ERROR

❗⚠️❗ERROR❗⚠️❗

This user has completed Too Many Tasks And has been temporarily replaced by

Potato

Please do not disturb Potato until further notice

So if you needed any proof that Cole is precious, look no further.

As a heads up, the Western propaganda machine is going to be much worse. Now that there's confirmation that South Africa are preparing to take Britain and the United States to the International Court of Justice (ICJ) for complicity in the State of Israel’s war crimes and genocide on Gaza- we think that it's important to note that it's almost like clockwork that the propaganda machine will skyrocket with new anti-Palestinian resistance defamation and unfounded allegations levied to further hostility within our already divided communities.

Read more on South Africa's proposal here:

aa.com.tr

South African lawyers preparing lawsuit against US, UK for complicity in Israel's war crimes in Gaza

'The United States must now be held accountable for the crimes it committed,' says Wikus Van Rensburg, who is leading team of 47 lawyers and

News sourced from Anadolu Ajansı.

It’s a no-brainer that we’ll see a sharp rise in pro-Israel propaganda, and it’s highly likely that there’ll be a crackdown on pro-Palestinian and anti-Zionist rallying. You see, the Capitalist hegemony is almost ridiculously predictable once you figure out how it functions and operates; the historical cycle of committing atrocities and subsequently excusing themselves with absurd lies of brainwashing propaganda. The United States and United Kingdom will certainly not take kindly to South Africa's intention to charge them in this international lawsuit- thus they will need a retaliation that gains more favour for them from the general public.

Expect more confounded accusations of antisemitism and Jew-hatred imposed on celebrities, organisations, journalists, even nations. Expect more fascist laws passed to silence Palestinian resistance support, and more Islamophobic fear-mongering.

Propaganda is not always easy to spot and deconstruct, so be sure to stay vigilant and think critically in context of current events. However the Imperial core are growing weaker, with such incredible numbers, millions of people, showing support to Palestine internationally- we are no longer easily fooled by their usual tactics. In the putrid face of propaganda, the Palestinian resistance still persists.

please keep sharing fundraisers. please. while we remain safe in our communities and homes and so many other places, constant fear and danger and genocide continues to strike in gaza.

donate to Siraj's campaign to rebuild his home, which he needs to reach 75k by tomorrow, MONDAY SEPTEMBER 9TH

donate to Amal and her family's campaign, in which she is caring for over 20 family members and her own baby, Maryam

donate to the Shehab family, who have just survived the recent bombing of the city of Nuseirat

Composing music for game design and narrative purposes in The Dark Queen of Mortholme

With my lamentably limited knowledge of music, composing the Mortholme OST took than the size of the game perhaps warranted. I'm happy though, since I managed to explore in the main narrative ideas I'd wanted and hopefully made the most of the format's weird limitations.

The gameplay of Mortholme is formed of you as the Queen repeatedly defeating the Hero, and them coming back to try and squeeze a few additional seconds out of every attempt. That means a few things for the main battle theme:

Interruptability required

In the early game, the music will likely only play for a couple seconds at a time. Initially I'd wanted a rather moody and atmospheric theme (y'know, back to the FromSoft roots), but quickly discovered that interrupting a slow paced track just made it sound confused. Interrupting something dramatic, on the other hand--especially a bombastic build-up--sounds funny, which is exactly what smacking some uppity heroic figure into their sudden death with a giant mace should be, for the first time.

2. Further into the track = further into the narrative

The cool thing about the format is that the better the Hero does at the fight, the longer the music has time to play. As the relationship between the Queen and the Hero develops through the deaths and the dialogue, the player will likely get to hear later parts of the song.

It's like a chance at adaptive music without having to learn how to do it! By assigning the characters their own instruments and leitmotifs, the track can develop from "the Queen's domination" to "the Hero persisting amidst it" and finally into "the Queen must acknowledge the Hero" as the Queen's brass section begins to respond to the Hero's leitmotif (while ending on a darker chord).

3. Short is sweet

With the start-and-stop, there really aren't that many seconds the full track can run. I'm not even sure if most player will realistically hear the third passage, if the game ends up being balanced to go faster. But that freed up all my leftover enthusiasm for composing to be used on variants beyond the battle theme.

There's the ominous slow variant for dialogue; a hollow, barely even melodic version for when the Hero is not in the room (the music follows the "player", after all, and a video game boss has no life beyond their visits); a Hero leitmotif heavy dialogue variant; and as the last one being currently finalised, a high tempo battle variant for phase two with synths and rock drums and basically anything I can throw in to make it sound so FINAL BOSS TIME!!! that it makes me laugh. I don't know anything about whatever this genre is either but that's fine, I put an amp on an organ and it sounds outrageous.