Never posted my favourite Cosplay shots of @shedoesthewood ( 🐍) and me (🪽) here!

Thanks again @neil-gaiman for these wonderful characters - we would’ve never met without them 🫶🏻

KATHARINE McPHEE as Paige Dineen ELYES GABEL as Walter O’Brien Scorpion (2014-2018) ✦ 1x01 “Pilot” dir. Justin Lin

i completed that list and followed the same formating system as the OP.  Because MGG had other projects during the production of the later seasons, Spencer is missing in some of them- in case you want to skip these episodes. 

10x2 - burn (garcia-centric but some Moreid moments and a reference to LDSK) 10x6 - if the shoe fits (not Reid-centric but one of my fav Reid moment towards the end) 10x11 - (not Reid-centric, but emotional JJ and Reid moments)  10x13 - Nelson’s Sparrow (Gideon) 10x14 - Hero Worship (Gideon) Moreid 10x18 - Rock Creek Park (not Reid centric but a lot of cool Reid moments) 10x21 - Mr. Scratch 11x1 - The Job (just a little cool Reid brain moment you don‘t wanna miss) 11x2 - The Witness (not Reid-centric but Spencer and Tara bonding moments) 11x5 - The Night Watch (not Reid-centric but some cool Spencer brain moments) 11x7 - Target Rich (not Reid-centric but important event for him that explains his absence for the next episodes) 11x08 - Awake 11x09 - Internal Affairs 11x10 - Future Perfect 11x11 - Entropy (Cat Adams) MOREID  11x17 - The Sandman (little moreid moments) 11x18 - A Beautiful Disaster (MOREID AND PAIN) 11x21 - Devil’s Backbone (not Reid-centric but a lot of spencer scenes) 11x22 - The Storm (not Reid-centric but cool reid moments) 12x04 - Keeper (Reid‘s mom) 12x06 - Elliott‘s Pond  12x08 - Scarecrow (Reid‘s mom)  12x09 - Profiling 202 12x10 - Seek and Destroy 12x11 - Surface Tension (Reid‘s mum) 12x12 - A Good Husband (Spencer and Emily moments) 12x13 - Spencer (Prison, Hankel references) 12x14 - Collision Course (Prison) 12x15 - Alpha Male (Prison) 12x16 - Assistance Is Futile (Prison) 12x17 - In The Dark (Prison) 12x18 - Hell‘s Kitchen (Prison) 12x19 - True North (Prison) 12x20 - Unforgettable (Prison) 12x21 - Green Light (Cat Adams) 12x22 - Red Light (Cat Adams) 13x01 - Wheels Up (Prison references) 13x02 - To A Better Place (Prison references) 13x06 - The Bunker (not Reid-centric but cool Reid and JJ showdown) 13x08 - Neon Terror 13x09 - False Flag 13x10 - Submerged 13x13 - Cure (not Reid-centric but nice spencer scenes) 13x15 - Annihilator (Prison References) 13x17 - The Capilanos 13x20 - All you can eat 13x21 - Mixed Signals 13x22 - Believer 14x01 - 300  14x05 - The Tall Man 14x09 - Broken Wing 14x10 - Flesh and Blood 14x12 - Hamelin (not Reid-centric but one iconic Reid scene) 14x14 - Sick and Evil 14x15 - Truth or Dare (Jeid) 15x01 - Under the Skin (not reid-centric, but nice Rossi and Reid moments) 15x02 - Awakenings (Jeid and Reid‘s mum) 15x04 - Saturday (Max) 15x06 - Date Night (Cat Adams, Max) 15x09 - Face Off (important event for Reid in the end) 15x10 - And in the end

my chemical romance - three cheers for sweet revenge; limited edition clear w/ red splatter

I love how you can always tell what era AM are in by just looking at Alex's hair

I just wanted to be one of The Strokes, now look at the mess you made me make, hitch-hiking with a monogrammed suitcase miles away from any half-useful imaginary highway.

Tranquility Base Hotel + Casino - Arctic Monkeys

The Last Shadow Puppets - Miracle Aligner

Arctic Monkeys warned us in 2018 

Arctic Monkeys - Tranquility Base Hotel & Casino

Alex Turner Interview - 101WKQX

So on the night that TBH&C dropped, this Chicago radio station did a livestream of the album with commentary from Alex in between each song. (Here’s a link to a google drive folder with audio recordings of the interview). I haven’t seen a transcript of the interview so far, so I decided to write it up myself!

Walt: Song number two, One Point Perspective. Where did this song come from?

Alex: Well, One Point Perspective, I think…it’s a technique that’s sometimes applied to illustration, but I found out about this phrase through cinema - specifically the films of Stanley Kubrick. It’s a move he uses in every one of his films at a certain point. It’s where…it’s the framing of a shot with the subject at the center of the shot, and…almost a symmetry on either side of them. It’s quite inherently unsettling as a viewer when it’s used, because you’re not used to seeing something ominous about it…or that is the suggestion with that.

Like, you think about the monolith at the end of the bed in 2001, right? That’s the shot…that’s one point perspective. You know, we don’t really go into that in the song at all, but there’s something about the feeling that this creates in these movies that I think is…in tune with the types of ideas we’re exploring in the lyrics of this tune.

W: You wrote this album in a different way than you have in the past - you wrote it on piano. Why that change?

A: That’s true. Well, one just turned up one day at my house. Actually, it were a thirtieth birthday gift from my manager. Very kind gift. The last time he gave me a musical instrument were when I was twenty-one, a LG-1 Gibson acoustic guitar, and I wrote a lot of tunes on that. And I think I’ll write on it again, I would imagine, but I think I’ve reached a point with, not just that guitar, but trying to write on guitars, generally, I had a feeling where it was going to go when I picked up the guitar, and I think that feeling prevented me from getting anywhere.

I think what I’m trying to say is, Walt, before the piano showed up on this one, I don’t remember having many ideas, and after it came, my imagination was reignited.

W: You recorded a great deal of this stuff on your own, at your place, the Lunar Surface, on a TASCAM 8-track, old school, and then you weren’t able to recreate some of those sounds when you went to La Frette in Paris?

A: Well, a lot of the vocals that are on the record, as we’re hearing it now, are from the 8-track demos, yeah. And there’s the odd bit of like, bass and drums and a few keyboard things, here and there - but a lot of that we did actually redo at La Frette. Most of the vocals, with the exception of like, Science Fiction and Ultracheese and one or two others, maybe - it’s all the vocals from earlier takes that I’ve done on what I thought were then, like, demos.

I think it’s just…there’s an opportunity, maybe, before you even think you’ve completely written it - the first time you record something - there’s this opportunity to get something out of that performance that’s specific to that moment in time, you know?

W: This next song, Four Out of Five, seems like a commentary on a Yelp review. I mean, you’re talking about a taqueria on the moon, no less. What a fantastic concept, that is. Where did that idea come from?

A: I think the song Four Out of Five definitely stemmed from the song from which we take the album title - Tranquility Base: Hotel & Casino - where there is this sort of vague suggestion of a moon colony…in which there is this hotel and casino complex.

Four Out of Five begins to explore that a little bit further…the idea that even this moon casino complex that - you may not even have to leave the comfort of your own home to get to - is not exempt from the wave of gentrification.

W: *laughs*

W: In the middle section of the song, there’s all of these modulations or key changes which are incredibly important to get to the end with the giant chorus. How difficult was it to write all of those steps to get back around to where you’ve got it perfectly lined up for the chorus?

A: Certainly nowhere near as difficult as trying to describe it to you is going to be.

W: *laughing* It was an easy thing to do? I mean, even in the lyrics - “I’ll raise you another semitone” - you actually refer to it.

A: Ah, thank you, I’m glad somebody finally picked up…I’m glad we finally get to discuss that. It wasn’t a two minute job, I don’t think. I think what’s happening musically there is just…it was about giving myself the time to explore what was there. You have the piece of rock and you’re sort of chipping away to reveal the sculpture inside it, that sort of thing, I think that’s it. *laughing* Michelangelo idea, if you don’t mind me going there for a minute.

W: Was there a song on the album that was more difficult than the others to record?

A: I think recording Four Out of Five - that was a challenge, and definitely…if we were to talk to James Ford, the producer, about it, he would attest to that. It was…It took a long time to get that right, like the back half of that.

I know we mentioned that Alexandra Saviour record earlier - there’s a tune on that called Until You’re Mine - which was…she’d written the front half of it, and her and I wrote the back half of it together. And on this song, it goes…it ends up in somewhere completely different to where it starts - and that happened as a result of how we wrote it, you know, she wrote it to me before, and then we completed it together…using some ideas that I’d had, I think, for something else before. So it was a bit of…kind of two things welded together, but hopefully that isn’t completely apparent - however, when you get to the end of it, you’re in a completely different place than when you started.

I can’t remember another time where that has really happened, to that extent, in anything that I’ve written before, and I think that Four Out of Five took a cue from that song, Until You’re Mine.

W: It definitely does do that - it does take you to somewhere different, and then it tacks on a little bit at the end-

A: A little bit at the end for you there, Walt, just to remind you where you came from…cracks you back down to Earth.

W: The World’s First Ever Monster Truck Front Flip: explain.

A: Well, it was an actual event that occurred a year or two ago. I mean, it’s truly remarkable, like, let’s agree on that, before we go any further.

W: *laughing* Of course.

A: Yeah, it just seemed absolutely appropriate…as a way to start the second side of our LP.

W: You think of the album as two sides when you’re putting it together and sequencing it?

A: I do, Walt, yeah - always have done, really. I think…it helps me to conclude everything…thinking about it like that, I don’t know, I like that it’s got a beginning, a middle and an end, you know? I mean, that’s always been on the agenda…I think it really helps.

W: When you were recording in La Frette, you actually had the musicians in the studio, playing all at the same time, which is seldom done, these days. A lot of times it’s all assembly line - go do the drums, and then you add the bass later - but everybody playing in one room at the same time - where did that inspiration come from?

A: Well, that came from a lot of records - some of my favorite records were recorded in that way…Pet Sounds, obviously, was famously done like that. There’s this record called Born to Be with You by Dion that I love very much, as well - that was, as I understand it, recorded in this way, like, two pianos, and other people playing acoustic guitar, two drummers - everything spilling all over, from each microphone into the one next to it.

Anyway, I don’t know if it was completely appropriate for everything on this record - to do it in this way - but it’s something that I’ve always wanted to try. So we’ve got a sort of a hybrid between that and these 388 TASCAM recordings from home that invariably…while we were doing this live approach, we were playing along to the recordings that we’d taken to La Frette

What I learned from this experience was there’s definitely a certain energy you get from nine or ten people - the way you play in that environment is obviously going to be totally different than the way you play when you’re taking your pedalboard in the control room and going like that. Also, you’re not able to be as precious about everything, of course.

W: Now, on this next song, Batphone, you talk about “getting sucked into a hole on a handheld device”. Is that a commentary on the dependency we all seem to have on cell phones?

A: Exactly. Honestly, Walt, it’s not like I really want to write about that stuff - it’s…well I have done, on multiple times. I just realized, the other day, we were just

*cellphone goes off in the background*

A: …and you hear the ding of the handheld device in the background, there.

W: *laughing* Right on cue.

A: Right on cue, see? *laughing* I don’t know, I was about to say that, you know, I don’t want to write these songs, I don’t want to write about…the ringing that just went off in the background. But it’s there, so I suppose it becomes more about finding a way to do it.

W: I gotta talk about - you actually built a physical model of the hotel and casino. What’s it made of, how long did it take, and what are you going to do with that thing?

A: Well, that part of the question I truly don’t know the answer to. The two parts before that - it’s made out of illustration board and a dowel, and… *laughing* What was the other bit of the question?

W: *laughing* How long did it take?

A: *still laughing* How long did it take me? The whole process…it were a few months…there were some other things that it could’ve been. I was trying to do album cover art, but there were a few things that could’ve been on that cover. The model was one of the few that - I think of it as like, the model in the lobby of a hotel - so there were other things from the lobby of the hotel that I was sort of trying to explore and creating, as well. But this one just kind of won out.

W: [talking about The Ultracheese] Kind of leaves you wanting more, there. Kind of unresolved.

A: I think you could say that, perhaps - you’re a musician, Walt, so - I suppose it’s unresolved in the musical department, but I think that, perhaps in the other side of that, it does resolve itself.

W: Your last line - “But I haven’t stopped loving you once” - awesome last line. It really is a great way to end. But then you have that last little - you sing like a note at the end, and it just kind of leaves it hanging, It’s a perfect last end to this piece of music.

A: I’m glad you think so.

Please tell me how may I direct your call?

Honestly, fuck Alex Turner for making a pure masterpiece and titling it the Ultracheese, so now I have to go around telling people that one of my favourite songs is called the Ultracheese

If anyone needs me, I can be reached by Batphone in Room 505 of the Tranquillity Base Hotel + Casino.

All credit for creation of these outstanding images goes to Lethal Enforcer, who is by the way, trying to get a commercial artist to create that first keychain, which is his outstanding prototype. Interested? Head over to the forum and let him know! 🗝🌚

me: only deep meaningful lyrics get to me

arctic monkeys: the world’s first ever monster truck front flip

me:

x

Tranquility Base Hotel & Casino

Breath of the Wild Masterpost

So I know that the comics haven’t even started yet, but I already know that they’ll have more than 20 comics so rather than waste time putting the links in the assorted post, I thought I’d just go ahead and make this right off the bat!

If you’d like to read the comics in the order they were posted, click here! If you’re looking for a specific comic, the links below may help!

NOTE: Because of the open world nature of the game, the links below aren’t chronological, if you’re looking for the order, click the link above! Below comics will be listed by category (combat-related, horse-related, korok-related, etc.)

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