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feralphoenix · 4 years

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SONGS OF RESISTANCE: The View Myla Grants Us Of Hallownest’s Moths

hello again hollow knight fandom, i am back with my picante takes and ready to discuss two things i love: myla hollowknight and the moth tribe! Let Us Be Sad About Them Together.

as with my previous essay i’m going to be putting this fellow up on dreamwidth later for accessibility purposes since my layout text may be too small for high-res pc users. this time i’ll be attaching that in a reblog to avoid this post getting eaten by the dread tungle algorithms.

CONTENT WARNINGS FOR TONIGHT’S PROGRAM: This essay discusses colonialism and genocide both in real life and the fictional depictions in Hollow Knight, as well as racism in the zombie horror genre and in fandom.

ALSO: if youre from a christian cultural upbringing (whether currently practicing, agnostic/secular, or atheist now), understand that some of what i’m discussing here may challenge you. if thinking thru the implications of this particular part of hollow knight worldbuilding/lore is distressing for you, PLEASE only approach this essay when youre in a safe mindset & open to listening, and ask the help of a therapist or anti-racism teacher/mentor to help you process your thoughts & feelings. just like keep in mind that youre listening to an ethnoreligiously marginalized person and please be respectful here or wherever else youre discussing this dang essay

SONGS OF RESISTANCE: THE VIEW MYLA GRANTS US OF HALLOWNEST’S MOTHS

In this house we are all love Myla.

Well, in all fairness, there are probably plenty of Hollow Knight fans who aren’t interested in her character, since which fictional characters one attaches to is always a matter of personal preference. But she’s still well-loved for a minor NPC and inspires a high level of devotion in her fans. There’s nothing that whips folks into a frenzy like a cute character you can’t do anything to help, and unlike some other characters in Hollow Knight Myla’s fate leaves no room for ambiguity. Once you pick up the Crystal Heart you’re left with only two choices: Avoid her, or kill her.

A lot of Hollow Knight’s world is designed to make you care about it so that it will hurt more when Ghost’s violent skillset proves too limited to save something or someone. The consequences of Hallownest’s founding and policies have directly or indirectly caused a great deal of damage to everything, and chief among those consequences with massive damage and a wide splash range is the Infection. Much has been said elsewhere by other people about Hollow Knight’s predominating mood being a struggle against futility, with Ghost arriving at the eleventh hour and every new tragedy designed to make the player more desperate to find something actionable, only finding out by trial and error what’s beyond your personal ability to save.

Myla, in that sense, is a typical example of that worldbuilding. She’s a particular kind of stock character in the zombie horror genre, the innocent who falls victim to the plague and cannot be saved, wrenching audience hearts and demonstrating the stakes.

But Hollow Knight plays with the trappings of zombie horror in a very unusual way, one I find thematically fascinating.

For a quick overview, the “zombie” as we know it in popular culture is an appropriation of a voudou (the Black American spiritual practice) concept that deals with the fear of slavery killing one’s spirit. (People more versed in/with roots in voudou culture can give a much more comprehensive overview than this simplistic one.)

The zombie horror genre, especially in Western media, is part of the great white fragility stock plot trifecta (the other two being alien invasions and robot uprisings). Zombie horror in particular expresses white fears that marginalized ethnic groups will rise up violently in revenge for their mistreatment and destroy white society. The fear of “that which is human, which ‘humanity’ is not” (to borrow mecha visual novel Heaven Will Be Mine’s pithy term) and the extreme levels of violence towards human-but-not bodies typical of zombie horror are often an expression of such bigotries. This is, again, a subject that’s been discussed in greater depth and with more nuance elsewhere.

But what Hollow Knight does is take the ugly metaphors and it makes them literal, makes it harder to ignore the toxic subtext of the genre. The Infection is literally a native god’s revenge on the settlers who committed genocide* against her people. How the Pale King’s colonization of the crater negatively affected the preexisting groups of bugs underpins every level of the worldbuilding, as does Hallownest’s cruelty towards its neighbors.

Hollow Knight is a game that is about the tragedy of Western imperialism. It is one of the work’s central themes. There are a lot of conversations that need to be had about the ways these themes manifest and, on a real-world level, about fandom’s predisposition to avoid the subject.

But, for now, let’s get back to Myla. If she fits such a stock zombie horror archetype, and Hollow Knight uses zombie horror tropes to underline the conversation it attempts to have about colonialism, then what has Myla got to teach us about the overall worldbuilding?

There's two topics I’d like to broach here: First we’ll get into how the circumstances of Myla’s infection fit in to the implied role of Crystal Peak in pre-Hallownest society. Then let’s take a long look at the lyrics of Myla’s song and what it implies.

MYLA, THE CRYSTALS, AND THE HOLY MOUNTAIN

If you think about it, Myla is an interesting outlier compared to the other NPCs we encounter on the verge of succumbing to the Infection. Both Bretta and Sly are unhappy: Bretta is a lonely, anxious bundle of abandonment issues yearning for someone to sweep her off her feet; Sly misses his pupils and loved ones who’ve left him in death (we never learn who Esmy is or what they were to Sly, but we sure can tell they’re not around anymore). The temptation to dream away those sadnesses seems to play a part in their vulnerability to the Infection, and also why Ghost’s interruption brings them back to reality.

Not so Myla. She appears to be blissfully unaware of her fellow miners’ fate, and most of her dialogue prior to her infection (besides the song - we’ll get to that later) is about how much fun she’s having at her job and how much she enjoys Ghost’s occasional company.

Yet she still winds up infected when Ghost’s back is turned. Why?

Not to discard the possibility that Myla’s got her own issues too, but in her case there seems to be another likely cause at hand: The crystals. If hit with the Dream Nail before infected, she mentions that she can hear them “singing” and “whispering”.

Under the The Hunter’s Hot Takes section of the Hunter’s Journal entries on various Crystal Peak enemies, we can learn more about the crystals - particularly in the entries for the Husk Miner and Crystallized Husk.

Crystal Peak’s crystals were thought of as particularly precious in Hallownest and harvested en masse for use in luxury items and the like. To do so, the mining operation was set up throughout most of the mountain, though the area around its peak still remains largely untouched. However, there’s more to the crystals than just that. Like Myla, the Hunter notes that the crystals can be heard to sing very very softly if one listens closely enough.

Perhaps of even more interest than that is this particular comment he gives us, from the Crystallized Husk journal entry: “There is some strange power hidden in the crystals that grow up there in the peaks. They gleam and glow in the darkness, a bright point of searing heat in each one.”

I don’t think it’s a particularly revolutionary idea to point out that there’s some connection between the crystals and Radiance’s power; this is something many players have intuited just based on Myla’s dialogue. But, in order to understand what Myla is demonstrating about the game’s world I think it’s important to think about what that connection is.

Speaking of which, the local Whispering Root has two important clues for us: The phrases “light refracted” and “energy contained”.

The very top of Crystal Peak is one of the only places in the crater where the moths’ architecture has escaped Hallownest destroying it, and is the only place in the entire game setting where their religious iconography remains fully intact. There are stone monuments covered in their language (which has been destroyed with the rest of their culture) and the statue of the Radiance - this is easier to see in the Wanderer’s Journal tie-in book, but the huge stone arches upon the Crown represent Radi’s halo and its rays and encircle her when viewed head-on or from a distance instead of the side view we get in the game.

The crystals grown here were used by the moths to store and cultivate Radiance’s light. It’s impossible to know what sort of architecture/infrastructure existed inside the mountain before Hallownest stole it from the moths. But between the massive scope of her statue and all the texts at the Crown, and the fact that the moths were working with their literal actual god’s freely given power here, it can be safely asserted that Crystal Peak was a holy ground to them.

Hallownest didn’t care about the mind-boggling level of spiritual significance Crystal Peak must have had to the natives, though. To the Pale King and his people, the crystals are just a natural resource to be harvested for personal profit.

This is unfortunately a conflict that still plays out in colonized countries today. If you’re American, #NoDAPL probably comes to mind; Canada, Australia, and New Zealand are filled with these sorts of horror stories too. Settler disrespect for indigenous sacred grounds is a huge problem that needs addressing. If you’re looking at the story of Crystal Peak and thinking it’s very on-the-nose... maybe it needs to be.

Anyway, Myla is nowhere near as miserable as Bretta or Sly, but she still notices that something’s up with these crystals. She hears the voice coming from inside, and she’s curious, and she tries very very hard to listen to it... so she DOES end up hearing Radiance’s voice. Radiance’s real voice, not the songs and whispers inside the crystals: The voice of a frightened, angry, grieving god who knows there’s a new vessel running around in Hallownest, and doesn’t want any part of that. A voice that’s pleading for someone, anyone to kill this dangerous creature, and save her from the threat Ghost poses.

Between how freaked out Radi is to know Ghost is poking around, the tendency we see in her boss battles for her to panic and kneejerk blast things at full volume/vibrance when she’s panicking, and the way her dream broadcast seems to be only a one-way communication line while she’s in the Black Egg... naturally this spells disaster for poor Myla.

Similar to the Moss Prophet, this small tragedy is a demonstration of the eleventh-hour state the conflict is in: The Pale King has escalated this situation so far, and Radiance is so traumatized and isolated, that bystanders who might in a kinder timeline have become Radi’s allies instead get caught up in her AOE. Myla’s definitely not as aware of the overall situation as the Moss Prophet, since she’s a Hallownest bug and not an indigenous one the way they are. But she noticed things were not as they seemed, and she was curious. Who knows what new possibilities could have opened up, if Radiance was able to truly communicate with bugs in the outside world?

Small side note before we move on, but I’ve noticed a tendency among some folks who notice the missed connections to come down extra hard on Radiance and chalk Myla’s infection/Moss Prophet’s death down to deliberate cruelty on her part. I’d like to gently push back against this.

Living in a post-colonial world we all absorb some level of prejudice from our surroundings, and it’s important to take a look at our first assumptions about people (or, in this case, fictional characters lol) to examine whether these prejudices we’ve inherited have influenced those assumptions.

So, if your first instinct is to look at this situation and say the problem is that Radiance is being too harsh and too angry where she should have stepped back and softened her emotions for others’ benefit to gently persuade them to her side... Please think about how when people of color and non-Christians express anger or hurt at our treatment, or even so much as calmly assert our boundaries, white/Christian viewers often view us as much more aggressive and threatening than we actually are. The “angry black woman” trope is a good example of this stereotype. You may want to look up the HuffPost article “Why It’s So Hard to Talk to White People About Racism” and its discussion of white fragility to further understand this phenomenon.

It is absolutely essential to remember the complex power dynamics in play in Hollow Knight and that the Pale King deliberately imprisoned Radiance (who had at this point already gone through an extreme amount of trauma) in a way that would compromise her ability to communicate with others. If you can extend compassion to characters like Ghost or the Pale King and empathize with their motives/feelings when their actions cause harm, but you are not willing to do the same with Radiance... it’s important to sit down with yourself and examine why that is.

THE MEANING BEHIND MYLA’S SONG

Okay, let’s switch gears and take a look at the lyrics to the song Myla sings, since it’s got some interesting things to tell us too.

The first verse, which you can hear from Myla the first time you meet her/before you acquire Vengeful Spirit, goes:

Bury my mother, pale and slight Bury my father with his eyes shut tight Bury my sisters, two by two, And then when you’re done, let's bury me too

There’s not much particularly story-related going on here except foreshadowing that Myla may in fact wind up dying. Most of what we get here is that a) this is a song about burying the dead and b) it’s morbid as fuck.

Curious, a new player might think of the mention of burying the dead; there are a lot of corpses just lyin’ around all over the ground - something that might lead one to believe Hallownest didn’t have such a custom. Later players will discover the Resting Grounds, confirming Hallownest did bury its dead... and that the gravekeepers are all dead too.

Let’s look at the second verse, which Myla remembers and will sing after you pick up Vengeful Spirit:

Bury the knight with her broken nail, Bury the lady, lovely and pale Bury the priest in his tattered gown, Then bury the beggar with his shining crown

This right here is where it gets interesting. The first verse describes the singer’s family as dead or dying, but the people we’re burying now sure do have some parallels to Hallownest's ruling body, don’t they?

Among Hallownest’s Great Knights, three of them - Dryya, Isma, and Ze’mer - were women. They are also very dead or might as well be: Dryya was killed by Traitor Lord’s resistance, Isma is a tree spreading acid through the kingdom’s waters to cut off access to the City of Tears, and Ze’mer hung up her nail after her mantis girlfriend’s death and only lingers on as a revenant.

While there aren’t any characters who are described in-text as “priests” in Hallownest, the idea of a tattered gown might bring Lurien the Watcher to mind, or perhaps the Soul Sanctum’s magicians before they went rogue.

The lovely, pale lady in the song can only refer to the White Lady, Hallownest’s queen. And there’s only one man in the game who has a shining crown: The Pale King. The lyrics are particularly derisive towards him in a way they aren’t to any of the other figures listed, too.

So, it seems like whoever came up with this song didn’t think much of Hallownest. With that in mind it’s hard to think that it originated from any sort of faction loyal to the king.

We’re missing a line from the third verse, which Myla sings after you’ve beaten Soul Master and she’s beginning to become infected. But what we do see of it is Huge in terms of lore:

Bury my body and cover my shell, [...] What meaning in darkness? Yet here I remain I’ll wait here forever ‘til light blooms again

So. The “protagonist” of this song’s family has died, and they expect to die as well, but even unto death they're waiting for Hallownest to fall and the light to return.

The moths became Hallownest’s gravekeepers after the Pale King forcibly assimilated them. Under the Pale King’s light, the moths forgot Radiance and most of their original culture, but Seer tells us in her final monologue that a few individuals remembered just enough to pass bits and pieces down through the generations. This secret resistance among the moths was what kept Radiance alive and prevented her from being sealed away entirely.

This song Myla sings comes from that moth resistance.

Code songs amongst oppressed ethnic groups are very much a real thing, especially when groups have to communicate or signal each other within hostile parties’ hearing. Since I’m American (and had a big ol crush on Harriet Tubman as a little kid lmao!) the first thing that came to mind for me when I made this connection was the working songs escaped Black slaves used in the Underground Railroad.

These have another point in common with the moth gravedigger song Myla sings, in that they enter the general cultural consciousness through out-group people who don’t know the true context. If you ever pick up a book of American baby songs, you’ll probably find some Underground Railroad code songs in there - often because generations ago white kids heard these songs from Black slaves or servants, and went on to sing the same songs to their children with zero awareness of what the songs were really for.

So some Hallownest bug somewhere probably heard the moths’ song and liked it and sang it in a context totally divorced from its original one, and it got spread around and passed down to become one of Myla’s old favorites, with her seemingly not realizing the meaning behind the lyrics. The moths’ song of devotion to their lost god survived them as a people.

This is some VERY realistic and layered worldbuilding. There is so much to glean from just one NPC’s dialogue when put together with other clues. Of course all of it is SAD and DEPRESSING, but Hollow Knight is a tragedy with a super unsubtle point to make about the unsustainability of Western imperialism.

What happens to Myla is awful, and upsetting, and unfair. So was what happened to the moths and their sacred ground, and to Radiance too. It’s important to understand the scope of the conflict that led to all this happening, trace it to its roots, and lay it at the feet of the ones responsible for engendering all this tragedy in the first place: Hallownest and the Pale King.

*A NOTE ABOUT MY USE OF THE TERM “GENOCIDE”

This is a tangent, but since there’s some debate about whether it’s appropriate to define the Pale King’s actions towards indigenous bug nations as genocide, allow me to cite the official definition of genocide here.

The Convention on the Prevention and Punishment of the Crime of Genocide (the Genocide Convention for short) defines genocide like this:

Genocide is any of the following acts committed with intent to destroy, in whole or in part, a national, ethnical, religious, or racial group, as such:

A) Killing members of the group

B) Causing serious bodily or mental harm to members of the group

C) Deliberately inflicting on the group conditions of life calculated to bring about its physical destruction in whole or in part

D) Imposing measures intended to prevent births within the group

E) Forcibly transferring children of the group to another group

Among the abovelisted, Hallownest is guilty of A (Deepnest and the moths), B (Deepnest physically/the moths vis a vis brainwashing), C (the mantis tribe and the hive), and E (the moths, which we know from Marmu, and possibly the mosskin also - Isma is mosskin).

Then there is cultural genocide, i.e. acts committed with intent to destroy, in whole or in part, a national, ethnical, religious, or racial group's way of life. Let’s look at the United Nations Declaration on the Rights of Indigenous Peoples (DRIP) and how it defines cultural genocide:

A) Any action which has the aim or effect of depriving them of their integrity as distinct peoples, or of their cultural values or ethnic identities

B) Any action which has the aim or effect of dispossessing them of their lands, territories or resources

C) Any form of population transfer which has the aim or effect of violating or undermining any of their rights

D) Any form of assimilation or integration by other cultures or ways of life imposed on them by legislative, administrative or other measures

E) Any form of propaganda directed against them

Hallownest is guilty of every item on this list. A: The moths, attempted with Deepnest. B: The moths, the mantises, the flukes, the mosskin; also attempted with Deepnest. C: The moths, the mantises, the flukes. D: The moths; attempted with the mantises and Deepnest. E: The mantises and Deepnest.

Any sort of discussion of the wide-reaching harm Radiance caused MUST include the context that the Infection is her response to multiple levels of genocide. Discussion that does not include this context loses nuance and simplifies the conflict and power dynamics portrayed in the game in ways that reflect real-life racism and Christian supersessionism.

Now, this is NOT some sort of holier than thou Fandom Purity dunk to say that it’s Bad or Wrong to care about Hallownest’s nobility. Like, one of my favorite characters in this dang game is the White Lady, who spent a long ass time enabling her husband’s actions before she finally walked out on him over the mass infanticide thing. You can, and it is okay to, love TPK and want rehabilitation for him while acknowledging that the dude has done objectively bad things.

I just feel that it’s important to keep things in perspective so that we don’t wind up stirring a bunch of real-world bigotry into our fandom funtimes. A lot of us don’t have the luxury of turning our brains off and simply Not Seeing It, because these same sorts of dynamics are behind a lot of the hardships that threaten our everyday stability.

It’s pretty hard to have conversations about those things in real life if one can’t even recognize them in fiction. So, this might be a good opportunity to start practicing anti-racism so we can better utilize that ideology in real life, where the stakes are much higher.

#hollow knight #hollow knight spoilers #hollow knight meta #myla hollow knight #the radiance #hk myla #hk radiance #essay #long post under cut -

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sanstropfremir · 3 years

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kingdom episode 5 review!!! lets fucking go!!!!!

look. was i insanely hyped for this episode? yes. was my hype justified? also yes. holy FUCKING SHIT. you’ll have to forgive me for going off the rails at some points because ateez and btob directly tapped into something primal in my brain and i am obsessed. i'm obsessed. there’s no other word for it I’m obsessed.

ok ok ok i'll focus. i'm focused. i'll do the stage breakdown first and then do my personal ranking at the end. i might do a quick runup comparison of the self and expert rankings for funsies but i'll see how i feel when i get there. instead of going in airing order i’m gonna reverse it, since that was the order i actually watched them in and also i will run out of brains if i talk about rhythm ta first.

skz

i feel for skz. i don't think this show is going to be as much of learning curve as it needs to be for them because the fan voting skews the rankings so much. I’ve said it so many times before, but letting something flop or getting a bad ranking is actually good, because it shows you that you need to improve. because skz keeps getting validated by the fan rankings and placing first in the last two stages, they aren't actually taking the time to evaluate what about their stages is or isn't working. and besides, we’ve now seen two very similar concepts in a row from them, just one is on a grander scale than the other. what they should be doing is what both ateez and btob did for this round, which was scale up production value, but scale down concept. i know this sounds weird but i'll explain. skz has done two very abstract and ‘grand’ concepts. first round we had ghosts/good self vs evil self, and this stage they just went straight for the throat with a deal with the devil type stage. now when you combine these very abstract concepts with an unclear narrative arc, you lose clarity of intent in the performance because there are no specifics that you’re playing off of. there’s a lot more places left up to personal interpretation and this is where people can get lost. btob and ateez both narrowed down their concepts to hyperspecific scenarios where they very clearly showing the audience the arc the stage is taking. audiences can be smart but also if you can lead them by the hand they like not thinking about highly conceptual ideas, and especially not so much in a pop song competition show.

costume

this is so rare because generally stylists are pretty careful about this, but i genuinely think they got outshone by the backup dancers, especially in the ‘heaven’ sequence. those sash and skirt combos with the strapped white tops that look like straitjackets? the fucking angel wings?! these are some thematically fun costume designs and because they’re white they stand out so much more when skz are wearing black. i also think i've seen these tops on backup dancers before? i thought it was on the last stage but i might be going insane.

i am a sucker for beaded embroidery and the combined dyework on some of their sashes is beautiful. but again, thematically irrelevant? at least you can see the greco-roman inspiration in the backup dancers’ costumes. all this is telling me is that whoever the stitchers are at jype, they are fucking incredible, but they don’t actually have a good designer because the main costumes for all their stages have been both aesthetically similar and thematically irrelevant.

again, i applaud skz for trying more experimental makeup, but boys you have to go bigger, it has no impact right now.

set

well, i did ask for them to commit to the western art bit and they sort of delivered? the first space is not planned very well and combined with the wide wide camera shots instead of making the space seem grand and sweeping it just seems bare. the ‘heaven’ side was excellent though, there was much better control of the camera and the columns and altar scaled the space down so it was more believable. also the breakable columns were fun and corny and i love it when stuff gets destroyed onstage.

the child statue transformation into actual child was a neat trick that i think landed really well. i wish they had given that concept a little more grounding other than the flashback bit but it was still very readable.

i know using rodin's gates of hell is the easiest way to shortcut saying that like, “you are now entering hell,” but them being used SO literally feels a bit blunt when the last time we saw them used in kpop was by original blasphemous catholic lee taemin, who used them with such nuance and intelligence that i'm a bit put off by skz’s literalism.

on that note, i find it very interesting the conflation that happens between greco-roman/”classical” aesthetics and catholicism, because ideologically the two are opposed (see: the bible) and historically, they didn't exist at the same time. now i'm not going to go off on a tangent about neoclassicism because you are not here for an art history lecture but i thought i would make the observation about how catholics continued appropriation of greco-roman aesthetics without complete understanding or context of those aesthetics is as pervasive as it ever has been in the last several hundred years.

lighting

generally the lighting is pretty good, but there’s an over-reliance on projections that cheapens the look of the stage but also devalues the intentions as well. at the core of it there’s a profound statement being made about trading away your innocence, but when you underscore that with like, clock graphics and a WoW looking demon, it loses that simplicity of message.

the thing about using this particular type of projection, which are actually screens and not typical projectors, is that screens always throw light. and due to where they are situated, this basically means that if you're using the screens at full capacity with a cool colour range, we are going to be able to see everything. this is another contributing factor to why the stage looks so empty; they’re lighting up everything and it exposes where the gaps are.

now i fully acknowledge that this possibly could have been a deliberate choice, since they do actually use some spot lighting at the beginning and end. however, if it was it did not land for me.

i loved the intro of demon felix done in blue, that was a nice switchup from what we would usually see, but i wish there was more of a coherent colour arc. like the narrative it stutters around a bit.

sound

the arrangement was a miss for me. i found it a bit dissonant again, like their last stage, since the original i'll be your man has obvious lyrics about a good christian boy being sad about a girl. this gets a bit wonky conceptually as soon as you add a child self into it. i don’t know if they changed any of the lyrics in the singing to match this a little more because i don't speak korean, so i'll have to wait for episode subs for verification.

i really applaud them for trying, and overall they didn't actually do that bad, but skz is not a vocal group. the most i'm going to say about it is that these boys don’t have the breath support. this is likely because they're trying to do choreographically complex movements, but also it's a training thing. you can hear the difference even just between eunkwang’s ‘vocal warmup’ at the beginning of back door, he’s not projecting full voice but he still has the breath support for his voice to sound full, whereas all skz boys sound thin in comparison, even when at full volume, because they’re trying to project from the throat and not the chest. that's all i'm gonna say about that. i don't think the cracked note was bad, i didn’t really clock it on first listen.

staging

thematically they could have had something really interesting here if they stuck to a more simple narrative arc. the genesis (i’m very funny) of the idea here is good, the whole mephistopheles deal with a devil + regret/loss of innocence is clear, but the arc isn't really an arc, and the colour story doesn't help. it kind of goes earth (green/blue) -> the gates of hell are opening (red) -> oh it's heaven now (blue) -> oh just kidding it's hell/lets destroy heaven (red) -> back to earth (blue). not necessarily a bad arc, just a bit complex for four minutes.

the choreo was a lot better this time, there was a lot more intention and relevance to theme and i didn’t feel like they were flailing for the sake of flailing as much as i have in their other stages. there was also a clarity in the overall blocking and movement patterns that was missing from their other stages. this stage has a really great handoff of each member playing the ‘main’ character, especially in the beginning. i especially liked the cut from falling off the stairs to laying centre stage.

i think I’m right in assuming that it was a choice that the members were all playing the same character and demon felix was that character possessed rather than the actual devil, but personally i think it would have been a lot more fun if they had straight up just made him be the actual devil. there’s a bit of dissonance when you have a performer with such a specialized skillset that gets used in very specific instances, but then he shows up in the regular group choreo like any ol’ guy. they always put such emphasis on felix (as they should, he’s their most charismatic performer), but they never go the distance. i would have loved it if they had committed to the bit like TOO did in their magnolia stage from rtk, where they had a member just be blinded justice. that was literally the only thing he did and it worked so well. could have done the same here with felix and it would have been fun. that being said the felix parts were SO good. love love love him getting dragging in chains.

btob

this hit every little one of the buttons in my tiny backstage crew brain. i'm in love with this stage. there’s so many true to life little details here that on repeat viewings you're still finding new things. i know i rag on and on about narrative every week but here is a good example of what i've been trying to get at this whole time: the stage needs a shape. an a to b. you don't need a whole pirates spiel or a game of thrones theme extended universe; all you need is a clear setting and a point a to point b. this stage has both those things perfectly. we have a hyperspecific setting, (american rockstars) and a basic arc (getting ready to perform -> performing). even though back door is outside of btob’s wheelhouse, they spun it in a way that played to their strengths and did a bit braggadocio, which is rightfully earned. i'm gonna be saying it every time but the experience shows!!!

costume

good contemporary costume is SO difficult, i want to impress that here. because it's the the time period that we are currently living and seeing every day it's so easy for the audience to spot mistakes. although yes it's easier to source/shop for, to get it good enough that it doesn't pull people out of the immersion is surprisingly more difficult than you think. their stylists did an excellent job here. the backup dancers and btob are all in monochrome plus one and it adds a very clean unity to everything without visual clutter.

each of btob’s costumes have enough to give indication of character, along with the member’s acting, which i'll get more into in the staging section. regardless, never underestimate the power of a good fitting shirt and statement belt. oh and minhyuk in the stirrup motorcycle boots with the skinny jeans and the supreme boxers and the red satin robe? good bye.

i love love love a dyed buzz this was such a good aesthetic choice for peniel, 10/10 i have no complaints about the costumes.

set

oh my god i’m gonna french kiss this set designer. this is such a simple set but it’s executed so well. there’s the ‘backstage’ area, the corridor with four dressing rooms, and then the ‘stage’ that’s pretty much just velvet ropes. so simple, but all the detail is in the set decoration and props. the road cases, the monitor, the subtle flex of the posters of them on the walls, the clothing racks, all the booze. although this is not the actual layout of any theatre (they're normally much weirder than this), there’s so many little details here that really make the experience.

there’s a very straightforward path here and it works so well. i think this might be the best use of the gates so far? it appropriately suited the drama of the moment and they didn't have to do anything to them because they're already in a theatre. bada bing bada boom.

lighting

love the setup and continuation through the amber ‘BRRRMM.’ like with sf9 it gives a smooth transition into the stage. also loved no blackout. it's a general rule in current theatrical practice that you only use blackouts when they are absolutely necessary, because they can stop the pacing of a play dead in the water. so the lack of one here at the start of the stage was a really smart choice and makes the transition feel less jarring.

i will say that actual backstage areas are very rarely lit with amber because it travels far and it's bright. it's much more common to see running lights (the lights on during a performance) to be deep red or blue.

those blasting wash lights as the gates open? the DRAMA. such a seemingly innocuous choice that really cements the atmosphere of ‘we are about to perform.’

really smart use of the projections to accentuate the already existing stage facilities. it's pretty much unnoticable because it's very well done but i appreciate it.

sound

this ARRANGEMENT!!!! it's so good!!! back door has this premise essentially built into the song so it was so smart of them to put this gimmicky spin on it. loved the literal interpretation of the knocks into the structure of the stage, it makes the blend between the sound design and the staging that much more effective.

more rock versions of everything please and thank you.

btob is just stunting at this point and i love it. i'll have to wait for subs but judging by the hands in front of the camera bit and the ‘your super high note’ i’m pretty confident the added rap lyrics are full of shots at the other groups and honestly? valid.

staging

there's some really sharp camera control here with the one take first half. It’s up very close and personal because there’s a lack of space but it really works for the ‘intimacy’ of seeing backstage at a venue. also this is such a simple movement track but it’s so effective. it backs over a couple spots but it doesn't feel repetitive because there’s a sense of urgency and drive.

there are so many good little details in here that are true to life and unnecessary to include but sell the performance as a whole. peniel flinging water onstage, minhyuk stripping down twice and flinging his clothes around, minhyuk closing the door on the standby’s face, the backup dancer as a dresser with the laundry basket, peniel stealing the hat off her but then not going on stage with it these are all things that I’ve either had directly happen to me or something very similar has happened. but the best one and the one that sets off the tone amazingly for the whole stage is eunkwang’s intro. that ‘vocal warmup’ with the quiet okay at the end? with the little jump? i see that moment of vulnerability before the transition between person and actor every time i watch someone go onstage for the first time and there’s no way to describe it other than magic.

the luxury of only having four members, there was actually time in this stage to establish character. it also speaks to the performing strength of btob that they can establish clear character in this short amount of time. obviously it’s pretty one dimensional; there’s serious eunkwang, typical rocker minhyuk, fuckboy peniel (how many licks does it take to make your tootsie pop, anyone?), and comedian changsub. i’ve seen and met and worked with these exact dudes many, many times. ugh i love this stage

ateez

the utter euphoria i felt at the proof that last round’s stage wasn't a fluke. this stage is so good. it's so good. i'm obsessed with how good this stage. as an unreformed pop punk teen who played a LOT of latin jazz i am LIVING. if you’ve only seen the episode cut and not the full version here i'll make it easy and link it for you because oh my GOD mnet destroyed the pacing by cutting in a full minute and a half of reaction shots. actually mnet fucked up the pacing for all of these stages but this one was the worst. and look. i know this is the closest these boys are going to get to being real punks and this is a carefully curated and artificial facade for narrative purposes only but oh the pandering tastes so sweet. regardless of that, i am IN AWE of the level of storytelling happening here. the narrative is so clear on just the first viewing even though there is so much going on and they use every possible element they can to further enhance that narrative. repeat viewings just add more and more little details. i’ll probably miss some things because there's so much but i'll try my best.

costume

look, hanya and i were joking that my notes for this stage were just gonna be ‘san dog collar’ for a thousand words and i was so tempted to just leave it at that because.....woof. so here is a short list of things i am the most obsessed with:

san dog collar

san smeared lipstick

wooyoung cruella deville ponytail

hongjoong terrible blond crewcut

san crushed velvet cargo pants?!

seonghwa cropped fur jacket

yunho arm sleeve

hongjoong sockless in red derbys

but in all seriousness the costumes are so good. none of these are truly authentic punk looks but they capture the spirit right and that's what matters. all the right trappings are there; safety pins, patches, plaid, leather, and a lot of diy type looks. i love the painted masks, especially as a callback to the comedy/tragedy theatre masks. it was a thematic choice to have the backup dancers in black and the tac vests are a super simple contextual device.

also hongjoong’s quickchange hat/jacket combo is super fun and i hope that’s intentionally a preview of the next stage.

set

if you weren't convinced before that whoever is designing the ateez stages is a stage designer, i don't know what to tell you. it's hard to tell because there is so much environmental storytelling happening, but there is NO large scale set here. like with their last stage, kq smartly put money into two highlight pieces; the anarchist blimp and the van/wall, and the rest of the stage atmosphere is established solely through propwork and lighting. just think about that for a bit. every other group has some kind of large scale room or wall build. ateez has a bunch of tables, flyers, and a podium. i don’t know if i can accurately communicate just how difficult this kind of coordination is to pull off but holy fucking shit this is so hard to pull off. these are theatre people i see you and i see your work and i love you!!!

they fully used the gilt mnet stage as their pseudo government building and it works. everything about this (lack of) set is so smart i wish i could be more articulate about it but there’s so only so many ways i can say the same thing over and over again.

lighting

the laser scopes. the LASER SCOPES!!! god this lighting designer is so good. whoever you are, i'm acknowledging your effort because you deserve it. there’s some really wonderful contrast and directional lighting: the van light, the pinlights/lasers/smoke as searchlights. a lot of atmospheric red lighting but it makes sense for the theme (alarm lights) and they offset it well (unlike in the other two predominantly red stages we’ve seen) by fill lighting the faces with blue or amber; this is what actually makes us able to see what’s happening on stage

the projections are used to augment the stage action in without being overpowering, they're at relatively low tonal value so they aren't lighting up the stage at full brightness like in the skz stage.

the big brother eye on the tv screens (it's just a projection, not actual screens) combined with the government ban notice and the broadcast has to be the record for fastest visual explanation of fascist totalitarian state.

sound

i love it. they really successfully made rhythm ta into an ateez song and it’s cool as fuck. i love that it isn't sonically very loud. a lot of the chorus is actually quite level tone and quiet, which is a bold choice and they pull it off. this is very comfortably in their range (excluding jongho) and they went more for style than range and that's exactly what every group should be doing. singing high does not equal singing good. yes i am looking at you jongho you should have stopped at that penultimate note, it was fine!!

using rhythm ta as a pseudo protest song against a fascist government that’s banned all music and art? galaxy brain. that intro of hongjoong whispering “hey hey hey hey, this is just a song so get on the rhythm” after gunning down military police/guards? king fucking shit.

staging

i will eat all five pairs of my fluevog boots if kq hasn't hired a bunch of theatre professionals to direct and design these stages because now it's been proven that last stage wasn't a fluke. the level of execution at work here is absolutely incredible. oh the gesamtkunstwerk of it all!!! there is SO much happening so quickly in this four minute stage and it still manages to convey exactly the correct amount of information that it needs to on the first go round, and it only gets better on repeat viewings.

they use a really classic theatre perspective trick with san climbing the rope, and they absolutely didn’t have to do that. san probably could have actually climbed that himself, but here they made a choice for aesthetic artistry over tricking/other feats of skills we’ve seen the 4th gen groups do. instead of going with the more technically difficult and ‘impressive’ option, they chose the simple way that allows for more character to shine through. there’s actually very little tricking in this stage as whole, they're putting trust in the design of the stage and the raw performance abilities of the members to carry the stage and they stick the landing again. san has some breakdancing and so do the backup dancers, but it’s window dressing in the same way that the flyers are window dressing.

there’s a lot of really good little moments of acting that really sell the performance and dedication of the group as a whole to giving their all. hongjoong overall in his cocky aspirational leader role, seonghwa’s first verse and malfunctioning earpiece bit, san’s falsetto hostage interrogation bit. also i'm obsessed with how far yunho just hucks that mask. he gets like fifteen feet of air with that thing. also props to hongjoong barehanding that glass break.

the paper props are impeccable. the first notice sets up the situation right away, and then we get some further exposition with the newspaper wooyoung is holding (which says ‘the central government has defined the black pirates as a terrorist’ but honestly you don't really need to know what it says to get the point), and then we have raining anarchist flyers from the anarchist blimp. great atmospheric touches.

the blackout crash-to-mask transition is just so good. this is an example of a good use of a blackout. nothing else to add i just thought i would point it out because it's dope.

like with btob there's some really tight camera control here, that along with the lighting and the way they've laid out the space make it easy to follow the trajectory of where they're going and also make the space seem smaller than it is. this is a really big stage and if you don't control how you want it to be seen you end up like with what happened to the first part of skz’s stage. i wish they had tracked some of the one takes a bit better, but the end of that take where the camera followed the group movement laterally and then the formation swung around to face front? sexy. surprisingly the editing is pretty ok.

there’s probably still so much i could talk about but this is already so long so if i missed something just let me know.

ok finally lets do some rankings

personal ranking

this round wasn't as tough to rank because there were two clear top tier stages for me. i actually went back and looked at my ranking from last round and this is identical except the top two spots are switched, which i find extremely funny. however in contrast to last round, these stages were all leagues better than their predecessors. all the groups are improving, just some at greater speed than others.

ateez - i'm not even gonna explain this one.

btob - i won't explain this one either since i just did that.

sf9 - this would have been first if ateez and btob hadnt blow everyone out of the water.i still think they made all the right choices and played to their strengths.

ikon - this stage is so fun to watch but the others offer me more. that’s it.

skz - i like the idea behind it and i loved felix; i'm always down for some good catholic fuckery but like last round it just wasn't played out far enough.

tbz - double ding on the moulin rouge and the continued game of thrones references for me. there were a lot of strong elements here but when compared to every other stage it just doesn't have the same gravitas.

the self rankings i thought were fairly accurate, but again, what the fuck is up with these expert rankings? who are these experts? what stages are they watching?? i won't go more into it than that because then you'll be here even longer but i don't trust these experts who consistently rank btob at the bottom, do you have eyes??? ears????

ok i'm done for real now im so sorry this 4.6k words......if you make it this far do something nice for yourself like eat a cookie or something. this is way too long you deserve a reward for making it through my nonsense. as always if you’ve got questions or want to share your opinions feel free to send me an ask!

#kingdom #kingdom review #should i risk it and tag the groups this time? i kinda wanna bait some weirdos #kpop analysis #ok im gonna do it #ateez #btob #stray kids #the boyz #sf9 #ikon #im pretty sure i missed so much here but this is so long im so sorry #at least next week i wont be doing this kind of writeup #text

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thebadchoicemachine · 3 years

Text

SBI HadesTown AU That Lives In My head Rent Free

(in fact I probably pay it to live there)

Links at the end under the cut.

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Starring:

• Dream, George, and Sapnap as The Fates • Philza as Hermes • Wilbur as Persephone • Technoblade as Hades • Tommy as Eurydice

and

• Tubbo as Orpheus

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Changes to the story -

Instead of spouses, Wilbur and Techno are estranged brothers.

Instead of lovers, Tommy and Tubbo are best friends.

The focus is still on restoring balance to the world but through familiar and platonic love instead of romantic. Also, the reason the world is so bad is a more social crisis (some people work too much while others can’t work at all) instead of a natural one (the seasons being wack.)

It takes place during a seething summer drought rather than a frozen cropless winter but its still the same tune of spring/fall disappearing because the the world being out of tune.

Character Changes -

+ Philza is an old god. He’s not weaker nor stronger than Wilbur/Techno, just fills up a very different role. He’s god of history, of legends, of simple stories and narration. He’s very human compared to most gods, some theorize perhaps he straight up IS human in some way shape or form. He lives a human life to meet people and collect their lives and stories and appreciate them. He can’t really interfere as more than a mortal man but still just tries to give as many happy endings as he can.

+ Tommy’s a scrappy lost child. His problem is similar to Eurydice but a little inverted. Rather than learning to trust people he needs to learn to value them. He’s no issue with interacting with people and enjoying their help/company but he’s a tendency to use them. He doesn’t believe they’ll stick around so he doesn’t bother caring about them.

+ Tubbo is also an abandoned child. Unlike Tommy he grew up in one spot, although still homeless. Philza found him camping in a crate box behind his station and gave him a job and a bed. He’s pretty much exactly like Orpheus, optimistic, sees the world for what it could be instead of what it is, but maybe spends a little too much time looking forward and not around.

+ Technoblade is basically the god of work and motivation. His problem is generally the same as Hades’ in that he misses his family and is too busy working and building security for what he wants to get what he wants. He misses his brother so much he’s hardend himself to the reasons they’re apart so much in the first place.

+ Wilbur is basically the god of play and rest. In this AU, instead of Hades, Persephone’s role is the biggest reason the world is out of wack. His problem is that he doesn’t face his problems. As the god of such frivolous things as music, games, rest, etc. he is (feels) weak and useless. He’s jealous of Techno and how needed he is so Wilbur retreats away to somewhere he feels needed and wanted, entertaining miserable people. He’s stayed away for longer and longer amounts of time, not realizing his distracting them from their troubles (inadvertently preventing them from fixing them) is a reason they’re so miserable in the first place. All he can do is have a good time so he’s begun forcing it every second of every day and ignoring his brother in the meantime. He needs to learn that he CAN do good, people NEED breaks and fun, but recklessly enforcing it only enforces what he fears, that he’s a liability.

So, the main problem is a cycle the brothers have spiraled into:

Techno does obviously important things (stirring progress and improvement) and Wilbur feels bad, unimportant, and like a burden.

Wilbur leaves Techno to go distract himself/play with the humans.

Wilbur becomes useless and detrimental without Technoblade there to balance him out.

Techno works even harder, becoming empty and cold without Wilbur there to balance him out, trying to get enough work done so Wilbur won’t have to worry and will come back.

Wilbur sees Techno working so hard and shies away even more so as not to disturb his brother’s important work.

Technoblade has to basically force Wilbur to stay with him now, making it more work.

Wilbur sees Technoblade as both too important for him and now generally unappealing as unnecessary effort. Besides, he’d probably just get in the way.

Technoblade now sees Wilbur as just another part of his endless job. Keep people working, keep things improving, keep the numbers going up, try to keep Wilbur here. Its become work for the sake of work instead of work to the sake of rest.

So even when they’re together neither is relaxed enough to balance the other, both are distant.

Wilbur’s become too carefree, he ignores Technoblade and drops anything that seems challenging, including reconciliation and self-examination. He’s still just playing, even when with Technoblade.

Technoblade’s become too obsessed, focusing more on how to get and keep his brother with him than on being with his brother. The work has become meaningless without the end goal that Wilbur provides. A self sustaining cycle of labor for more labor’s sake.

Now the humans are suffering because they find themselves trapped in an unbalanced cycle of being either incapable of work or incapable of play.

Thematic notes:

- The dancers in the station during the first half are Skeppy, Antfrost, Bad, Eret, and Puffy.

- The workers (the dancers in the second half) consist of Niki, Fundy, Quackity, Ranboo, and Awsam.

- Tommy is implied to vaguely know/be brotherly to Techno and Wilbur, this is partially how Techno convinces him to leave and go work for him.

- Likewise, Philza has a few lines about feeling sorry about how Techno and WIlbur have ended up (implying he took some part in raising them) and already knows Tommy when he enters (implying he’s been a dad to helped Tommy out before.

- Technoblade is less malicious than Hades, more just cold and apathetic. In a way, he thinks he’s helping by pulling Tommy away from Tubbo. He, like Wilbur, believes that work is good so more work must be better, even if you’ve nothing to really work towards. At the end he listens to the fates because needs to figure out how to let Tommy go without undoing either all of Wilbur’s power or all of his.

- Tubbo’s song has a bigger impact on fauna than floral, specifically insects. His first song brings out bees, butterflies, and moths that Tommy goes all star eyed for because pretty bugs but more importantly, living things that don’t want to hurt him!

- Instead of a flower Tommy gets a big beautiful orange moth (named Clementine) that hides in the back of his coat neck whenever Technoblade is near. He remembers in ‘Flowers’ when he goes to wipe some sweat from his neck but its Clementine and she flies around him while he sings. (I thought that’d be much prettier than him just holding her like Eurydice holds the flower.)

- During ‘Living it Up On Top’ Wilbur dances specifically with Philza (who greets him very much like a father might greet a son who’s been away for a long time) and Tommy (who he teases and ruffles his hair a lot).

- Wilbur does drugs instead of alcohol. He... he makes a lot of drugs so I thought this would be an appropriate swap. Also it’s really funny to me that he sings Our Lady Of The Underground (or, Brother To The Underground) just completely stoned; handing out weed and shit to the workers.

- Instead of a mine Hadestown (Technotown? Technoville?) is a farm in a giant glass case built way up high. Instead of going through the dark that challenge is Tubbo has to climb up its side to avoid the train. Its an unnatural and unwelcoming greenhouse. Everything grows in lines but they’re mismatched and overrun with thorny weeds. Everything is grey and tough and flavorless. There’s so much dust and dirt being kicked up it’s hard to breathe and see. The workers are using various gardening tools during the beats instead of swinging a pickaxe. Half will sharpen while the other half swings (tilling the ground/cutting weeds), it makes a real nice schwing/thunk mix sound.

- During ‘Word To The Wise’ George sings (“if you tell them no you’re a heartless man”) Sapnap sings (“if you let ‘em go you’re a spineless king”) and Dream sings (”here’s a little tip”) and (“men are fools, men are frail”)

- Tubbo still looks back during ‘Doubt Comes In’ because he's scared of Techno and feels bad about himself (“Who am I? Who am I to think that he would follow me into the blazing heat again”). Techno, Wilbur, and Philza try their best to take care of them but it’s still a tragic ending.

- Tommy and Tubbo may or may not become (very sad and minor) gods. Unofficially and not in the story, but still... maybe. If they WERE, hypothetically, they’d be a very tragic pair. Tubbo would help mend relationships and guid people towards good advice while Tommy would help catch/ignore/cut out bad ones. Always working together, never together.

Lyrical Changes

> Pronouns are changed, obviously.

> Techno and Wilbur sing “brother” instead of “lover.”

> During ‘The Wedding Song’ (The Friendship Song, I do not care if it’s childish, Wedding is replaced with Friendship) They sing each other’s names instead of “lover.” (Tubbo, tell me if you can...////Tommy, when I sing my song...)

> Anytime they’re complaining about the cold winter replace it with a hot summer

> Tommy’s lines are much sharper. He never loses his edge with Tubbo. Instead of him remembering him and going “my best friend, Tubbo” he remembers and says something more along the lines of “that fucking idiot, Tubbo” but he’s say it with a quivering smile and bittersweet tears in his eyes. Harsh in words not in tone.

> Wilbur still pours a glass for a toast during ‘Living It Up On Top’ but the rest of the time he’s smoking something instead of drinking. (Who gives breaks when the work is hard?//That's right, Wilbur Soot!//Who makes the music? Who’s your bard?//(Wilbur Soot!)//Thank you//Who makes a rough life fun again, in spite of a pig//(You do!)//Who’s the most awaited gig? Eh? Wilbur Soot, that’s who!)

> When Wilbur shows up during ‘Chant’ he complains about how cold and dark it is. (Colder than a tundra) Techno explains it away as having set up shades/coolers to counter the glare from the sun through greenhouse glass and how he did it to protect/comfort Wilbur. (Brother when you feel that chill, it’s my protection from the kill, its my protection that i’ve built for you.)

> In the Chant Reprise the workers are singing about why they’re working if they can never enjoy the security and safety they keep making. Technoblade, instead of telling him to buy Tommy’s love, tells him to make himself needed. He, instead of warning Tubbo about Tommy leaving, scolds Tubbo for being too light and fluffy and spinelessly letting Tommy go. He scolds him for trying to take Tommy away, back into uselessness and empty fluff, when he’s found a good purpose because clearly Tubbo wasn’t point enough.

> Philza’s still the narrator, but diegetically his lyrics show more clearly that he knows everyone in the story already. I really like the idea of him giving Tubbo advice on making friends that gets shown in ‘Come Home With Me’

> When Tubbo sings about Techno, instead of singing about minework, he’ll sing things like ((from the second stanza of Epic II) “Technoblade, king//of power and pain//of a hard days work//that never ends//and for half of the year when Wilbur’s away//the strain and the stress just won’t give way//he thinks of his brother, light and carefree//and is taken in a rage of obligation and need//to ensure wants are met and safe//so there will be time for play//so his bother//his brother comes home)

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This post all started because I was thinking of Tubbo singing the “La lala laaa” that was originally Wilbur’s song.

Also, I realize this entire AU is just one big punch in the gut to Philza, like, “HEY, ALL YOUR SONS ARE SCREWED UP, NOW SING ABOUT IT.”

#drugs tw #ask to tag #sleepy bois inc #sbi AU #sleepy bois inc AU #Philza #technoblade #Wilbur soot #tommy innit #tubbo_#sbi + tubbo #sbi hadestown au

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doomedandstoned · 3 years

Text

SOLAR SONS Show Their True Colors on ‘Chameleon’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Keir Murdoch

One of the most played songs on our new compilation 'Doomed & Stoned in Scotland' (2021) is "Jormungandr" by SOLAR SONS, and when you give it a listen you'll understand immediately why. The Dundee band, formed in 2014, has a peculiar style that blends spirited progressive metal with heavy metal bombast, virtuosic guitar solos, and the occasional stylings of regional folk music, making this a solid contender for the Scottish Rock exhibit.

However you describe them, Solar Sons are anything but predictable. Formed in 2014 by Rory Lee (bass, lead vox), Danny Lee (guitar, backing vox), and Pete Garrow (drums, backing vox), the band got serious right away and built a home studio that doubles as a rehearsal space. I bet that would be a fun place to be a fly on the wall when jamming is in session.

DIY to the core, it's not surprising to find them also producing their own records, with each album being self-released. Hell, even their music videos are a personal labor of love.

Like many of us who sat in our houses shellshocked at the beginning of The Great Lockdown, fear gave way to boredom and boredom to creativity.

Solar Sons became separated, as so many other people were during the pandemic. The extra time was put to use and the band began working on new material. Passing each other song ideas and jams, this kicked off an intense period of creating the music from the new album. One song spurring on the next, until late-April/early-May 2020, nine to ten brand new tracks had taken serious formation.

Once things eased up a bit in July, Solar Sons set to work developing the lyrical and vocal parts of the songs, having quite a bit of fun learning to play the songs as a full band.

The album is called 'Chameleon' (2021), and I didn't know until I'd given it a good, thorough listen, how appropriate that title is to the album content. A chameleon is an Old World Lizard renowned for its ability to change color.The album before us is the band's fourth and showcases the diverse command of Solar Sons has over a plethora of rock and metal styles.

Each song is a concept of its own. We gallop gallantly out of the gate with "No Idle Blade," a breathlessly-paced song which references the classic Hiroshi Inagaki film Samurai Saga (1959). It's as much a sweeping love story as it is a heroic clash of swords.

Live by the code, honour to the warriors oath Morality means less to me than duty to the sword Make savage the hand and strong of the mind Must blood be spilled in the fields tonight Many before and many ahead Those who where terrified just turned and fled Swords slashing down, we race to the end

This romping NWOBHM number is an adrenaline rush, full of thematic urgency as played out by the Solar Son's expert sword 'n skins crews who are simply electric in their heroic execution of the rhythm and riffs. Pair this on a playlist, immediately following High on Fire's "Bastard Samurai."

"Timelord" is another heavy hitter, but transports us into another world -- the realm of Doctor Who, to be precise. It continues the frenetic pace of its predecessor, with skilled drum and bass work creating a kind of vortex transporting the evil timelord 'cross the constellations to wreak havoc on the good Doctor (which in my mind will always be my first childhood connection with the word "cool," the Fourth Doctor Tom Baker).

The evil timelord he has come for us all Brought back from the past to walk among us Set forth his reckoning and spread fear among us We dare not stand alone, it is nearly upon us The hour is here, the time is now

This song races to the finish with a jazzy swirl of psychedelic picking, slowly fading away. And...scene.

As the album progresses from this point forward, the rhapsodic progression through different styles becomes all the more apparent. It's hard to believe we're even listening to the same band in the funky, "Back Again" until the Solar Sons chime in unison the chant: "Visions in my mind / The pieces fall apart."

"Molten Mountain" is a wonderful prog interlude with beautiful guitar and bass tone. I refer to it in my notes as "The Continuing Adventures of Whale & Wasp" (Alice in Chains devotees will get the reference). It's worth noting that frontman Rory Lee moonlights as bassist with King Witch, another favorite band of mine from out of Scotland.

Every well-rounded album needs contrasts. Light and dark, fast and slow, exciting and chill. Enter: "Reflections," which the band characterises as a kind of contemplative ballad.

"Captive" continues in a similar mood. As it begins, it stirs up memories of the melancholic "Soma" by The Smashing Pumpkins. Don't be lulled into a depressive sleep, though, this too has the stirring fight and might of Solar Sons written inside and out (the band calls it "the anti-ballad").

With "Revenant" the band has decided to show off what it can do as a purely instrumental outfit. Lovers of progressive rock will relish in the effortless psychedelic and math-driven passages. This is why you practice your scales and runs, guitar students. So you can one day aspire to play with the effortless style, grace, and beauty of Danny Lee. I'd love to see these guys jam with my Northwest pals Zirakzigil sometime! What a blast it would be to have the two of those bands on the same bill, maybe opening for Earthless

"Test of our Times" awakens me from my daydreaming, probably because the singing is so out of character from what we've heard up to now. The band call it a "seventies rock shuffle." It's freewheeling spirit might deceive you into thinking this is a carefree song, were not the lyrics handy.

Feeling alone as the days they slowly pass Too much time on my hands I should not complain for I know it will not last And it's easy for me A prayer to the souls who are fighting for their lives And the ones who gone And those who give care you are heroes of our time And we will not forget

Starts to surround can you feel it closing in Pressure it builds now the time is near Fork in the road with a choice unclear how Can we maintain so much doubt and fear Break in the clouds see it light it by the sun Can't go so far for this all to be undone Gathering now we breach into the night Test of our times will unite us in the fight

We're at a point in the album where the Chameleon is shifting into all kinds of far out color. Next up, "The Wolf'' returns us to the savage tone that opened the album, though this is a notch sludgier than we've encountered so far. And no wonder: it's about The Wolf of Badenoch, whom Solar Sons characterise as "a nasty bastard in Scottish history and folklore." This will likely end up a favorite of many of our listeners, with the gruff chanting of pawns. will. fall. for. Badenoch. juxtaposed with exciting guitar filigree.

"Beyond the Stars" really endeared itself to me on my second listen through the album. We're told it's about alien abduction -- "the good kind." Certainly, there's something transcendent about it. I'm reminded of similar climactic epilogues in Mastodon's 'Crack The Skye' (2009), Yob's 'Clearing The Path To Ascend' (2014) and 'They Come from the Future' (2009) by Biblical Proof of UFOs. And what a sublime ending! Breathtaking.

Fans of Mastodon, Spirit Adrift, Haunt, Age of Taurus, and Zirakzigil will dig it, for damn sure. And now, one day before the release of Chameleon by Solar Sons, Doomed & Stoned is bringing you the full album stream so you can get well acquainted. If you dig it, show the band some love.

Give ear...

Solar Sons - Chameleon (2021)

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#D&S Debuts #Solar Sons #Dundee #Scotland #UK #progressive metal #progressive rock #blues #Doomed and Stoned

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goliath-de-senfina-sango · 4 years

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Interior designer Danny Fenton! If you enjoy this please hit that reblog button!

Danny had been on somewhat of a hyper fixation spiral since Sydney had explained how Sanctuaries work in the Infinite Realms. You make one from the surrounding ectoplasm and it’s your place. Only assholes will invade your sanctuary without permission and you have every right to fight them over it. Danny acknowledged that ghosts were people, and like people, he didn’t want them just waltzing into his house because the only nearby door to Earth was in it.

So, Danny had taken a blank sketchbook, let some of that ghostly energy flow into his mind, and considered how he wanted his sanctuary to look. It took weeks of drawing, of looking up pictures of the ISS, going to that abandoned observatory at that one hill, going with Sam on a trip to a jungle (he’d learned that bugs were discouraged from being near him if he let out little pulses of energy) and his own hike through Amity’s woods. He found himself tugged and drawn toward so many places for inspiration it shocked him. He drew server rooms, a room for nothing but videogames, a movie theater, a bowling alley. The library, the arcade, that coffee shop Sam liked that sold weird books, the park, Danny filled his sketchbook up and up and up (it shouldn’t have this many pages in it but his life was so strange he didn’t even notice that).

A month after Danny had come up with this plan, he was in a pottery class, learning how the process of molding clay at your fingertips felt and worked. He had to leave to fight ghosts, yes, but he was learning and the art of turning a pile of mush into something new made something in Danny sing.

Walking through the portal always brought back the most awful memories, but he soldiered on because this? It was important. Danny sat in front of the portal on the other side, surrounded by dark void and glowing green, blue, indigo, and violet mist (it was those colors and more, it was all the colors human eyes could not see). He lay one hand on his sketchbook, closed his eyes, breathed in, and let his energy flow outward. Immediately the mists pulsed and ebbed and flowed and danced to the tune of his core and Danny imagined himself drawing and molding at the same time. His aura shone brighter and brighter, and around the portal formed steel and stone, which extended upward, downward, outward. For an age, Danny let himself get lost in the sheer art of creation and the world around him hummed and thrummed as it was pulled closer together and twisted and stretched and aligned just so.

As a favor to a boy they would not know personally for some time, she twisted the dilation of Time around the Fenton Portal relative to Earth. Thanks to him, an hour would pass in that material Realm while Danny was lost in an obsession he didn’t even know he had - creating. Ectoplasm and the Soul both were infinite and as such Danny wove together the most beautiful tapestry he could without pause.

When Danny finally opened his eyes and the burning power ebbed back into his still ringing core, he was inside of a room. It was his workshop back home, or a replica of it, instead of his parents’ lab, though the portal was right where it was in the lab of course. He let his feet rest on the smooth linoleum or at least what he thought might be linoleum, and hummed. He walked over to the stairs and ascended, noting that artifact storage and weapon storage were both there. The kitchen, however, was very different. It was like something out a professional restaurant, every surface looking beautifully clean with knives and spoons and measuring tools and bowls and everything one could wish for to cook a five-star meal with littering the place. Meals he cooked with his dad, disasters he’d helped his mom and sister either make or destroy, Tucker and his mom’s home cooking, Agatha’s wonders all came to mind and Danny grinned. There was enough room for all of them to work together on something here.

The living room had couches, beanbag chairs, and very well cushioned chairs everywhere, the carpet feeling like a soft moss under his toes when he took off his boots and the walls and ceiling covered in murals of a forest under a starry night sky. When Danny flicked his fingers, a holographic screen appeared in the air and he beamed. Scrolling around quickly showed that signals were caught rather easily through the portal and he could connect to the internet or to any version of a cable package on Earth. “Tucker will love this.” That thought, of course, led Danny deeper into the house, to the stairs and up them toward a room. Crisscrossing the room were lines like circuits, gold, green, and red the theme of the room. It appeared a cross between a lab and a living room.

The largest feature was a sunken area in the middle of the floor that housed a circular bank of computers, as well as a bolted and padded chair that spun in a circle to reach every screen. Over to one side was a table with a sewing machine, countless pieces of fabric off on a shelf nearby. To the other side was a table with an entire DnD map on it, miniatures laid out waiting to take form. To one side as well there was a cabinet next to a refrigerator and a freezer, all labeled ‘chemicals’, and wow, Danny should probably check what those were. He knew Tucker was starting to dabble in chemistry but anything made from ectoplasm was probably dangerous to go experimenting with. The dartboard in the visage of a computerized eye was, in Danny’s humble opinion, a nice touch on his part.

“Well, there’s only one other door here besides the entrance and I’m gonna bet that’s like, an extra bedroom. So, let’s see what else we’ve got here.” Danny floated down the halls and hummed when he found a door made of polished obsidian with streaks of thread woven around it. He pulled open the door and chuckled. “Wow. plants everywhere, spider silk all over the place, black and purple with rebellion posters. I wonder who this room is for.” Danny floated up to the ceiling when he caught an odd glint and raised a brow at the cameras hovering in a strange formation. But then he pulled back down and snorted when he realized they were arranged like the eyes of a spider. There was a door labeled dark room where only a red light could be seen and when Danny touched the floor with his hand he found that it absolutely was some kind of moss. “I wonder how alive anything I like, willed into existence around here, can be. Is this real moss feeding on the ambient energy in Realms or does it just look and feel like that cause I thought it was thematically appropriate?”

Deciding that was best left for later, Danny flew off down the hall and up the winding stairs once more, finding himself suddenly in a library that seemed to go on and on in all directions. Shelves upon shelves that towered twice his height littered this floor so far like a maze that Danny couldn’t tell if there was an end made of true walls or if that second floor ringed with a brass balcony was supported by yet more bookshelves. Couches and chairs and tables were scattered all around, and the carpet was a soft lilac with orange and blue eye patterns repeating all over it. “This doesn’t feel like Sam or Tuck… it feels like Jazz. Wow, the rooms really feel like them. Ok, Fenton, don’t get too wrapped up in that. Ghost stuff is weird and you’ve felt and seen what your friends’ aurae are like before. This is just a whole nother level of it, in your own personal afterlife home.”

Spinning around the spiral staircase once he found it up to the very top of the building found Danny in an observatory, to understate. There was a telescope that looked out and up into the void toward the dots and pinpricks of light that hinted at the spirits of stars shining in the distance. The walls were all made of glass - likely one-way glass - and each was a different color, each reflecting a different view of somewhere on Earth. Most of them showed Amity, the places he went to most frequently, and the places he had to protect most often, but there was also a view of the whole of NASA’s facilities, the night sky, the biggest planetarium in the world, etcetera. Danny felt tears rising to his eyes, blurring his vision. “This is beautiful…”

On one table was a map, shifting and changing like waves on the ocean, which showed all the places that Danny had been in the Infinite Realms. There was a door that led to a room filled with easels, canvas, paint, brushes, pencils, paper, everything he could ever crave for drawing and molding art from clay and ink and paper. A flick of his fingers brought up a hologram when he got close to some speakers and every song he’d ever listened to was there, somehow in full even when his memories had faded of the lyrics and names.

“Alright. Ok, I can’t- I can’t stay here or I’ll never leave. I have to bring Tucker and Sam to see this.” Danny looked out a window, this one opening up onto a balcony, and he gasped. Stretching out for at least a mile or three was violet stone under several buildings. It looked for all the world like a town surrounding his house, with a forest and wood surrounding that town. “Holy shit. Yeah, I gotta show Tucker and Sam.”

#Danny Phantom #Danny Fenton #Sanctuary #Lairs #Danny's Lair #fanfiction #phanfiction #phanfic #fanfic #fanphic #fanphiction #phanphiction #phanphic #Rexy Writes

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