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teslacoils-and-hubris · 7 months

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What the shit is everhood

(Info dump pls?)

Gladly! ^w^

so everhood is a game that I would say is very similar to undertale, from the pixel art style to the humour to the general uhh theme? i guess is the word? Where you play as a wooden puppet named red on a quest to get your arm back from gold pig. The battle mechanic is a rhythm based system where you have to jump around and over beats the enemies through at you. The music is absolutely fucking fantastic and i actually bought the soundtrack i like it so much lol

a couple battles get absolutely insane with the visuals too, to the point im not even totally sure i can do a description justice? you can check out this video if you're curious, theres really no spoilers in this battle but it shows what im talking about. these battles are where the photosensitivity warning really comes in though, so be cautious if that effects you

I can't go too deep into the plot without getting into spoiler territory, so i'll put that under the cut for anyone who's curious, but here's what I can say! You go around collecting clues to find gold pig and get your arm back, and along the way you get to meet all the wonderful characters that populate Everhood. Like Rasta beast, Noseferatchu the sneezing vampire, Flan and Muck, the dancing mushrooms, a vampire who's name always changes. You really get to know and love these characters while also learning that maybe everything isn't as it seems in Everhood. Maybe, actually nothing is what it seems. Maybe you're the only one willing to do something about. But..... are you willing?

oh also kermit is there and I think he might be god? Also you can kill him and it impacts literally nothing

Full plot summary under the cut. I highly recommend you play the game without spoilers, but if you're like me and you Need to know what happens before you play then go wild. I'll only be talking about the intended good ending though, since I haven't gotten around to playing the secret endings yet- oh also mild spoilers for undertale i guess if youre worried about that in 2023

so when I say its similar to undertale in themes, its sort of. in a reverse sense. In undertale the good ending is the pacifist route. By saving the monsters you help them escape the underground and better their situation. It is mercy, the direct functional opposite of killing, that saves you. There is no mercy kill because using mercy ends the fight period.

Well in Everhood, the good ending requires you to kill everyone.

Your arm was taken from you because you've done this before, wiped out countless lives, friends even. And now you must finish the job. Its hard and sad and it sucks but it has to be you because no one else is going to. It falls on you to go back to these spots you've been through already, these happy cheerful locations, and hunt down everyone you've come to know over the course of the game.

so why do you need to kill everyone? and how on earth is it similar to undertale at all? well, Everhood isn't just the title of the game or the location it takes place, its the state every single character in the game is stuck in.

in the distant past, humanity found a way to reach another world, one they called Everhood. And in this world, no one could ever die. Some people chose to stay in this world, which lost connection to the human world for some reason i dont remember rn, and in doing so slowly lost their humanity. They lived for eons and eons and eons, changing their shape and loosing themselves in the process. You discover at one point that the Green Mage, a chaotic character whom I love, has been keeping track of the years everyone has spent in Everhood, every year a tally on the wall of their secret playroom. It takes three hours to get to the end of this hallway, to give you an idea of scale here. three real time hours.

Your character, Red, is a vessel for the literal human player behind the screen to free the inhabitants of Everhood from eternity. They aren't really happy. They can't be. They've been stuck for so long, and even though they beg and plead for you not to kill them you have to. Its the only way for them to be happy and move on from Everhood. And don't get me wrong you CAN choose not to go through with it. You have to actively fight back after this reveal to kill anyone. I haven't played through this way, so I can't speak on it.

The ending is sort of ambiguous, in which Pink (the person pretending to be Red and letting you the player control them) goes to an afterlife after killing everyone and gets to see them one last time, and they're happy. They forgive you. One by one you talk to them and they thank you for freeing them, apologize for fighting you, and move on happily to whatever comes after death. I choose to interpret it literally, but there's something to be said about the idea it's all in Pink's head. I don't think it was meant to be taken that way, but its one way to look at it.

The game sort of looses people with this being the good ending. But I think it's a beautiful metaphor. Sometimes you keep doing things that hurt you only because you're used to it. Maybe you don't even realize how its hurting you, its better than the alternative right? For the longest time I kept my bedroom blinds perpetually closed because the bright sunlight gave me headaches. I didn't realize just how depressed it was making me to be in near constant darkness like that. It was only after I bought a plant on a whim that I realized how much happier I was letting in the sunlight. You get so used to bad habits and awful jobs and clothes you hate because they're familiar. And doesn't it just seem easier? To take non-action and let everyone keep living and having fun in Everhood? Green Mage hosts DnD every week (or whatever counts as a week after you've lived for eternity), go play with the mushrooms in the forest, doesn't that sound lovely? You don't have to kill anyone, just keep living on exactly as you were! You have friends here Red! It hurts too much to kill them! they don't want to die! why not just give up? How could anything good come from the pain of change?

#asks #doc rambles #everhood #easily one of my favourite games ever #i will ALWAYS take an opertunity to shill this game lmao

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jucyfruit · 15 days

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‘Media Is the Third Parent’: A Conversation With Lucy Dacus

by Justin Joffe | 2/22/17

The music that we love is an accumulation of narratives. The stories those songs tell, the memories they create for us and the truths that their writers have lived all become an important rubber band ball of context and experience, informing our connection to them in ways we don’t always immediately get.

So when a young artist emerges from the formless depths of adolescence near-fully formed, the narrative starts taking shape even before we understand it. Cries of nepotism, entitlement, and business collusion often drown out the true origin story of someone who takes to a big stage so all of a sudden, whether or not those cries have any merit. And in the case of Lucy Dacus, a 21-year old singer/songwriter from Richmond Virginia with a remarkably deep and powerful voice, no such assumptions about her recent ascension ring the least bit true.

Adopted at a young age and creatively nurtured by her piano-playing mother, Dacus’ musicality was embedded in her home life from the get go. Her debut, No Burden, was recorded by her guitarist Jacob Blizard as part of his winter project at music school Oberlin and released by hometown label EggHunt Records last February. Almost immediately, Dacus’ husky alto caught the attention of larger labels—over 20 of them—requiring her to take some time sifting through the muck and the mud, fielding offers and inquiries guided largely by her convictions and her gut.

Six months later she signed with venerable independent label Matador Records, and their reissue of Dacus’ No Burden last fall gave hope to this whole generation of self-starters. Dacus’ reverb-drenched, alt-country-dusted songs cut to the question of how an artist in the public eye can still live away from what Sartre called “the gaze of the other”, free from expectations of beauty or lapses in trust, living and working only by the standards they set for themselves.

We caught up over the phone to discuss what it means to take personal agency over your work in a time when art and politics seem pretty much inseparable.

How ya doin’?

Good, I’m in Canada! Hopefully my connection will be good, but if it starts to break up I’ll blame it on that.

So, were you looking at a hearse or a limousine? That lyric of yours reminds me of one of my favorite Leonard Cohen lyrics, “Thought I saw an eagle, but it might have been a vulture, never could decide.”

Yeah, that one’s really good.

Much of your album speaks to trust and navigating uncharted waters, but can you unpack that rhetorical question for me?

I guess the point of that song, “Troublemaker, Doppelganger” is trying to navigate the worth of beauty, and if it’s hurtful or helpful to value beauty. If it’s a curse or a blessing. Is that something really negative and morbid, like the hearse, or is it the limousine—a glamorous symbol of enjoying life?

I’m trying to connect how your interest in the aesthetic side of media, between your time in film school and your time as a photo editor, has informed your perspective on our habits of consumption and decision making. Is that something that weighs on your mind often?

Yeah! The media, and how we’re taught to read it, has a huge impact on who we become as people. When you’re a kid you learn whatever your parents think, until you start taking in media. Because all your friends are your age as well, media is the third parent that you ever have. So I think about that a lot, what visual imagery is teaching us, and media in general having a huge impact. But it’s ambiguous—if you haven’t learned the cultural symbolism where media is coming from, it can be really confusing.

You said that you felt this record was possible because you went into it without any expectations, during the writing and recording process. But the minute any work is released to the public, media expectations become imposed upon us. I guess it’s what Sartre called “the gaze of the other”. How do you keep that purity of intention during your process while operating inside someone else’s media infrastructure, an infrastructure that you didn’t build? It’s something I feel that you’re in a particularly great place to help us with.

[Laughs] A lot of the songs for the next record were actually written well before we spoke to a label or had any kind of coverage, so at least for the next record, I haven’t had to deal with that. But of course I’m still writing, and I think the biggest aspect of it that keeps me from catering to our current infrastructure is not trying to write. I don’t ever sit down and say, “OK, I need to write a song” or “I need to crank something out” or “I have to make something that will satisfy the people around me.” That’s never been a concern, I don’t think that should be a concern, and it means I maybe don’t write at a quick pace anymore, but everything that I do write is stuff that just comes to me the way any other thought does. So far it doesn’t feel like anything that I’ve written is compromised by the fact that we have a label now.

You’ve spoken about how you had to develop a bit more business acumen after this album was finished and you were shopping your project around a bit. Do you almost learn those things so that you can know when you don’t have to use them, in a way? When you don’t have to have your guard up with them?

Yeah, I really enjoy navigating the business aspect of having a band, and there is a great amount of instinct. You don’t wanna work with people who make you feel weird, even if they’re super qualified. You don’t want to feel like you’re being used by anybody, even though you are submitting to that in some way, in some mutual using of whoever you end up working with. But there’s a fine line that’s hard to describe between being taken advantage of and having a partnership. I feel like that might be different for everybody, but I would just suggest that anyone getting into this take their time and compare a lot of different companies or whatever you’re choosing. Be comparative about decision making , because you don’t have to rush into things.

That ties into the themes of trust on this record, too, which is funny because you wrote these songs before having to navigate those waters. You wrote, “I wanna live in a world where I can keep my doors open, but who knows what’d get in and what’d get out.” Would it be a stretch to connect that lyric toward your path of ascension in the music sphere, toward your approach to how you present yourself? Are you talking about trust in the abstract here?

Absolutely. The more you learn the more wise you’re supposed to be, but I still reflect upon myself as a child, or even just myself pre-audience, kind of contemplating on where my creativity came from at that point and always trying to stay connected to why I originally started writing. I did write that song a while ago, but luckily it still rings true.

I talked to Joe Steinhardt of Don Giovanni a few weeks ago, and he’s of the mind that the big three media companies are turning into the big three tech companies, insofar as Apple, Google and Amazon are eating whole industries of art, commerce and media. It got me wondering what we can do. Now obviously you’re on Matador, and they have a great reputation around doing right for their artists’ sustainability. What are you, and they, doing right when it comes to giving artists some agency over their own work?

I guess there’s two ways to approach this question. There’s technically retaining the rights to your own music, being structurally independent and not feeding into major labels or major companies, but then there’s also this idea of retaining agency in a more metaphysical sense.

I think both are important. Matador’s an independent label, which was part of the reason that we chose them. Myself, I feel like I still have ownership over my own work. Like I said, you just have to retain your writing process and not force anything. That’s what helps me feel like I still have a handle on what I make—it’s coming from me because of me, not because of anything else.

On top of that, I really like and respect bands that do more than just the typical structuring of recording, releasing and touring an album. Bands that are socially active, bands that are not afraid to talk about their belief systems explicitly. I’ve been inspired by that, and that feels like not just taking agency over your own work, but taking agency over the responsibility that you’ve been granted by a fanbase. Really contemplating your fanbase and being present with the people who listen to your music.

That begs the very timely and topical question, too—if all art comes from culture, and cultures are being stigmatized right now, then isn’t all art political? The question’s kind of irrelevant when the creative class is kind of a marginalized community in its own right, but I guess I’m just wondering how your value system responds to right now, as you come into the creative class professionally at a time when a lot of people are freaking out about the abolishment of the National Endowment of the Arts and similar public-funded avenues for creative programs or dialogues. What’s your role in pushing back against that?

The solution we came up with as a band for this tour was raising money for local charities at each of the shows that we’ve been playing. That feels like a pretty effective form of activism so far, but beyond that, I would hope that the music we make and tour causes people to consider not necessarily the specific current events happening around the world, but what’s behind them—power struggles, contemptment and these other things behind the negativity that we see, a lack of fulfillment in people.

It’s nobody’s actual job, but I personally admire people who see it as their responsibility. Whether its actual resources going to real life projects, charities or charities, that’s one piece of it. But like I said, the content of the music can really change people’s mindset, and I know that I’ve definitely been changed by some musicians and lyrics that I’ve heard. Like I said, media is the third parent to anybody. I would just hope that people write things that call for more thought instead of less thought. That could make a huge difference.

(x)

#lucy dacus #interview #2017 #february 2017 #the new york observer #archival

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deer-time · 3 months

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episode 4. heavy cw warning for discussions of sexual abuse, it's that episode.

tell don't show, show. please. having a character list off everyone's flaws doesn't make a character look perceptive, it usually just makes the writer's come across as insecure and having to tell me everyone's deal before i can see it.

can someone please put some fat on the cat im shaking and crying.

i hope charlie's character arc comes soon because boy oh boy she is borderline annoying. would be nice if she actually gets to participate in the plot soon.

angel dust's sexual tendencies are simultaneously a joke and a source of trauma. you are supposed to laugh at him and you are also supposed to feel sorry for him. the show will decide which is what when it feels like it.

it feels weird for the show to swing between valentino being both an endearing villain and abuser. in another show, i'd perhaps entertain the idea of it being humanizing. with this, i know there's licensed merch of the rapist.

got to the poison sequence that caused like weeks long twitter discourse. other than some really poor editing (i can tell the cuts are meant to move with the music but it makes it unfocused and blurry. the palettes and poor designs further muck up the visual clarity of them and the lack of strong silhouettes don't help).....it just doesn't work with what the show has set up.

i disagree with the idea that it's inherently wrong to depict onscreen sexual violence, the idea that depiction in itself is sexualization is just incorrect. i can understand however why this came across as exploitative to some, even if i wouldn't agree it's as irredeemable as some claimed.

however, what makes the scene fall flat is that up to this point...angel dust being an exploited sex worker has been played for laughs? his hypersexuality has been nothing but a punchline, the audience is meant to take it seriously until episode 4 suddenly decided to show angel dust's being sexually abused....and that just makes the last few episodes come across in poor taste. you can't tell me to take this character as a joke and then suddenly decide it's time to be serious.

the set up makes the sentiment ring hollow. it's poorly done and if they wanted to make this episode work, the previous episodes should have set up angel dust's behaviors as cries for help, not punchlines to a joke.

i'm kind of disappointed. in the hands of a better writer, it would have been really nice to see someone struggling with severe trauma and abuse through hypersexual behavior. it's a response to trauma i rarely see depicted and the depiction here is....bad. not good. disappointing! i get why people like this character, or at least like that somewhat compelling part of him that was almost shown here.

the final song Does Not work. i get the message of it but the sentiment rings hollow and doesn't provide a satisfying ending. otherwise, visuals were nice. really liked the use of colors other than red.

#hazmat livewatch

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georgieluz · 5 months

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ok sorry but julian. my sweet dear julian. i will never ever ever shut the fuck up about babe got a tamagotchi i need to know everything about it and when you're finished with it i need you to bypass posting it on ao3 and inject it into my veins

hello, m'love! i'm glad you're ready to be as hyperfixated on babe and his tamagotchi as i am, but i fear you may be disappointed as this is just the title of my early 2000s battle of the bands au.

babe won't play a gig without his trusty tamagotchi attached to his belt loop, and it has somehow become the main visual representation of this fic in my mind. and bc i keep changing the actual title for this damn thing, it's still "babe got a tamagotchi!!!" as a file

but, about the fic itself!

babe plays keyboard and is the very enthusiastic second vocalist of george luz's two-month old garage band. and yes, he will absolutely bite if you try and call him a backing vocalist. especially bc skip muck will never let him forget that he's the main vocalist and frontman of the band. george disagrees and is constantly trying to explain how actually, despite him being on guitar, he's actually the frontman of the band bc he created it. then we've got malarkey on bass, who frankly does not want to be a part of this competition whatsoever, and lieb on drums, who's not particularly bothered but thinks it will probably be hilarious so has agreed to go along with it.

they've played two gigs total in their entire career. neither of which paid them. one was an impromptu performance at a friend's party and the other was in the retirement home of george's grandfather, where they were asked to cover songs by the beach boys and nothing else. malarkey threatened to end everyone and himself that day, so they've never played a beach boys song since.

george is convinced they're gonna win the local battle of the bands competition, and enters them without telling any of the others. unfortunately for them, local favourites, the bastognes, fresh off their very first tour and supposedly on the precipice of being signed to an actual record label, are also competing. and are probably going to win. no, they're definitely going to win. no doubt about it.

the bastognes are ofc very familiar faces, but i'll leave that for future discussion. outside of the band scene, we also have david webster, classical pianist, who really doesn't want to be dragged into a sticky dive bar to deal with these idiots and their antics, but is definitely going to be. mainly bc he writes for the local university paper and has been assigned to cover the competition. then we have joe toye, who bartends at said dive bar, aka the music venue holding the competition. he may or may not be fucking a certain band member who may or may not also be his boyfriend.

yes, there's webgott. yes, there's baberoe.

babe and his tamagotchi frequent heavily bc the bar is so low for me and it does in fact have me frothing at the mouth

and if you're curious, his tamagotchi is yellow with pink and orange buttons and detailing

if you still want it injected into your veins i am ready and waiting with the syringe!

for this ask/tag wip game :)

#we need more fic with skip muck at the forefront ok #julian's inbox #julian's ask games #my wips #julian writes #i can't remember any of my tags anymore

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adamwatchesmovies · 7 months

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Cinderella and the Secret Prince (2018)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

There's something particularly devastating about watching a bad movie that could’ve been good if circumstances beyond the filmmaker’s control hadn’t mucked things up. Right before the end credits of Cinderella and the Hidden Prince, we see concept art of what the characters should’ve looked like. They look great. As good as anything Disney has put on-screen. I'm certain the voice actors saw these images and got all excited. I can picture the art director/character designer telling their friends and family about this animated fairy tale they were working on and then dying of shame once they saw the final product.

Ella “Cinderella” (voiced by Cassandra Morris) is forced by her wicked stepmother and step-sisters to work as a scullery maid in her own home. When her mouse friends Alex (Chris Niosi), Manny (R. Martin Klein) and Walt (Tony Azzolino) discover an apprentice fairy godmother in the woods (Crystal, voiced by Kirsten Day), Ella gets the chance to go to the royal ball and meets the kingdom's prince. Unfortunately, Olaf (Stephen Mendel) isn’t a prince at all. He’s a puppet of the Wicked Witch (Stephanie Sanditz), who has transformed the real prince into a mouse!

If you’ve had the misfortune of seeing 2012’s Cinderella 3D, this one’s cut from the same cloth. Ugly characters are REALLY ugly but not in an intentional way. The "handsome" prince has his eyes set just a bit too far apart, making him look like he’s a fish man. Cinderella’s mouse friends (well, two are mice, one’s a hamster) are hideous creatures whose size changes from scene to scene. At best, this looks like a bargain-bin knockoff of Tangled. Most of the time, it doesn’t even reach the level of Happily N’Ever After. Some assets were obviously taken from an animation library because you can see their cycles end in the middle of a scene.

Despite the lackluster visuals, you can picture the movie this could've been if it weren’t trying to tell the Cinderella story. When you think of the classic fairy tale, certain elements come to mind: a poor girl forced to do labor, a fairy godmother and most iconic of all… a crystal slipper left behind at midnight. That last one? not in this movie! Instead, we have a quest for a magic ring to restore the not-so-secret prince to his human form. This mission takes over the entire film, which would be fine if it was what we’d signed up for.

As Hoodwinked has taught us, all could've been forgiven if the writing had done some heavy lifting. At several points, it feels like there are scenes missing. One moment, Cinderella and her friends spot a colossal ice mountain all the way across the forest. Seconds later, they’re inside, exploring a cave that looks like it belongs to a completely different film. The characters are thin, unlikeable, or both. At several points, the story contradicts itself. We learn, for example, that the prince was turned into a mouse when he was five years old. When he’s restored to his true form, he suddenly knows how to ride a horse and is an expert swordsman. Did he master these skills when he was a toddler? Then there’s a reveal about the evil witch that makes no sense and an epic conclusion that raises far too many questions. It’s clear some people on the team were trying but they were outnumbered by people who just didn’t care.

You can appreciate a film wanting to take a familiar story in a new, fresh direction but good intentions don't mean anything if the end product is kind of ugly, often annoying and poorly written. Don’t get me started on the one musical number. It’s so bland and generic you'll forget the lyrics as soon as the following line begins. Even for little kids who don’t discriminate, Cinderella and the Secret Prince would be a hard sell. (May 7, 2021)

#cinderella and the secret prince #movies #films #movie reviews #film reviews #cinderella #lynne southerland #francis glebas #alice blehart #stephanie bursill #russell fung #Cassandra Morris #Tony Azzolino #Chris Niosi #R. Martin Klein #Kirsten Day #2018 movies #2018 films

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murderofcrow · 1 year

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Not that anyone gives a shit but I feel like posting my opinions on the songs for Unser Lied für Liverpool, so yeah. I'm not a critic, I'm not going to disect anything, nor am I gonna go into some deep analysis of the lyrics, I don't really care all that much. It's just my amateur opinion after listening to the songs for a few times.

TRONG - Dare To Be Different

Funky lil tune. As someone, who doesn't know shit about k-pop, this is what I kinda imagine k-pop to look & sound like. 😂 The song is nothing I would love to listen to but probably also wouldn't click away. Like it's fine, makes me bop my head a little but it's nothing I'd see doing well at ESC. Maybe if the staging is right and he can manage to dance that well and also manage his vocals live? But idk, I'm not sold.

Will Church - Hold On

It's not a bad ballad but it's definitely not for me. I'd click away, if I heard this anywhere tbh. I think Will is a great singer but the song is just boring, it'd just drown in the contest imho.

Lonely Spring - Misfit

As a fellow misfit at heart, I'm definitely not immune to the early 2000's pop punk sound. I actually enjoy that song a lot. 😂 Would it win? Probably not, but it's fun. It gets stuck in your head and by the end of the song, you're just having a good time and sing along. I feel like the emo millenials would really appreciate this song.

Patty Gurdy - Melodies of Hope

I don't hate it but I also don't particularly love it. I like Patty's voice and I really like the folky sound of the instrument but the song itself... it's kinda boring (and sorta outdated) imho. I feel like it could either do really well at ESC or it could be one of those songs, that get hyped beforehand and then flop at the actual contest. I haven't listened to anything else by her but I just know she has better songs!

Lord Of The Lost - Blood & Glitter

This is the song, I could personally see doing best at the ESC out of this selection. Granted I may be biased because I like heavy music but I think they have the best total package of sound and visuals. And since LOTL is an experienced band, I feel like they could give us a great staging! I'm definitely rooting for them in the national final!

Ikke Hüftgold - Lied mit gutem Text

I hate it and I'm still mad this made it into the national final! 😂 Ballermann-Mucke is just something I strongly despise with my whole being! Like nothing against joke songs. I do enjoy them especially at ESC, when they're done well. But this... no thanks, I don't want it! This might work in Mallorca infront of a crowd of drunk Germans, but it won't work at Eurovision. Yeah... thanks, I hate it! 💀

Frida Gold - Alle Frauen in mir sind müde

Meh. Props for the German and women empowerment, I guess... but meh. I'd immediately forget about this song, the second another one comes on.

Anica Russo - Once Upon A Dream

I don't like it. Her voice (maybe it's the style of singing?) is absolutely not for me, it's like nails on a chalkboard to my ears. I just can't vibe with it. 😭

René Miller - Concrete Heart

It's not terrible but it's your generic radio song, that you've already heard somewhere else. I personally think René's voice would've worked better on a heavier tune, it's kinda wasted on a generic Imagine Dragons sounding song like that. 💀

#unser lied für liverpool #eurovision #eurovision 2023 #esc #esc 2023 #esc germany #eurovision song contest

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omegaplus · 1 year

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# 4,315

JK Flesh: Sewer Bait (2022)

Tell us this is techno without telling us it isn’t. While JK Flesh has always been a project of hybrid dance-floor and industrial, Sewer Bait would be a huge distance away from what techno is. It’s a record that’s not meant to excite, but to supplement the indifference of people who can’t be bothered by such and can still appreciate it when the music itself reaches the bare minimum definition of it. Issued under Kevin Martin / The Bug’s Pressure label, Sewer Bait becomes Justin Broadrick’s third and final release under the JK- moniker this year (succeeding New Religions Old Rules and Veneer Of Tolerance) and one which he pulls slower on. Sewer Bait wouldn’t sound like a traditional techno release by any means. With Broadrick and Martin’s mindset of stuck-on unwashable muck and reeking contaminant, JK- pushs the limits on how hard hammering bass rhythms would hit, how slow its tempo could move to the point of sludgery, and how detestable and filthy the overall output would be. The title track took off pieces of Nineties rave and applied it to the album’s running theme of creepiness, and dub takes a janky beating to its own pulp on “In The Drain”. “Flushed Away” may easily be the stand-out cut, representing the best example of mucous and creepy violation. It’d be easy to visualize how gruesome Sewer Bait would sound given the penchant for undesirable infra-structure and you might be half-right. The other half? Well, could you even imagine it?

#JK Flesh #Justin Broadrick #dub #filth #techno #Pressure #The Bug #Kevin Martin #grime #omega #music #mixtapes #reviews #playlists

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rickrakontoys · 2 years

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"Mad God": 4.5/5

83 minutes of nightmarish visuals expertly crafted. While there is only the faintest hints of a plot, the film is a showcase of Phil Tippett's hellish imagination and creativity. As you follow an unnamed "assassin" through the bowels of a world perverted into a twisted gorge of pulsating flesh, decaying putrid matter, and screeching mechanical atrocities, you come to recognize the faintest hints of humanity within the muck and mire. Each location explored feels like a shadow of our world, perverted into an eternal punishment for its tortured denizens. Many of the creatures encountered are so bizarre and ugly, yet have a charm to them that renders them unexpectedly endearing and occasionally cute (except for the hairy, screeching worm baby...).

The stop motion animation and dynamic cinematography lends the film an unmatched otherworldly feel. The music projects an air of sadness and despair perfectly complementing the visuals. There were far more live-action components potrayed by actual actors than I anticipated, and these feel like the weakest elements of the film.

Those looking for a clear story should look elsewhere or adjust their expectations. This is an abstract, experimental work of art, begging for analysis. A work to be respected for its audaciousness. I look forward to rewatching this again and admiring all the details put into every inch of the screen.

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whatsonmedia · 1 month

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Thursday Thrill: Top 3 Music Festivals Happening Right Now

March may be coming to an end but there’s still plenty of time to catch some amazing music festivals! Whether you’re looking for snowy slopes, sunny beaches or a vibrant city escape, we’ve got you covered. Here’s a sneak peek at 3 of the hottest music festivals happening right now: Snowboxx 2024 16 - 23 March The wintery festival encompasses a ski trip, a mega music festival for EDM lovers and a holiday all rolled in. Offering affordable packages for the best party with your mucks. Even for solo festival lovers who are for a bit of an adventure of the piste. The ultimate mountain party takes you from the snowy peaks of the French Alps into the sparkling heart of picturesque Avoriaz and the Snowboxx Village. Featuring two huge main stage events to get your week off with a bang on the apres-ski, heading for the heights on-mountain concerts, raves taking place in igloos, and tropical themed waterpark parties. If you’re up for an absolute wild and wicked week in France this one is right up your street. The main stage really is one-of-a-kind. And it be hosting some of the biggest acts in the world all in walking distance from your accommodation. Furthermore, Snowboxx hosts epic bottomless brunches where festival goers get pissed on the piste. This year’s line-up features Rudimental, Netsky, The Streets, Ben Hemsley, Krafty Kuts, Girls Don't Sync, Becky Hill, Danny Howard. Also Gok Wan, Jazzy (Singer) The Menendez Brothers, Jodie Harsh, Goddard, Lens, A Skillz, CJ Beatz plus many more Tickets & More Info Ultra Music Festival 22 – 24 March Miami's biggest EDM festival returns for its annual state-side outdoor offering on the festival calendar. Hosting one of the largest crowds of festival lovers. Ultra Music Festival Miami 2024, one of state-sides largest outdoor EDM festivals off the global festival calendar. Promising an unforgettable electrifying extravaganza! Drawing thousands to Bayfront Park for lovers of festivals and an all weekend danceathon. Festival-goers can expect a euphoric fusion of pulsating beats and mesmerizing visuals, from a global line up of elite DJs igniting the stages with unparalleled energy. With a diverse lineup spanning genres, festival-goers can immerse themselves in a kaleidoscope of electronic music culture, forging unforgettable memories amidst the vibrant Miami skyline. If you need a break from the cold and wet weather the city's favourable weather, its stunning sunshine makes it one of your top festival experiences. Where a sea of revellers, numbering in the tens of thousands, descend upon the festival grounds, creating an electrifying atmosphere of love, peace and unity having the best time of their life. Ultra Music Festival boasts multiple stages, each hosting iconic performances that push the boundaries of creativity and innovation. As one of the world's most prestigious electronic music festivals, Ultra Miami continues to captivate audiences globally, cementing its status as a cultural phenomenon. It's a must-attend event for music enthusiasts worldwide. The DJ line-up is flown in from around the globe, with headliners. There are so many headliners including Adam Beyer, Calvin Harris, David Guetta, Fisher, Camelphat, Afrojack, Tiesto and more. Tickets & More Info Lollapalooza Brazil 22 - 24 Mar Lollapalooza Brazil, offers a dynamic fusion of music and cultural celebration. Calling on festival-goers to an exhilarating experience unlike any other. Nestled in the heart of São Paulo, this iconic festival transforms the sprawling grounds into a vibrant tapestry of sound and spectacle. At Lollapalooza Brazil, festival-goers can dive into an unforgettable festival experience from a diverse lineup showcasing an eclectic mix of musical genres. Started from chart-topping headliners to emerging artists on the cusp of stardom. With multiple stages pulsating with energy, there's something for every musical palate, ensuring an unforgettable journey of sonic exploration. Beyond the music, Lollapalooza Brazil embraces diversity and inclusivity, featuring immersive art installations, culinary delights, and interactive experiences. It celebrate the rich tapestry of Brazilian culture. From savouring local delicacies to exploring art installations that ignite the imagination. Every moment is an opportunity for discovery and connection. With its vibrant atmosphere and palpable energy, Lollapalooza Brazil transcends mere entertainment, evolving into a cultural phenomenon that unites music lovers from across the globe. Whether dancing under the stars or forging new friendships amidst the crowds, the spirit of Lollapalooza Brazil ignites a sense of camaraderie. The excitement that lingers long after the final note fades away. Each year the festival brings some of the biggest names in music to South America that fans will love as they rock out at the legendary Interlagos Speedway. The line-up features a line-up of global elite world famous live music artists. Also DJs and locals including Kings Of Leon, Dom Dolla, blink-182, MK, SZA, Hozier, Above & Beyond. Moreover, some others artist: Arcade Fire, From House To Disco,Ella Whatt, MC Soffia, Mary Mesk, DJ Suburbia, BK Go Lollaloopie! Tickets & More Info Read the full article

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ulkaralakbarova · 2 months

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The government gets wind of a plot to destroy America involving a trio of nuclear weapons for which the whereabouts are unknown. It’s up to a seasoned interrogator and an FBI agent to find out exactly where the nukes are. Credits: TheMovieDb. Film Cast: Henry Harold ‘H’ Humphries: Samuel L. Jackson Agent Helen Brody: Carrie-Anne Moss Steven Arthur Younger: Michael Sheen Charles Thompson: Stephen Root Rina Humphries: Lora Kojovic Jack Saunders: Martin Donovan Agent Vincent: Gil Bellows Agent Leandro: Vincent Laresca Agent D.J Jackson: Brandon Routh Agent Phillips: Joshua Harto General Paulson: Holmes Osborne Col. Kerkmejian: Michael Rose Mr. Bradley: Randy Oglesby Alvarez: Benito Martinez Lubitchich: Sasha Roiz Winston: Dayo Ade Katie: Yara Shahidi Peter Humphries: Sayeed Shahidi Jehan Younger: Necar Zadegan Samura Younger: Jillian Bruno Ali Younger: Coby Seyrafi Major Pierce: Chris McGarry CNN Announcer: Angela Martinez ESPN Host: David E. Willis Young Sergent: Geoff Meed Observer: Kirk B.R. Woller TV News Announcer: Kelly Vaughn Announcer #2: Bill A. Jones Soldier: Phil Somerville Bomb Disposal Expert: Austin Nichols Pedestrian with Child: Delaine Yates Film Crew: Casting: John Papsidera Music: Graeme Revell Stunt Coordinator: Charles Croughwell Producer: Bill Perkins Producer: Marco Weber Director of Photography: Oliver Stapleton Line Producer: Samson Mucke Writer: Peter Woodward Visual Effects: Chris Ervin Key Hair Stylist: Robert L. Stevenson Producer: Caldecot Chubb Producer: Vanessa Coifman Editor: Scott Chestnut Director: Gregor Jordan Production Design: Steven Jones-Evans Key Makeup Artist: Francisco X. Pérez Makeup Department Head: Allan A. Apone Digital Intermediate: Keith Shaw Still Photographer: Dale Robinette Camera Operator: Chris Lombardi Art Direction: Nick Ralbovsky Visual Effects: Lucas Krost Costume Design: Danielle Hollowell Executive Producer: Vince Cirrincione Executive Producer: Rachel Rose Set Decoration: Amber Haley Gaffer: Jack English Costume Supervisor: Marisa Aboitiz Supervising Sound Editor: Chad J. Hughes ADR Supervisor: Angela Hemingway Sound Re-Recording Mixer: Jonathan Wales Music Editor: Ashley Revell Property Master: Guillaume DeLouche Special Effects Coordinator: William Dawson Script Supervisor: Tracy Scott Dolly Grip: Sam Stewart First Assistant Camera: Patrick McArdle Digital Intermediate: Brian Beard Key Grip: Patrick R. Heffernan Casting Associate: Jennifer Cram Lighting Technician: Jesse Mather Lighting Technician: Simone Perusse Prosthetic Makeup Artist: Brad Look Digital Intermediate: James Ahern Dolly Grip: Jeff Smith Construction Coordinator: Lars Petersen Movie Reviews: DoryDarko: Unthinkable raises a question which has been an issue for many people all over the world for a very long time, and especially since 9/11. This question is, is it ever justified to torture an individual to save the lives of many? And if the answer is yes, how far can you go? This issue is indeed a very sensitive subject and I think it takes guts for any filmmaker to put it out there in the open like Gregor Jordan did. Add to that the clever fact that he doesn’t actually make a choice, but rather lets the audience decide on whatever they want to think and feel, and you have a pretty gutsy and controversial concept. In a nutshell, this film is about a man of American descent who has become a Muslim and has now, as an act of terrorism, planted 3 nuclear bombs in 3 major American cities which will go off in four days. Screenwriter Peter Woodward made some very tactical decisions considering the characters in the story. They are all somewhat stereotypical, but this is no bother because they’re all there for a reason. Carrie-Anne Moss, as an FBI investigator, represents the conscience, the sensitivity and the struggle to make the right decision. Samuel L. Jackson is her polar opposite; the brutal, rational, stone cold “interrogator” who does what he does because he’s the only one who can and willing to do it. The means he is willing to go to in order to get his subject to talk ...

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#psychological thriller #Top Rated Movies #videotape

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jor-elthatendswell · 10 months

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I wonder if AI is being so embraced by certain quarters (I mean amongst ordinary people - the corporations embrace it because they think there's money in it) is because there has been a general narrowing of opinion of what "good" art looks like.

Social media creates a feedback loop. People want the likes, so they create art similar to the art that's already getting the likes. And you've got to compete for attention against the entire world, so you're art (be it visual art, music, whatever) can't be anything less than perfect when you offer it up for the judgement of strangers.

The internet can open career paths for artists but it can ruin the idea of art for its own sake or of being done just for the enjoyment of doing it. Plus increased economic inequality makes turning a hobby into a side hustle an attractive proposition. And if you're trying to sell your art, then you're going to prioritise art that sells, rather than the art you might prefer to make. Can kids just muck about with guitars nowadays, or do they need to give a polished, filmed performance to post online. One that'll match what they can see others their age posting.

This narrowing has been going on in mass media for a long time The need to recoup bloated budgets, pressure to support/ initiate a larger franchise, or to please the online consensus, makes film and tv more risk averse. They follow the template to success set by other productions and therefore become same-y and formulaic. . Any big movies whose visuals or dialogue deviate from strict "realism" , are instantly roasted online.

Music acts that occupy the same cultural dominance that the Beatles enjoyed in the 60s, rarely release tracks that are as weird, experimental and just plain silly as so much of the Beatles output was. Not would they have accompanying movies as oddball as A Hard Days Night or Yellow Submarine.

Batman (with Adam West and Burt Ward) and The Avengers (with Patrick Macnee et al) were phenomenal successes with adults in their day, but to a modern audience, they seem like children's shows. They were sophisticated in their way but today whimsy, pop art, word play, even a bright colour pallet don't cut the mustard with the discerning "mature" viewer.

The result of all this is a foreshortening of people's cultural horizons and a standardisation of what art is "supposed" to be.

So in this climate, people are afraid to create art, least it end up looking amateurish (even if they are an amateur), weird, idiosyncratic (if one's idiosyncrasies deviate too far from the norm). Easier to have an AI generate something that looks "professional" , "acceptable". And if it comes out looking weird, then it's the AI's fault and you can laugh at it alongside others which is much better than risking being the one laughed at, isn't it?

And I'm speaking for myself here. I got really into playing around with dall-e mini (an image generator) last year, but I found I was just using it to make lame visual puns (like I'd ask for a train made of jelly and call it "the great train wobbly" and such) . I could have doodled them by hand and the resultant image would be no less crappy than the AI's. I got me thinking as to why I was willing to share a bad AI image but not a bad drawing I had done.

#ai #dalle mini #thoughts

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abductionradiation · 1 year

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Los Angeles, CA -- Last week, Alex Bloom shared his new single “I’m Sorry,” an introspective track that’ll have you in a daze of possibility. There’s a flurry of movement to the instrumentation that sweeps listeners off their feet - from the jangly guitars to the bouncy keys. “I’m Sorry” has a swirl of emotions that mixes aimlessness with the calming acceptance in the comfort of being lost. The lush instrumental layers create a beautiful bed for the melodic vocals to dance over, amalgamating everything into a sweet four minute track.

On the track, Bloom shares: “I wrote ‘I’m Sorry’ during an early period of my time living in Manhattan. I was feckless and lost, and filled my time walking around the city, looking for inspiration anywhere I could find it. Musically, I was trying to make sense of a deluge of emotions, and the sensation of when they get backed up so much, they become a big muck of nothingness. I visited Dia Beacon in upstate NY around the time I wrote this song, and remember being really inspired by Sol LeWitt and John Chamberlain. The chords of ‘I’m Sorry’ reminded me a lot of Chamberlain’s recycled car sculptures, and a lot of the song’s vocal and guitar melodies felt angular and dimensional like LeWitt’s “Wall Drawing” installations. A lot of times I feel more inspired by visual artists than I do musical ones.”

Connect with Alex Bloom:

Facebook | Twitter | Instagram

#alex bloom #los angeles #indie

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dritacircle · 2 years

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Play osmos online

Osmos feels so natural and enjoyable to play, even when the difficulty ramps up and you find yourself repeatedly careening into a giant gaseous enemy.” - Wired “The first proper breakout hit for the iPad. “What iPad Gaming Should Be All About” - Gizmodo You just won’t find another experience quite like it.” - Slide To Play An utterly serene, yet fiendishly complicated game that deserves a place in every iPad owners collection.” - MacWorldĤ/4, Must Have - “We are more than overwhelmed by Osmos for iPad… The game design is thoughtful and intuitive, new level structures are flawless, and the visuals are stunning yet simplistic… every iPad owner should have Osmos on their device. “a beautiful, absorbing experience." - IGNĥ/5 - Macworld Editor’s Choice - “One of the best games we’ve played so far this year. * 6 distinct Arenas: Ambient, Impasse, Solar, Warped Chaos, Epicycles, and introducing… Antimatter Impasse. * Play against your friends and enemies, locally (via wi-fi), or over the Internet. * 13 single-player and 15 multiplayer achievements. * Confront four distinct AI opponents: the Ovarium, the Biophobe, the Nemocyte… and the deadly Ferax. * Time-warping: slow down the flow of time to outmaneuver agile opponents speed it up to raise the challenge. * Seamlesss multitouch controls: swipe to warp time, tap anywhere to eject mass, pinch to zoom… * Endless replay value: play random versions of any level in Arcade mode. * Award-winning electronic soundtrack by Loscil, Gas, High Skies, Biosphere, Julien Neto, and more. * 72 levels spanning 8 distinct worlds: Ambient, Antimatter, Solar, Sentient, Repulsor, Impasse, Warped Chaos, and Epicycles. * Many top lists including Kotaku, PAX, TouchArcade, iLounge, APPera, IFC, and more. * Most Innovative Game - Best App Ever Awards, Pocket Gamer * Vision Award - Independent Games Festival * Editor's Choice - Wired, Macworld, IGN, GameTunnel, and more. * Game of the Year - Create Digital Music * Apple Design Award winner (iPad version) * "iPad Game of the Year" and "iPhone App of the Week" - Apple “Whether you're a child at heart who likes mucking about with single-cell organisms, or a strategist with a physics degree, this game will appeal to everyone.” - App Store review A combination of physics, survival and classic eat em up” - WeDoCode “Named as iPad Game of the Year for a reason, Osmos is a fantastic game. From this delicate balance, Osmos leads the player through floating playgrounds, competitive petri dishes, deep solar systems, and more. You must grow by absorbing smaller motes, but to propel yourself you must eject matter behind you, causing you to shrink. “The ultimate ambient experience” - Gizmodo Osmos features unique physics-based play, stellar graphics, and a hypnotic ambient soundtrack. To survive, absorb smaller organisms and grow-but beware of larger predators. ** Apple Design Award winner and iPad Game of the Year! **Įnter the Darwinian world of a galactic mote. Osmos avoids the trap of self-indulgent gameplay that plagues so many other Indie titles and if you're after something unique and relaxing to enjoy, this is the title for you. Better yet, each of the game's eight modes feel great to play and run the gamut from relaxing to aggressive styles. What truly brings Osmos together is its unique artistic charm, from the blobs that look like organic galaxies to the music that lazily drifts along until you speed up or slow down, shifting the pitch and speed in turn. Time can also be controlled with a swipe of the finger, speeding up to allow for control without using too much mass or slowing down when you've accidentally flung yourself around a gravity well and picked up too much speed. Fire off more and you'll move faster, but beware of careening in to larger blobs as you'll be immediately absorbed. By tapping the screen you unleash a small percent of your mass which in this weightless friction-free environment means you'll start traveling in the opposite direction, albeit slowly. Osmos is an elegantly simple title to get in to, with 27 missions to introduce new players to each of the game's different modes and concepts. In the Blobiverse, Newton's laws are king and you'll need to exploit your ability to fire bits of yourself in order to absorb smaller life-forms until you're the largest around. Osmos by Hemisphere Games isn't your typical physics based game and after a brief stint on the iPad, iPhone owners can also check out this simple and absorbing title.

#Play osmos online

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tipsycad147 · 2 years

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What Happens After? What Your Banishing Spell Is Missing!

BY AVERY HART

Banishing and cleansing are some of the most widely used and discussed practices in modern witchcraft. These are often a new witches first foray into magic, a sort of basic groundwork that we’re given to help keep us safe as we explore new territory. There are hundreds of methods available for this sort of magical housekeeping, everything from very short candle spells or recaning (also known as smoke cleansing) to rituals that can become quite intensive in their execution.

Despite the wide array of options available, most of these methods only cover half of the process. For some experienced witches this is no problem, often we learn to fill in the second half of the process naturally but for newer witches this can pose a serious hiccup in the learning curve.

When you cleanse a space or banish something you are removing unwanted energy and in doing so you are creating an energetic void. This newly cleaned space will not stay empty! Other energies will always move into the vacated space and if left up to chance there’s no telling what could come rushing in.

It is possible that you could get positive, happy, comfortable energy but you’re also just as likely to get nasty energetic runoff from your surroundings. Leftover anger from your neighbors fighting, errant depression or confusion, illness. You can’t control what sort of excess energy is in your surroundings and when you open up a huge empty space it’s all going to leak in.

How disheartening to cleanse your space and then two days later have it feeling all mucked up and off kilter again!

A lot of us simply resign ourselves to that just being the way it works and either banish and/or cleanse far more frequently than is necessary or even give up on banishing and cleansing unless the need to do so is truly desperate.

So, how do we avoid leaving this post-cleansing void open and vulnerable?

You fill it back up with the energy that YOU choose!

There are a variety of methods that you can use to reintroduce desired energies into your space. You can pick one, combine them or rotate which method you use to stave off boredom if you’re prone to losing momentum with routines like I am.

Music is an excellent way to saturate a space with energy. You should take care when selecting music for this, simply picking music that you enjoy is not always enough. I know several witches who swear by classical music (Mozart’s Fifth seems to be a popular choice) but many types of music can be used. Just be sure that you’re picking music that reflects the sort of atmosphere you want your space to hold. I tend to avoid music with lyrics but you may find that the right lyrics add exactly what your space needs. If classical music isn’t your thing I might suggest something along the lines of this song by Chon.

This is my primary method of choice for one simple reason. You don’t have to be around for it to work!

If you want to fill a room up with high vibration classical music energy but you don’t really feel like listening to classical music for an hour, you don’t have to. You can perform your ritual, turn the music on and go run errands or hang out with your friends. The music will do all of the work and your space will be good to go when you get back.

Visualization or breathing exercises can be useful tools for re-energizing your space as well. For example, you could imagine sunlight flooding your newly emptied space, or light of a color of your choice if you use color magic. You could spend a few minutes breathing and pulling energy up from the earth to fill your space with calm, stabilizing energy or you could breathe energy down from the cosmos to bring an uplifting, creative and expansive energy.

If you like to raise energy with motion you could dance or practice yoga or any other movement that makes you feel good. Hell, having steamy romp with your partner can fill a space up with some fantastic energy!

Anything you can do to raise or attract the sort of energy that you want in your space will work. The important thing is that you fill that energetic void, and fill it as soon as possible after clearing an energetically empty space. It’ll ensure that your space stays clear and clean longer and lower the likelihood of attracting new problems that will require you to repeat the process.

What’s more, these same techniques to help your cleansing and banishing last longer! Play the song of your choice whenever you go out, practice five minutes of meditation, breathing or movement every morning and you’ll find that your space maintains its renewed energy for far longer.

Banishing and cleansing is much like going to the doctor, we definitely do not want to be making repeat visits too frequently. That’s a sure sign that something is very wrong! Once or twice a year for routine maintenance should be enough as long as you take care to keep up with the regular small maintenance tasks.

You’ll find yourself with a far more enjoyable energetic space with far less upkeep from big rituals leaving you more time to focus on yourself and the other magic that you’re itching to practice!

Ever wondered if you’re really prepared to handle the dangers of the craft?

Or maybe you’ve recently come face to face with these dangers and you’re determined to be better prepared next time.

Either way, you need to learn magical defense. This set of skills is absolutely paramount for new witches, witches looking to take their work to the next level, and even witches who are just looking for a little more peace and quiet in their spiritual lives. The craft doesn’t have to be dangerous, stressful, or traumatic!

In Defensive Magic For Beginners, I’ve created a step by step learning path that will give you the boost you need to start defending yourself confidently today.

https://averyhart.co/blog/2016/12/21/filling-the-void-banishing-and-cleansing?rq=banish

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