⋆｡𖦹°‧ Director’s Cut - Blog Posts
((finishing up caleb’s myth at some point today and already itching to write up some anecdote-style backstory for kali bc it fits in so perfectly with what i was already envisioning for them 😫))
(had a random burst of inspo the past couple days which is YAY but also has unfortunately also brought the realization that i have to stop stalling on actually finishing caleb’s content bc i need to figure out their dynamic to figure out his dynamic w kali in their past… godDAMN IT I WAS TRYING TO KEEP AVOIDING HIM)
❝ 𝐘𝐨𝐮 𝐰𝐚𝐧𝐧𝐚 𝐟𝐢𝐠𝐡𝐭?
𝑻𝒉𝒆𝒏 𝒘𝒆’𝒍𝒍 𝒅𝒐 𝒊𝒕 𝒎𝒚 𝒘𝒂𝒚. ❞
kali. 24. silliest UNICORNS hunter in linkon city.
gimmick/rp blog, main: @abyssconqueror. guidelines under the cut!
This blog is for fun and a way to indulge in something new for me, so activity may be low/sporadic. I have a job, other games/hobbies, and I’m neurodivergent so replies and the like may take a bit. I’ll do my best!
As stated before, I’m very new to RP! That said, I’m open to canon/MCs/OCs/etc interacting with Kali through prompts, asks or DMs (may be a bit slower with these), though I’ll utilize the right to filter certain topics at my discretion
As mun and muse are both 21+, I’d prefer RP partners be at least 21+, and refuse to interact with anyone under 18; minors will be blocked and ageless blogs will be softblocked.
Kali’s in-universe LI is Sylus, but this blog is open to exploring all types of relationships w canon/MCs/OCs/etc. LGBTQ+ friendly 🏳️🌈 I’m most comfortable with letting things develop naturally but also open to planning it out!
Interactions will be contained within their own universes. No godmodding, pretty pls.
tags for navigation:
- ⋆｡𖦹°‧ main menu: pinned - ⋆｡𖦹°‧ timeline : socmed style posts - ⋆｡𖦹°‧ contact: [name]: character specific posts - ⋆｡𖦹°‧ extras : prompts, etc. - ⋆｡𖦹°‧ scene selection : reblogs - ⋆｡𖦹°‧ credits : post/thread tag - ⋆｡𖦹°‧ secret admirer: [emoji] : anonymous asks - ⋆｡𖦹°‧ deleted scenes : mc lore - ⋆｡𖦹°‧ rated r: nsfw/suggestive content - ⋆｡𖦹°‧ director’s cut : ooc posts
divider creds
REBLOG THIS POST IF YOU WOULD LIKE TO BE ADDED TO THE LOVE & DEEP SPACE RP MASTERLIST.
Please state the following if you would like to be added to a list.
Name of your blog Your muse ( can be from other series that has a verse for Love & Deep Space) Canon or OC Single or Multimuse
(i keep wanting to post on here and getting SCARED when does it stop feeling intimidating)
❝ 𝐘𝐨𝐮 𝐰𝐚𝐧𝐧𝐚 𝐟𝐢𝐠𝐡𝐭?
𝑻𝒉𝒆𝒏 𝒘𝒆’𝒍𝒍 𝒅𝒐 𝒊𝒕 𝒎𝒚 𝒘𝒂𝒚. ❞
kali. 24. silliest UNICORNS hunter in linkon city.
writing/oc rp blog for love and deepspace, main: @abyssconqueror. guidelines under the cut!
This blog is for fun and a way to indulge in something new for me, so activity may be low/sporadic. I have a job, other games/hobbies, and I’m neurodivergent so replies and the like may take a bit. I’ll do my best!
As stated before, I’m very new to RP! That said, I’m open to canon/MCs/OCs/etc interacting with Kali through prompts, asks or DMs (may be a bit slower with these), though I’ll utilize the right to filter certain topics at my discretion
As mun and muse are both 21+ (mun is 28), I’d prefer RP partners be at least 21+, and refuse to interact with anyone under 18; minors will be blocked and ageless blogs will be softblocked.
Kali’s primary LIs in canon are Sylus and Caleb (Sylus primary), but this blog is open to exploring all types of relationships (open to platonic or romantic) w canon/MCs/OCs/etc. LGBTQ+ friendly 🏳️🌈 I’m most comfortable with letting things develop naturally but also open to planning it out!
Interactions will be contained within their own universes. No godmodding, pretty pls.
tags for navigation:
- ⋆｡𖦹°‧ main menu: pinned - ⋆｡𖦹°‧ timeline : socmed style posts - ⋆｡𖦹°‧ contact: [name]: character specific posts - ⋆｡𖦹°‧ extras : prompts, etc. - ⋆｡𖦹°‧ scene selection : reblogs - ⋆｡𖦹°‧ credits : post/thread tag - ⋆｡𖦹°‧ secret admirer: [emoji] : anonymous asks - ⋆｡𖦹°‧ deleted scenes : mc lore - ⋆｡𖦹°‧ rated r: nsfw/suggestive content - ⋆｡𖦹°‧ director’s cut : ooc posts
divider creds
Director's Cut - Kate knows what she's doing
Kate Bush’s new/old album Director’s Cut, a reworking of tracks from 1989’s The Sensual World and 1993’s The Red Shoes, has received largely positive reviews from critics and rather more mixed responses from the public. I’ve heard a few radio DJs expressing unhappy bemusement after playing the new versions of classic tracks such as 'Deeper Understanding', 'This Woman’s Work' and 'The Sensual World', a bemusement echoed and intensified by listeners’ texts. No doubt hearing new versions of old songs, especially ones that are already much-loved by fans, is going to provoke a reaction, and not always a good one. But I’m of the belief that the pissed-off fans are letting their emotions get in the way of their critical judgement.
I can accept that Director’s Cut, as a concept, could seem a bit pointless and redundant if you are a fan who already owns and appreciates the albums on which the tracks originally appear. But for people who are not familiar with her work it provides an almost perfect introduction to it, like a Greatest Hits, but with more care and effort put in. I am one of those people and I am thrilled to have had the opportunity to hear a cross-section of her older work and to hear how she is working now – how her voice sounds now as a mature woman, how her producing skills are as experimental and precise as ever, how her interest in music is not frozen in time and how (unlike many other world-famous artists) she is not resting on her laurels and releasing a best-of every couple of years to keep bread on the table. A lot of work has gone into producing this album, and that alone justifies the price.
Like most people, I was always familiar with Kate Bush; I knew her famous tunes and knew that she was the kind of artist I would like, but had not gotten around to investigating her properly. This was partly because of a fear of 80s production values – I couldn’t help but think that my enjoyment of her work would be hampered by an overload of cheesy synths and reverb. These fears have turned out to be unjustified, but it’s not hard to understand why I might have had them. Listening to the new tracks gave me a chance to sample a cross-section of her songs and decide from there if I thought her work was worth investigating further. The answer was, to echo the new version of the title track of The Sensual World, a resounding YES.
That song provides a good jumping-off point for approaching this album as a neophyte. I was only vaguely aware of the original song so on hearing the new version (now called 'Flower of the Mountain') I carried no baggage of expectation. All I knew was that she had succeeded in gaining permission from the notoriously protective Joyce estate to use Molly Bloom’s soliloquy from the end of Ulysses as the lyrics. People who were used to the 1989 version, with Bush’s own adapted lyrics, can’t seem to get their heads around the song now, but as far as I’m concerned it works much, much better (as would befit its original conception). As Bush said herself: ‘I’m not James Joyce’, - while her adapted lyrics are quite poetic, they have nothing on the fluid, rushing, earthy lines of the original text. The soliloquy lends itself extraordinarily well to music, with lines like ‘when I put the flower in my hair like the Andalusian girl used or shall I wear the red yes’ flowing gorgeously through the tune and giving the song a subtler yet more powerful sensuality than the original’s somewhat-overdone breathiness. The drums and bass are stronger on this version too, giving the song a secure scaffolding and letting the uilleann pipes come through with more clarity. It’s not only the new lyrics that make this the definitive version of this song.
Other tracks serve as complements to the originals, rather than supplanters. 'Deeper Understanding', told from the point of view of a programmer drawn into an obsessive relationship with a computer has been extended and reworked to include a creepy Auto-Tune effect on Kate’s voice in the chorus (when the computer is supposed to be addressing the programmer). Some have argued that this cheapens the song somewhat, ‘spelling out’ the meaning for the listener rather than leaving it ambiguous. My main issue with this song is that on first hearing I thought the obsession described by the narrator was simply the rush of becoming absorbed in the complexity and mystery of programming itself, but on closer listening the lyrics seem to indicate that the narrator installs a programme that directly simulates a friend, a meaning that strikes me as overly literal. The new video, starring Robbie Coltrane and Noel Fielding, seems to bear this interpretation out. The song would be more compelling if the concept of the narrator befriending or falling in love with the computer was approached metaphorically, framed in a story about absorption in the programming process. This issue remains the same in either version, so I have no preference of the new over the old track or vice versa – they are both musically interesting in different ways, and the use of a Bulgarian women’s choir in both is very well done. The extended ending of the new version has a good deal of experimentation in various electronic sounds which will appeal to some and not to others – again it’s a matter of taste.
'This Woman’s Work' is one of the few tracks that has been completely re-recorded, in a lower key to accommodate Bush’s mature voice. Again I wasn’t familiar enough with the original to be especially attached to it over the new. The original scores points for being sparer and not as reverb-heavy as the new, but Bush’s current, slightly lower voice is more to my taste. In both versions the power of the song remains undiluted. The same can be said for 'Moments of Pleasure', another entirely re-recorded track.
A few critics have referred to The Red Shoes as one of Bush’s weaker albums, which only leads you to amaze at how good the good stuff must be, if tracks such as 'Lily', 'Moments of Pleasure', 'The Song of Solomon', 'Top of the City' and the title track are ‘bad’ by her standards! The songs from The Red Shoes that have been re-recorded remain fairly close to the originals so again fans can’t froth too much at changes. Having listened to both the new and original versions I think these tracks benefit hugely from the more muscular drumming and deeper vocals they receive on Director’s Cut – the vocals on 'The Song of Solomon' and 'Top of the City' particularly are much more powerful and affecting than in the originals, and the new drum track on 'The Red Shoes' – a track Bush has said in interviews that she is particularly happy with – gives the song the full, crazy propulsion necessary to carry its whirling-dervish beat and melody.
Bush’s reasoning for recording this album was that she felt that the songs on the two original albums were not produced as well as she would have liked. The results on Director’s Cut bear her creative judgement out. There have been so many developments in audio technology since 1989 and the digitisation of the two original albums, at a time when digital audio technology was still developing, seems to have given the originals a rather thin sound. Bush’s decision to transfer the audio to analogue and re-record the drums and vocals was intelligent – it brought out the strength of the instrumentation that had got lost in the digital mist, and the new additions helped to, well, make the songs louder, which they needed to be.
'Rubberband Girl' is the only track which doesn’t seem to benefit much from re-recording – it has a strangely muted audio quality, which, if intentional, was misguided. But apart from that Kate Bush hasn’t put a foot wrong in this album, and unlike many established artists, she’s not just plugging the gap between albums with repackaged old albums – she’s actually put in studio time and commitment, and given her fans something new and interesting. Breath is bated for her new album, and in the meantime there’s a whole back catalogue to discover.
Sea of Solitude: The Director’s Cut
[GIF not mine]
[Spoilers!]
So like, I played the demo of this game on Nintendo Switch and I FOOKING LOVE IT!
It looks so beautiful and I actually had the energy to look into it more. I really want to buy this game, no joke.
I also love how the monsters are like Kay’s different emotions that she must overcome.
Also, the bottles are something I am obsessed with finding, I feel like they also connect to somewhat Kay’s forgotten memories.
The way it’s presented reminds me of Little Nightmares in a way because of how amazingly beautiful they look.
Also, that raincoat girl that Kay encounters and zooms off not explaining enough to her and leaving her behind, reminds me of Six.... Biatch.
I really have a real grudge against that raincoat girl and it’s only the fooking demo-
The fact that one of the monsters sees that the raincoat girl could betray Kay says A LOT.
I literally can’t even find bottle 2- Like, help please. I wasted like a lot of time looking for that bottle. Like, no joke.
I checked off all of these in all seriousness. I think all of this is valid for this video.