An interview kevinduquette did.
Here I am talking out of my food hole about stuff.
OMORI is a surreal psychological horror RPGmaker game. you must travel between two worlds, both welcoming, both concealing the same secrets. meet new (old) people, fight new (old) enemies, explore your own memories, and uncover some hidden truths along the way (although you wish you hadn’t.) when the time comes, you can only choose one
which world is more real? you decide, i guess.
for those who don’t know, i’m making a video game!! (and that trailer is pretty much a giant .gif)
DONATE TO THE KICKSTARTER (for 3DS stretch goal)
this project will be funded on thu, jun 5, 2014 12:40 PM PDT which means it’s ending in just a little under TWO DAYS!!!!
Q:Earthbound or Chrono Trigger?
dont think i can really choose which is better, but i personally like chrono trigger more which might be just a childhood bias or something. i find that game so immensely beautiful and powerful in a way that it might not even have been meant as, but it’s just a testament to a lot - even if the storytelling is normal square/rpg stuff (though i think a little weirder and more refined) it left such an impact on me and the themes at its core are so universal - plus it’s just beautiful in a really surreal way that earthbound wasnt.
but earthbound was never meant to be beautiful or surreal and i think it might be the better game overall - it’s so strange, and it is beautiful maybe but in a really weird, playful way that belies it’s darkness and maturity. i think it holds up better if you come into it as an adult never having played it before, whereas chrono trigger is tougher to appreciate if you didn’t grow up on rpgs already probably, since earthbounds weirdness is more universal and would appeal equally to kids or adults.
there’s a really beautiful thing the creator of earthbound wrote about it recently comparing its creation to a bunch of kids / people trying to make a new world out of whatever they could find lying around the house. im doing the quote no justice hold on
It was like a group of children taking dolls from a toy chest.
Old dishes no longer used in the kitchen.
Nuts and bolts found inside a toolbox.
Little flowers and leaves from the backyard.
And they were all laid down on the carpet with everybody singing made-up songs.
Ready to talk all day about that world they just made.
That, I think was how Earthbound was made.
Well, I’m a grown-up too,
so I didn’t hold back in adding things here and there,
like putting more angles here,
hiding a secret there,
and sometimes slipping in little mean things.
Then a whole lot of friends came over to play.
And they helped it grow as they were having fun as they pleased.
They gave it branches, leaves and flowers,
to what was once a simple story of just root and trunk.
For every person that played, there are that many iterations of Earthbound.
which is really beautiful to me and exactly how i want to approach music (and making anything else). i try and view every album i work on that way really - creating something bigger and lasting out of small pieces i find, and trying to make a world you can get lost in repeatedly and keep coming back to and finding new things inside, even after you know it really really well, intimately, it grows familiar and comfortable but also newer and bigger with time.
the full thing i quoted is here - http://earthbound.nintendo.com/message/ - and if you’ve played the game and never read it you should because it’s honestly so touching and true
its weird to be so emotional over video games and im not a nerd but i think this general idea applies to art of every kind
11 track album
Listen to this, love it, then buy it, then take a shower, because it’s so heinously filthy. JR (our first drummer/best dude) has been doing this band for awhile, and they’re probably the most underrated band of the Snowing expanded universe of musical groups.
this is my shit right here. catch cassilis in portland in may!
Yes yes yes. So glad this is happening. Best Snowing off-shoot project or whatever IMO.
Did an interview about the label with Made of Chalk. It’s one of the more in-depth ones I can recall ever doing.
Usually stressed and overcome with crippling doubt, but having a rare moment of “I totally rule”. Gonna go eat some cookies and play Smash Brothers on “Very Hard” mode.
Keep Doing What You’re Doing
There are benefits to being a member of a tight-knit music community. As a fan, you’re able to truly experience the exhilarating highs of a raucous live show, the deafening lows of a disappointing album and everything in between. Especially in the punk scene, fans often follow bands from their humble basement show beginnings to when (or if) they begin to receive more recognition, and stay close throughout those highs and lows. The natural course of a band’s career is at once unpredictable and fascinating, a parallel for the lives of many of their fans. When a band you love does something great, you feel great, not just for them but in a weird way, for yourself, too. And when that same band lets you down you wonder, either to yourself or aloud, what went wrong and how it could have been done differently, not unlike how you might react to an adverse event in your own life.
Though this phenomenon isn’t unique to the punk scene, it’s far more common here. In punk, the division between artist and audience member is often minimal; most of our favorite bands release albums on small labels, play venues with low or no stage, and will hang out at the bar or in the back of the house after their set. They’re regular people with hopes, dreams, fears and regrets; with shitty jobs, empty bank accounts, relationship problems, annoying allergies and other common problems that plague the rest of us. They just happen to be a little better at singing and playing guitar than we are (well, sometimes) and can portray those hopes, dreams, fears and regrets in a way that a lot of us can’t. We are them and they are us. Their music simultaneously reminds us of our own problems and assures us that we’re not alone in having them. That yeah, things might suck now but eventually everything will probably be alright. Beyonce can do a lot of things, but she decidedly cannot do that. Ten bucks says Beyonce has a perfect credit score.
That intimate connection. That’s why punk endures through exhausting cynicism, endless scene politics and counterproductive cliquishness. It’s why you should laugh at anyone who suggests punk is dead, and remind them that it’s only dead to them because they stopped paying attention.
A few months ago I saw my friends in the Swellers play a west Philadelphia basement as part of their initial tour supporting their new album on No Sleep Records, The Light Under Closed Doors. Although they’re from Michigan and I’m from Florida, I feel like I’ve grown up with these guys. The tour, which was mostly house shows, was something of a return to the band’s roots; I have great memories of driving from the no-name town of Melbourne, FL where I grew up to other no-name central Florida towns like Deltona and Poinciana to see them play in houses and backyards to very few people, and even fewer genuinely interested people, in the mid-2000s. They’ve gained a lot of fans since then, most of them much younger than me and with no prior concept of what house shows are. They might have discovered the Swellers while attending Warped Tour one year, or saw them open for Paramore or Motion City Soundtrack, or read about them in Alternative Press or AbsolutePunk. The idea that one of their favorite bands would be playing a show in someone’s basement and would be just hanging out at the house before and after their set, something that you and I completely take for granted, blows their minds.
When I gingerly walked down the narrow, rickety staircase into that west Philly basement, there were kids already claiming their spots up front, saying things to each other like, “We’re about to see the Swellers play in a basement and we’re in the front row!” How fucking cool is that? How can you possibly witness that and still feel old and jaded?
The show was incredibly fun, because everyone from the band to the crowd were having a blast forging a connection that would otherwise be broken by a stage or barricade. The band played songs about the difficulties in their own lives that spoke to the audience, and likely mirrored their own experiences. There was no posturing, just a bunch of really excited kids bobbing their heads, dancing and singing along to their favorite band with incalculable exuberance. I couldn’t help but see my former self in them just a little bit.
Remember when that used to be us? Let’s bring it back.