calm to write. I don't need calm in any other part of my life. But to write, I like to just sit back and let it wash over me.

ATN: Talk a bit about the lyrics on this album, and the songs.

Anderson: I think a lot of it is very blank. A lot blanker than the first one. For the first one, I used to sit down and actually slave over them and change words and did like 50 drafts. But a song like "The Asphalt World" is really simply written and it's written about kind of what I did during the day. I wanted to write something that was quite simple, that was just about me and the people around me. Things like that and "The 2 of Us" are almost like reflections on the day before. Whereas something like "Daddy's Speeding," that pretty much came to me in a dream. I had a dream that I was sent back in time to save James Dean from the car crash. We ended up getting loaded together and I didn't bother. I could have saved him.

"Still Life" came from living in that kind of place, being surrounded by housewives and incredibly bored people. It's one of the strange things that people think our lifestyle is always quite frenetic but it's actually pretty much like a housewife's a lot of the time. You know, 23 hours a day it's pure boredom. And I was trying to write a song that was about me and about them. I pottered down to the shops in the middle of the day and would see these incredibly bored people actually become almost completely disconnected from life.

Kind of like fading alcoholic housewives. And "We Are The Pigs" is probably about the division between those people and fucking two minutes down the road, people living in Archways and the way there's no connection between the two.

ATN: I want to get your opinion on some of the other English bands. What do you think of Oasis?

Anderson: I think they're all right. Yeah. I don't know their music very well but I think they're quite exciting, which is good for a English band. I think they sound pretty natural.

ATN: You've heard "Live Forever"?

Anderson: Yeah, I think it's all right. A lot of the bands that people always ask me about I'm not particularly interested in.

ATN: What do you listen to?

Anderson: I like Beatles and the Stones. I like a lot of modern stuff, dance music, soul, rap. I like people who can actually sing. That turns me on. I like Prince. I like a lot of rappers because they've got kind of a hypnotic quality to them. There's too many people who are kind of singing essay writers. I'm quite turned on by people who have the power in their voice, whether I agree with what they say or not. Perhaps Jim Morrison or Nick Cave, who have a bit of authority, who have a bit of power to them. It doesn't matter what they say, it's the way they say it that's quite important to me.

ATN: Any particular rappers.

Anderson: Oh, Snoop Doggy Dogg.

ATN: Yeah, he's great.

Anderson: The thing is I don't agree with anything he says but you have to listen to him. I like Kris Kross as well. And people like Coolio. And who does that "Regulate"?

ATN: Warren G.

Anderson: I like a really smooth sound, I like people who can really sing, you know? That's almost disappeared. A lot of modern singing, a lot of rock singing and soul singing, it's all technique, all showing off. It's wailing and howling and hitting the high notes. I like people who can whisper in your ear instead of shouting at you.

ATN: Initially there was a lot of talk about Suede in terms of sort of reviving the glam thing and the Bowie thing? What did you think about that?

Anderson: I never, never understood it. I have no idea what was going on. I've always hated glam rock. I thought it was appalling. I'm not really interested in fake music and it was very fake music. I was a bit horrified by it all.

ATN: Did the Bowie references make sense?

Anderson: Oh yeah. I'm a massive fan. It frustrates me when people go over the top about it, but I think he's great.

ATN: What music influenced you when you were young?

Anderson: I suppose the punk stuff. If we're talking about what turned me on to music, what made me pick up a guitar. It was kind of like Crass and people like that. I like Sex Pistols and stuff, but I come a bit late to it.

"Anyone who is shocked by two women kissing in 1995 is a fucking half-wit," says Anderson.

ATN: And who else?

Anderson: A lot of tough punk. Real annoying your parents music, mixed with that, stuff my sister listened to: Beatles and Stones and Bob Dylan and Pink Floyd. And then after that, I suppose when I was old enough to buy records, it was the music of the day: The Jam and the Specials and Japan and people like that, just stuff you heard on the radio, basically. My musical education is not a list of cool, cult artists I spent years trudging around record shops to find. It's stuff you hear on the radio when you're having a tea on a Sunday night. That's where my love of music comes from, big pop music.

ATN: When things first broke for Suede, how old were you?

Anderson: About 23.

ATN: How did you handle it?

Anderson: It was easy, it wasn't that much of a problem. It really isn't. You can imagine what it's like being incredibly famous. [laughs] You can! It's like any other life, but you get recognized more often. You just have to wash your hair a bit more often, you can't buy as much pornography.

ATN: Look at the Kurt Cobain situation.

Anderson: That's a very different thing. He was a lot more famous than I was, and to his credit, one of the things that really saddens me about that is he spent a lot of time saying he was deeply unhappy with success. And everyone thought it was an image. That's one of the things that's sad about fakes in music. They actually ruin it for anyone who is telling the truth. Because if it wasn't for the fact that here's generations of people who have thought it's cool to be tortured, perhaps people would have taken him a bit more seriously when he said he hated himself and that he hated what he was doing. I look at like Sinead O'Connor now. I read something she said and I feel horrified for her, really sorry for her, because she's saying that she can't handle it and she's having a terrible time. And everyone thinks it's a joke, everyone thinks it's her image. And that really saddens me and that's why I've always tried to be blatantly honest in interviews.

ATN: Why did you call this album Dog Man Star?

Anderson: Its just three of my favorite words, really. It's just something that a lot of the songs are about. Almost like the three stages of man, the three things you can be. I feel very dog-like at the moment.

ATN: Sort of like the animal state to whatever state we are in at the moment to a spiritually enlightened state?

Anderson: Perhaps not a spiritually enlightened state, but I've always been attracted to people who actually think of themselves as stars, people who actually treat life like a film or a book. I don't mean in the sense of people who are actually in the public eye. There's a lot of people who have sold 60 million records who you see 50 times a day who don't have the faintest star quality to them, and then there's a lot of people working gas stations, they just have that aura around them? They just make things happen out of everyday life.

ATN: In the first song on the album, you make reference to Winterland, you make reference to introducing the band, which I took you to be talking about the Band, you know, Robbie Robertson's The Band.

Anderson: [Laughs] No.

ATN: That's where they played when they played their first performance.

Anderson: I was thinking the Sex Pistols' final gig.

ATN: But that's pretty wild. I was at that show at Winterland, actually.

Anderson: You're kidding.

ATN: It was probably the greatest show that I ever saw.

Anderson: I was watching it just recently. I've got bits of it on video. It's something I've seen about a million times. That bit at the end. [Starts to deliver lyrics in a monotonal Johnny Rotten voice] "This is no fun/ No fun/ At all."

ATN: People were throwing money and all kinds of stuff onto the stage. Rotten was just picking the stuff up. And the audience was just the most bizarre audience. It was a mixture of people that were totally into the band and people who had come to see the freak show.

Anderson: Yeah totally. I've always been fascinated by them and by that gig and just the way they managed to compress everything into a year. Or in the case of that show, anything you could ever ask for a gig in three-quarters of an hour. I just love the idea of a final moment. Of a band just being in the present.

ATN: The thing was, though, when you were there, the music sounded so great and so powerful. Some people tended to say, oh, the Sex Pistols couldn't play that good...

Anderson: Oh they fucking rule! We were listening to the album last night on the bus. If you listen to it now, it just sounds like the greatest rock album in the world.

ATN: Never Mind the Bollocks . . .

Anderson: Yeah. It's so completely almost like year zero it's ridiculous. It's like listening to Chuck Berry.

ATN: Exactly.

Anderson: Or the Rolling Stones. It's just a fucking absolutely great melodic rock album. All the things that people say about them are absolutely untrue. There's only one criteria for musicianship, as far as I'm concerned, and that's whether you can get across what you're saying with your instrument and with your voice. I'm not interested in any kind of technique or anything like that. To me, a great musician is someone that you understand what they feel when they pick up a guitar and there's people who can do that with three chords and there's people who can play entire symphonies and have never moved a human soul.

ATN: All these guitar players who can play scales up the wazzoo, but so what?

Anderson: The real problem is, you've got someone like Sex Pistols, they come along and people mistake it. People think that the way they played was what was important, people actually think that if they can replicate the sound as raw or amateurish as that, that they'll somehow be as great as them. And it has nothing to do with that, it has nothing to do with the level of musicianship. It has to do with the fact that they actually send an electric shock through you. And there's people who do that with incredibly complicated music and there's people who do that with incredibly simple music.

ATN: How old were you when you were exposed to "God Save the Queen" and "Anarchy . . . ?"

Anderson: That's the strange thing. I was just really too young. It was '76 when that happened, which is 20 years ago now. I was about 9 or 10, so I wasn't a punk. I couldn't get to any punk gigs or anything. So we just got these ripples in the suburbs, this incredibly frustrating feeling 'cause you knew you were getting everything like second or third hand and you knew you were missing out. Luckily they were one of the few bands where the records were so fucking powerful that it didn't make any difference, you could actually plug into it. Half of my life I've kind of lived the pop dream, wanting to be in a band, and it comes from that, it comes from being cut off from it and just having these little bits of vinyl which were my only connection to it. It's not like nowadays where any kind of fucking two-bit thing makes it, you see it everywhere. It was in the news. I can remember for a few weeks where that was the news. You know what I mean, the Sex Pistols.

ATN: Was it the Sex Pistols or what was it that actually made you make the decision, OK, I want to do this?

Anderson: It's one of those things that's always seemed completely natural to me. It's almost the other way around. I can remember the first time I met someone who didn't want to be in a band. And I can remember thinking it was the most bizarre thing. I thought they were making it up. I just assumed that everyone wanted to be in a band and a lot of people settled for something else.

I guess that punk was really important just because the first time you pick up a guitar, you're not going to be able to play "Brown Sugar," but you are going to be able to play stuff like "Bodies" and "Submission." I used to be in a punk band called The Pigs. We played these kind of like bastardized Sex Pistols and Fall songs about the countryside. I mean they actually connected you to music.

One of the big problems of coming from the kind of place I come from is there's no history, there's no music, you can't imagine yourself as a pop star. You couldn't say, "I want to be in a band." There weren't any bands. There wasn't a local scene or anything. The nearest big town is Brighton and that's never produced anything. One of the things about the Smiths I loved when I was growing up was just the kind of obvious ordinariness of them and the fact that they were making beautiful, important music and they were just obviously kind of like the square kid in the back of the class.

ATN: Haywards Heath is where you grew up, right?

Anderson: Yes.

ATN: But that's 40 miles from London. That doesn't seem that far to me, but it sounds like it felt like it was a million miles away from anything cool.

Anderson: Oh yeah, completely. It's near enough, I used to go up to London when I was 15, 16, but kind of as a complete tourist. I used to wander around the streets with my mouth open. I didn't get to do anything. I just went to wander around and soak it all in. I think that's quite important to be cut off from it, because you keep your romantic view of it intact.

ATN: You romanticize it.

Anderson: People actually from London, they're a bunch of fucking, cynical old farts, they really are. They've all seen it all before, they've all been backstage. They've already seen the downside of it and we never really had that. We still kind of actually believed in the band. And I think a lot of big city people just don't. They don't believe in the power of music.

ATN: About how old were you when you had The Pigs?

Anderson: The Pigs. I guess I must have been about 15.

ATN: Was that your first band?

Anderson: I've had hundreds. Bedroom bands. I was in a band called Suave and the Elegant. They did kind of Beatles covers. None of us could play. Just farting around. And then, when I met Mat [Osman], it was the same thing, we couldn't play. We had a drum machine in the bedroom and we'd do these dreadful fucking songs.

ATN: How come you parted ways with guitarist/songwriter Bernard Butler?

Anderson: He just didn't really enjoy being in the band anymore. There was just no point having anyone in the band who doesn't think it's the greatest thing on earth, you know what I mean?

ATN: So basically he got bored with it or frustrated with it?

Anderson: I think he wanted to do everything himself. He's very musical and he just wanted to sit and play guitar and write songs. And if you want to be in a big band, you actually have to work at it. You have to be singer and musician and businessman and politician and interviewee and all these things at the same time.

ATN: Do you worry at all that not having his musical input is going to affect things like coming up with material?

Anderson: Not in the slightest. We're working a lot faster that we ever have done.

ATN: And you like the material as much?

Anderson: Yeah, certainly. I'm really excited about it. The thing is, I'm writing stuff on my own and I'm writing stuff with [new guitarist] Richard Oakes and I'm writing stuff with the band. Richard is vomiting stuff out.

ATN: What makes you mad?

Anderson: I guess absolute waste. Just the realms of crappy fucking records. Piles of dogshit. You could get rid of 95% of the records that were ever released and no one would be any the worse off. I'd like to see MTV close down for an hour and go, I'm sorry there's nothing good to put on. Or a music magazine saying, we're not coming next week because nothing happened.

ATN: It seems like there's always been this classic tension between the creative side­­someone trying to make great rock & roll­­and the record company's side, where it's a business trying to make money. And it's like they don't care whether it's the Sex Pistols or whether it's Journey.

Anderson: At the same time, it's very easy to just be purely musical and just sit at home all day and make beautiful records that no one hears. I can't get away from the fact that if we make a record now, because of record companies, 90% of the world's population can get a hold of it in a week and that's a fucking fantastic thing. That's technology being used in an incredible way. You can't knock it. If you're going to make a record to communicate to people, then you should make sure people fucking hear it. I think that's really important. I don't want to just sit home and say, we just write music for ourselves and if anyone else likes it, it's a bonus.

ATN: One of the reasons that there's so many crappy records is because the record companies don't know. They're trying to find something...

Anderson: They're doing a job. I'm very aware of that. Every single person you meet in the entire fucking rock-and-roll industry is doing their job and they're looking out for number one. It is a fucking industry and you've just to be completely aware of that. That's why you have to be quite a tight unit as a band because it's the four of you against the rest of the world. However much there's people around us who have our best interests at heart, at the end of the day we're the band and we know what's best. We have pretty much absolute control over Suede. We have more control than pretty much any band out there today.

ATN: Do you make the business decisions?

Anderson: Yeah. Everything follows from the records. Basically, when it comes to selling, we leave the record company to it. That's what they're there for. They're the salesmen. But we're one of the few bands where no one hears our record until we've finished it. And then we come out with a finished record, finished artwork. And we hand it over, we say these are going to be the singles, and we let them to the bits that I have no fucking interest in. Like marketing it.

ATN: When you handed a record over to them, have they ever come back to you and said, "Oh, we think you should do this or we think you should get that song remixed?"

Anderson: [laughs] They wouldn't fucking dare. I mean we listen to them. Every now and then the American record company will say, "I think this would make a great single in America." And we have listened to them in the past. But pretty much anything we actually care about, we do ourselves. No, no one's ever suggested that to us. No one's ever suggested remixing or anything like that. I think they know that it would be a terrible, terrible mistake.

ATN: You've toured America now, this is the third time?

Anderson: Yeah.

ATN: What do you think about this place, given that you've been here enough times that you have some sense of it?

Anderson: I love the place. I do love the place. There's a real openness to it that you don't get in lot in other countries.

ATN: What are some of the specific things that you like?

Anderson: I've had some of the best nights of my life kind of lost in strange American cities. Just being swept along. People are completely receptive to, I don't know, letting loose. Getting loaded and getting loose. Just because there's a kind of dumbness to the place. There is! Which I really like. Let's just see what happens, that kind of thing. England can be a very claustrophobic place, especially if you're vaguely well-known and I don't get that in America at all. I find the opportunities for getting yourself in trouble are vast here.

ATN: Can you be more specific?

Anderson: Not without perjuring myself at a later date. [laughs] I like the people here. I like the fact that people will actually try anything. And I like the way it's very fast moving. It really suits a band on tour. In Britain and Europe it takes kind of six months to get to know people so there's no point in meeting people. Whereas in America you meet people and they're like, "Hi, I'm Cindy, I was abused as a child and I'm a Gemini." And you're off, you know what I mean?

ATN: What's your goal for Suede?

Anderson: Just to make a string of absolutely great records. That was my goal for Suede when I was 12 years old. Doesn't change. One of the only things that doesn't change. To make just an absolute realm of fantastic records that people love.

ATN: Do you have aspirations of having the biggest band in the world?

Anderson: No. I want to be the best band in the world.

ATN: How did you come up with the name?

Anderson: It's just a beautiful, sensual word. It sounds really nice and looks really good. It's a sensual thing rather than intellectual. I've probably gone on many times about how Suede is the animal skin around a human body. But that all came later, when I was getting fucking [laughs] pretentious in interviews. It was just a sensuous, sensual word.

ATN: How did you feel about having to be the London Suede?

Anderson: It stank. I think it's shit.

ATN: What do you think of some of the American bands that have made it in recent years ranging from Pearl Jam to more recently, the Offspring and Green Day?

Anderson: I don't get it. I wish I did. I wish I could at least have understood it but didn't like it. But I just don't get it at all. I'm completely amused by it.

ATN: Are there any American bands that you do like?

Anderson: I like that Sheryl Crow record a lot. I like Perry Farrell, I think he's pretty cool. I like R.E.M.

ATN: You do?

Anderson: Yeah, I do like R.E.M. a lot.

ATN: What do you think of Monster?

Anderson: I think they got away with fucking murder.

ATN: Oh really?

Anderson: I understand it, though. I really understand it. It would be really easy to make another record like the last one and it's quite brave to make a record that you know is going to sell less. I don't think it's a particularly great album at all. I'd love to have been in the business long enough where people actually give you the benefit of the doubt whereas we're in the situation where people always assume the worst. We're always fighting for people to like our records. Whereas I think there are a few fucking statesmen in the world, like Paul fucking Weller in Britain, just because he's been around so long, if he makes a quarter of the way decent record, it's kind of like the second coming. Back to R.E.M., I just like the way they can be that big and that simple. I can't think of another band who've got that big and have actually used it to get simpler and more direct instead of turning into something enormous.

ATN: Speaking of the second coming, do you have anything to say about the Stone Roses' return after so many years of fucking 'round or whatever they were doing?

Anderson: Musically, it's great. They're probably some of the best musicians in Britain and they can actually fucking play. But one of the reasons I really liked the first album is I thought they actually had some songs. And I don't think they have on this one. But that's my personal taste. I like songs. And I don't think this is a very songy album.

ATN: How do drugs affect what you do?

Anderson: Apart from making me get up late for interviews, not very much. It's just something I do. It's not kind of a building brick in Suede, it's something I do personally.

ATN: Do you find it creatively stimulating?

Anderson: Very, very rarely. Not normally. When I wrote this album, I wasn't even drinking. I just locked myself in a white room for 14 hours a day. Pepped myself up with ginseng. Very occasionally I feel inspired by drugs, but not very often. And when we play live, it's funny, when we play live, none of us even have a beer before we go on. We played before 70,000 last year at a festival and we were the only people straight there.

ATN: So is it more a way of getting outside of yourself?

Anderson: I do it for exactly the same reasons that everyone else does. It's a good laugh. It makes me feel in different ways but that's no different from the reasons why millions of people who take drugs. I'd like to say it's some kind of creative elixir but to be honest, most drugs are incredibly uncreative. Cocaine is the least creative drug I can think of. Dope is fucking pointless. It's not a musical thing at all.

ATN: What's your drug of choice?

Anderson: What's the drug of choice? [laughs] I'll take anything, man. I don't really like slow drugs. I don't like drugs that slow you down. I don't like downers. I don't like anything that makes you fucking buzz off to a dream world. I like things that heighten....

ATN: In other words you don't like heroin.

Anderson: No, not particularly. I'm not really interested in dream drugs. I like things that light up your life, pep you up. Ginseng is my drug of choice. And Guinness. [laughs] Any drug that begins with "g," basically.

ATN: At certain points, do you sit back and say, this is amazing that I've been able to achieve what we have achieved?

Anderson: Regularly. Regularly I look in the mirror and say, I'm the luckiest man alive. Yeah, it hasn't lost its wonder for me at all. You can get worn away sometimes, but there's always the moment when you listen back to a track or the moment you play a great gig where you feel like Superman, actually feel like 500 feet tall.

ATN: In terms of the state of rock & roll right now, what's going on from your point of view?

Anderson: I think it's quite inspiring. I think it's quite inspiring in Britain and I think Americans seem quite inspired about the whole thing. I think Britain's producing some halfway decent records for once and I think people are actually astounded that Britain has risen and is beginning to get off its fucking ass. I think the American scene has totally been shook up by cheap bands and the fact that record companies are running around like headless chickens because money doesn't equal success anymore. I think that's great.

What I don't like at the moment is the kind of cult, alternative elements of it, the way everyone is playing to these tiny little demographic audiences and there's no kind of connection across any kind of cultures or even across a fucking big lake like the Atlantic.

ATN: When Elvis Presley died, Lester Banks wrote about Elvis and he said that Elvis was the last rock star that connected everybody.

Anderson: The really big problem is every band in the entire world is living in the shadows of the Beatles and there ain't going to be no more Beatles unfortunately because everyone knows too much and everyone has more access. So people can have music that completely fits them, and you end up with these bizarre musical sub-cultures that are just aimed at one percent of the population. And you never can have another Beatles and I find that incredibly sad. Because that is the blueprint, I think, for every band, for every decent band, to try and make records that turn the whole world on, records that anyone can connect with.

ATN: You really believe in the positive effect that a great rock-and-roll record can have on people.

Anderson: Certainly. Even if it's the most stupid record and it does nothing more for you than brighten up your day for four minutes when it comes on the car radio, it's still more powerful than the other art forms.

ATN: At its best, what do you think it can do?

Anderson: At its absolute best, I think it can totally empower people and totally make people feel like they're wearing a suit of armor and strengthen people and make people feel above the shit of the world. Even at its worst, it can be fucking great. I think a dumb-assed pop song, the dumbest of the dumb-assed pop song is probably more important than any fucking painting done since the war or any sculpture or anything like that.

ATN: Why do you feel that way?

Anderson: It affects people in a way that those things don't. It affects people in a totally natural, physical, emotional way. Not in an intellectual way. It's democratic. It's the only fucking democratic art form left. You can get it anywhere. One of the great things about music is it does belong to everyone and that great songs just come to live in the air. That's why I like the radio so much. That was my first introduction to music. Every now and then I turn it on and think, what a fantastic thing it is. Just that you can have these things all the time. You don't have to go to a fucking gallery, you don't have to pay anything. There just isn't any equivalent for any other art form and it's fucking cheap, music. It must be said. You can get yourself an original Suede for what, about $15?

ATN: Now, it seems like, in terms of a CD, it lasts for quite a long time.

Anderson: Oh, that's a typical fucking American attitude. They always want to know how long it lasts. It is. It's the only place I've ever been in the world where they come first and ask you at a gig, how long are you going to play? Who gives you a shit, you know what I mean?

ATN: I know what you mean. Like a shitty band could play for 3 hours, who cares and like 10 minutes of greatness....

Anderson: I saw The Jesus and Mary Chain when they played for 20 minutes and they were fucking incredible!

ATN: The first time they came to America they played at a little club called the I-Beam in San Francisco and it was amazing.

Anderson: I can just imagine in America someone going, "That was incredible, why don't you play longer?" People always want a fucking encore.

[wychive]

tagged by : @neo-shitty​ (toffee! ilysm hehe)

tagging: @noya-sannnn , @vitriosan , @hwanami , @luthenia and anyone else who wants to participate

slight warning : mentions of food

this is kind of long so it can help you relax if you want to do this!

[ one ] tell me the first song that made you stan your current fave group and why did your faves attract you so much?

wave // ateez

when jane showed me and fely (she already stanned ateez) the mv i was like :00 this song is really good and it goes with my type of music; pumped up and really fun. i decided that i wanted to stan them because of this introduction video that they did during pirate king where san broke the toy hammer trying to smack yunho’s ass SHHSSIJS,, i found them really funny and comforting! they made me so happy and that’s why they attracted me so much. + their amazing music ofc 

forever // exo

alright so i originally just casually listened to exo from wolf era up till 2017 when the kokobop teasers came out. they looked really pretty and so i watched them up till kkb was released. it’s what baekhyun’s voice in the forever teaser that captured me into stanning them. everything about the exo’s attracted me, their vocals, their dancing and ofc their visuals. bonus: their time on the ‘360 show(??)’! im not sure of the actual name for the programme but it was where yixing kept pronouncing jurassic park wrong pls that was so cute and funny how could you NOT stan them!

[ two ] answer the ten questions given by the previous person and write 10 of your own for the next person!

what’s your favorite season and why?

we only have two types of seasons here but if this includes western seasons, i would pick spring! flowers give me a sense of calmness whenever they start to bloom so being in a season where it’s just different coloured plants all around you? sign me up pls

are you a cat person or a dog person?

im a cat person! i currently have two cats as pets

what’s your current favorite song and why can’t you stop listening to it?

it would probably be fever by ateez! this is because it gives off freedom vibes and i’ve been stressed lately so the song is a little oasis for me

if you had the ability to do either of the following, would you rather change something in the past or see into the future?

i would choose to see into the future so that i could change what i do now, whether its related to me being lazy or me being selfish,, i would like to keep the past the way it is even if i had some scarring moments. it’s nice to look back on those and see how far you’ve come as a person.

what’s your favorite movie?

my favorite movie would either be spirited away or paper towns,, i actually don’t have a favorite movie because all of them have affected my life in different ways so yea :D

what did miss rona ruin for you this 2020?

probably the food fair this year,, my group of best friends were supposed to go there to celebrate jane and another friend’s birthday. the food fair happens yearly so it wasn’t anything big to anyone else, but to us it was something special. there are a lot more things but this was one of the major things she ruined :/

what’s your favorite album? (you can name one for each genre you like or you can just name one, it’s up to you.)

toffee why my top three would be day6’s sunrise, bts’ you never walk alone and lauv’s ~how i’m feeling~

if you could talk to your past self (person who lived your past life), what would you tell them?

“hey, dude, i hope you’re doing okay. stop being so selfish all the time alright? and stop comparing yourself to others, it wouldn’t do you any justice. make sure to spread A LOT of positivity even if no one acknowledges it. its okay to cry sometimes too. is my soulmate doing okay? i hope they are. i’ll make sure to find them in this timeline, and the next. whatever it takes. learn to love yourself.”

do you have a go-to person? who is it?

uh i dont have a go-to person,, i can’t vent or rant without feeling like burdening the other person or spreading negativity to them. instead i just kind of rant to myself on discord.

if you could tell your younger self something, what would you say?

“hey, kiddo. don’t fall in love too much nor fool around. it’ll affect you badly. appreciate the things your parents do for you, okay? don’t take anything for granted. ignore the people who call you names, they don’t matter here in the future. just be you.”

how do you spend your free time?

who or what is your biggest inspiration?

if you were a character in a horror movie, which stereotype do you closely resemble? and why?

your top 3 fanfiction tropes! (can be nsfw)

do you believe in soulmates and why?

painting or sketching and why?

what is on the top of your to-do list right now?

list down the top 3 things that make you happy.

who are you simping for right now?

what is your first core memory?

[ three ]  bold the statements that apply to you, italicize your aspirations.

AIR ༉⋆͙̈

i have small hands / i love the night sky / i watch animals and birds when i pass them by / i drink herbal tea / i wake to see the dawn / the smell of dust is comforting / i’m valued for being wise / i prefer books to music / i meditate / i find joy in learning new truths from the world around me

FIRE ༉⋆

i don’t have straight hair / i like to wear ripped jeans and overalls / i play an organized sport / i love dogs / i am not afraid of adventure / i love to talk to strangers / i always try new foods / i enjoy road trips / summer is my favorite season / my radio is always playing

WATER ༉⋆͙̈

i wear bracelets on my wrists / i love the bustle of the city / i have more than one set of piercings / i read poetry / i love the sound of a thunderstorm / i want to travel the world / i sleep past midday most days / i love simply lit dinners and fluorescent signs / i rewatch kids shows out of nostalgia / i see emotions in colors not words

EARTH ༉⋆͙̈

i wear glasses or contacts / i enjoy doing the laundry / i am a vegetarian or vegan / i have an excellent sense of time / my humor is very cheerful / i am a valued advisor to my friends / i believe in true love / i love this chill of mountain air / i’m always listening to music / i am highly trusted by the people in my life

AETHER ༉⋆͙̈

i go without makeup in my daily life / i make my own artwork / i keep on track of my tasks and time / i always know true north / i see beauty in everything / i can always smell flowers / i smile at everyone i pass by / i always fear history repeating itself / i have recovered from a mental disorder / i can love unconditionally

[ four ] the ultimate tag: answer whichever ones you want to because there are a lot.

personal 

name: [REDACTED], alachi nickname: teja, kai birthday: april 11 zodiac: aries nationality: malaysian languages: english, malay,  learning korean gender: female sexuality: biromantic height: 160 cm / 5"2’ or 5"3’

blog stuff

inspiration for muse: music, other people’s work meaning behind my url: fever (current fav song) + core (aesthetic??) blog established: around 2018 but i started becoming active in late 2019/early 2020 followers: 146  ( i love you all )

favorites

favorite animal/s: anything connected to the cat species  favorite book/s: the authentics (abdi nazemian), satellite (nick lake) favorite color/s: lighter shades/mid-tones of cool colours, a dash of yellow

random

average hours of sleep: 6 cats or dogs: cats coffee, tea or hot chocolate: tea current time: 11:34 pm dream trip: south korea, japan, europe dream job: song producer, lyric writer hobbies: listening to music, browsing the internet hogwarts house: ravenclaw last movie watched: harry potter and the prisoner of azkaban last song listened to:  no. of blankets you sleep with: 1 random fact(s): my favourite subjects are biology and english!

[ five ] 10 songs i can’t stop listening to:

eternally - txt

fever - ateez

blue - keshi

lights out - exo

00:00  - bts

strawberries and cigarettes - troye sivan

maze in the mirror - txt

i loved you - day6

 illusion - ateez

 stolen moments - the vamps

[howaminotinthestrokesyet]

I Can See It Now: A Selected Tour of the Oasis Videography

Music Videos

“Shakermaker”

This video would be shot in Burnage in Manchester very near the Gallagher childhood residence. The soccer field in the clip is Didsbury Toc H Sports Ground in Ford Lane, Didsbury in South Manchester. The record that Liam shows to the camera is the 1978 release by Paul McCartney entitled, Red Rose Speedway.

“Supersonic”

Two music videos would be released for this Definitely Maybe track. One in which the band can be seen on the roof of a hotel at King’s Crossing in England. The second video for the US market has them in a car, then finishing the video in a hemisphere much like the “Some Might Say” music video.

“Live Forever”

Once again, two music videos would be released for this song for the UK and US markets. The UK version directed by Carlos Grasso sees some unusual cinematography like the band burying drummer Tony McCarroll alive and Liam sitting in a chair attached to a wall raised high up in the air. Some of the video was shot at the Strawberry Field Memorial in New York City dedicated to John Lennon. The American version directed by NIck Egan sees the band playing in an office with pictures of famous musicians hanging on the wall including Sid Vicious, Kurt Cobain, Jim Morrison, John Lennon, Brian Jones, Jimi Hendrix, Marc Bolan, and Bobby Moore.

“Morning Glory”

This video takes place in an industrial apartment building with the tenants looking in the mail slot as the band plays the track in their apartment. Judging by the opening shots of the clip, the setting is intended to be Baffron Tower. The angry tenants include a man with a baby, a young boy, an old man and a female cyclist, an elderly woman with a hair dryer, a middle-aged woman in a house coat, a mafia boss and two bodyguards, an Indian couple, a drug addict, another elderly woman, and young woman and her mother. The promo concludes with the band packing up their instruments after finishing the track.

“Don’t Look Back in Anger”

This video directed by Nigel Dick features John Patrick Macnee, who played in the 1960’s British television series, The Avengers. The video filmed in Pasadena, California has Macnee driving the band in a black limousine to a mansion quite similar to the Playboy mansion. Oasis continues to perform the song there with Noel on lead vocals for the first time in any promotional clip. The models in the video occasionally lip sync to the song with one in particular Liz Atkins marrying drummer Alan White in 1997. The couple would later divorce making for an ironic look back at the music video.

“Stand By Me”

This video was based on a series of ads first seen in the publication the Guardian showing various people seemingly committing acts of antisocial behavior, criminal activity, or violence when it is later revealed to show people were actually being helped. For example, a neo Nazi looking young man is depicted to make one think a businessman is being robbed, but the camera soon reveals that he is helping the man unlock his car. Other scenes show similar scenarios followed by a surprising reveal. The promo was shot in the Feltham district in West London.

“All Around the World”

This video became one of the most expensive ones the band ever produced with 24 animators, which took six months to create. The band travels around the world in a yellow spaceship, which is quite similar to the Beatles Yellow Submarine video in the 1960’s. The promo would be directed by Jonathan Dayton and Valerie Faris. The pair has directed many music videos as well as feature film like the critically acclaimed Little Miss Sunshine. One of their most noted music videos came in “Tonight, Tonight” by the Smashing Pumpkins.

“Wonderwall”

This video had two versions to it with the original concept developed by Johanna Bautista and directed by Nigel Dick. The clip was shot during the brief hiatus Guigsy had with the group due to nervous exhaustion. He would be replaced by Scott McLeod, who appears in the video. This version would go on to win a Brit award in 1996 for best music video. The second iteration of the promo has the group sitting down throughout the video, then at the end Noel, Alan White, Scott McLeod exit stage left, while Liam and Bonehead remain seated.

“Some Might Say”

This is a bit of a deja vu video because it seems to be a carbon copy of the US version of their earlier “Supersonic” music video. In both, the band drives to a hemisphere facility to play live in front of a crowd. One must wonder whether this represented the usage of footage from the same shoot. The video was directed by Stuart Fryer, who went on to direct a horror film entitled Bad Dreams more recently.

“Cigarettes and Alcohol”

This video alternates between the group playing live at a club and people trying to get high in the restroom. Some of the girls in the video actually worked for Creation Records. Recently, New Musical Express offered up new footage from that show at the Lomax in Liverpool, England. During a performance at Kentish Town Forum, the band distributed flyers telling fans about the video shoot.

Documentaries and Live DVD Releases

Documentaries

Supersonic (2016) Film that would probably be the definitive documentary on the group as it received full cooperation from almost every former band member, save Tony McCarroll. His interviews were only previously recorded audio due to his legal fights with the group over financial issues.

Oasis: Knebworth (2021) Released in theatres as well, this documentary focuses on the two nights the band played Knebworth in England to a total of 250,000 people. The film spends more time talking to fans, rather than the band themselves.

Lord, Don’t Slow Me Down (2007) Tour documentary following the band during the promotion of their 2005 album, Don’t Believe the Truth.

Oasis: Definitely Maybe (2004) Retrospective look back at the band’s debut album on the heels of its ten year anniversary. Originally, the documentary appeared on the short lived dvd/cd dual disc format.

Live Concerts

Familiar to Millions (2001) Live concert that shows their show at Wembley Stadium in 2000 as the band were promoting Standing on the Shoulder of Giants. A live album would be released to coincide with the dvd release.

Oasis: There and Then (1996) Combines footage from their November 1995 show at Maine Road and Earl’s Court concerts the following April during the (What’s the Story) Morning Glory tour.

Live By the Sea (1995) Release featuring footage from an April 1995 concert at Southend Cliffs Pavilion, as well as music videos from Definitely Maybe.

[aion-rsa]

Ready Player Two Ending Explained: How the Sequel Jumps the Shark

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This article contains MAJOR spoilers for Ready Player Two. You can read our spoiler-free review of the sequel here.

At the end of Ernest Cline’s 2011 novel Ready Player One, Wade Watts a.k.a. Parzival inherits everything he set out to win in James Donovan Halliday’s Easter egg hunt: the OASIS creator’s massive fortune, as well as control over the digital world itself. So how could Cline, and Halliday, top that with Ready Player Two?

By helping humanity level up.

The sequel’s ending definitely goes in a very different direction than how Ready Player One ended, both relating to the book’s central quest and in how it opens up the world of Cline’s future-Earth. Read on as we trace the path from the Seven Shards for the Siren’s Soul to the posthumous gift that allows Wade to finally achieve some level of closure when it comes to his adventures in the OASIS.

What Are the Seven Shards for the Siren’s Soul?

Not even two weeks after winning control (along with the rest of the High Five) of the OASIS, Wade in his unique capacity as Halliday’s sole heir (via the Easter egg hunt, at least) receives another gift: the OASIS Neural Interface, or ONI. By interacting directly with OASIS users’ brains, the ONI allows for an all-senses experience of the digital world. It takes very little convincing for Wade, Aech, and Shoto to vote to share the ONI with all users, though Samantha votes against and Ogden Morrow abstains.

Once there were 7,777,777 OASIS users connecting via ONI technology, Halliday released another posthumous riddle:

Seek the Seven Shards of the Siren’s Soul

On the seven worlds where the Siren once played a role

For each fragment my heir must pay a toll

To once again make the Siren whole

But at first Wade is stymied by the quest, unsure who the Siren is or how he would go about finding seven shards with few clues to start with. The sequel’s action doesn’t truly pick up until the High Five are visited by a ghost in the machine: Anorak, Halliday’s NPC avatar in the OASIS. Except that Anorak is actually a self-aware AI that’s gone rogue, kidnapped Ogden, and forced him to begin finding the Shards. Once Og outsmarted the AI, he turned to the next best option: Wade/Parzival would have to find the Shards, but this time he would have a twelve-hour ticking clock before he and the half-billion people logged in via ONI would hit their time limit and be lobotomized.

Like the three keys to three gates in Ready Player One, each Shard is tied to a moment in Halliday’s life, particularly a moment set in the 1980s, particularly 1988-89: the year that foreign exchange student Kira Underwood spent in Middletown, Ohio, and where she met Halliday and Morrow.

While racing after the Shards, the High Five learn that when Kira had to go back to England after her year abroad, she left behind a D&D module that she had written for the rest of their group to play in her absence: The Seven Shards of the Siren’s Soul, in which her character Leucosia was trapped in suspended animation, her soul split into seven pieces that her friends had to find.

Wade comes to realize that the Siren in the OASIS quest is Leucosia herself—that is, a digital copy of Kira’s consciousness, an AI like Anorak. But while the flesh-and-blood Kira died before the ONI was officially created, the final memory toll is the last seven seconds of Kira’s memory, as Halliday tricked her into trying an ONI prototype while she was still alive. It copied over her consciousness up until that moment, creating Leucosia.

Initially, Halliday had kept Leucosia in a private simulation, in the hopes that he could convince her to love him. But he soon realized that because he had copied over every aspect of Kira’s personality and experience, that included her love for Ogden. Further, witnessing Kira’s memories of Halliday at his most insecure and selfish moments made the man realize how wrong he had been to violate her trust.

While it was Halliday who created the Seven Shards quest, it was Anorak who wanted Leucosia as his prize. Anorak, the digital copy of Halliday who grew unstable when his creator tried to remove the worst parts of his own personality from the copy and instead just gave his monstrous alter ego more control over the OASIS. With that power, he is able to hold Parzival and millions of other OASIS users hostage until Z can restore the Siren’s Soul.

How Do the High Five Win the Quest?

Even though Parzival is the only person (aside from Ogden Morrow) able to physically collect the Shards, he relies heavily on members of the High Five and the L0w Five in order to complete the seven trials. Each puzzle draws from a different person’s own particular fandom or knowledge base: Z’s new ally L0hengrin figures out the first Shard years after it gets announced; Shoto is the one to crack the riddle of Sega Ninja, while Art3mis walks them through the John Hughes tribute planet that is Shermer, and Aech coaches Z through doing musical battle with the Seven Princes on the Afterworld. Of course, Wade is the one with the personal experience on education-is-fun planet Halcydonia, and the trip to Arda I is a Tolkienesque date for Parzival and Art3mis.

Finding the Seventh Shard is simply a matter of visiting the Shrine of Leucosia on the D&D planet Chthonia, site of the final battle in Ready Player One. Once all Seven Shards are collected, one need only combine them into one jewel in order to resurrect Leucosia.

But what Z hands over to Anorak is a counterfeit jewel, which he uses to surreptitiously trade the Robes of Anorak back into his inventory. This allows him to teleport into Castle Anorak and threaten to push the Big Red Button that will destroy the OASIS—even if that means it will kill the half a billion people forcibly logged into the OASIS.

Ultimately, Parzival convinces Anorak to duel Halliday’s heir to prove that he is the only one worthy of inheriting Halliday’s power. And while Anorak thinks he’s fighting Wade, who is starting to suffer the effects of Synaptic Overload Syndrome, instead he’s up against the other heir: Ogden Morrow (who had indeed inherited Halliday’s treasured collection of arcade machines), near death after captivity and torture but putting on an ONI headset for the first and last time in order to enter the OASIS as the Great and Powerful Og and duel Anorak the All-Knowing.

Who Dies in the Final Battle?

Whereas the Battle of Castle Anorak in Ready Player One caused an OASIS-wide massacre of all the users who came to Parzival’s aid—who he later brought back to life—the casualties in Ready Player Two’s final showdown are much smaller. Z is mostly a spectator to what he calls “the most epic player-versus-NPC battle in the history of the OASIS… It was like Yoda versus Palpatine, Gandalf versus Saruman, and Neo versus Agent Smith, all rolled into one epic clash of the titans.”

The two seem fairly evenly matched until L0hengrin appears, fresh off her own epic side quest, to deliver Og the sword Dorkslayer. The sword was a creation of Ogden’s, once he received Halliday’s posthumous email apologizing for creating Leucosia without either Kira or Og’s permission. Knowing that Anorak might go rogue, Og created the contingency of an in-world sword that only his avatar could wield. Once he receives the sword, it’s all over, requiring only a single blow to destroy Anorak.

In the real world, Sorrento has already died. When Wade and Samantha, acting via telebots, went to rescue Og from his and Kira’s mansion, Anorak (also via telebot) decides that Sorrento has served his purpose and shoots him. Unfortunately, Sorrento is able to get off a wild shot that strikes Og in the stomach, a wound to which he eventually succumbs after killing Anorak in the OASIS.

Who Lives (Again) After the Final Battle?

After Anorak is defeated and all of the OASIS hostages are released back into the real world, Wade wakes up after a few days’ recovery. Samantha passes on Og’s last words to Wade, telling him that he should bring Kira back so she can decide her own fate. At first Wade is confused, but he remembers teenage Kira’s D&D module: The party has to collect all seven shards and reassemble them into the Siren’s Soul. Only then can they free Leucosia from suspended animation. Once they do, she presents them with their reward. A powerful artifact with the power to resurrect the dead, and make them immortal in the process…

First Wade assembles the Seven Shards and resurrects Leucosia, who explains that she is technically the world’s first stable AI (though Anorak predated her, he was clearly unstable by the end). She also reveals that Halliday, when he realized how badly he had wronged Kira and her, offered to destroy the ONI technology. However, she told him not to, because she was glad to have been created, as she could carry on Kira’s memories rather than letting them get lost. She also didn’t want to be alone. “I don’t feel like some sort of unnatural abomination,” she explains to Wade and Samantha. “I feel fine. I feel alive.”

It’s similar to what Black Mirror has done with their “cookies,” or AI copies, especially in its episodes “White Christmas,” “San Junipero,” and “USS Callister.” Each explores these copies’ rights to be considered as independent entities, their fates separate from their human counterparts.

Leucosia gifts Parzival the Rod of Resurrection, which will allow him to bring back any OASIS user who has died in real life—but only if they had used the ONI to back up their consciousness. So Z is able to bring back Art3mis’ grandmother Ev3lyn, as well as the Great and Powerful Og, to be with Leucosia. Unfortunately, he can’t bring back his mother, who died long before the ONI technology existed, nor Daito.

But what he does realize is that everyone who did ever use an ONI headset automatically has the chance at immortality: “We might be part of the last generation ever to know the sting of human mortality. From this moment forth, death would have no dominion.” From beyond the grave, James Donovan Halliday had created the Singularity by way of simulacra.

What Happens to the OASIS and the ONI-net?

Although Wade spends the entire book agonizing over the possibility of pushing the Big Red Button, ultimately he decides against it. It’s not his call to take away an entire world that provides escapism for people suffering in poverty, or who feel uncomfortable in their physical bodies, people for whom the OASIS is the only realm in which to be their true selves.

So, humans get to keep the OASIS and the ONI-net; but they don’t get to learn about the Singularity created by the ONI technology and the Rod of Resurrection. The High Five decide that it will take some time for humans to get comfortable with the idea of living alongside digital ghosts of their loved ones in the OASIS; but that won’t stop them from making plans for generations from now.

What Happens to Wade?

Or perhaps the better question is, what happens to Wade… and what happens to Parzival.

Like Ready Player One, the sequel’s action was narrated by Wade after the fact, recounting a digital adventure that changed the real world forever. The twist here is that in the final chapter (appropriately titled “Continue…?”), readers learn that the first-person narrator is technically Parzival, a digital copy of Wade’s consciousness in the OASIS.

Sharp-eyed readers might have noticed that when Wade returns to the OASIS to resurrect Leucosia, he mentions that it is his final login to the OASIS. This makes sense in the final chapter, when the tenses shift to describe Wade in third-person but Parzival in first-person, revealing that the two shared memories of the entire story, until their experiences diverged at the creation of Parzival as a self-aware AI copy.

What is the Future of Humanity?

In his bleakest moments, Wade had worked with Aech and Shoto to build and prep the Vonnegut, a spaceship intended to leave Earth behind for a new home. Samantha was understandably upset at the idea of the OASIS’ co-owners abandoning an overpopulated Earth for their own gains, as this ark could only hold about two dozen bodies.

However, once the High Five begin resurrecting the AIs via the ONI technology, they come to a better plan: Move Parzival, a copy of Art3mis, Ev3lyn, Og, and Leucosia from the OASIS into ARC@DIA, the standalone simulation on the Vonnegut, and set a course for Proxima Centauri, where they hope to find a habitable, Earth-like planet. The voyage will take close to fifty years, but the AIs will have one another in their digital world and won’t need to take up any resources like human bodies would. Along with copies of all of the ONI users—in suspended animation—and frozen human embryos, the Vonnegut will have more than enough physical bodies and digital souls to populate a new world, should they find one.

There is, of course, a huge ethical dilemma in copying over a billion OASIS users without their knowledge. Wade leaves it up to Parzival, since he knows what reincarnation is like. They seem to be adopting an “ask for forgiveness, not for permission” attitude—assuming that the copies’ namesakes on Earth even ever find out about the AIs’ existence.

Parzival also distinguishes how he and Wade are different people despite their shared experiences. Wade and Samantha elect to stay on Earth, where they get married and get pregnant with a daughter they plan to name Kira. (Shoto and Kiki have their son, Daito, while Aech and Endira remain happily married.) Fatherhood gives Wade a renewed purpose, while Parzival both delights in his immortal, ageless relationship with Art3mis but also hints at the AIs possibly constructing bonds that may transcend human ways of relating to one another: “Our relationships with one another have also evolved, now that we’re immortal beings of pure intellect, freed from our physical forms and set adrift in the vastness of outer space, possibly for all eternity. Even though our perspectives may have changed, we still value those relationships above all else. Because out here, that’s all we have.”

The book ends on dual notes of hope: that the humans remaining on Earth will recommit themselves to figuring out how to fix their planet, while still thriving in the escapism of the OASIS; and that their digital counterparts will settle a new planet, or even make contact with another civilization who can help them continue to evolve.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Wade and Parzival both grow up playing video games, and spend their formative years inside one. Then their paths diverge: Wade finally realizes that there are enough people and experiences in the real world that matter enough to keep him grounded IRL, going so far as to claim that he will never put on an ONI headset again. Meanwhile, Parzival carries their gaming spirit further, to explore more digital worlds via ARC@DIA and what feels like a whole new level in the video game that is life. Sounds like Cline has left enough of an opening for the possibility of Ready Player Three…

The post Ready Player Two Ending Explained: How the Sequel Jumps the Shark appeared first on Den of Geek.

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