These are some sketches I made...
Above: A Person
Below: Creepy Fish Man
Saturday, March 26, 2011
Tuesday, March 08, 2011
Icosahedron
"Sir, this is madness! You can't expect anyone to be able to save us now. It's too late to do anything but surrender with our lives."
"Maybe it is. But my orders remain the same nonetheless, if it can be done."
"If we can lure them into the open, yes."
"Then do it. We don't have much time."
[Elsewhere]
"The Americans are beginning to retake what we've gained! What's happening?"
"I don't know, sir. We thought we had them cornered by now. Our strategy was-"
"Your strategy was a gamble all along, and now you've lost it, dammit. Why did I ever agree to letting you replace our strategists with RISK champions?"
"Their planning is unparalleled. It isn't their fault. No one could have foreseen this."
"So now we sit and watch as our armies are destroyed by Gygax's Guerrilla."
"Maybe it is. But my orders remain the same nonetheless, if it can be done."
"If we can lure them into the open, yes."
"Then do it. We don't have much time."
[Elsewhere]
"The Americans are beginning to retake what we've gained! What's happening?"
"I don't know, sir. We thought we had them cornered by now. Our strategy was-"
"Your strategy was a gamble all along, and now you've lost it, dammit. Why did I ever agree to letting you replace our strategists with RISK champions?"
"Their planning is unparalleled. It isn't their fault. No one could have foreseen this."
"So now we sit and watch as our armies are destroyed by Gygax's Guerrilla."
Monday, March 07, 2011
Pokémon: The Golden Apocalypse, Chapter Twenty-Six
For a moment, all was still. The birds seemed still as statues, an illusion made all the more real by the few wisps of fog that remained. Red slowly tightened his hand on his quarry, and waited. His slow breathing and frantic heartbeat were the only noises in his ears.
Then the eternity ended. With a cry, a large pidgeotto flapped down from a branch above. Reacting purely by instinct, Red hurled the stone he still clutched at the bird, missing it but causing it to veer away. Red scrambled to his feet, as the forest erupted into a maelstrom of feather and beak.
Even before the attack reached its height, Red could hardly keep on his feet as his assailants battered him with wings and talons. A larger pidgeotto flapped towards his face and cut a gash on his cheek with a razor-sharp wing.
The storm began to close about him, and suddenly Red realized the constant pummeling threatened the little pokémon in his pack as well. Still running, he tried to slip it off and shelter it in his arms. As he did so, a mass of feathers collided with his face, so disorienting him that he tripped over a protruding root and fell to the ground. Terrified, he curled up around his pack and closed his eyes.
After a painful minute, the birds' assault began to weaken. Soon after, there was nothing at all but a few faint flutterings. Slowly and carefully, Red opened his eyes. He sat up cautiously, and flinched as a bird flapped overhead. He followed its path with his eyes until it passed over him. When he turned, he saw it join a flock of its brethren.
At least thirty pidgey and pidgeotto were perched on the branches before him. Nearest to Red, hardly ten feet away, was a terrifying pidgeotto at least four feet tall. Its unblinking stare unnerved Red, who could do nothing but stare back. This continued for some time, and Red's leg began to cramp. He slowly shifted it, and began to lose his balance. He quickly tried to right himself, and in that second, the pidgeotto gave a shrill cry.
As one, all the birds spread their wings back, flapping to generate a massive gust.
The wind was of such strength that Red actually flipped backwards before landing braced against an ancient tree. Twigs, clods of dirt, and small stoned battered his face, and instinctively he tried to crawl back tighter against the tree. As he pushed, a small section of the ground gave way, and a small opening was opened to what must have once been a burrow in the tree's roots.
Red through in his pack and then turned to crawl in himself. Though a few unearthed stems prodded him, he made it through without much trouble.
He sat in near total darkness, listening to the roar outside as Nyoromo butted softly against his leg. Almost without noticing what his hands were doing, Red scooped up the little pokémon and held it tight. He watched the flow of detritus from the cavern's mouth slowly taper off to nothing, and held his breath as the last pebble slowly bounced down.
A scratching sound came from the mouth. The scant light of the cavern became weaker as a large shadow blotted the back wall. A bird was hopping down the short tunnel. Red saw the first sharp talon come into view, and then the bird - a pidgeotto - bent it's head down to peer in.
With a loud "Poli!", Nyoromo sprang up and spat a bubble at the intruding pokémon. It recoiled and flapped back out, squawking.
Red looked in amazement at the pokémon he had thought to be useless until now.
Then the eternity ended. With a cry, a large pidgeotto flapped down from a branch above. Reacting purely by instinct, Red hurled the stone he still clutched at the bird, missing it but causing it to veer away. Red scrambled to his feet, as the forest erupted into a maelstrom of feather and beak.
Even before the attack reached its height, Red could hardly keep on his feet as his assailants battered him with wings and talons. A larger pidgeotto flapped towards his face and cut a gash on his cheek with a razor-sharp wing.
The storm began to close about him, and suddenly Red realized the constant pummeling threatened the little pokémon in his pack as well. Still running, he tried to slip it off and shelter it in his arms. As he did so, a mass of feathers collided with his face, so disorienting him that he tripped over a protruding root and fell to the ground. Terrified, he curled up around his pack and closed his eyes.
After a painful minute, the birds' assault began to weaken. Soon after, there was nothing at all but a few faint flutterings. Slowly and carefully, Red opened his eyes. He sat up cautiously, and flinched as a bird flapped overhead. He followed its path with his eyes until it passed over him. When he turned, he saw it join a flock of its brethren.
At least thirty pidgey and pidgeotto were perched on the branches before him. Nearest to Red, hardly ten feet away, was a terrifying pidgeotto at least four feet tall. Its unblinking stare unnerved Red, who could do nothing but stare back. This continued for some time, and Red's leg began to cramp. He slowly shifted it, and began to lose his balance. He quickly tried to right himself, and in that second, the pidgeotto gave a shrill cry.
As one, all the birds spread their wings back, flapping to generate a massive gust.
The wind was of such strength that Red actually flipped backwards before landing braced against an ancient tree. Twigs, clods of dirt, and small stoned battered his face, and instinctively he tried to crawl back tighter against the tree. As he pushed, a small section of the ground gave way, and a small opening was opened to what must have once been a burrow in the tree's roots.
Red through in his pack and then turned to crawl in himself. Though a few unearthed stems prodded him, he made it through without much trouble.
He sat in near total darkness, listening to the roar outside as Nyoromo butted softly against his leg. Almost without noticing what his hands were doing, Red scooped up the little pokémon and held it tight. He watched the flow of detritus from the cavern's mouth slowly taper off to nothing, and held his breath as the last pebble slowly bounced down.
A scratching sound came from the mouth. The scant light of the cavern became weaker as a large shadow blotted the back wall. A bird was hopping down the short tunnel. Red saw the first sharp talon come into view, and then the bird - a pidgeotto - bent it's head down to peer in.
With a loud "Poli!", Nyoromo sprang up and spat a bubble at the intruding pokémon. It recoiled and flapped back out, squawking.
Red looked in amazement at the pokémon he had thought to be useless until now.
Saturday, March 05, 2011
Song of the Week 34.5: 'Above Reason' by zircon, tefnek (redo)
I'm back doing Song of the Week again, sorry for my brief absence. So, this song was mentioned back in Song of the Week 9. Titled 'Above Reason', this is one of the shorter tracks that I've reviewed (it's only about three minutes long). Anyway, this song was created by tefnek and zircon who are, as Met states in SotW 9, very good electronic artists. So yeah, let's get this review started.
The song starts out with the bass playing a simple one-note melody, while a synth can be heard playing in the background. That synth starts to get louder at about 0:04, and at 0:08 it will overpower everything. The percussion starts up as well, hitting hard on every beat. The bass continues what it was playing before. At 0:16 the melody comes in which is a medium pitched synth. Everything that was playing just a couple seconds ago are still playing, so nothing has been taken out of the song yet. The percussion is a bit louder also. There's also a decent harmony heard by another synth in the background as well. What's good about the percussion is that despite the fact that it's quite loud and noticeable, it's not completely "in your face". It's a good balance right there. At 0:32 there's a brief transition. This is a short solo from an electric guitar-like synth. At 0:36 the song just explodes. There is a massive amount of synth work being done here, and the melody is played by one of the craziest synths that I've ever heard. The melody is rather catchy as well, and the speed for this entire thing is just right. At 0:53 that synth heard back at the very beginning plays at a new section, with some other awesome synths placed in there for harmony, effect, etc. This lasts until 1:09, for the synth back at 0:16 returns and plays a different melody. Again, this is just crazy synth work throughout this section and this entire piece. At 1:25 there's a brief section consisting of many different percussion instruments. At 1:33 the synths return, with perhaps some electric guitar mixed in there. However, at 1:41 some piano is introduced and now plays the melody. The synths now really act like the "background singers" here, because they play the melody only at certain times. There's a quick pause at 1:58, and at 2:00 the song keeps on moving along. This is probably the best part of the song because of the massive complexity of rhythms between each synth. First we have the obvious synth which plays a rather high melody and leads the song with its rhythm. Then we have one that isn't heard very well: it's a counter-melody played much lower; it's also the melody that was playing way back at 0:36. Then we just have everything else in the background for effect. The percussion is still driving along without getting too fast. At 2:17 that counter-melody just mentioned gets way louder, and pretty much switches positions with the other melody previously playing. The song starts to calm down more at 2:33 (the percussion doesn't though), and the only synths playing at the moment are the ones that have been in the background all this time. At 2:41 though, the regular melody kicks back in although the synth playing it isn't as crazy as the previous ones. It doesn't repeat the melody this time around, for at 2:49 the piano will return for the last time. The piano here plays a repeating rhythm, while everything else just backs off. There are two low synths backing it up however, which, after a couple seconds, ends the song.
Pros: The bass is awesome. The synths, all of them, are crazy, amazing, and completely out of this world. The percussion has a non-stop driving rhythm being played throughout this entire piece, and yet it never becomes too quiet or too overpowering. The complexity of everything was great, and there was always something new with each section. I love it.
Cons: Somehow, I think this song could be longer. I have to admit though that some of the synths were a little too crazy, so the constant changes in the synths for the melody were somewhat necessary. Otherwise I would have lost my mind.
Overall: This is three minutes of complete madness when it comes to music dominated by synths. With an unstoppable beat and catchy melodies, this song almost defines the greatness of electronic music. It's one of the craziest and overall one of the most electronic video game-based songs that I've ever heard. Awesome.
Rating: 9.4/10
The song starts out with the bass playing a simple one-note melody, while a synth can be heard playing in the background. That synth starts to get louder at about 0:04, and at 0:08 it will overpower everything. The percussion starts up as well, hitting hard on every beat. The bass continues what it was playing before. At 0:16 the melody comes in which is a medium pitched synth. Everything that was playing just a couple seconds ago are still playing, so nothing has been taken out of the song yet. The percussion is a bit louder also. There's also a decent harmony heard by another synth in the background as well. What's good about the percussion is that despite the fact that it's quite loud and noticeable, it's not completely "in your face". It's a good balance right there. At 0:32 there's a brief transition. This is a short solo from an electric guitar-like synth. At 0:36 the song just explodes. There is a massive amount of synth work being done here, and the melody is played by one of the craziest synths that I've ever heard. The melody is rather catchy as well, and the speed for this entire thing is just right. At 0:53 that synth heard back at the very beginning plays at a new section, with some other awesome synths placed in there for harmony, effect, etc. This lasts until 1:09, for the synth back at 0:16 returns and plays a different melody. Again, this is just crazy synth work throughout this section and this entire piece. At 1:25 there's a brief section consisting of many different percussion instruments. At 1:33 the synths return, with perhaps some electric guitar mixed in there. However, at 1:41 some piano is introduced and now plays the melody. The synths now really act like the "background singers" here, because they play the melody only at certain times. There's a quick pause at 1:58, and at 2:00 the song keeps on moving along. This is probably the best part of the song because of the massive complexity of rhythms between each synth. First we have the obvious synth which plays a rather high melody and leads the song with its rhythm. Then we have one that isn't heard very well: it's a counter-melody played much lower; it's also the melody that was playing way back at 0:36. Then we just have everything else in the background for effect. The percussion is still driving along without getting too fast. At 2:17 that counter-melody just mentioned gets way louder, and pretty much switches positions with the other melody previously playing. The song starts to calm down more at 2:33 (the percussion doesn't though), and the only synths playing at the moment are the ones that have been in the background all this time. At 2:41 though, the regular melody kicks back in although the synth playing it isn't as crazy as the previous ones. It doesn't repeat the melody this time around, for at 2:49 the piano will return for the last time. The piano here plays a repeating rhythm, while everything else just backs off. There are two low synths backing it up however, which, after a couple seconds, ends the song.
Pros: The bass is awesome. The synths, all of them, are crazy, amazing, and completely out of this world. The percussion has a non-stop driving rhythm being played throughout this entire piece, and yet it never becomes too quiet or too overpowering. The complexity of everything was great, and there was always something new with each section. I love it.
Cons: Somehow, I think this song could be longer. I have to admit though that some of the synths were a little too crazy, so the constant changes in the synths for the melody were somewhat necessary. Otherwise I would have lost my mind.
Overall: This is three minutes of complete madness when it comes to music dominated by synths. With an unstoppable beat and catchy melodies, this song almost defines the greatness of electronic music. It's one of the craziest and overall one of the most electronic video game-based songs that I've ever heard. Awesome.
Rating: 9.4/10
Thursday, March 03, 2011
Honesty
Let's see the
Truth.
I wronged you,
But
You wronged me.
Our politics
differ.
You listen to
Computer-babble.
Vivaldi.
Rap.
Me?
Gaga.
Abba.
Tchaikovsky.
We have different
Morals.
Skewed.
Your gods
Hate
Mine.
But
I think you're
Beautiful.
May I
Have this
Dance?
Truth.
I wronged you,
But
You wronged me.
Our politics
differ.
You listen to
Computer-babble.
Vivaldi.
Rap.
Me?
Gaga.
Abba.
Tchaikovsky.
We have different
Morals.
Skewed.
Your gods
Hate
Mine.
But
I think you're
Beautiful.
May I
Have this
Dance?
Wednesday, March 02, 2011
Song of the Week 34: 'Revolution' by Beatdrop
Alright, this is probably going to be the toughest track I've ever attempted to do a write up for. The plethora of elements and sheer insanity contained within makes it very tempting to just skip sections and be in awe, but I'll do my best to point out certain parts. This week's track is Revolution by Beatdrop (Dain Olson) from his free album Revolution. However, I just checked the OCR thread where I downloaded it back when it was released and most of the links appear to be dead. Luckily, lastfm has a place where you can listen to it in full. I must warn you, this is not for the casual electronic listener. The best way I can think of to describe it is electronic on steroids.
Revolution starts out with a sick drop pulling in some bass and lead elements in what already sounds like a complex weave of sound. 0:12 adds to the drop 'n punch (that's what I'm calling it) opening by throwing in some more elements and this sound that shoots straight down (this happens a lot and it's a fantastically used effect). Percussion sounds are starting to enter with the drop 'n punch, but the latter drops out at 0:26 leaving the percussion to "scuttle" until 0:29 at which time the track really breaks out with in-your-face percussion, some sort of tapping/ticking synth, and the lead melody. 0:35 shoots down as a way to introduce more percussion. The drop at 0:40 starts a new melody series which is carried up at 0:54 by a higher synth that taps notes out while the bass pulses until 1:01 when the bass holds constant and pulses which adds up to the fantastic effects at 1:06-1:07 (nice pan glitch, the effects processing on this track are ridiculously sick). There's a transition at 1:08 as elements work together in a new melody setting with different parts rising and falling in volume cohesively until the glitch effect leading up to the 1:21 breakdown section. This track has some amazing breakdowns; this one uses a sick bassline that throws in some percussion and awesomely unsynced hi-hat at 1:27. I absolutely love 1:32-1:33, this track is so good at kicking into gear with the shootdown effect at 1:34 and the aggressive melody that reenters. 1:45 begins a long glitch and effect heavy section that lasts until 1:59 at which time the drop 'n punch kicks back in to accelerate into a new section. Where the melody picks up and sends us through the cycle again until the new breakdown section starting at 2:29. The bassline sounds like it's coasting on pure energy and speed. The bass drum rolls back in at 2:35 as the bassline modifies a bit to account for the trance atmosphere. The bass drum picks up in anticipation of 2:48 at which time the high lead begins to just shoot off melody while the lower elements drive it up and forward. Glitch heaviness at 3:01 until 3:14 at which time another breakdown begins. This is the uncontested sickest breakdown I've ever heard. This is jaw dropping insanity, we've just been beaten over the head with a 2 by 4 and now you throw this at us? Absolutely sick. Awesome bassline, awesome trance percussion, and the awesomenest whatever you want to call it envelope filter. Wow, words do not do the weaponized feel of this piece justice. The breakdown section kicks back into gear when the snare comes roaring back in up to 3:27. All the elements from before are finally coming together. At 3:40 a new synth and melody cuts through the rest and this track pulls out all the stops. There's a percussion break at 3:52 that allows us to enjoy the insane bass along with the melody. The following section just flies all over the place in a deafening awe-striking wall of sound. There's a brief pause at 4:06 to 4:07 that lets us soak up the delay effects until the track begins its final run. I cannot describe this section in any other way than just saying it attacks. It drives to the extreme until the glitch effects finally begin to overtake it as it nears its conclusion and we're left hanging in the wake of the finish.
Pros: Basically everything you can think of is a pro in this track. Absolutely sick rhythm, drive, style, you name it. I'm still shaking in awe. This track never quits, never lets up the attack.
Cons: This album will give you a headache if you listen to it all at once because there is an overabundance of high range sounds; Revolution is no exception.
Overall: I was just assaulted by sound, I've been traumatized for life. I want to listen to it again.
Rating: 9.8/10
Revolution starts out with a sick drop pulling in some bass and lead elements in what already sounds like a complex weave of sound. 0:12 adds to the drop 'n punch (that's what I'm calling it) opening by throwing in some more elements and this sound that shoots straight down (this happens a lot and it's a fantastically used effect). Percussion sounds are starting to enter with the drop 'n punch, but the latter drops out at 0:26 leaving the percussion to "scuttle" until 0:29 at which time the track really breaks out with in-your-face percussion, some sort of tapping/ticking synth, and the lead melody. 0:35 shoots down as a way to introduce more percussion. The drop at 0:40 starts a new melody series which is carried up at 0:54 by a higher synth that taps notes out while the bass pulses until 1:01 when the bass holds constant and pulses which adds up to the fantastic effects at 1:06-1:07 (nice pan glitch, the effects processing on this track are ridiculously sick). There's a transition at 1:08 as elements work together in a new melody setting with different parts rising and falling in volume cohesively until the glitch effect leading up to the 1:21 breakdown section. This track has some amazing breakdowns; this one uses a sick bassline that throws in some percussion and awesomely unsynced hi-hat at 1:27. I absolutely love 1:32-1:33, this track is so good at kicking into gear with the shootdown effect at 1:34 and the aggressive melody that reenters. 1:45 begins a long glitch and effect heavy section that lasts until 1:59 at which time the drop 'n punch kicks back in to accelerate into a new section. Where the melody picks up and sends us through the cycle again until the new breakdown section starting at 2:29. The bassline sounds like it's coasting on pure energy and speed. The bass drum rolls back in at 2:35 as the bassline modifies a bit to account for the trance atmosphere. The bass drum picks up in anticipation of 2:48 at which time the high lead begins to just shoot off melody while the lower elements drive it up and forward. Glitch heaviness at 3:01 until 3:14 at which time another breakdown begins. This is the uncontested sickest breakdown I've ever heard. This is jaw dropping insanity, we've just been beaten over the head with a 2 by 4 and now you throw this at us? Absolutely sick. Awesome bassline, awesome trance percussion, and the awesomenest whatever you want to call it envelope filter. Wow, words do not do the weaponized feel of this piece justice. The breakdown section kicks back into gear when the snare comes roaring back in up to 3:27. All the elements from before are finally coming together. At 3:40 a new synth and melody cuts through the rest and this track pulls out all the stops. There's a percussion break at 3:52 that allows us to enjoy the insane bass along with the melody. The following section just flies all over the place in a deafening awe-striking wall of sound. There's a brief pause at 4:06 to 4:07 that lets us soak up the delay effects until the track begins its final run. I cannot describe this section in any other way than just saying it attacks. It drives to the extreme until the glitch effects finally begin to overtake it as it nears its conclusion and we're left hanging in the wake of the finish.
Pros: Basically everything you can think of is a pro in this track. Absolutely sick rhythm, drive, style, you name it. I'm still shaking in awe. This track never quits, never lets up the attack.
Cons: This album will give you a headache if you listen to it all at once because there is an overabundance of high range sounds; Revolution is no exception.
Overall: I was just assaulted by sound, I've been traumatized for life. I want to listen to it again.
Rating: 9.8/10
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