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akimmito · 4 years

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Heroes are made by the path they choose

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Master List

Chapter 12

After his mother leaves, Damian contacts the MT base so that he can go there and train a little, getting Kaalki to open a portal and go through it taking with him Agatha and Edgar, the other German shepherd. He sneaks to avoid being discovered that he has brought his dogs to the scene, since he's not allowed to.

He goes to the weapons room, where the reserves are kept and they will not know if any are missing, not as if he were taking those in sight. He cannot choose a katana, everyone would see that he has it, and he cannot risk being found out by removing weapons from the MT without permission. Grab a couple of knives, Swiss knive and a few small tear gas bombs, barely the size of marbles (usually used by Chloe and Marc).

The next thing in his plan is to convince Kaalki to help him find John Constantine. He could barely find a location on his own and it must be one of two, London or Los Angeles, but he admits that it's easier to use the powers of a Kwami if he want to do it without someone noticing and Hugo is very good at noticing when something is suspicious. He doesn't want to risk it, so he can't be out past lunchtime, which gives him three hours to get there in time to eat and look like he's just had a backyard adventure with his two dogs.

Find the Kwami in the kitchen with Sass and Mullo, the three of them are eating their breakfast, so everyone is already awake.

"Kaalki, can you do me a favor?"Longg joins his friends to have a meatloaf and let Damian talk, he knows that only Sass will not agree with what the boy intends, but neither will he be able to change his mind and none of them will say anything if don't ask them directly.

"What is it?"

"Can you take me to John Constantine?" He doesn't especially enjoy being so nice when asking, but it's always better to stay in his good graces, especially if he needs his help (and he doesn't know much about all of them to know how to do the same as with Plagg).

"The man Plagg lives complaining about?" Kaalki swallows a cube of sugar after asking, he sees that th"What do you want? "He probes, maybe he can get it if he wants something specific.

"I want sugar cubes with muscovado sugar, the last time I ate one was when Marie had not yet founded the MT. Max doesn't like it and she doesn't buy it. ”She pouts, she loves that taste.

"I'll make it." Damian smiles, why do the Kwami love a certain type of food so much?

"Great. I will open a portal to his house."e boy nods and thinks about it. "Why should I? What would I gain?"

"What will you do, Damian?" Sass asks curiously, he doesn't trust the boy to carry two German Shepherds with him who are almost his size and who is reputed to easily drag adult men, nor does he trust that the boy doesn't carry weapons with him.

"Talk. "

"Then let's go." Kaalki opens the portal at that moment and they find the sight of an old place and many things. "I've come once we looked him with Marie. "The Kwami smiles proudly.

"Let's go. "

Damian enters the portal followed by four Kwami and his two dogs, he smiles. It was better than he thought.

--------

Marc @MarcAC_twt

I had a sudden urge to scold someone.

Chloe B. @BourgeoisQueen

@MarcAC_twt I thought I was the only one

Alix @LostHeroBunnix

@MarcAC_twt @BourgeoisQueen It's our instincts that already know when one of us has done something stupid, what did you do @Epic_originalChampion?

Epic Kim @Epic_originalChampion

@MarcAC_twt @BourgeoisQueen @LostHeroBunnix It wasn't me, I swear. I'm not the only one who does stupid things, @AdrienAgreste does them too

Adrien A. @AdrienAgreste

@MarcAC_twt @BourgeoisQueen @LostHeroBunnix @Epic_originalChampion Oh no, blame someone else. I just woke up

Marc @MarcAC_twt

@BourgeoisQueen @LostHeroBunnix @Epic_originalChampion @AdrienAgreste I don't know, but something has happened

---------

Marc looks for Luka and Max, walks through the main halls of the headquarters: the training room, the kitchen, the dining room and the infirmary. He goes to private areas like the food warehouse and then to the individual rooms, where he finds Max dozing again after breakfast.

"Max, can you come over? I want to talk to you about something I noticed. ”Max puts his glasses back on and follows him. "I didn't find Luka... although this place can sometimes be a maze..."

"Did you look it up in the library or Marinette's domain?" Max asks. Marinette's domains are four special rooms: a meditation room, a laboratory that serves to create potions and where all the ingredients for a large amount of spells are kept, a small library with all kinds of books on magic and the occult, in addition to a study where she locks herself up when she becomes obsessed with a case. That without counting the magic vault where the box is kept and where only she has access.

"No, I didn't go there... you know nobody enters."

"Luka uses the meditation room a lot." He replies simply, that room is Luka's favorite because of the acoustics and the tranquility it generates.

"Oh, it's true. Are you will wait for me in front of the computer?"

"Sure."

Marc runs towards the mentioned sector. The first time he entered the MT, he couldn't believe how big it was and how organized everything was, to fill any need they had. There's even a living room where they can store their art supplies and there are some great computers for art use or video game play, great graphics cards. Sure, it wasn't so well equipped at first, but as they were making money they were putting together an excellent place for them to socialize and spend time if they needed an outside location of their life.

Luka is with his guitar in the meditation hall, his eyes closed and practicing a melody that has been spinning in his head for weeks, but does not flow completely when he takes it to real life.

"There you are, I want to talk to you about what I noticed while checking the security cameras." Marc feels bad for interrupting, but they are there to work on the butterfly case and not on other matters, although he understands the creative frustration that can arise. Luckily he always steps in front of Nathaniel and never falls behind in his weekly deliveries.

After the small interaction, the two of them head towards the main computer... in the room without a specific name and that everyone calls differently, perhaps they should agree on a name so that they should mention the big computer as a frame of reference. But that, Marc thinks, is a concern for another time.

Max is already settled in front of the computer, he's looking around, the shadow of concern in his eyes.

"Something is wrong?" Luka asks, realizing that more than concern is strangeness.

"I haven't seen Kaalki in several hours."

"Leave them alone, they spend all day with us, they have the right to a break." Marc lets him through, Mullo enjoys exploring and running around, he must have convinced the other two Kwami to play and they must be flying around in secret areas that surely they exist because Felix and Marinette are so detailed (and paranoid).

Max says nothing about it, although it still seems strange to him not to have seen or heard them anywhere.

"So what did you see?"Luka let the previous topic die, after Marc explains everything, they can look for the Kwami and ask them what they have been doing. Not that it' of their business, but is for Max to relax and they not have to face a surprise disaster like when Trixx released the panther from the zoo, after being away from Nathaniel for a few minutes.

"I was struck by what I didn't see. "Marc explains and displays the cameras closest to the scene and the adjacent ones where the butterfly came from, plays the footage and can see in real time that the butterfly comes from nowhere, without passing through the other chambers, the butterfly is present in the one closest to its objective. "I was thinking that maybe our villain approaches the victims so that we don't have a notion of their real location, but it's also not seen that he or she wanders around... I can only assume that it's their civil identity, but suspicious people didn't appear either."

"What if he's in a car?"Max asks, Gabriel was traveling by car to contact Rossi (a pity that they didn't get strong evidence to blame her and Agreste didn't say anything). Max takes control of the computer to check all the license plates of cars that passed through those streets at the same time that the Akuma appeared.

Around twenty cars passed through the area, not counting motorcycles and cargo trucks, although he takes them into account anyway, leaving a total of forty vehicles and that is forty people who begin to track according to the license plates. .

The three stay reviewing the history of each person on the list, they continue like this until lunchtime, when they see the Kwami again because they look for them to eat. Neither thinks much in that later.

-------

It's not the MT

Needle: Guys, we have some new information

Almost Pretty: Tell me it's enough to have someone to hit

Kiss my ass: I also have information

Kiss my ass: While traveling through Romania, I heard rumors that someone is paying criminals to revive crime in Paris

Three balls: It's a joke, isn't it?

Kiss my ass: I wish it were like that, boy

Immune to liars: I'll see if any of my informants on the streets know anything

Almost Pretty: I bet my firstborn that he's the damn butterfly

The Antibiotic: This makes it more difficult... Maybe it's time to include a new vigilante, right?

It’s a Nara: We should not rush, when we have more information, we will devise an action plan

Aithusa: What if the pump was made to order?

Three balls: That would be gnarled

Dragon Tamer: We'll see if we get more information

Wild goat: I have a couple of witness statements and I have been putting together the case with Detective Fontaine, I will give my discoveries about the bomb when Mari returns

Needle: There seems to be a general meeting

Divine gift: I will clear everyone's agenda

Silent Hill: Also mine?

Divine gift: Of course, I'll also schedule you a flight and an appointment with Miss Marie to take measurements of the dress you've been requesting. The first sketches are already

Silent Hill: Unexpected. Thanks, Hugo.

Oscar de la Rosa: I will take care of escorting Master Fu and Miss Marianne from London, they must want to meet their grandson

Three balls: Who knows how to summon demons?

Immune to liers: Does this mean we will all know each other? Why so sudden?

It’s a Nara: I think Felix and Mari have something to do with this

Almost Pretty: The villain is getting into other leagues, this would already enter as terrorism and organized crime. We could end up dealing with Akuma internationally

Needle: Assuming he's the one who wants to reactivate the crime

Plasticine: It's obviously him

Silent Hill: or she

Perfect Crime: His Akuma are thought through in detail, not careless, he waited for something to happen that would attract a wave of negativity not only to get a victim but to take us all vulnerable. Furthermore, he managed to catch us off guard with a non-dangerous, but highly troublesome Akuma. He's just been analyzing us

For all shit: I think it's time for the network that we started to create a few years ago to be fully established, in addition, it will be the first official meeting of the new Order.

Three balls: Great. Mari, can you summon demons?

Not in Hell: No need to summon anyone, I just booked my flight

Plasticine: Oh, I wanted to learn how to invoke

Perfect Crime: Yes, don't even think about it. We have enough trouble adding more

-------

Soooooo.... what do you think?

#maribat #ml x dc #dick x marinette #dickinette #Damian & Marinette #mominette

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dustedmagazine · 6 years

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Listed: Leverage Models

Leverage Models started as the latest project from Shannon Fields (late of the much-missed New York collective Stars Like Fleas, and who’s also worked with everyone from Helado Negro to Rhys Chatham, JOBS to The Silent League). After 2013’s highly-praised self-titled debut on Hometapes, Fields wound up assembling a touring band that would wind up making Leverage Models’ newly-released sophomore record Whites(which, for reasons both personal and political, was made in 2015 but is being released now, partly as a fundraiser for the Southern Poverty Law Center). Joined by singer Alena Spanger (of Tiny Hazard) and all three members of the very powerful trio JOBS, among others, in their own words "Leverage Models makes pop songs about transubstantiation, ritual abuse, political apathy, divorce, white collar criminals, poverty, white liberal guilt, anxiety, & self-harm. With roto-toms." In his review, Dusted’s Ian Mathers says about Whites, "Musically, this album would be just as impressive if it had come out in early 2016, but back then maybe more people would assume the high-stakes intensity of the songs here were worrying too much. Sadly, the subsequent time has only shown again and again how appropriate that aspect of Leverage Models’ work really is." For Listed, Fields and Spanger provided a list of current inspirations and overlooked art pop.

Alena’s Current Inspirations

Life Without Buildings—"The Leanover"

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The way that this singer, Sue Tompkins, approaches melody and lyric is hypnotizing to me. I love how she continues to repeat words—almost slogans—and alter their pronunciation until they seem to lose their original meanings and become more about the sound of the words. I typically wouldn't love the 90's alt rock aesthetic, but the steady, unobtrusive accompaniment provides the space needed for her vocals to live in.

Francis Bebey—"Pygmy Love Song"

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I've been incessantly listening to Francis Bebey for months now. He seems to lean into the rawness and outer edges of what the voice can do. I love the way he mimics the bamboo flute with his voice on this song.

Lizzy Mercier Decloux—"No Golden Throat"

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I sometimes feel like I need to shake off everything I learned from years of studying music and get to back to a more fundamental, raw approach. Lizzy is one of those untrained inspirations for me. She barely knew how to play the guitar and started singing not long before this album came out. This resulted in such adventurous, unselfconscious music. She is at once playful, unbridled, and searingly direct. She wasn't really respected in the NY scene when this record came out, and was by some seen as an imposter, reliant on her male collaborators to hoist her up. After digging deeper into her music, it's obvious that she possessed great artistic autonomy and vision and her lack of recognition was a result of unfortunate industry circumstances and sexism. The lyrics in this song are her response to the pressures that's she experienced to sing more conventionally.

Lonnie Holley—"Here I Stand Knocking at Your Door"

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I saw Lonnie Holley play in NY recently and was so moved by the freedom with which he sings and the purity and untouched quality of his music. Every aspect of his performance- down to the smallest movements of his body were connected to the sound and channeling into one cohesive and beautiful statement. He is one of those rare, singular artists, who seems to make art out of everything he touches.

Brigitte Fontaine—"Moi Aussi"

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She is such a badass. I love the simplicity of using just a drum as accompaniment. In this song, she's singing with her partner at the time, a French/Algerian musician, Areski Belkacem who brought some traditional folkloric sensibilities to their music. The effortless blending of theater and music is something I really strive for in my own work.

Shannon

I needed to give myself a theme so I decided to select some of what I think are overlooked vintage art-pop coming out of the post-punk 80s into the and slick new-agey, ‘world music’ appropriating 90s. I’m completely taken in by that era of experimentation and production right now, though I can’t say why. I find myself drawn most to the songs that effortlessly stumble into choices I don’t always understand. They don’t seem like they’re out to destroy any genre conventions so much as they seem blissfully ignorant of them. Certain moments shock me as to how much more relevant and contemporary the MIDI/electronic, experimental and arty music is as compared to the 60s & 70s guitar-based music that’s ruled for so long (and which has nothing at all to offer a lot of younger musicians I talk to these days). I could have easily made this list 20. This was hard.

Che—I ‎(Narcotic, 1987)

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What a confusing record. Half of it is very eccentric, slightly woozy funk. With the subtlety-obliterating rhythm section of Art of Noise or later New Jack rhythms, cock-rock guitars, and these drunken almost a-melodic passages. The ending of Scream Like A Swiftcould be a codeine-fuelled pass at Jensen Sportag’s contemporary hyper-MIDI, vapor-wave smooth-jazz. Moving The Silencesounds like The Blue Nile but with the kind of ironic detachment (think Arto Lindsay & Ambitious Lovers) that leaves you creeped out and confused rather than crying in your drink. And while I’m a bit black-hearted and prefercrying in my drink, I’m also completely transfixed by this. This song, Jerusalem,just kind of takes my breath away with something entirely unfamiliar: built from slabs of goth and pure Peter-Gabriel world-cheese, it somehow alchemizes into something I have never heard. A whole album of this and I’d have it on repeat with Scott Walker’s Climate of Hunter(which also belongs on this list and is one of the best ‘confuse-core’ records ever made).

Akira Inoue—サファリ・オスティナート (Splash, 1983)

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I’ve seen this song title translated as "Safari Ostinato". I know very little about this person or this album. Somebody help me. It’s the kind of album that repels and compels alternately. It gives you whiplash in the gentlest, most covert way. It’s a sort of adult contemporary, New Wave, jazz fusion MIDI album and this song is both beautiful and bonkers. The whole album is. I wonder if Dutch Uncles have heard this album. I could draw a line from here to there.

Andréa Daltro—Kiuá (Kiuá, 1988)

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Released by the amazing Dutch reissue label Music From Memory. Originally released on Estudio De Invencoes in 1988. Andre Daltro was a singer and the song was, I believe, originally recorded with the band Brazilian "spiritual jazz band" Sexteto do Beco in 1980. But this version trades organicism and chops for drum machine, keys, MIDI sounds, and rattling ambient chatter, both acoustic and synthetic, and it’s like nothing you’ve ever heard…it rivals Arca’s new s/t album for this kind of strange, winsome cyber bel canto transmission from an alien jungle, though far less brooding, no less arresting.

Jane Siberry—Lena is a White Table (The Walking, 1987)

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I knew Jane Siberry later hits and didn’t much care for them. I knew she worked with both Hector Zazou and Barney the Purple Dinosaur. I was not prepared when I first heard this album, The Walking. I believe when she was first signed the industry thought of her as the "new Kate Bush" and wanted to cash in on the mass tolerance for ‘art-rock’ a-la Peter Gabriel and Kate Bush. But The Walkingis to Hounds of Loveas The Blue Nile’s Walk Across The Rooftops is to Laughing Stock’s Spirit of Eden. I love all of the above, but what Siberry and The Blue Nile share in this example is the same kind of epic freedom and reach but a sort of fragility and limitation and ramshackle, almost amateurish quality that make them really humane and relatable to me. The first time I heard this song I confess that my first thought was how much it reminded me of Alena’s old band, Tiny Hazard, who were one of my favorite bands in Brooklyn. I know it seems silly to say it, but somehow this track feels so much less ‘theatrical’ then the same era of Kate Bush…more interior. It feels like a very intimate experience to listen, to the point that I find myself feeling embarrassed for listening in.

Gary Numan—Cry, The Clock Said (Dance, 1981)

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I hesitated to use one of my choices on an artist I feel like everybody knows. But I almost never meet anyone who really knows THIS album (and I know because I push it on everyone). If you only know the playful, cold cyber-punk of the first couple of Gary Numan/Tubeway Army records (which are, to be clear, brilliant, and a big influence on me) you really need to hear this album. At its most extreme corners (of which this song is one) I don’t know anything like it. Gary Numan’s great magic trick, the one I endlessly faun over, is how his disaffected, conventionally ugly, robot voice transforms into something heartbreaking and relatable by the time it reaches my heart (especially on Telekon’s piano-based tracks). I know that’s a cheesy thing to say but fuck you, I need sentiment these days. Anyway, nowhere is it more the case than in this songs arrangement. Musically, it feels entirely alien and also entirely familiar, with Japan’s Mick Karn barely there alongside what sound like Casiotone boss nova beats and the most heartbreaking little chiming synth arpeggio that come and go like a kitten that wakes up momentarily from its drug-induced nap. It’s 10 minutes long. I’ve had it on loop for hours without getting tired of it. I’ve wanted to make something like this for a long time now. Some day I’ll have this kind of restraint.

#11 Bonus Track!

Né Ladeiras—Cruz (Corsária, 1988)

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I also know next to nothing about this Brazilian album, dedicated to Greta Garbo. I read that it was produced and arranged by Luís Cília ,who wrote a song that became a sort of second anthem for the Portuguese Communist Party. The MIDI harps sitting matter-of-factly on top of those plate-reverbed guiro, clave, bells…I want to live inside the room they build. And it’s a lovely, airy progression that never grows tiresome as it modulates in a drifting-down-the-stream sort of way. The ending lifts so high with barely a shrug’s worth of effort. Gorgeous.

#dusted magazine #listed #leverage models #shannon fields #alena spanger #life without buildings #francis bebey #lizzy mercier decloux #lonnie holley #brigitte fontaine #che #akira inoue #Andréa Daltro #jane siberry #gary numan #né ladeiras

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