#selected indie 80

[kbutzkorner]

Hey, been set up at the Tokyo Game Show for our game, Stories from Sol: The Gun-dog!

[ghibli-collector]

For anyone who’s already seen Boy and the Heron i found this really interesting article where Ghibli Boss/Producer Suzuki was interviewed recently by indie wire and explains the background of the characters from the new Ghibli film, I’ve copied the full article below or you can click the link to go to the interview but once again it contains so many spoilers

‘The Boy and the Heron’ Is So Personal, Hayao Miyazaki Needed a Year to Grieve Before Pivoting in a New Direction

Miyazaki came out of retirement for his first film in a decade, about his friendships at Ghibli with the late co-founder/director Takahata and co-founder/producer Suzuki.

When Hayao Miyazaki pitched “The Boy and the Heron” (GKids, now in select L.A. and NYC theaters) to Studio Ghibli co-founder/producer Toshio Suzuki in 2016, he asked permission to make the story about himself. This took Suzuki — his friend of nearly 40 years at the time — by surprise; the legendary anime director isn’t known for getting so personal. And yet this aligned perfectly with the notion that Ghibli films are devoted to reliving memories.

“I agree that it is Miyazaki’s most personal film because he actually told me,” Suzuki told IndieWire over Zoom through an interpreter. Not only is “The Boy and the Heron” inspired by Miyazaki’s childhood (he endured the firebombing of Japan during World War II and his father was director of the family’s aircraft manufacturing factory), but also his career at Ghibli with his two closest friends: the late studio co-founder/director Isao Takahata (“Grave of the Fireflies”) and Suzuki.

“Miyazaki is Mahito [the 12-year-old protagonist voiced by Luca Padovan in the English-language version], Takahata is the great uncle [voiced by Mark Hamill], and the gray heron [voiced by Robert Pattinson] is me,” Suzuki added. “So I asked him why. He said [Takahata] discovered his talent and added him to the staff. I think Takahata san was the one who helped him develop his ability. On the other hand, the relationship between the boy and the [heron] is a relationship where they don’t give in to each other, push and pull.”

Collectively, it’s a lot to unpack: Miyazaki came out of retirement for the second time after “The Wind Rises” (2013) to make his 12th feature — the semi-autobiographical, hand-drawn fantasy for his grandchildren. It’s about destruction, loss, and rebuilding a better future through imagination, inspired by the novel he adored as a child (“How Do You Live?”).

Mahito loses his mother in the firebombing of Japan and relocates to the countryside, where his father (voiced by Christian Bale), who runs an air munitions factory, marries his sister-in-law, Natsuko (voiced by Gemma Chan). Traumatized, angry, and confused, the boy encounters a talking heron (part bird, part man), who tells him that his mother is still alive and guides him to an alternate world in a magical tower shared by the living and the dead. There he encounters his great uncle, the architect of the tower, and reunites with both his mother (voiced by Karen Fukuhara) and Natsuko.

At first, Suzuki resisted green-lighting “The Boy and the Heron” because of Miyazaki’s age (he’s 82) and the great expense (it is arguably Japan’s most expensive film but has made the equivalent of nearly $80 million at the country’s box office). Yet Miyazaki wore down his resistance with his enthusiasm and impressive storyboarding. The film took seven years to complete, and Suzuki needed to hire some of Japan’s most talented animators outside of Ghibli to handle the task (including supervising animator Takeshi Honda of “Neon Genesis Evangelion” fame). With diminished stamina and failing eyesight, Miyazaki was unable to oversee the production in the same manner as when he was at the height of his creative powers and relied on Honda to draw, redraw, and review under close advisement.

But with the death of Takahata in 20018, a grief-stricken Miyazaki was forced to scale back the role of the great uncle in the story, who had previously been more central to the boy’s life. “After Takahata passed away, he wasn’t able to continue with that story, so he changed the narrative and it became the relationship between the boy and the Heron,” Suzuki continued. “And in his mind, initially, the Heron was something that symbolizes the eeriness of the mansion and that tower, even ominous, that he goes to during war time. But he changed it to this sort of budding friendship between the boy and the Heron.”

Miyazaki first toyed with the idea of exploring the theme of friendship in “The Wind Rises” (inspired by real-life fighter design engineer Jiro Horikoshi during World War II) before abandoning it. “So this time around, when the Heron became the centerpiece of the story, and he came with the storyboards, I was careful for him to not portray me in a bad way,” Suzuki said. “Having said that, I’ve known Miyazaki for 45 years. I remember everything about him. There are things that only I know. There are things that only the two of us know. And he remembers all these small details, which I was very impressed with.”

For example, when Mahito and the Heron sit and chat at the house of Kiriko (voiced by Florence Pugh), a younger, seafaring version of one of the old maids, it is a recreation of the way Miyazaki and Suzuki would meet. “The place that we do our meetings, where we have our conversation is at his studio, his atelier,” he added. “And he has this like large table, but we don’t sit facing each other, we sit next to each other, and we never look at each other when we talk. And what we discussed was very similar.”

During production, Suzuki became impatient to see the new storyboards with the great uncle. It seemed Miyazaki was intentionally stalling while grieving about Takahata. “My question was: ‘So when is the great uncle going to appear?'” said Suzuki. “He built this great character, but he never appears in the storyboards that he would bring me. But it took him actually about a year after the passing of Takahata that he was able to draw that character into the storyboards in the second half of the story.

“And the most surprising thing for me was when I saw the storyboard where Mahito was asked by his great uncle to carry on with this work, this legacy, and he says no — he declines the offer. Miyazaki was someone who followed the path of Takahata for so many years, and I thought it was a huge thing for him [to follow a different path].”

Meanwhile, Suzuki confirmed that Miyazaki has not retired. The film has given the director renewed confidence to keep working on other stories. However, Miyazaki can’t focus on new ideas while “The Boy and the Heron” remains in theaters. “He needs to empty his mind again,” Suzuki said, “and then when he’s emptied his mind with a blank canvas, he usually comes up with new ideas. So we have to wait a little more.”

[moosha-mushroom]

Media I imagine different fiction podcasts in instead of the media of being a podcast.

TMA: A selection of volumes, relating to the fears, each with those removable covers. Those covers has a victim or two, and then underneath the cover is a really detailed cover. The paper is decoratively ripped, with a kind of scraggly font, and each has a foreword and ‘author’s note’ from Jonathan Sims.

Malevolent: A really gritty graphic novel with deadly detail in each panel, and very little color. Maybe a trinket on each important character has a color? Like Arthur’s eyes being yellow or Oscar’s collar having a blue sheen to it. The novels are long, dramatic, and intimate in a visceral way.

Welcome to Night Vale: Local 58 bullshit. A broadcast on television with low quality images and audio, tacky music, and a kind of 80’s aesthetic. Each episode the words WELCOME TO NIGHT VALE zoom onto the screen, the purple eye behind them. And each weather segment is an animated short by a different artist.

The Penumbra(Juno Steel): A webcomic. Hours spent scrolling downward a comic that has so much color and GEOMETRIC design. Juno and his curvy jaw, brown pie slice eyes, a cartoonishly high collar for his investigator jacket. Nureyev and his sharp square jaw, shimmering jewelry, and stick legs. Characters sticking out of the panels, fonts changing constantly, a little blue Juno that does his narration and *guitar theme plays* each time he appears.

Wolf 359: A classic comic. Issues month by month. Different special covers of the characters in extra dramatic poses or scenes. Even MORE panel breaking than Juno Steel. So MUCH onomatopoeia, even for small things like the clink of a panel or the disapproving hiss of Hilbert in the background. Geometric designs like Juno Steel, but less colorful. Like the superhero art style mixed with a more stylized look.

Midnight Burger: You pull up the Midnight Burger website. They have a hidden page that has a sort of script-comic thing going on, where the art is next to the writing. Small coded in notes from Leif sometimes pop up if you hold your arrow over the art. Links are attached to the parts where Effie and Zebulon play music, linking you to the music so you can listen to it while you read.

Desert Skies: An animated show. Indie, something you’d find on YouTube. The animation is bouncy and incorporates 3D animation alongside the 2D. Maybe the Sphere Movers have 3D models and the staff don’t? The credits are short because it was made by one guy. People are complaining about it on Twitter /j. People are making content farms about it. Everyone is pissed at Corson like they’re pissed at Jax.

The Amelia Project: A sort of simulation video game. You play as Arthur. You listen to their stories and draw pieces of the tale to invent their death. Every once in a while the game transitions to a point and click suspense game where you solve puzzles as Cole and Haines. Maybe there should even be an Operation-esque part of it where you work as Kozlowski.

Ghost Wax: A novel with a lot of pictures spliced in it. The stories are all in a single book, though the book is through Luca’s perspective— so he picks up on the ghost’s body language and Voncid’s reactions. The pictures are tarot cards with each victim as a card. Some are repeat cards— Lorem does not have a card at the end of the story. Nor does Our Home or Evening at the Ardent. The pictures are only white with black line art. No color whatsoever.

Kakos Industries: A company newsletter. Not a broadcast. A newspaper that arrives at your door and has big bold letters with the main story and pictures of the events that happen in the story as it goes. And the Sunday Comic page is full of employee shenanigans. Some innocent… some not.

I am losing my mind.

[dutiful-wildcraft]

Task Force 141 Music Headcannons

Price

-He has some significant influences from 70s/80s heavy metal, mostly influenced from his mum who was a rebellious metalhead (and a feral KISS fan) herself, but toned down her partying when John was born. That didn't stop her from showing him the good stuff. 

-John’s earliest memories are of him and his mother going on roadtrips, radio blaring. His mom giving him little music “tests,” urging John to guess the artists of the song before they ended. Being so proud of him when he got them right.  His mom had a huge stereo system, an outrageously pricey thing compared to the rest of their meager home. It could play both CD’s and tapes and it was his mom’s pride and joy. 

-They had “cleaning” days where they would deep clean the house. Taking turns between swapping songs as they danced and dusted. A trend that extended well into his teenage years until he joined up.

-John would later pick up more thrash and progressive metal influences from his older CO’s and later by his own team. John is a radio kind of man, and other than the stuff he got from his mum he doesn't bother much with collecting, but he usually can find a radio station or two that plays what he likes. He still blares music when he cleans or works out.  

-John also dips into a bit of blues, folk and country.  He’s fond of the acoustic elements, it’s easy listening and some of them tell a good story.  

-Absolutely owned a “Frampton Comes Alive” CD. 

-Price was a bit petty about it at first, but the rest of the 141’s music tastes aren’t terrible…he still shoves the foam earplugs in on the truck ride home once Soap gets ahold of the aux cord. Though it gives him one hell of a laugh to see Soap cut a rug.  

-Gaz downloaded a huge playlist for the man and crammed it on his phone. Price was tickled pink over the selections, and now this is the only mix he fusses with, throwing it on shuffle and letting it play while he smokes and does his paperwork. 

-Man actually loves to dance, he doesn't just bop around like Soap does but he will take you by the hand and groove a bit with you. He loves to feel a warm body moving with his, letting the music move them together. This is actually how he woo’s ladies at the bar. A bit of liquid courage, and smooth song. He has someone giggling in his arms in no time. 

Soap

-His library is mostly made up of funk/groove metal, metalcore, pop, disco and electronic. He can party to really anything really, he just loves anything that is fast. Something that has a bounce to it.  There is never a wrong setting for this. Has nearly slipped and busted his head open having a one man mosh in the shower.  

-Used to have several piercings, his tongue and eyebrow namely, as well as a couple more pieces in his ears and nipples. They unfortunately had to go when he joined up. But he will still throw the earrings in when it's time to party. Some thicker captive bead earrings from where he had them stretched just the slightest. 

-He's actually pretty solid with a guitar. Doesn’t talk about it because it makes him feel like a douche. But he and his friends did have shitty garage band as teenagers. (Anyway..here's Wonderwall).

-Tries to keep it heavier when hangin with the boys but don't buy his tough guy bullshit, the next song is Madonna. His shuffle will give you whiplash. 

-He and Gaz vibe the most, both crowding into the front seats to put on a concert the whole ride. Having a jam session while they cook together or having heated arguments on whether something is a cover or not (Gaz is always right). 

Gaz

-The most eclectic out of all of them. Pretty similar to Soap, he tends to gravitate toward alt rock/indie, r&b, pop, and psychedelic. While he enjoys the upbeat electronic stuff that Soap enjoys, he prefers the groove. Something a bit slower and well…sexier.  

-He is actually pretty knowledgeable (special interest you could say) about music. The man is like an encyclopedia for music. Can name songs by the first 2 seconds alone. He is a menace on trivia nights for this reason. 

-Has started collecting records in his free time. He has favorites sure, but sometimes he'll just snag a few with interesting covers and give them a spin. He has found some gems this way…and also some straight *trash*. These songs have turned into memes between he and Soap.

-Makes playlists as a love language.

-Always trusted as the trip DJ, takes his job very seriously and considers all his teams tastes to carefully weave a mix everyone can vibe too. 

-Sung in the church choir as a kid, absolutely hated every minute of it. He was always the star of the christmas cantatas until he quit going as a teen.

-He and his sisters would have knock down drag out fights over the sole CD player they had as kids. Genuinely can't stand boy bands due to his big sisters obsession with them at the time. (The shit was on repeat for months.)

Ghost

-absolutely uses the balaclava to hide a earbud when he's just doing paperwork in his office.

-It's his ritual after an op. Simon pops his earbuds in, leans his head back and rests. You don't talk to Simon during this time. He'll take them out when he's ready to talk. 

-He also keeps one in while on leave, focusing on his music in the grocery or doing mundane errands. But just one earbud, he keeps the other out to listen for anything sus.

-Simon's music is pretty precious to him, and something he's actually pretty protective of. He never listened to his music out loud, even kept it turned down low with his headphones to prevent any accidental overhearing. 

-He picked up a lot from his brother that he used as a springboard after that. Lyrics that gave him goosebumps, words for feelings he could never articulate. To him, there was music for anything. Anger, sadness, elation. 

-Simon Riley who's favorite past time was rooting through old used CD's with his big brother at old video rental shops.

-Tommy who would usher him into the bathroom, putting big clunky headphones over his ears to block the sounds of their father's abuse. Clicking play and mouthing a “Stay here” as he clicked the door shut behind him. 

-Simon Riley who scrawled his favorite lyrics onto the soles of old dingey converse. Colored them into the skin of his forearms in a mock up of the tattoos he would later get.

-And he would, Gaz finds them later, inky poetry weaved into the images along his arms, and on his collar. He subtly looks up the words later. Smiling as lyrics of old grungey 90s songs fill his screen. 

-Tool enjoyer, literally just plays the albums start to finish, he is actually really fond of the instrumentals

BONUS!! Alex

-very similar to Price though he leans away from some of the heavier stuff. He loves the easy yacht rock type vibes with some classic rock. As well as some 90s and outlaw country. 

-He is an absolute crooner when he’s drunk. He actually has a gorgeous singing voice, low and rich, reminiscent of Tracy Lawrence.

-He does know the dance to Copperhead Road, tried to teach Farah who does not have rhythm to save her life. 

Actual Playlists

Price Soap Gaz Ghost Alex

I'll be adding to all these mixes as time passes, I would love to hear what you have in mind too <3

[antisocialxconstruct]

RE: the spotify post you reblogged and your tags about owning your music again.

I wanna do the same...but...how??? Where do you buy music nowadays? CDs arent really a thing anymore, i cant buy digital versions that I can keep. Records are making a comeback, but like the process to get that digital????

Do you know/have any insight on where to actually buy music (to own it) and legimately supporting artists??? Thats not streaming???

This is such a good question and honestly I WISH I could hit you with a bunch of reliable links 😭

I feel like I've heard some criticism of Bandcamp as well, but two things they definitely have going for them is 1) a lot of indie and non-English language artists are on there, and for a lot of them it may really be the only sorta-mainstream platform where they can sell music directly to fans, and 2) musicians still get like an 80% cut of sales (I think), and you can download real, actual MP3 files that are Yours and can be copied and transferred and preserved.

I also think it's worth looking up individual artists that you want to support. Most of them have websites, and often (though not always) they have online shops where you can still buy their music directly, along with other merch. If they're selling merch but not CDs or downloads... idk, you could pirate their music and then buy a shirt or an enamel pin or something, that's still materially a lot more useful to them than streaming their music on spotify especially if they're not very well known what with that whole "you only get paid if you're already famous" policy.

Also depending on where you live it's still worth checking out brick and mortar music stores! Contrary to how it feels, CDs really are still A Thing, and stores that sell vinyls are likely to also still sell CDs, even if the selection may not be y'know... the entire broad wealth of music you can find on the internet. But in this era of streaming, I would imagine physical music stores could use all the foot traffic and sales they can get, so you're supporting musicians AND local businesses. (Just remember to mask up 👍)

[brokehorrorfan]

Director's Cut will be released in select theaters on October 31 before hitting VOD at a later date. The 2024 indie slasher draws influence from '80s and '90s horror as well as the punk music scene.

Louis Lombardi (24) stars with Tyler Ivey, Danielle Kotch, Greg Poppa, Louis Rocky Bacigalupo, Brandy Ochoa, Haley Cassidy, Darrin Hickok, and Lucy Hart. Writer-director Don Capria makes his feature debut.

Read on for the trailer and synopsis.

A Long Island punk band meets a mysterious director through social media who generously offers to shoot their first music video for free. Desperate for fame, they drive deep into the Pennsylvania woods in hopes of making a killer music video. But after a long night of drinking with the gregarious director, the band wakes up to find a very different version of him on set. Egos and opinions clash, with the director unveiling a terrible anger and uncompromising need for total control. As his professionalism breaks down, so does his sanity – with the unhinged director and his assistant turning the band members into the unwitting stars of his very own snuff film.

[therobotmonster]

A Baffling Tribute to 80s Music Video Weirdness

The music video was more than just a great way to advertise your band, it was a way to do something weird as hell that would stick in your audience's mind and give a director or team of animators a chance to really stretch their legs.

Yeah, we'll be hitting some classics you knew, but hey, here's that song from Ferris Beuller's Day Off and about a dozen other movies, TV shows, and food commercials.

Turns out the song is about the beauty of nature, and "Yello" isn't even a reference to the color, but is rather "A Yelled Hello". This is, from what I've gathered, pretty standard for a Swiss Electronic Music group.

Untapped potential for the indie horror genre in Herbie Hancock's "Rock it" with whole new fields of strange animatronics.

Strange abstract costumed characters interacting in a song that makes a lot more sense with the original uncensored lyric "when I was a very small boy, very small boys talked to me, now that we've grown up together, they're all taking drugs with me."

TMBG would be a huge selection of weird music videos if I let them, so we'll focus just on Istanbul (Not Constantinople). TMBG had a policy of the videos never really having anything to do with the song lyrics, and every one is a weird surprise because of it.

You are commanded to enjoy.

The Talking Heads also had a lot of weird videos, and while everyone would expect Burning Down the House, I like Road to Nowhere better. Enjoy.

I saw this on an AlTV special, and could never find it because there's a lot of songs with this name, and Hilly Michaels isn't well known.

It's a sort of colored pencil rotoscoped animation thing and it's just perfect.

Oh hey guys, is this really necessary, can't we leave the deli tray out and split out of here?

TOO LATE! I'm posting Gor-Gor by GWAR. If I had to have my mind blown at 2am on Headbanger's ball at a sleepover at my cousin's place, you can have yours blown on the tumblr.dot.com in the year of your lord 2024.

Is Devo cheating? I feel like it might be.

Cyndi Lauper made great videos, but for absolute mind bending oddness, the Goonies tie-in video "Goonies R Good Enough" qualifies on the basis of the 2:15 minute mini-movie featuring Cyndi Lauper, her real life dad Captain Lou Albano, and a host of (at the time) WWF wrestlers that frames the video with Rick Flair trying to foreclose on the family gas station.

The music video ends on a cliffhanger. To this day no one knows how Cyndi got out of that mess. Someone rescued her. Moe, lets say.

I believe this is the Avant-Garde, and it does apear they never give up.

Curses, the ten video limit is hit! I may return soon!

[theresattrpgforthat]

Heyo! I just love learning about indie rpgs and you are amazing at showcasing everything! You make me want to play anything you recommend!

With that being said, do you have any recommendations of TTRPGs about dancing? I have a friend that really want to have dance battles, and I really want a system to make it more fun!

THEME: Dancing

Hello, thank you for your kind words! I'm happy that you're enjoying the recommendations that I put together. I have a small selection of interesting games and game-things that you might like to look at.

Corps A Corps, by arisia

Corps à Corps is a GM-optional, stat-raising tabletop RPG about fencers in training. Each player portrays a fencer honing body and spirit in pursuit of future triumphs alongside—or against—each other. Taking its cue from sports drama serials, the game unfolds in a series of scenes depicting training or other bits of daily life in a team. Each scene offers fencers a chance to develop skills or strengthen bonds with each other.

From what I can gather by looking on the store page, I think you could easily re-skin Corps A Corps to be about dance battles, rather than fencing. You play through your story over a series of scenes, which involve training, bonding with your team members, and facing off against rivals. You also begin the game with a series of questions to define the world around you, so I think if you wanted to base this game in a world that you’ve already built in another campaign, you might be able to do that!

If you want to focus on the tension that builds when two opposing sides compete in contests of skill, perhaps consider picking up Corps A Corps.

The Fire In Your Heart, by Justin Joyce.

DANCE THE NIGHT AWAY! MAKE FRIDAY NIGHT UNFORGETTABLE! ALLOW YOUR SOUL TO SHINE THROUGH THE RAW QUIVERING POWER OF RHYTHM! IF YOU MASTER THE HOWLING STYLE, YOU TOO CAN ACHIEVE OLYMPIAN HEIGHTS!

This is a re-skin of the basic moves of Masks: A New Generation themed around DANCE and fighting through the raw might of moves and music. 

Inspired by The Get Down, P4: Dancing All Night, and the karaoke sections of Yakuza, this modification to Masks is meant to emulate the raw feeling and power of letting loose on the dance floor. 

A lot of the moves in this hack look promising, including Lose Your Rhythm, Get Down, and Perceive the Beats.I think it’s really interesting that this game uses the basic Masks system - it feels like you’re teenagers learning about themselves, but through the language of dance, rather than through big battles with super villains. Because the game keeps the Influence mechanic, your status amongst your peers is still vitally important - I like the reinterpretation this game has of your influence being something you can gain on the dance floor. I think it makes the game feel more grounded, while still making the players care about what’s going on with each-other’s characters.

Baka Mitai, by Hipólita

The economic boom of the 80s promised a life of glitzy decadence and endless neon opulence for all. That was a crock of shit, huh? The same fat cats who had it made before have it made now. “ Nowhere is this stark class divide more evident than in Nemuranai, the foremost entertainment district in Tokyo, where grandiose cabarets, casinos and hotels sit next to run-down dwellings, struggling small businesses and homeless camps. And no matter who you are, if you’re not in the pocket of the crime lords, you’re living under their thumb. They have a finger in every pie and they only get greedier and more violent with every passing month, making the lives of working people miserable and difficult.

That’s where you and your friends come in.

Baka Mitai may feel a little bit out of left-field, but when I saw this game I thought of the video game Like A Dragon, which has a sizable side-quest revolving around a dance battle. The core system is very good at allowing you to pick your dice pool first and then describe how you succeed or fail after everyone in the group rolls, and it also distills a number of actions into a single turn, where everyone rolls at the same time. I like the freedom the PARAGON system gives players, as well as the opportunities it gives you for teamwork. If your group wants to enter a dance battle with a local gangster to save some face, you could have one person dancing, another person setting the music, and a third character hyping their friend up to the crowd!

You’ll need the core rules for AGON roleplaying system in order to play this game.

A Dance, A duel, by a.fell.

this is a minigame hacked from and written for games of firebrands by d. vincent baker. sometimes you want to dance, but you're dancing with words or fists instead of steps. sometimes you're dueling, but there's more grace to it. whatever it is, this is the game for it. (of course you could just use the dance or the meeting sword to sword games for that-- but where's the fun in that?)

This is a mini-game that you can add to a Firebrands game or perhaps any game, really, about intimacy, dancing, duelling, and using one to mask the other.

This game has a series of questions, which can be used in either a dance or a duel (or something that is a little bit of both). These questions ask about physical movements, small gestures that carry a larger meaning, and a relationship that changes as you move through each question. If you want to take some time out of a game you’re already playing to focus on two players, or if you just want to explore a small roleplay session through the language of dance, you might like this little mini-game.

The Infinite Dancefloor, by Rat Wave Game House.

"The Infinite Dancefloor is every nightclub and none of them. A sprawling, ever growing, ever shifting venue behind a thousand small doors. A party that never ends. A night where the sun never rises. Unfortunately that can make it a pain to actually leave the Infinite Dancefloor once you’re there. But you and your friends are done. You probably should have left at least two hours ago but you didn’t and now you’re here. You’re separated from one of your gang. You need to find them then find an exit. The Infinite Dancefloor won’t make it easy for you. You’ll need to band together and maybe you’re already a little past that but you don’t have much choice. Let’s get outta here already."

The Infinite Dancefloor is a GMless rpg inspired by those rough nights that could have been good, if you just stopped sooner.  You'll use dice and a tarot/oracle deck to determine and overcome Obstacles in your escape from the title venue, such as finding a friend you've been seperated, facing down other partygoers and confronting the location itself.  The Dancefloor will keep warping you back to the beginning, putting pressure on the cracks in your friendship.

This game is inspired by a music album, called Time Flies, by Ladyhawke, and is meant to be played while listening to the album. It’s a tarot-based game all about retrieving a friend of yours from the dancefloor of a night-clube so that all of you can go home.

While the core theme of the game is more about just trying to take care of your friend, I think that if the group is in agreement, dance can also be a core part of the obstacles that stand in the way between you and being able to leave. Perhaps the DJ has cast a spell on the crowd, making it hard to stop dancing - or perhaps your friend doesn’t want to leave until they win in a dance battle against their nemesis.

While the games’ twists and turns depend on the randomness of the tarot deck, since tarot cards are meant to be loosely interpreted, I think that if you went into this game thinking about your obstacles using dance metaphors, this game might give you a little bit of what you’re looking for.

My Jam, by Eric Mersmann.

My Jam is a larp in which players embody high-school musarchs—magicians whose powers are focused through music—at the biggest dance of the year. During the dance you’ll be able to hang with your friends, pick arguments with your frenemies, and moon over your crush, just like any other high school dance. But when your music is playing, you become the most powerful being on the dance floor—and maybe the entire gymnasium! At the end of the night, one of you will be elected Dance Monarch and enact a powerful ritual that can permanently change the world. 

As a LARP, My Jam looks to be a great option for folks who want to do some actual, physical, in-person dancing. Your dance is more than just the moves you can make - it’s also meant to represent magical powers, attached to pieces of music attributed to each player / character. The game comes with recommendations on curating people’s song choices for the space in which the LARP is being held, as well as a few pre-selected songs to set the tone for different stages of the LARP.

There’s some really neat pieces to this game, including covens, which detail the kind of music you might find power in, as well as a rule that gives each player unlimited power for the duration of whatever song they choose to play. At the end of the dance, the group votes on a Dance Monarch - and this choice will also say something about the school year to come.

You might also like…

I Have the High Ground, by Jess Levine Games.

[asc-rp]

Welcome Everyone!

Indie Multifandom Multimuse RP blog featuring beloved characters from **The Owl House**, **Persona 5**, **Hazbin Hotel**, and **Honkai: Star Rail**. Muses include 80+ OCs, Hunter, Willow, Futaba, Charlie, Nifty, and many more. Semi-selective and OC selective, I welcome multiverse, crossovers, and AUs!

🔔 Like or Reblog if you’re interested in interacting! Personals, please do not reblog. Let’s create some unforgettable stories together!

🔮 **Canon Muses Include:**

- Hunter (Owl House)

- Willow (Owl House)

- Futaba (Persona 5)

- Charlie (Hazbin Hotel)

- Nifty (Hazbin Hotel)

- Lute (Hazbin Hotel)

- Emily (Hazbin Hotel)

- Qingque (Star Rail)

- March 7th (Star Rail)

- Adventurine (Star Rail)

- Acheron (Star Rail)

- Sparkle (Star Rail)

- Himeko (Star Rail)

- Trailblazer (Male/Female) (Star Rail)

🔗 **Links:**

- [Rules]

- [OC lists]

- [RP Memes]

[randomvarious]

1990s Indie Rock Playlist

Fucking finally! A 90s indie rock playlist for Spotify! I've had a YouTube version of this one for a few years now—and that one is both significantly better and longer—but now you all have *something* that's a whole lot more easily accessible too 👍.

Now, it's not really easy to describe what exactly makes an indie rock song an indie rock song in the first place, but you tend to know it when you hear it; and with this first iteration of a Spotify version of this playlist, we start with a total of 11 songs that run from shoegazey, noisy fuzz to smoother and more melodic power pop-leaning college rock stuff. And we've got a couple very brief explorations of specific scenes here too, with a few tunes from mid-90s Australia and then a handful from late 90s Philadelphia.

Plus, most of these are pretty dang obscure as well, with most selections having play counts somewhere in the low single-thousands; but we kick off with a total, unmissable classic: "Ginger" by Washington, D.C.'s Lilys, a song and band that I first discovered in the most unlikeliest of ways as a completely random bonus track on a retrospective 80s synthpop and new wave comp that celebrated beloved Bay Area radio DJ Steve Masters 😂. This killer 1993 tune is by far this playlist's most popular one, currently sitting at over 377K plays.

This playlist is ordered as chronologically as possible.

Lilys - "Ginger" Even - "Stupid Dream" Flanders - "Shameless" Challenger 7 - "Wait a Lifetime" Transient Waves - "Wavelength" Sunbirds - "Rocket" Line - "Hollow" Photon Band - "Here Comes Some Changes" Intro to India - "The World Is Waiting" Lenola - "Sids" The Asteroid No. 4 - "Tricks of the Trade"

But as I mentioned up top, there's a whole lot more great stuff on the YouTube version of this playlist, which contains more than double the amount of songs that are on the Spotify one, and thus I think really cements its own status as being a genuinely indie playlist, because you can't find most of it on any of the streaming platforms!

With this superior version, we've got tunes from the early 90s, including a much less known version of Brian Jonestown Massacre's "Evergreen," and a great, slow, and heavy one called "Salvation" by Los Angeles' Sacred Miracle Cave. Then we head up to Canada for a bunch of tunes from the Sonic Unyon label, including a few tracks by Treble Charger (aka NC17), whose "Red" has been rated by many as one of the single-greatest Canadian alt rock tunes of the entire decade. And there's a music video in this Canadian section too, for a spacey gem by SIANspheric called "I Like the Ride." 🚀🤘

Then after that, we head down to the mid-90s Philly scene, with the deeply underheard "Calling All Cars" by Slumber, which only has 77 plays, and The Asteroid No. 4's "Car Thief Millenia," which only has 95 plays. And then to close out, we have a couple tunes from Cali label Devil in the Woods, with the catchy, keyboard-assisted "Dirt Bike Rider" by Snowmen, and a rare, live performance of "Snowball" by Modesto's Fiver.

The Charlottes - "Could There Ever Be" Sacred Miracle Cave - "Salvation" Spot 1019 - "HHH" The Brian Jonestown Massacre - "Evergreen Treble Charger - "Red" NC17 - "Cubicle" Sponge - "Colourful Hat" Eric's Trip - "Evie" By Divine Right - "Out of It" SIANspheric - "I Like the Ride" Treble Charger - "Even Grable" The Asteroid No. 4 - "Car Thief Millenia" Slumber - "Calling All Cars" Snowmen - "Dirt Bike Rider" Fiver - "Snowball"

And this playlist is also on YouTube Music.

Now, you've probably never heard of almost any of these bands before, but I promise you that there is a metric ton of gold in this collection of songs. Go and hop in your '94 Taurus and cruise the highway with this thing; you will not regret it.

Spotify playlist is 11 songs and runs for 53 minutes, but the YouTube one is 26 songs and runs for 118 minutes. So if you want more of this terrific indie shit, you know which of these options to choose.

Next week we'll be taking an eclectic trip out to late 90s San Francisco.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[lowpolynpixelated]

The Great Divide

What is an Indie game? Is it the literal definition? A game developed and distributed by an independent developer and/or publisher. Is it a connotation of style? Pixel or simplistic graphics, cozy vibes, outlandish mechanics. Is it a representational title? Small development teams, smaller experiences, cheaper games. It is, in a way, all and none of these things. During what I would call the “true bloom” of the Video Game Landscape in the late 90s and early 2000s, such a term was seldom common nomenclature. No in those days it was “enthusiast titles” or “hobbyist” releases. Nothing like the Indie-Directs we see now. So what happened? And why does there seem to be such a clear divide in people’s minds between what’s Indie and what’s Triple A, and why can’t they explain it very well?

Part One: Where did it start?

To say that it started in the early 2000s would be incorrect. Ever since video games began being made people have taken it upon themselves to let their creativity flow through their digital catalyst of choice. The interactive medium was, and still is, unlike anything that came before. Video games are far more than “movies you can play in” they’re art pieces. Statements. An entirely unique way to engage with and experience a work of art, music, writing, and digital wizardry all packaged onto something that fits in the palm of your hand. Video games are magic. And so its no wonder that people wanted to make them. Look at such a famous game like DOOM. Ids smash hit originally had its first level freely distributed via mail-in receipts or at electronic stores, and was sold by Id itself before it took off to a nationwide scale. Developed and distributed by just a few people in an office. Sure there’s always more logistics to it than that, but doesn’t that fit a few of the definitions already? The 80s and 90s were truly the “Wild West” of video games. Because of the market’s fresh growth and upwards trend it took very little to get your game onto a console. Just look at all the titles on the original NES/Famicom systems. Before the advent of the term “Shovelware” it was quite common for such experiences to flood a library. Though this fell out of fashion more in the 90s during the SNES/Genesis era of things in favour of more well tuned and marketable competitive experiences. Such varied scales of polish and concept were doubly so if you look at the Computer Game community from the time. Developing your own games was a passtime. A trick to learn on new fangled devices. So what happened after? During the 3D revolutionary period in the 5th generation of consoles there were more standards. Sure, there were still some more shallow experiences around, but if you wanted to be known in the mainstream world video games you needed to be on a console. And so this is where I think began the true form of what most modern standards would call an “Indie game”.

My favourite examples of such titles include games like “Katamari Damacy” and “Okami”. Both games were developed by either a much smaller studio or in Katamari’s case, just a few select people. They were indeed published by established names, Namco and Capcom respectively, but they have much more in common with the Indie titles of today in that regard as well. In this era it was quite common to find games made by smaller studios, or even sometimes smaller teams within larger studios, given a run on the most popular hardware because the idea was fun. Or for perhaps a more clinical point of view, the idea could be sold. So I ask again, what happened? If you could find such games on consoles for six entire generations of video game consoles, why is there now this “Great Divide” between the Indie and the Triple A? Let’s go back to PC gaming during this time for a bit more information.

In 2003 something very important to this conundrum happened. This event would forever change the way digital distribution of video games would happen, and eventually, in my opinion, lead to where we are now. In 2003 Valve Software launched Steam as a software client meant to manage and deliver updates to their catalog of games. In 2005, only 2 years after its launch and the same year as the launch of the 7th generation of games consoles, they began using the client as a digital storefront to sell and distribute 3rd party software. Before Steam digital distribution of games was spread quite thin due to its relatively new nature. The early 2000s saw internet speeds both fast and stable enough to properly facilitate said distribution, and Valve were hardly the only ones to try and jump on the train as it began to speed up. Storefronts like Stardock stand as earlier examples of attempts to sell games over the web. Steam would be the one to not only take off, but to stick the landing as well.

In the year before Steam’s foray into offering 3rd party software, the 6th generation of consoles had an early adopter of this online storefront model. In 2004 the Xbox Live Arcade as launched on the original XBOX. This allowed owners of the console to purchase additional titles directly to their console, granted they had Xbox Live and the hard drive space to spare. These two factors, Xbox Live Arcade and Steam, would become the catalyst for the explosion of digital purchasing as well as ground zero for when The Great Divide would begin to form. When Xbox Live Arcade was in its prime it was offering games more frequently and successfully than any other console at the time. The Wii’s Wii Shop did a decent job keeping up and was a delightful experience in purchasing old Nintendo Software, and the PlayStation Store was no slouch either. Xbox, however, had an edge. As a part of many of their events such as “Summer of Xbox Live” it would offer alongside many well known console titles, smaller titles made by small and often independent developers. Games such as Castle Crashers, Super Meat Boy, The Binding of Isaac, Splosion man, and many others joined the ranks as “Xbox 360 experiences”. Meanwhile on the other side of the coin, Steam was offering these independently made games as a part of its online marketplace. But of course, as we discussed, it was common to find these in the PC space.

So why was Xbox a big deal? Because suddenly, offering these “Indie” games for smaller price tags was wildly successful. It had precedent, certainly. In it’s infancy the Xbox Live Arcade offered games at smaller price tags, anywhere from 4.99-9.99. It wasn’t just a way for smaller games to get recognition on consoles. On the other side of the coin, it was a marketing tactic. “Indies” were hot ticket items all of a sudden. Bolstering your library with indie games meant that the Xbox was the place to go for smaller developers who wanted a life on console, it meant that Xbox was supporting the wider gaming community, it meant that Xbox had video games at bargain prices. I’m sure the executives had dollar signs in their eyes the whole time, and perhaps that is a bit of a cynical way to view it, but it worked out that way. The ramifications of this tactic would continue on and its consequences felt for years to come. Some good, some bad, all very frustrating to categorize.

Part Two: The divide widens

After the massive uptick in the marketing of “indie games” via the pushing of the label in the late 2000s and early 2010s, the gap between what people considered “Triple A” and what was considered “Indie” only got wider. Indie games were small, quaint, not to be judged on the same rubric as those big budget releases that sold consoles. Criticism towards these titles was usually relegated to things like length and price. People were more forgiving to games made by two person teams on aspects like music, gameplay, and graphics. But if you dared to think that your game was worth 30$? Now you’re pushing it. Criticism levied at independently made video games grew more and more harsh in these realms. Why is your 6 hour game 25$? Why does a game with graphics like this cost more than 5$? Pixel art is easier and cheaper, right? This type of criticism was the bread and butter of judging the value of an indie title. If you packed in all the polish and fun of a “triple A” release and sold it for 15$, you were perfect. If it was your first title that you worked on for 5 years straight and DARED to think it was worth 20$, or even 30$, you weren’t experienced enough to ask for that. Every rough edge, every bug, every glitch was now ammunition to say how your game was a “flawed masterpiece that just costs too much” or “A surprisingly fun hidden gem held back by a few things”. The softer “fun little game” approach wore off quickly, and what was left in its place was criticism and judgment just as vicious as those reserved for big name releases.

This was also the time in which some of the more glaring flaws of the “triple A” sphere began to rear their heads higher into the light. The mid 2010s saw the data size of big name releases double or sometimes triple in size demanding more and more storage space for consoles. Some of the time the responsibility was put on the owners of the consoles, with external hard drives being common for the ps4 and Xbox One even more so than they were with the PS3 and Xbox360. A big reason for this was that larger games were steadily getting worse quality wise. Rushed development cycles, overbearing crunch time for developers, and corner cutting development practices encouraged by executives were making AAA games into buggy messes that didn’t go down in price and needed day one patches. Criticism did keep up with these factors, but not in a very popular light. Voices in the gaming landscape who had been advocating for people to pay more attention and demand better from larger companies with resources to do better (a prime example is Stephanie Sterling, who is a longtime video game journalist and extremely vocal about the myriad issues plaguing the industry), and were often ignored in favour of hype and “just wanting to enjoy things”.

All of this amounted to a market with a clear divide. Indie games were small and shouldn’t be judged as the bigger stuff is, but the bigger stuff is also getting worse and deserves more criticism. Indie games were their own genre by this point. Anything that could be called cheaper or less impressive than a standard console release was an indie game. Anything that could be called WORSE than a standard console game was compared to an indie game. They became both a standard that triple A games should outdo, and an insult to be hurled when the game didn’t. The passion, skill, and artistry of hundreds upon hundreds of developers and artists became nothing more than what the Nintendo Switch was using to boast “hundreds of new games every day!”, with most of said games being shovelware and phone apps being hocked onto the console at inflated prices. Still, with how games had come to be categorized, Hollow Knight and Calculator App 412 are worth the same.

Part Three: What does it mean?

So what relation does this have to indie games? Well, the issue with the way criticism was being levied against big name releases was that the criticism effecting independent releases stayed the same. The late 2010s and early 2020s saw some of the worst triple A launches in gaming history, but when a game made by a few people sold for 15$ does all the supposed highest level of the industry can and sometimes more it’s only “surprisingly polished for an indie game”. I ask you, reader, what are we comparing these games to? When most so called “triple A” releases are half finished, rushed to release, or just barely functional, how are games that meet their own goals or even surpass them still a surprise? My argument here is that the terms “triple A” and “indie” no longer apply as much as they used to. In more recent years (I’m writing this in 2024) a middle step has been gaining traction among popular gaming news and review sites, the AA game. “Double A” games, as they’re being called, are supposedly indie games with much higher levels of polish, but not enough to reach the supposed heights of “triple A” games. A more apt description of how the term is being used though, is a way to justify big name releases, floods of half-baked remakes/remasters, and substandard work being pushed by the heads of the industry. Saying a modern big name release is “about as polished as a double A game”, is less inflammatory than saying “it only plays like an indie game” but is no less insulting.

What even IS a double A game? A previous example, Hollow Knight, has often had this new classification applied to it due to its level of polish and apparent higher value than other independently made games. All this label has done is create yet another step for independent games to never achieve unless they get popular enough. There is no inherent value to a video game. The circumstances of its development and skill of its developers do not make it worth more or less than another. So without labels like indie, double A, and triple A, what do we call video games? The answer lies in the question, Video Games. This isn’t to say you can’t judge the quality of a video game. That quality, however, will vary wildly from person to person. Call of Duty Modern Warfare is a classic masterpiece to some, and a boring military shooter to others. The same can be applied to all “classic masterpieces”, and all modern works as well. Horizon Zero Dawn and Hollow Knight exist on different levels of developer and artist intent. They exist in different genres, in different dimensions of art, in different modes of gameplay, but they’re both video games available for the PlayStation 4 and will have their fans and detractors just the same. Hollow Knight was priced as its creators thought they could value it, but price is not quality. Quality in art cannot be discerned as fact. Art does not exist in such cut and dry terms and circumstances. What is inspiring to one might be mundane to another.

There ARE inherent things on which to judge a video game. To exist within the art medium certain factors MUST be up to snuff with what the developer wants the game to be. Core mechanics and gameplay, graphics reading well for what they represent, audio functioning correctly within the expectations set by the game. A game must be playable to be enjoyed, after all. But this is a baseline. You can’t call a calculator app a video game. That just isn’t what its meant to be. It doesn’t meet the base of what a video game is as an interactive experience. What you actually judge and criticize within a video game is the developer’s skill to make it what it says it is. Its price, and more often than not its length, do not determine that. Neither does an arbitrary category created to split the market into “standard and premium” video game experiences. You, the player, do.

Part Four: Thanks and future thoughts

Hello, and thank you for reading my article. The Great Divide is a theory and thought process I’ve held about the gaming landscape as a whole for quite a while, and it feels good to put those thoughts to digital paper. I do have more thoughts on the subject, but am electing to leave this here for now and return to it later in the form of another article, or perhaps an extension or video companion piece to this one. This piece is an opinion, and though it states true facts about video game history I do not offer the whole as fact. These are the ways I feel, and I hope that if you read them you might feel the same. Thank you for reading.

[reportingdead]

𝙍𝙀𝙋𝙊𝙍𝙏𝙄𝙉𝙂 𝘿𝙀𝘼𝘿 ! from 666 studios, i'm your host katie killjoy.

indie, selective satirical portrayal of katie killjoy from the hellaverse. a sideblog to @hashtagbiitch. not affiliated with viv.z. 21+ containing dark themes. minors dni. presented by meer. he/they. est.

warning for themes: violence, murder, gaslighting, mass-media brainwashing, classism, homophobia. mun =/= muse. i don't support any of katie's beliefs. the pilot shows katie as homophobic and classist. the writer is bisexual and does not support homophobia or classism. if any of these themes bother you, unfollow or block me.

RULES

✘ general trigger warning. dark themes will appear on this blog. featuring: gore, violence, murder, gaslighting, brainwashing, homophobia, classism, manipulation and more. common triggers will be tagged by "tw: insert trigger her". there will be nfsw and mentions of sexual content on this blog. it will be tagged "nsft". minors will be blocked; do not follow. mun =/= muse. i don't support katie's beliefs. i am bi and i don't condone ooc homophobia at all. block me if any of these themes make you uncomfortable.

✘ this is a side blog that follows back from @hashtagbiitch. it's low activity because i have a crazy work schedule. i will unfollow for ooc transphobia, homophobia, sexism, ableism, etc. general don't be an asshole rules apply.

✘ this is a satirical portrayal and will mostly be limited to comical one-liners, asks and short threads. somewhat show based + headcanon based. asks are for everyone. threads are for mutuals only. anon is usually off but i might turn it on once in a while. follow rp etiquette. no god-modding, no metagaming. cut your posts. don't force ships.

✘ my formatting is not consistent. i will use small text and large text. i might use icons or i might not. i don't care if my mutuals format. i'm pretty chill about that. the only thing i ask is that you cut your posts.

✘ psd credit: malevolent by saraephic. my pinned image was made by my talented friend @toxitrosia. my dumbass didn't notice that vox broadcasted his alastor defamation on the 666 news until starlette told me so i'm credited her for that lore + info. our ooc convo inspired me to make this blog.

ABOUT

name: katie killjoy occupation: head anchor of 666 news, hell's premiere news station. ( a subsidiary of voxtek ) species: sinner, former human. age: died in the 80's. appears as someone in their early 40's gender: identifies as female. she/her pronouns sexuality: straight height: 9'0 hair: blonde eyes: red personality: snide, aloof, egotistical, charismatic, extroverted, haughty, charming ( on camera ) likes: gossip, good ratings, shit-talking, making men cry, insulting people, torture, red nail polish, coffee as black and bitter as her soul, the sound of her own voice dislikes: the hazbin hotel, being interrupted, the gays, poor people, her co-star's bitching, when her useless intern doesn't bring her coffee time, having to wait for anything ever

[kaidanworkshop]

Workshop Update: Budget Surplus And You

Hello workshop followers! It's been about two months since our last major update, and for good reason: following the successful donation drive that we concluded in late May, we needed to reevaluate our staff timelines and prioritization of content, as we raised more than our initial goal. We'll be going over the details of those discussions in this post, but if you're more interested in reading about what each of our teams have been up to, you can find that post here.

Firstly, if you are unfamiliar with the Workshop budget, we suggest reading this post, the most salient part of which is:

"For the sake of transparency regarding script pricing, you can find the Indie Rate Guide for voice actor pricing that we are referencing for our budget here (specifically, the 'suggested' per hour payment of $250). With an estimation of approximately 100 lines per hour & approximately 1400 lines in the original script (plus the fees Paypal will assess), we have set our budget goal at $3600. This should cover the original script plus an additional 30 - 80 lines to cover new dialogue needed for expanded features. Our project is strictly non-profit; all funds raised are to commission Mr. Warren for his services."

We ultimately raised a grand total of $3870, leaving us with a $270 surplus -- equivalent to an hour of Mr. Warren's standard rate. Additionally during our staff meeting, our business lead checked our projected expenses and estimated that we may have the space in the original budget to squeeze out another $100 to go towards this 'fun stuff budget,' as we have informally dubbed it.

We came up with a few different ideas as to what we could allocate that money to, namely:

1. Nickname Expansion - creating and running another poll for the community to select nicknames to be added into the base mod

2. Roleplay Expansion - creating new dialogue options for the series of questions Kaidan asks about your character, to facilitate better roleplaying options (i.e. adding lines to declare that the player worships a god outside of the Nine Divines, more responses to the "Tell me something about you" dialogue tree, etc)

3. Custom Voiced Follower Fast Tracking - allowing the community to decide and vote on the funds being allocated towards a specific voiced follower that we have obtained permissions for

While our focus continues to primarily be on the base mod rebuild, we want the community to begin considering which of these options appeals to you the most -- and if you have a suggestion of your own, please feel free to drop a message or reach out to a Community Team member on our Discord server!

We hope to run a poll to decide what the surplus will go towards sometime after August, so there's plenty of time for everyone to think about what you'd like to see most!

[thefloatingstone]

You seem to like synth music, have you heard Blinding Lights by the Weeknd? Its a current-ish song that sounds straight out of 80s but somehow still modern

I do like synth music a lot!

I haven't listening to anything by The Weeknd yet because after what he pulled with that whole "The idol" tv show he puts a very bad taste in my mouth as a person.

I did check out the song itself. I do admit it IS pretty good. His voice is a bit too "modern pop" for the really good music backing it which I'm not super fond of, but it's pretty good! I do think I prefer bands like The Midnight and GUNSHIP tho.

There's an entire channel btw, if people are unaware, called "RetroNewWave" that only features synthwave (and its various offshoot genres) music by indie artists.

I've been listening to a lot of Mallsoft music lately, as well as what technically counts as Vaporwave but I'm extremely picky with Vaporwave because a lot of it doesn't appeal to me. I think I like Sovietwave but I haven't listened to enough of it to form an opinion on the genre as a whole outside of the songs I've listened to and REALLY like. (I'm a sucker for music that incorporates recordings of spaceflight chatter, both English and Russian).

This one is my favourite (despite not having spaceflight chatter in it)

I've been big into the album "WEBINAR" by Dreamcorp but I'm not sure what subgenre it fits into.

I just wish there was more Seapunk out there T__T I like Seapunk a lot but there only exists like 4 or 5 songs of it out there I like. A few of the VERY small selection of songs that exist I don't like that much, but the ones I DO like I'm obsessed with. "Realm of the Dolphin Overlord" is basically my entire personality on some days

I love this song so fucking much.

......wow I'm really turning into one of those" niche music snobs" aren't I?

[daggerzine]

Love Child- Never Meant To Be  1988-1993 (12XU)

Love Child, the NYC trio of Will Baum, Rebecca Odes, and Alan Licht (later joined by Brenda O’Malley after Baum left) could’ve just been a footnote in history but thanks to the 12XU label fans old and new will be turned onto the band’s great grit rock that was all over the indie world in the late ’80s/early ’90s. Though it was basically Licht on guitar, Odes on bass, and Baum/O’Malley on drums there was some musical chairs instrument switching going on and on the vocals, too that always made for an interesting stew.

Ken Katkin’s Trash Flow label released the band’s debut single back in ’90 and sang the band's praises to anyone within earshot. When he took over Homestead Records (from Gerard Cosloy, who ironically runs the 12XU label that is releasing this collection), he continued on, releasing the band's two terrific LPs, Okay? and Witchcraft and another single. In addition to select cuts from those records, there are also songs from a Peel Session, a KSPC radio session, and more for 26 songs in all.

The charm of these recordings is Licht’s 6-string wizardry, a possibly self-taught genius who plays what he feels like when he wants to while the rhythm section hammers it all home with real hammers. Many of the songs don’t even hit the two-minute mark and those that do barely go over it though a few songs even go over the 5-minute mark and the album closer is the genre-defying “All is Loneliness” close in over eight minutes (I think they invented the word raga for cuts like this).

Cuts like “Wait and See, “He’s So Sensitive,” “Cigarette Ash,” “Crocus Says” and “Fortune Cookie” are just a few wired/wiry cuts that any band would be proud to call their own (“Willpower’ too).  In other words, it’s not too late to ride the fiery breeze of Love Child!

www.12xu.bandcamp.com

www.lovechild12xu.bandcamp.com

[moonlight-records]

REQUESTS:

home ★ masterlist ★ rules ORDERS: 3/5 | SHOP: OPEN

★ place an order here! | looking for a new limited edition vinyl? maybe you wanna give burned cds a try with all your favorite hits? maybe need a new playlist for your daily commutes? well, welcome to the moonlight records for all your musical needs.

PARENTAL ADVISORY: Some tags may be triggering! a little '(!)' will be indicated & proper tagging as well at the beginning of the fic. viewer discretion is advised

we do accept custom requests. if you're in a jam for a custom, you could place an order for us! just put an artist, platform, genre/decade, and hit songs and if it's E or not! You can select multiple genres or decades as well as hit songs!

🎤 FAVORITE ARTIST / ALBUM NUMBER...

(#00) Toto Wolff

(#2) Logan Sargeant

(#4) Lando Norris

(#16) Charles Leclerc

(#33) Max Verstappen

(#43) Franco Colapinto

(#44) Lewis Hamilton

(#47) Mick Schumacher

(#65) Arthur Leclerc

(#81) Oscar Piastri

(#87) Ollie Bearman

(#4416) Lewis Hamilton ft. Charles Leclerc

(#3316) Max Verstappen ft. Charles Leclerc

(#481) Lando Norris ft. Oscar Piastri

(#334) Max Verstappen ft. Lando Norris

(#998) Driver collab you don't see

(#999) Driver/Driver/You (can be valid for a driver/driver/driver!)

🎧 PLATFORMS / type of fic

PLAYLISTS - socmed au

CDs - blurbs and/or headcanons

VINYLS - fanfic

🎵 GENRES & DECADES / dialogue prompts

60's. “What’s the saying? With friends like you, who needs enemies?” “Maybe I don’t even want to be just friends anymore.”

70's “You’re smarter than you look.” “Is that a compliment for my intelligence or an insult for my looks?”

80's. “I don’t know why we haven’t become friends earlier.” “Oh, I know quite a few reasons for that.”

90's. "And now the devil adores us more than we ever did."

2000's. "Do I know you?" "Yes. We had sex."

2010's. “I’m sorry I’m missing the nurse outfit.”

21st hits. “Your lips are just too damn kissable.”

ALTERNATIVE. “It’s so cold, you should hold my hand, so it doesn’t freeze.” “I’m not that cold, I can give you my gloves if you want.”

BLUES. “I’m sorry for how it ended.” “I’m sorry that it ended at all.”

CLASSICAL. “Don’t freak out, please It's not as bad as it looks.” “I can never let you out of my sight.”

COMEDY. “I think I love you.” “And I would love to answer you accordingly, but I think I would appreciate it more when you’re actually able to understand my answer.”

COUNTRY. "I could listen to you all day."

DANCE. “Stop. Just stop. I won’t be staying with you any longer.”

ELECTRONIC. “Are you doubting my acting skills?”

GOSPEL. "Maybe you could use that mouth for more than just talking nonsense."

HIP-HOP. "It was the circle of life - strangers becoming friends, becoming lovers, becoming enemies. But there were still just too many feelings involved to become strangers again."

HOLIDAY. “My horoscope told me I would meet the love of my life next year.” “Then let’s meet up again after midnight.”

INDIE. "I'm not a hallucination." "You are a pipe dream."

JAZZ. “Come back, the bed’s cold without you.”

METAL. “Please close the door behind you.” That’s all they wrote.

NEW AGE. “I’m not drunk. Can a drunk person do this?” “You’re not doing anything.” “But… I sent you my love. Did you… did you not get it?”

PSYCHEDELIC "I'm so embarrassed I didn't ask before, but what's your name?"

POP. “Stop looking at me like that or my knees will not hold me any longer.”

R&B. "Jealously seems to be a great motivator for you."

ROCK. “I’m not drunk. Can a drunk person do this?” “You’re not doing anything.” “But… I sent you my love. Did you… did you not get it?”

SOUL. "Your eyes are already saying yes, now I just need your mouth to tell me the same."

SOUNDTRACK. “I was always jealous of them and it took me some time to realise why.”

VOCAL. “I trust you, you always make good decisions. Mostly. Not when it comes to letting this awesome prize - aka me - go, but in general, I trust your decisions.”

WORLD. writer's choice!

🎶 HIT # / additional tags

.1 female/femme (she/her or she/they)

.2 male/ masc reader (he/him or he/they)

.3 gender neutral/non-binary (they/them or all pronouns)

.4 dominant!reader

.5 switch!reader

.6 submissive!reader

.7 top!reader

.8 bottom!reader

.9 service top!reader

.10 power bottom!reader

.11 bratty!reader

01 friends to lovers

(!) 02 obsessive behavior

03 lovers to enemies

04 rivals

05 strangers to lovers

06 aftercare

07 unrequited love

08 fake dating

09 praise kink

10 amnesia

11 enemies to lovers

12 degradation kink

13 childhood friends to lovers

14 touched starve

15 lovers to strangers

16 riding

17 first date

18 rough sex

19 marriage / married

20 body worship

21 secret relationship

(!) 22 mafia

(!) 23 power imbalance

24 domestic

(!) 26 injured!reader

27 cockwarming

28 thigh fucking

29 praise kink

30 alternative universe - non f1 universe, you pick!

31 pining

32 oblivious!reader

33 sugar daddy / sugar baby

34 enemies with benefits

35 size kink

36 jealously

37 college

38 consensual drugging

(!) 39 dead dove: do not eat

40 breeding kink

41 friends with benefits

42 face sitting

43 famous!reader

44 daddy kink

45 one night stand

46 age gap

48 friends with benefits

49 driver!reader

(!) 50 hurt/comfort

51 blowjob

52 semi-public sex

53 somnophilia

(!) 54 dubious content

(!) 55 possessive!reader

56 feminization kink

57 public sex

58 language kink

59 car sex

60 edging

61 denial

62 holiday speical

63 best friend brother

(!) 64 toxic relationship

69

99 anal (only m/m)

100 writer's choice!

RATING

E. NSFW

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