production set
Former Konami Employees Blacklisted Across Industry

An ex-Kon says that former employees are told they may not use Konami’s name on their resumes in order to get jobs. If former employees are interviewed by any media outlets, it’s quite likely they will be taken to court.

While this allegedly extends to “everyone,” there’s special focus on people currently working for Kojima Productions. Two months ago, a Kojima exec was denied service from gaming industry health care provider ITC Kempo, reportedly because an ITC Kembo board member was also a board member at Konami.



Well….this wasn’t supposed to happen, haha!

This came out of the blue yesterday (and I got other things to do (help)). It’s supposed to be part of a bigger cinematic I plan on making about one minute long. BUT! As I know myself, I’m not going to make any promises that this project will actually be finished. I’ll see how it get’s along :)


books of the nature of les misérables cannot fail to be of use

notes on patterns of character introduction:

  • the first thing we hear from Doug Eiffel is that his voice, as we hear it, is a recorded, transmitted log, and that his job is to communicate.
  • Minkowski is introduced speaking over the Hephaestus’s intercom.
  • so is Hilbert.
  • Hera is, arguably, always speaking as though over an intercom.
  • the first time we hear Cutter’s voice, he speaks over his own intercom, and then is on a call with Minkowski and Eiffel.
  • Lovelace comes in on her recording left for future crews, then her own logs and message for Goddard. when she appears in person, she also is first heard as a transmission, hailing the Hephaestus.
  • Rachel is first heard making a phone call.
  • Kepler’s first appearance is his “Horrible Unending Nightmare” call to Eiffel.
  • Jacobi is introduced attempting to hail the Hephaestus.
  • Maxwell, as she does with so many of this show’s character signifiers, breaks the pattern – her intro is a mid-episode surprise, but she’s talking right there.
  • and of course, there are the Dear Listeners.

in short: with the notable exception of Maxwell, every character on the show is first heard through, or while making, a call, recording, or transmission of some kind. (Even the Blessed Eternal is first heard over the intercom.) Because Wolf 359 is a show about two things – personhood and communication. People are shaped by their attempts to reach out to one another.



It may be the easter holiday but unfortunately with exams so close I cannot afford to actually take anymore of a break. Powering through all my tasks today 💪🏻

Sadly in the London Production [the chandelier] falls very slowly because of Health and Safety. I always wanted to have a block of seats in the middle of the stalls that were 50p each and you had to sign a form, saying “I sit in this seat at my own risk” and really have the chandelier belting down.

In the Australian Production - naturally, them being Australians - the chandelier comes down at a hundred miles an hour and stops an inch above the heads of the audience, and is much more exciting.

I’ve seen chandeliers fall now at productions all over the world and you can kind of tell which country you’re in by the speed of the chandelier.

—  Richard Stilgoe, Co-Lyricist on Andrew Lloyd-Webber’s Phantom of the Opera [in regard to his feelings on the Falling of the Chandelier and International Productions]