HZD was such a magical experience. It was a game about the apocalypse, but it still left me feeling hopeful by the end, twisting the despair it made me feel over its past into something like appreciation for everything we still have. It was a game about life and death, about nature and both its vulnerability and its resilience, about how technology can be used for either good or bad, about how it could destroy us but also save us depending on how we use it. It was a game about GAIA and Elisabet's love for the world (and each other), it was about a lonely queer girl's personal quest to find her mother that turned into a quest to save her homeworld, it was the story of an outcast who became the chosen one she never wanted to be, who went from carrying the weight of negative expectations to the weight of positive ones on her shoulders, it was about showcasing both the best and the worst of humanity, while still reassuring us that the effort we put into this world is worth it, even against impossible odds, because this is a world worth fighting for, and there might always be bad but there will also always be good, and life on Earth is worth protecting.
It was so deeply beautiful and moving and at the end of the day it was just a game. I wish I could play it for the first time again
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In the article that came out this morning about Andrew Cushin's album, Pete Doherty was quoted being defensive about his decision to collaborate with Louis, saying, “Look at some of the great labels, look at The Sex Pistols with Malcolm McLaren getting together with Richard Branson. Over the years, labels’ main aim was to be a springboard for their artists to get as many people to hear the music they believe in. Whatever that takes – if that means having a major label take you up the alley for five minutes I will do that for my artists any day of the week.” Initially this just pissed me off (and it still does) but the more I thought about the more fascinating it is actually. There's never been any question that 78 Productions' role in co-releasing Andrew Cushin's album is primarily financial, and I'd say this confirms that, but he's saying more than that; he's saying that Louis and his label, that has never had a single release before now, offer more than just cash, that it is on par with Virgin Records in its infancy because of the position and reach Louis has in the industry... and he can be as sour as he wants about it, that's a hell of an admission and not a position you just automatically hold by being a former boyband member. We already know this but that doesn't mean I don't love it when people say it out loud!
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Little Hand
by Joanna Newsom
Take her down, Tom*
the time has come
at last I can hear her song.
Water contracts, the hold holds fast
like the last of the iron lungs.
My child and me
through the miles and leagues
fall as hard as a silent hail.
Echoing laughter
‘fore and after
o’er the raft of the Violet Snail
Now when that sight put the fear of God in you;
green light sweeps like a nightstick swinging.
Sonar* softly pinging-ing-ing-ing-ing-ing-ing-ing
I am appeased by what I have seen.
Now turn around, Ma, you already saw
what you may and can look no further;
haunted the post where the Holy Ghost poses down through the rayless water.
Holding a child, nine and nice,
ain’t it wild and sweet?
On the verge of anguish.
Ain’t it absurd?
I do not have words
it is not for the lack of language.
Tethered to our floating home,
we scout for the crown and its placard.
Your periscope, your parapet are ringing-ing-ing-ing-ing-ing-ing-ing
I’ll guard and keep,
thy father watches the sheep.
And I swear on my soul if it is all folderol
let us ring round the roses, honey,
gobbling all our sounds of woe
into hey nonny nonny nonny.
Last and at least
when the fire has ceased,
and if it’s safe the sun shall breakaway.
Shocked it’s released
we rise automatically
folderol-diddle-i-di-die-di-day.
Music set us spinning and spinning,
inscribe the memory of the honey bee
with the silence of the ballerina.
We took a little walk across the lawn,
it was two o’clock,
with my soft shoes on.
I met you at the door,
May I cross the calm, I called,
May I tag along?
Hear you bawl a little sad song.
It’s a sad song.
Keep singing it, honey, it ain’t long.
Sing and I’ll keep you safe and warm
until the dawn.
DSRV-2 Avalon,
wherever you are, wherever you’ve gone,
leaning you cheek in to the amber yellow dawn,
highway one.
We’ve been itching to meet you,
recommission to meet you,
if you listen I’ll teach you
a sad song.
Sing your machinery to sleep
and shut the door.
Even Janthina once was as you are,
sworn anathema to the guns and the megatons and all.
Only Janthina can defeat the men o’war.
If you could only hear my joy
just to know her,
tie her little shoe,
take her little hand and say hello to her,
‘hello‘,
and there really ain’t a lot I can show her.
Up on the deck
are we safe from harm?
Are we ready to surface?
In every respect sound the alarm.
Oh, it goes so fast,
it will feel slow.
We will arrive before you know,
we’re free to go if we don’t get stuck,
we’ll be there by morning with a little luck.
na-na-na-na-na-na-na *pinging*
Lay her down, Tom, we are overrun
but there is time for another story.
Smoke at the door as I fall on all fours
coiling blue as a morning glory.
It is the hour,
see the little hand,
see the lambs we have kept and guarded.
Tower of steel,
cartwheel in the sand
with the force of the waters parted.
It is the hour
we are far from home,
we the lambs who will not be slaughtered.
I am not afraid,
I am not alone,
I’m not alone,
I have brought my daughter.
I’m not alone.
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