Soo here u go guys, my narilamb animatic FINALLY COMPLETED.

hey liz i've been thinking a lot about story structure lately and i wanted your take on how you decide what structure your stories will have? i know there's that "you have to do what your story needs and tells you to do" thing but these bitches dont ever tell me anything they just multiply so. thoughts? - bma

(as an aside, i don't know whether involving medium would change many things but it may be worth considering. mainly i think medium is just a matter of arrangement and that the story would be for most intents and purposes the same no matter how you choose to tell it. i guess you could argue that structure is arrangement in itself and intrinsically tied to medium but i sort of feel like it is secondary arrangement, if at all? like if you consider time as an element to outline -- the time IN the story (how things happen to your characters) is not necessarily the time you’re telling the story IN (how you are telling your reader that things are happening) aka internal chronology doesnt equal your work’s pacing? or should it??? does this make sense? i dont think so. i am sorry.) - bma :|

NOOO dont be sorry ur making total sense

i think there’s 3 thots to unpack here (medium, structure, & chronology) & i’m gonna start with medium bc it’s easier. im also putting it behind a cut bc it’s gonna get just stupidly long and rambly. i’m sorry in advance if it’s not helpful to you, i have a lot to say for someone who has never taken even one single class on writing and as a result doesn’t know jack shit (there’s a tl;dr at the end dont worry)

about MEDIUM: 

so like ok i’m just some goof-off with a HS degree who writes fanfiction but In My Very Super Qualified Personal Opinion, i don’t think that most of the time medium is intrinsically tied to STRUCTURE of the main storytelling arc...i think the art of storytelling itself is distinct from the medium you choose to tell the story IN. this post puts it better than i ever could but basically for me, i feel like the story itself is sort of the raw, malleable concept, and the medium you choose to tell it in is how you convey the information??

like in a book, you can say “she forgot her keys” and in a film you have to show her smacking her forehead, heading back into the house, and swiping her keeps off the counter. you can’t TELL in film, you have to show. similarly i regret every day i cannot perfectly describe a facial expression with words when i see it so clearly in my head. for audio-only podcasts that are dialogue heavy out of necessity you have different limitations than you would for, say, animated music videos with no dialogue at all. games allow for more interactivity and exploration while sacrificing accessibility, tv shows allow for more length while sacrificing, uh, a big hollywood budget...medium affects the kind of story you can reasonably tell which is why some stories are better suited to one medium than another. i think trying things in other mediums is a good way to stretch your storytelling muscles but with enough skill nearly any story could be told in any medium. i think when trying to decide on a medium you just gotta weigh the pros & cons and what you feel comfortable with/what you think would be most effective/what would evoke the strongest reaction

re: structure:

firstly “do what the story tells u to do” is a little silly like...the story isn’t sentient. come on. that’s like “i can only write when the writing gods inspire me” there are no writing gods! inspire yourself! it’s all in our weird messed up brains! ok anyway.

this is, again, just how i do things, and i am 700% self-taught so take it with a grain of salt, but when i sit down and start blocking out a story from scratch i don’t...actually consider the big structure at all! sorry if that’s not helpful to you. i like to make a list of everything i want to happen, and then put it together in a few different orders to see what looks best. and when i’m finished, whatever i have just like...IS the structure i go with, with perhaps minor tinkering to make it flow more smoothly. (i think this might be in the same spirit as “do what the story tells you” with less bullshit and more Agency Of The Writer.)

for long and more complex projects, i actually usually have several lists - one list of stuff that is, for example, the Action Plot (the kingdom has been cursed, i’m tracking down my serial killer sister to bring her to justice, i’m running from djinn who wanna kill my dad, i’m trying to bring my dead not-boyfriend back to life). then i have another list for Character A & Character B’s romance or whatever. and maybe a even another one for solo character development (magicphobic prince learns to love magic, former werewolf hunter figures out his family is a cult, half-demon learns to embrace his own nature). and as many lists as we need for however many Main Characters and or Plots/Sideplots

how i order the lists: individually first. don’t mix them together to start with. when deciding the order of an individual list i like to, for example in a romance arc, use escalating intimacy. “A and B have dinner together” is naturally gonna go way sooner than “A and B kiss” or “A and B talk about A’s angsty backstory” because that’s more satisfying. draw it out, good/important stuff last, dangle that carrot so we have a reason to keep reading! for singular character development, it’s basically a straightforward point A to point B...if i want my guy to start hating magic with everything he is and end up being very comfortable with it, i have to put “reluctantly uses magic to save his own life” WAYYY before “casually using magic to light torches and reheat his cold stew.” 

the tricky part for me is when i’m done with these lists and then i need to mix them together To Pace My Whole Story. (this is usually why i wind up with a rainbow colored spreadsheet.) i don’t like to put too many things too close together because then the pace feels uneven. even if my Action Plot is only a thinly veiled excuse for romance and character development, i still don’t want to focus on a romance for 30,000 words and then go “and oh yeah in case you forgot Serial Killing Sister is still coming for your asses.” the more sideplots and major character arcs you’re juggling the harder it is to get an even distribution, which is my main concern always

and like, generally, whatever i have when i’m finished...is my structure. (sorry.) 

i don’t know much about the classic 3-act or anything like that, but i usually can divide them up into 3-5 big arcs based on story turning points. sometimes i take a scene out of one arc and put it in another because it fits better and i like for my shit to be organized, but usually by the time i’m finished with all that, that’s what the final story is mostly gonna look like. (there have been a few exceptions when i realized i needed extra scenes/changes while i was MID-DRAFT and let me tell you that murders me EVERY time. it happened on the merlin fic i’m currently posting and that was like my own personal hell.)

this is also where thots about chronology come in:

i think time CAN be an element of this if you WANT it to be, but it doesn’t HAVE to be. if you want it to be, i would consider it just another “list” like character development or the romance arc. 

i usually plot without considering Time very much...to me, it’s all down to the events you want to show, and however much time it takes is the byproduct. if you want to show something from a character’s chilhood but then tell the bulk of it when they’re adults, that’s one thing. if you want to show a scene from their childhood, teenhood, young adulthood, etc, that’s a different kind of pacing?? i usually do it this way so i can regard time like wordcount: it takes as long as it takes. 3 days or 3 years, a 1.5k drabble or a 100k epic...overall, my LARGEST CONCERN is that even distribution. in the same way that i don’t want one chapter to be 30,000 words when the rest are 10,000 words, i personally am not a fan of huge timeskips offscreen

(because this where i think someone’s own internal chronology DOES matter...this is just a personal preference, as a reader i have a hard time really comprehending, say, a year timeskip or a 10yr timeskip when all i did was turn one page. like, a year is such a long time. i can’t even begin to describe how different i am now to how i was a year ago. it’s the same for character development. time IS development and as a writer i’m not really comfortable having that take place offscreen - for main characters, at least. it’s just too jarring. a little prologue with something happening 10 or 20 years ago is usually fine, but for the most part, i’m not a fan. ...i can do one chapter per year a lot easier than i can do two chapters in childhood and the other 8 in adulthood. of course you can play with this a LOT with nonlinear storytelling, which is a whole other very cool thing, and someone skilled in their work can keep me sucked in no matter what, but imo if you don’t want to risk throwing your reader out of your work it’s better to keep things steady)

HOWEVER sometimes time IS an element u wanna consider outside of just making sure your shit is evenly distributed...if your heart is moved to tell a story in a specific timeframe, over a year, or from solstice to solstice (this was almost the timeline for my merlin fic and then i changed it), for the first six months of a friendship, or even a huge journey in the span of a single day (toby fox had a lot of success with this one lol).

i think it can help to choose a start and end point for your chronology the same way you do for character development (prince goes from hating magic to being ok with it, story takes place from ages 8 to 25, or from new year’s eve 2038 to 2039, whatever) - that way you can keep your distribution even, if that’s a thing you want to do...even if you have a lot of skips you can still note what happens offscreen to make it work better in your head? like, if you just make it another List, another column on your spreadsheet, when you’re in the early stages of organizing you can be conscious of it and make sure it’s playing into the story the way you want it to

anyway these r my thots im SOOOO SORRY this is so long lmao. brain machine broke today which is why i had to ramble more to explain myself. the tl;dr in case ur brain is melting out of ur ears & u didn’t sign up for an essay:

imo medium is totally distinct from storytelling tho ofc some stories are better suited to some mediums

structure? i don’t know her. i plot w/o regard to structure and then if it looks funny i mush it into a more structurally sound shape

my main concern when structuring anything, including time, is an even distribution of Events and a steady rate of escalation

structure to me is just what i have when i’m finished plotting. i’m sorry one day i’m gonna take a writing class

internal chronology matters to me personally because i have a little bit of time blindness but maybe not to everyone, i know many very successful stories where they disregarded that entirely to no ill effect

writer’s block isn’t real! everyone just needs more rainbow spreadsheets

thank u for asking I HOPE i didn’t make you regret it too badly lmao and that at least a little of it was helpful!! 

I’m thinking  about W and OOO a lot lately (writing fics rewatching some parts etc) and I like OOO as a series more. Still I wanted to know why so I made this VS battle for my own amusement:

MAIN RIDER: Battle between Eiji And Shotaro: Its hard one, both are interesting, have good plot twists, their characterization so nicely made and they both likable. Yet it is Shotaro win here: so relatable, and his range of emotions is great to! The Thing is Eiji was made to be”dried up” and thats the reason why his mental and emotional behave is like it is. First round winner : W THE ONE NEAR MAIN RIDER (LOL): So now it is Ankh and Philip: This one is bit easier. Ankh has way more screen time and is it written so much better. They do have some similarities: both are mind power of the dynamic duo, have some issues with the previous families, crazy hair style and have doubts about their Rider ( or other half) intelligence. The thing is Eiji takes almost no shit form Ankh when he cross the line too much. The Birb man has to pay for his mistakes and sometime the price is huge. Philip on the other hand has his  tragic background but his mistakes are sugarcoated by his partner and not addressed at all. Because of that with more modest screen time his character is not as fleshed out as it could be. Mor rant on Ankh below hehehe Second round winner: OOO FEMALE CAST: In OOO we have: Hina, Chiyako and Satonaka, while W give us: Akiko, Wakana and Saeko. I like Hina I really do, but they didn't use her gimmick as good as they could. She should have throw more barrels or something! Also bit too passive sometimes? Chiyako is spot of supporting chara, funny warm energetic. Yes, good. Satonaka has her good points too: taking no shit from anyone and treating her work as well, work and not some life mission. But then we go to W side and oh boy, Akiko, my love! She is just the best  Rider lady I even saw! Funny, dorky, has more to do, has the slipper, is actually useful even if not have special powers. Well thats debatable too, that wand made from slippers did work lool. But yes even if she is mostly comic relief, because of her Xtreeme was possible! Also She found that devil's tail. And got that name in her dream. She has guts has flaws also but really. I love her to bits. Wakana is interesting too: spoiled princess who suddenly has responsibilities. And Saeko: the dark lady with twisted desires, helping her hated sister in the end. Undoubtedly this round has one Queen:

Third round winner: W SECONDARY RIDER Terui Ryu vs Date Akira and Gotou Shintaro. Well its two vs one and  it shows. Terui has that tragic background, and his bitterness fades away so he could be true city defender. Yet for me it was done bit clunky. There could be put more emotions and struggle into it. He looks cool in the red leather tho. Also he and Akiko are cute together. On the other hand Date and Gotou dynamic is so pure. Also Date is hilarious as hell! Both him and Ryu use Rider suit for other purpose than defend others at the beginning ( well money and revenge), but Date is somehow nicer since the beginning. And Gotous is cute guy who has his own little expansion ark. So yes, sorry red boy, those housbandos  win this one. Fourth round winner: OOO VILLAINS On one side we have Sonozaki's and X foundation, On the other well Greeeds. It looks like one side  have more villain types so it would  win but... Sonozaki family makes Gaia Memories to make super humans and then let only them to live on this planet because some Earth tears or something. Experiments, no one knows who will live. Ryubee  is just laughing old man wit terror, his older daughter is psycho maniac with bad taste for men, younger one is spoiled and doesn't know whats going on at all. It works somehow but not as smooth at it should. Some things are not explained enough some are over explained. And then suddenly some X foundation. Bit messy. For OOO we have Greeeds : incomplete beings who want to be complete but it is impossible so they will destroy everything  to try it anyway lool. They have  different approach to it and later have Dr Maki as weird hybridish psycho who wanted to end the world while is still beautiful. Sounds as messy as W but it is so much better. It is more consistent, we see the twists and dynamics between Greeeds, and the m Maki. I don't like him as a chara but he is made that way to don't like him: sociopath who killed his sister while still a kid, but have issues with her, creep who talks to a doll on his shoulder. He is both comic relief and terrifying at the same time! What a wonderful blend! Also his and Date dynamics are so hilarious I just couldn't stop laughing. Psychodelic af XDXD So because he is consistent in his doing, is a creep is funny dangerous and interesting even if you want to kick him in the balls. Fifth round winner: OOO PLOT Both have interesting stories, not too complicated on the surface, with some twists, with some plot holes and mistakes. OOO has however less of the plot holes ( most of them are from the past stuff like from 800 years ago), the story is more fluent, so fluent that it is hard to see chara development without going 10 episodes behind for a moment and the realization hits you), also there are none “new villain at the end!” no, we know who will be the  ultimate baddie and want to know how it goes. One of the main twists was Lost Ankh. It was interesting and heart breaking. In W main plot is Philip past, his connection to the Gaia Memories and Sonosakis. Plot twist can be predicted quite early but it is still fun. But because of little screen time for Philip and his actual development some moments feel weaker or bit rushed. Yet Shotaro reaction to those are top notch!Still, Eiji and Ankh dynamic story  flow etc is just better in OOO for me. Sixth round winner: OOO OPENING Music is important too and opening is the most characteristic piece of audio for most series. Here you can be biased and I will be. W is more pleasant to the ear, I like the video for it more too. And I mean both what you see in the series and official one. The vocal is more clean in W opening for me too. What to say more? Seventh round winner: W FAVORITE CHARACTER A war between half-boiled and angry birb. I love them both character wise. Are complicated have their flaws as good sides fleshed out, are interesting... but the birb... ah the birb! His story ark! His struggle,  his ambiguous state towards other up until the end. His mannerism (his bird like movements and way he eats lool, he drinks tea with soup spoon! XD), way of thinking and all the changes. They way he goes from treating Eiji as and accessory to fight to having him precious enough to help him fight Maki at costs own existence/life. And he is so relatable. Not for literal stuff ( I don't think any of you is greeed) but  in general: the feeling of not fitting into a group etc. Shotaro is very relatable to don't get me wrong, but his character development is not as deep as Ankh. Both have great  clothes yes! Eight round winner: OOO

SUIT AND MERCH ASCETICS As for looks of  suits of the Riders and gimmicks it will be short: I like  standard double more over TaToBa OOO, but I don't like Extreeme much but I love TaJaDor. Bike looks better in the W animal robots are cute here and here too. Second rider suit is good enough, but henshin gimmick is more interesting in OOO (the medals and  mixing them) So a draw! ENDING

OOO doesn't have that 49th episode and it shows. But with that we have 2 very different vibes endings and both are so good. OOO is bittersweet but gives hope, W I just... god I'm so happy for Shotaro, this soft man deserved the ending. And somehow Eiji deserved his too: you should talk to your birb more Eiji! And shipping aside W should have proper hug and  not that weird thing at the end. Both give satisfaction both are great and not disappoint! Another draw!! BONUS ROUND: BACKGROUND STORIES I could write about all support cast etc but those are equals and we don't need another draw. So I'll will do one more thing as a bonus: background of the charas. Especially our main Riders. In W we know a lot about Philip and what he did in the past yet some thing are presented in chaotic way, we are not sure about important things ( like if his family was dysfunctional before or after Philip's accident), but about Shotaro? Almost nothing. Just that he was bit deliquentish in high school (we are not even sure if it wasn't middle school lool) and that he was with boss  some time before Begins Night. And thats sad because Shotaro is developed in interesting way and his past should be show more to understand better why he was like that. On the other hand we know what we should about Eiji, what made him as he was, why he is living this way. It wasn't long exposition but good enough to understand his ways. For Ankh its bit more messy (because what we hear and what we see on the screen doesn't add up well) but still it is all understandable. Winner of eleventh round : OOO So in all OOO won but not by that much. W is still very good series and both deserve to be watched (and then cried over, and made 1245643 chapters and one shots and drawings to them GAH)

Quan Zhi Gao Shou / The King’s Avatar Manhua (Chapters 0-5)

What I really enjoyed right from the start of the animation was the realistic nature of the game and characters. I only play games sporadically myself, and usually handhelds at that, but even I could relate to Ye Xiu’s journey to the top of the new server. I mean, usually you just take for granted that the main character is aiming for the top of something, but it’s difficult to relate to saving the world or leading a gang of misfits across the land fighting monsters. Climbing to the top in a game, however? We’ve probably all tried it in some way or another, even if we failed along the way (I still haven’t completed the National Pokedex in any Pokemon game, ok).

This also could have been stated at the beginning of a review for the whole series, but this is a long one, the novel translations aren’t even complete yet. So it’s here now as a preface.

And now it’s time for my far less composed liveblogging! This is not going to be as detailed as my Shoukoku no Altair one by a long shot, I think I’d collapse of exhaustion before I finished.

Chapter 0: Cause

It is both unnerving and relaxing to not obsess about language nuance like I do when I read Japanese stuff. On the other hand, it feels weird being back to the state of not understanding more than a few words here and there...

Colored panels are the best. The color (cold tones) to black & white to color (warm tones) back to black & white is a neat contrast.

I’m honestly really excited to get all these names and teams straight. I watched several groups’ subs for the early episodes and all the names were translated differently, leading me to have no clue who anyone was or which team they belonged to except the currently teamless Ye Xiu lol.

Chapter 1: As we drink, the lute signals to go to war

Look at that smug smirk. Ye Xiu’s relationship with Su Mucheng is just really nice with how supportive they are of each other.

Damn it, I said I wasn’t going to go panel-by-panel! But I like the contrast between these two shots. One is as he is turning away, after having reassured Su Mucheng that he will be returning and it really is fine that his old team literally kicked him to the curb. The other is once he is turned away. He seems fine in the first shot, sort of indifferent, while the dark shadow over his eyes in the next panel suggests differently. But he’s not one to complain.

Unexpected comedy shot lol. I appreciate the life in the internet cafe, everyone excited about Glory and the new server haha. In the animation, it was very quiet when he walked in, and they had to 3D animate it.

“As a female Launcher player, Mucheng never stopped smiling even when she blew up her opponent to pieces... It’s actually quite scary when you think about it.”

haha. He’s more expressive in the manhua. It lets you have these cute little musings in between scenes that the animations never have time for.

lol he just goes and hijacks her account. who does that. “the battle started already so I finished it for you. but don’t worry, I won!” that. isn’t the point.

Hi scary demon Ye Xiu! Side note: they’re doing a good job giving the background characters different features.

Also, thanks to not looking at the characters for their names, I keep getting Ye Xiu and Ye Qiu mixed up. I...really need to go find out how it’s written.

Not going to feature all of Chen Guo’s fun expressions, but so far there have been a lot of them and they’re great. (edit for Chen Guo’s name which I derped on and forgot at the time of writing this post. lol the manga doesn’t mention her whole name - Chen Guo - until a few chapters later. I think the other patrons call her ‘Sister Chen’ and the reader finds out her given name when Ye Xiu does. but in the novel, I think the narrative switches over to her at some point, so you find out her full name before Ye Xiu does...)

I love sayings, and how they are so weird when translated literally - Japanese ones are like this, too, because a lot of them are Chinese in origin. My favorite is probably 亀毛兎角.

I hope this is a translation thing because damn, what a way to sugar-coat the truth.

Chapter 2: Since ancient times, how many have returned from war?

I wish I knew the references to classical Chinese poetry/literature, it makes the series 10x more fun when you know the origin of some of their usernames and such.

Ok, overdoing it much, Sun Xiang’s posse? You don’t need to be extra nasty about it to his face.

I always really liked this expression of his reluctance, this human emotion from a guy who looks rather calm and composed (or sheepish, occasionally) most of the time. He takes things in stride, but here you definitely get the bitterness of his situation.

And now he has to laugh it off with a smile! He does a good job of keeping it together throughout this whole deal though.

lol what kind of expression is that. “I like working nights!” why the cat face/ears. why. that was such a quick interview lol.

“Actually, we aren’t lacking people, the advert you saw was from a long time ago.”

That’s...actually, interesting. So Chen Guo is hiring him anyways? Or am I missing something in the translation?

You are a surprisingly funny man, Ye Xiu.

This is me. (it says ‘Verify faster!’)

lol Ye Xiu looking at the beginner’s guide. I never read the instructions though, even for a complicated games I’m new to, I just sort of jump in and hope I don’t die in the first few stages. Pretty sure the only game I had to actually read the instructions for was Final Fantasy Type-0? It’s difficult getting into a good rhythm without reading the in-game tips for that game...plus, some of the more advanced techniques are hard to pull off.

Chapter 3: Don’t laugh at those who lie drunk on the battlefield

If I had time, I’d totally make edits, buuut I do not and photoshop is on my other computer. but when did he get those noodles...?

lol and he just outs himself right on the spot.

That is one dark expression, I love it. The retirement thing is definitely a sore spot for him.

“you’re a professional. but also an amateur.” lol must be so weird to be Ye Xiu

“Don’t fake it, actually you’re not even retired. You didn’t get a spot and got kicked out, right?”

Ouch. Hit it where it hurts, why don’t you. Though she isn’t aware of who he actually is yet. He did indeed get kicked out, and it’s probably worse because he did have a spot previously, he was at the top even.

Starting avatar! I love the character designs in this series, across the animation and manhua.

“Suddenly I miss those games that let people pass through each other!”

HOW COULD THEY WITH SO MANY PEOPLE PLAYING. It reminds me of the Sims flailing their arms because you stuck a cabinet in the wrong spot and they can’t get through.

“Such a civilized way to kill monsters, I’m not used to it.”

“This only happens when a new server opens, you’ll definitely wish you can queue again in the future.”

I really like the side comments. I don’t play multiplayer games, but the comments definitely breathe some life into it.

LOL. “How to endure the shame? I was once known as Glory’s textbook level expert and now I have to use a beginner’s guide to do beginner’s quests.” You can feel his soul dying little by little in these panels...

I love how many titles he earned...”Does no commercials”.

And, of course, him trying to reveal who he actually is, only for her not to believe him.

lol this comment: “It’s so hard to play in first person view!” That’s actually how I feel, I dunno, I mostly play handhelds and older games. I flipped out when I tried to play Final Fantasy: Dirge of Cerberus in first person, before I figured out there was actually a third person view...I’m just really lame when it comes to games, ok.

Ooh, it’s here! The umbrella! What an odd choice of weapon, usually they’re the joke weapons. Well, it’s better than the bus stop sign from Persona 3.

I’ve read spoilers about who this guy standing behind him is, and I am not ready to actually come across that part in the novel.

Side note: I like the avatar’s design better here than in the animation. Wonder if he changes outfit later on...

Chapter 4: Green Forest’s Sleeping Moon

“Let me help you, I’ll give you the drops as well.” “I’m [a] male.” Lol. I really do love these little dialogues.

I also love the usernames, I really am hopeless with it comes to naming things myself.

Hello, Sleeping Moon! I remember you! Sort of.

I love how Ye Xiu totally has a plan going into this, and his thought process is written out. It’s a mundane detail, but I like it. (I’m the type of person who doesn’t read the instructions provided by the game, but will go look everything up online because regardless if I played the game before or not, I like having a Plan when I go into it...I’m impatient, Shadow of the Colossus is the only game I actually take time to explore.)

The two modes of communication for Glory also make it interesting...Both text and audio. It’s fun having both.

haha these drawings have so much life in them

Including these.

Way to look awesome and dramatic with your umbrella in hand.

lol “You planning to advance into a Cleric? Why don’t you just be our caretaker for good?” dying inside, I tell you, dying inside

Knowing the spoilers like I do, THIS ISN’T OKAY. no sad flashback scene so early on. c’mon.

I like how Sleeping Moon keeps talking to him like he’s a newbie, too. It’s pretty funny.

Chapter 5: You reap what you sow

Finally, a chapter title I’m familiar with!

The naaames: Sleeping Moon, Just a Passerby, Not Just Cannon Fodder, Lord Grim, and Fallen Sun

I like ‘Just a Passerby’.

Hey, you even get to say some last words after your HP hits 0 haha.

“Don’t you know that if you die in a dungeon in Glory, you can’t come back?!” lol I’m side-eyeing all the other ‘if you die in the game you die in real life’ stories...

They gave Sleeping Moon some really awesome expressions, gotta say.

“But your acting isn’t at all convincing.” Actually, this is vaguely terrifying.

Also, I appreciate how Ye Xiu is calling him out on this whole plan and how he meant to cheat everyone while Ye Xiu is basically doing the same. haha

I’m not going to screencap it all, but the sequence of the boss slowly killing Sleeping Moon like the cat it is, and Ye Xiu’s reactions, are gold.

The umbrella is also really cool of course.

And here starts the drama on the 10th server! It’s honestly great, and quite true to real life haha. Well, real life can probably be weirder than even fiction...

AAAND that’s finally it! 5 chapters + the 0 chapter done! Oh geez that took forever...Anyway, I love all the little details the manhua can fit in that the animation can’t and I look forward to reading the novel version of these chapters sometime soon.

onward →

SAM HUNT - DRINKIN' TOO MUCH [5.33] What've we got here? Why, it's a CONTROVERSYBOMB!

Ramzi Awn: A bold experiment with a few good ideas, "Drinkin' Too Much" employs dark moments of candor to highlight a muddled mix. [5]

Olivia Rafferty: The heart and soul of country music is storytelling, which is why this track works so well. "Drinkin' Too Much" shifts the typical country subject of alcohol abuse to the context of sad man R&B, aka Drake's genre. The spoken verses contain a rawness that could only be conveyed with that style of delivery, and the lyrics themselves are so vivid. Lay this over a subtle blend of 808s and slide guitars, and you have a solid attempt to influence the direction of country music. Let the genre-mashing begin. [8]

Anthony Easton: John Prine, in a recent Rolling Stone cover story, spoke about how Dylan's Nashville Skyline broke apart country music for him (he was a folkie at the time): "Man, there's something there where their two paths crossed. My stuff belongs right in the middle." This is also in the middle: between soul and hip-hop, between the drinking and heartbreak of Nashville and the fame-wasted ennui of Kanye and Drake. But it's also at the bottom: the bottomed-out production, how Hunt trips over details, how he extends stories, how he never quite brags about his money, how his self-loathing bubbles up like swamp gas. It's the opposite of all those party songs, the opposite of Moore and Eldredge and Gilbert. It has a singular voice -- a songwriting voice, but also how he sings, a gravelly push that reinforces his production choices. It is the smartest thing he has done, and maybe the most heartfelt. [10]

Alfred Soto: I'm no country corn pone. I like electronic whooshes and the kind of manipulation of space more common on Drake or "Climax"-era Usher, but Sam Hunt can't even talk-sing without his sockless boat shoes tripping on his ill-lettered cadences. He comes off like a lunkier Chainsmoker, in the market for any hook that'll get him on the radio and laid -- two of his more admirable virtues. Find better songs, dude, and don't try so damn hard. [4]

Thomas Inskeep: This non-single posted on SoundCloud is the audio equivalent of a viral video, and like many viral videos, it's also essentially a journal entry set to music. Frankly, it's not up to snuff: this is him doing his rhyming couplets (he loves rhyming couplets) with a woozy rhythm track from Pro Tools or whatever. It also sounds a lot like a demo for Justin Bieber. Most of all, this is slightly creepy oversharing; I want a Silkwood shower after listening to it. [0]

Elisabeth Sanders: Everything about this is deeply embarrassing, and that's why I love it. While I can't pretend I like this as much as anything off Montevallo, it makes up for it with "I wish you'd let me pay your student loans," and I'd like to submit this as a great entry into a music category I'd like to call "voice-memo pathetic-wave." (The other artist in this genre is Mike Posner with his great, deeply pathetic album At Night, Alone.) The song approximates, sonically and with almost nauseating accuracy, the feeling of being just too drunk enough that the room is spinning a little, being very sad about something that might be your fault in a crowded place at 2 in the morning. BEEN THERE, SAM. [7]

Jonathan Bradley: In which Sam Hunt pens a letter to Montevallo's Courtney From Hooters On Peachtree and proves himself to not be country music's Drake, but rather its Mike Skinner. The hook is the weakest part; it doesn't resolve Hunt's thoughts but elides them. (The austere "8pm" take works better and is worth a point or two more.) There is frisson in a lyric that pushes too far past the fourth wall, threatening to combust as it reaches the event horizon -- for the non-country, non-rap examples to which "Drinkin' Too Much" draws nearest, look to emo acts like Cursive's The Ugly Organ or Say Anything's "Every Man Has a Molly." "Hope you know I'm still in love," Hunt closes, except it's a correspondence that is only intimate the way a performance is, and so his words are combustible as well as heartfelt. The sour sense that this song bears too much truth is its most compelling point but also its most repellent; Hunt is too casual in his exhibitionism. [5]

Will Adams: It feels right; we've reached the level of bleakness in our pop music that songs can now just be actual shitposts with first draft choruses tucked in. [3]

Katherine St Asaph: Did we need another country "Marvin's Room"? In every country review I keep harping on artists telling the same generic story addressed to the same imaginary sorority girl, but here's a lyric and addressee that are certainly not generic or imaginary, and I'm not sure what to think. If Sam Hunt's byline didn't scare off the traditionalists, the first vocoded note is almost deliberately scheduled to shoo away the rest (none of the subsequent vocal is so blatant), leaving a smaller audience of fans and an explicit audience of one specific, named girl. There's something inescapably creepy -- voyeuristically creepy for the listener, manipulatively creepy for the artist -- about this, this couple chords and a tirade. Most of his target demographic will hear this as romantic, but for those unfortunate enough to have been stalked, the details are so familiar as to be textbook: presenting her with his un-rebuttable imagination of her life, in which she stages the Everytime video every time she wants to cry, in which there's nowhere else in Georgia she can buy peaches, in which everything reminds her of him, or at least does now; reminding her of her debt while holding Montevallo money over her head; apologizing for boosting her profile while writing her name into a huge triumphant chorus; pondering "whether it's OK to lie" while careful to mention none of the indiscretions that got him there -- merely their consequences, which now seem unreasonable. Better to address this as fiction, then -- like most "autobiographical" songs by celebrities, somewhere between songwriting exercise and publicity stunt, because you don't cross over into pop and stay without some dating drama. What's left is slapdash: accurate-sounding candor spewed over a couple identikit country choruses, each piece well-crafted but only assemblable by a real-life happy ending. Which is the point, and the problem. [5]

Megan Harrington: Too much of my instant dislike of "Drinkin' Too Much" hinged on the preposterous way Sam Hunt apologized for (more or less) doxing his then ex-girlfriend, now fiancé Hannah Lee Fowler on his debut album Montevallo, only to turn around and close the song by singing her name. In case there were any straggler fans out there who hadn't quite put her identity together, I guess. It was incongruous in a way that grated on me until I realized that it was the perfect synecdoche for the song, one that indulges overwrought production as 40 as it was country and several different singing styles, including plain old talking. It's right there in the way he names her his first fan and then cheats on her, the way he dismisses her sisters as "matchmakers" but hopes her dad still prays for him. Real life is messy and filled with leaps forward followed by half-steps back, relationships are chaotic and confusing, and Hunt captures all of it, ending hopefully with a (sort of, he hopes) romantic pledge to win her back. And it (sort of, I think) worked? [7]

Crystal Leww: The first time I heard "Drinkin' Too Much," I did not like it. I did not like the 40-esque production, the sad sap lyrics, the way that Hunt called out his ex-girlfriend. Then I listened to the 8pm version, stripped of the production flourishes, and figured that it was just the production that was bugging me. The lyrics were sad, but they were so specific: peaches in Pelham, a hotel room in Arizona, and that devastating, heartbreaking "hope your dad still prays for me," a reminder that breakups are the deaths of families, too. I've never liked the comparisons to Drake -- Drake is someone who has clearly never been in an adult relationship with a real woman rather than a built-up image of a woman, but Montevallo and "Drinkin' Too Much" feel like they're about real adults who have genuinely loved each other and created lives together. I still like the 8pm version more, but I've come around on the full version. It's dramatic, but I appreciate the attempt to appeal to a broader audience, and it highlights that Hunt's lyricism shines through anything, even snaps and strings. [7]

Josh Langhoff: A prof used to tell us, "People who are sorry weep bitter tears." I don't buy Sam Hunt's sorrow. Nor do I buy that this song has a melody or a beat, that it has any connection to country or R&B, that this is the same Sam Hunt who did "House Party," or that picking peaches is anything but the pits. More schnapps! [3]

Katie Gill: Look, I'm sorry, I can't hate this. With the exception of that "I hope your dad still prays for me" bit, the verses are awful, not singing but the Sam Hunt Spoken Word Poetry Hour. They swing between endearingly hokey and the awful Nice Guy sort of patronizing that was the entirety of "Take Your Time." But the chorus is AMAZING. It's so silky and smooth, perfectly mixed, and Hunt shows that he has a halfway decent R&B(ish) voice. But the two never really meet. The transition between verse and chorus is awkward every time, as the buttery-smooth chorus butts up against the not very smooth speaking voice of Sam Hunt. [6]

Joshua Copperman: I keep singing this title to the tune of Twenty One Pilots' "Ride", attempting to remember what little melody this song has ("I've been drinking too much, help me..."). Until the bridge -- which would make a better chorus -- nothing is worth remembering: not the strings, not the drum machine, and especially not the single strum of guitar to signify that it's still country. What made "Marvin's Room" work was the honesty and subtextual self-loathing that Drake would spend the rest of his career distilling. This seems less stream-of-consciousness and more trying to write stream-of-consciousness, which rarely works as well and results in lines like "I wish you'd let me pay off your student loans." The dramatic piano ending makes clear Sam Hunt's lack of shame in copying Aubrey, but that just makes him sound even less authentic, even though the backstory contains more than enough drama for something genuine. [3]

Edward Okulicz: The first time I misheard the line as as "I'm sorry for making the album Montevallo," but this sketch wouldn't be a repudiation even if he were sorry for that. And it's really not that much more than a series of lyrical fragments and a chorus, but I find myself nodding along at some parts, and being frustrated at the lack of detail in others, and going to the "Personal life" details of his Wikipedia article to see the resolution. So that means it's fairly compelling for its limitations. [7]

[Read and comment on The Singles Jukebox ]

Spookshow Inc. - Visions of the Blinded World pt. I & II

Spookshow Inc. - Visions of the Blinded World pt. I & II |self-released, 2018| 5/5 Electronic/rock/metal Part 1: 1. New World Crash, 2. Scary Dream, 3. Falling Down pt. 2, 4. Game of Delusions, 5. Requiem For a Vision, 6. Seven Trumpets, 7. Dead Shot Baby feat. Subliminal Mentality, 8. Lizard Eyes, 9. My Secret Plan feat. Matangi Shakti, 10. Cyberage, 11. Map Of The World, 12. Other Side Of Time Part 2: 13. Virtual Insanity, 14. Devil's Triangle, 15. Mindgame feat. XRC, 16. Little Pill feat. Subliminal Mentality, 17. Blackbird from Karachi feat. D. Tschirner, 18. Prison Planet, 19. Falling Down pt. 1, 20. Cold Frantic Boy, 21. Match of the Century / A. Crowley vs. A. Einstein, 22. Underworld feat. Kissing in Graveyards, 23. Midnight Tango, 24. Follow Me, 25. Battle for Babylon feat. R. Carey Spookshow Inc.'s newest album tracklist impressively counts up to a total of 25 industrial and electronic songs, with some familiar titles included. The mighty set created by Lucky Spook (the band's founder, based in Norway) includes "Falling Down pt. 2" which was developed further into a brand new track (a pre-sequel if you will). In addition, the new front cover definitely draws attention since it's a thought-provoking, surreal art piece in sepia. "Virtual Insanity" offers a lot of craziness. It merges the density of guitar riffs supported by fast-paced beats with aggressively expressed lyrics. The dynamics slow down at some point to avoid an overload of sounds, but then the wild sonic ride returns. Similarly, "Mindgame" offers exotic tunes in the beginning, but then an intriguing industrial rock vibe comes in. The tempo is slow but highly pitched soloing guitars contrast with low beats and make the whole into a delicious listening experience. "Little Pill" talks about a fantasized psychedelic experience caused by taking a drug delivered by a dealer. The initial dialogue to the story was recorded in collaboration with Subliminal Mentality, an American musician. It's delivered through a comedy or even a cartoon concept – a guy receives a pill, feels something is not right but takes it anyway, then is off tripping into a dreamland. The track soon evolves into an angry, metal, and serious composition which gives an impression of being inspired by early albums of Marilyn Manson. Despite its soothing intro, "Blackbird from Karachi" evolves into a lively, dynamic track, driven by its repetitive guitar riff. Two vocals placed in fitting places help the whole composition flow very smoothly. The beat is later replaced by bells, chants, and esoteric moods. These are then followed by a completely opposite, dynamic vibe. It turns out in the end that the composition is cleverly split into four major arrangements without any in-between breaks. According to Lucky Spook, the track is inspired and dedicated to Shantaram, the book written by Gregory David Roberts. "Devil's Triangle" is kept in a similar atmosphere, but rooted in a purely rock-metal vibe, and enriched with matching vocals. The composition is well designed to hold all accompanied arrangements tightly within. As mentioned in the beginning, "Falling Down pt. 1" is a sister track to "Falling Down pt. II" which was featured on the first part of the album, and again takes a listener on the mystical journey of out of body (OBE, near death) experience. It's a very trippy track with steady, bouncing dynamics - at once intriguing with its variety of electronic sounds and whispered vocals in vein of The Young Gods' music, then suddenly aggressive, guitar driven with screamed vocals. A must-have song from this release! Pay attention to "Match of the Century Aleister Crowley vs. Albert Einstein" which begins with the tiny sound of a music box and creepy, whispering vocals. How awesome would it be to see the two famous characters play chess together? Every piece could represent an argument of a different nature – science against esotericism. Who wins? Could the two men find a common, agreeable ground for their thoughts? Musically, there's a repetitive guitar riff involved with many background sounds and interlaced with vocals. These continue throughout the entire song with breaks for a catchy chorus. When it comes to "Underworld feat. Kissing in Graveyards", its mostly electronic yet guitar-driven vibe is accented with a broad selection of vocals. Kissing in Graveyards' lead singer Rylan Chaos brings her Lilith-like artistic personality here while Soltex (the other moniker of Lucky Spook) represents provocative masculine energy. When Rylan's voice is the bait, then Soltex's is the whip. The result is a musical dialogue not too far from an argument between two 'possessed' souls, rather than two talented musicians. "Midnight Tango" utilizes a very famous arrangement borrowed from "Riders of the Storm" by The Doors. Similarly to the source track, "Midnight Tango" also allows the mind to tune in and relax, to flow together with arrangements and the mood. Spookshow Inc. however added drum'n'bass beats which couldn't have been used by musicians in the 60s and which make the song sound fresh. In terms of composition, "Follow me" sounds quite complex and consists of a few differently sounding parts yet they easily make for a perfect whole. Exotic music opens the track, followed by chunky, repetitive guitar riffs and whispered vocals. The Middle Eastern sounds return to be replaced with a black-metallish cannonade of sounds and dominating vocals. The atmosphere gets more tense and anxious towards the end of the track. Probably the biggest jewel on the album,"Battle For Babylon", is a cinematic song supported by an epic atmosphere. Middle Eastern tunes are mixed with metal soloing here. The composition is well thought and gradually builds up. The rhythm is slow and verses become memorable after just a moment of listening. It is a fully orchestrated track accompanied by many different yet matching sounds which show up in the background and make the composition even more interesting. The vocals are definitely fitting the rest of the track (and they are performed by R. Carey aka Fiery Jack, a singer from New Zealand). The album clearly shows lots of hard work and deeply developed ideas that went into making it. The release comes with amazing audio quality, showcasing mastering and production skills as well. It's obvious that Lucky Spook listens to a lot of music, and is able to catch the best of the best musical ideas without copying them directly, to later enhance them with his own arrangements. If you buy this album, you'll get a complete package of music, high audio quality, and profound sonic ideas to recommend to your like-minded mates. (Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, December 3rd, 2018. Proofreading: Mike 'Vesper' Dziewoński)

Spookshow inc. Visions of the blinded world (pt.I,II) by Spookshow inc.

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