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Blending Chinese percussion ensembles and cocktail piano… Proud to announce another new song~!

Hiya-!! Happy Sunday or Saturday depending on where you are!
I’ve just put out another track today—it’s one I’ve been working on since around June, but finishing Dreamer’s Wonderland really gave me the burst I needed to push through with this~!
Among names I planned were Arbiter’s Summit, Arbiter’s Serenade, or Ballad of the Arbiter… but I settled on a fourth option eventually, so let me present to you:
I have a philosophy of trying to make all my songs better than the one before it, so whether or not you believe it is, that’s up to you to decide~!
If your time allows, then I’d love to hear what you think of this song—once again I’m on quite a high horse at the moment~ (((o(*゚▽゚*)o)))♡
Musically, I think the title today says a lot—My original vision was of these rich Westerners basically holding a banquet in a Tibetan-inspired village, but things changed, and here we are with… Well, hopefully, something pretty unique-!
More love to ‘ya, and can I just say—working with digital Chinese instruments is always fun HAHAHAHAHAHAHA ♪(*^^)o∀*∀o(^^*)♪
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From Remember Summer Days to Henshin (返信)… The themes and writing in pop that I love~

Among my many musical preferences that set me apart from my friends… one of those only I seem to care about are a song’s lyrics!
Every now and then I’ll come across a song that I adore musically, but that I only listen to a handful of times because of something I didn’t really enjoy with the lyrics: take… well, a good chunk of mainstream Western pop—If I named artists, I would be here all day-!
Even my most-loved artists have some songs I’ve liked less because of their lyrics: for example, David Bowie’s Atomica or Born in a UFO, which I really enjoy musically, but that I think are kinda dumb lyrically… and not in a fun way, just a more “this could’ve been more coherent for sure” way (`・ω・´)
So… what do I think are “good” lyrics?
Well—It’s honestly hard for me to be objective about this-! But as a start, I do love when simple ideas and emotions can be conveyed in unusual-but-effective ways…
As an example, let’s take a quick look at a pretty-famous city pop record!
“Summer is fading…”
I love this song, a lot of people inside and outside the country love this song—maybe you will too, it’s a great pop record-!
I’ve always interpreted this song as an ode of sorts to someone the narrator grew infatuated with during a brief vacation—But this being the 80s, keeping in contact with this person is… welp, kind of a problem.
If this song had a mock nutritional label, I’d probably give it like 80% bliss, 20% heartbreak—the narrator knows that their only real option is to treasure the memories they’ve already spent, so that’s exactly what they choose, even if they long to relive those days…

Anri’s writing captures this blend really well, but with a twist: Like with a good portion of Japanese media, the lyrics have this running theme with the seasons, their emotions, and how they relate to the moment-!
Right in the first line, we have a mention of the autumn sea (秋の海), with the next line already referencing the passing of summer!
The chorus sections alternate between the seasons and emotions too, with summer reflecting this blissful nostalgia, autumn an empty longing, and winter a possible glimpse of hope—also joined by “next summer” towards the end of the track-!
“I’ll come here again,” sings Anri, and the fact the song ends with that chorus fading out gives the story a cyclical feeling…
I personally like to believe that, come next summer, the narrator gets at least a chance to relive those memories they hold so dear, but their hopeful tone might be something clouded by the moment—

If you wanna take it into conspiracy theory levels, maybe the person they’re signing about never loved them in the first place, or something sinister’s happened—but this is really pulling conclusions out of nothing… ʅ(◞‿◟)ʃ
What we actually have though is just a nice pop song: creative lyrics, a visually-powerful theme in the seasons, amazing, emotional vocals from Anri, and rich instrumentation that holds everything together—For a bonus track on her Timely!! album, it’s really lovely how this song is not only now seen as one of city pop’s best, but also, as its parent album would suggest, still timely! In everything from sound to performance to lyrics…
Please don’t let my skimmed summary distract from the song—I promise you, a listen is well worth it!
But now that I’ve told you some of what I like in a song…
“A half-burnt-out dream…”
So I’ll probably sound like some grumpy old imperialist saying this—but modern chart-toppers really make me wonder how pop music’s just… fallen so far lyrically. d( ̄  ̄)
I originally planned to include here lyrics of the current top 3 Billboard Hot 100 songs and just compare them to their equivalents in 1983, both in Japan and outside, but… well the first song is way too graphic for me to put here and the second is just repetitive!
Heh—I’m definitely biased in a way, but to include those lyrics or mention said songs would be kinda insulting to everything else I recommend, so those duds aside…
Here’s something I guarantee we’ll love a lot more—and features a little-something extra compared to Remember Summer Days that I wanted to talk about-!
The title’s sometimes translated as “My Answer”, other times as just “Reply”, but I think both are similar enough to not make too much difference~
If you’re someone like me who was introduced to Takeuchi through a lot of her more popular songs, then Henshin (返信) might be a bit jarring…
The catchiness of Plastic Love? The swinging vocals of Manhattan Kiss? Even Minna Hitori’s mellow piano?

None of that’s here in Henshin… All we have are her vocals and lyrics, plus Yoshiyuki Sahashi (佐橋佳幸) on this flamenco-esque guitar, kept in tune by nothing more than the backing, reverb-heavy taiko (太鼓), as well as a light string arrangement!
I think it’s one of the most minimalistic songs she’s ever put out—and for its effectiveness in that regard? I already love it~!
There aren’t too many English translations published online, but my favourite one’s this one for our reference—I think it’s the best in terms of capturing the tone of the recording anyways, so any lyrics I reference are taken straight from here, maybe with slight edits~
Just like Remember Summer Days, this song’s lyrics have a nostalgic, romantic tone to them, but in a much more depressive mood…
I’m probably looking too much into it, but the way she sings really-fatalistic lyrics like these below, combined with the heavy drums, makes me feel like I’m hearing somebody who chooses to move on from the past through repression of this sadness.
When everyone is born
It is decided that
They will all soon
Return to this seaDo you think the taiko might be representing something inside the narrator’s body?
Every now and then, the echo makes me think it’s a heartbeat of some kind, and the heaviness of it all gives a really-dramatic and conflicted tone that Takeuchi’s singing emphasises.
From the very beginning, Henshin begins building up in intensity, especially with the drums, but right at the end of the middle section… all of it abruptly stops.
For me, the final verse, sung without any of the percussion, has that same bittersweet tone that Remember Summer Days faded out with…
You won't be able to read my letter
Yet you've made me write it
I've included my eternal love
So that my answer
Reaches your soulAre they moving on here…?
Is this even an attempt to move on from their apparent heartbreak, or is it an attempt to cling onto some fading dream?
The grief and reminiscence that followed this feel to me like this song itself is, in some ways, the letter mentioned here in the end—And in that case, their raw emotions so far feel to genuine for me to doubt that…
But whoever they’re writing to, what does it take for an answer to reach a soul?

After Takeuchi’s vocals and the guitar end, a stringed instrument of sorts plays a final, rising tone—something much more resolved than a chorus fadeout, but in the context of that last verse, also very unresolved…
Two weeks ago I talked about another Takeuchi song—Minna Hitori—which ended with a sudden jump into English for this thank-you verse to the singer’s best friends ((o(^∇^)o))
Both songs have a really-resolved ending musically, but thematically, this one kind of leaves us hanging…
And that’s the magic of this song, isn’t it?
What happens to the song’s narrator? What about the person they’re talking to? What state is that person in?
All the drama of Henshin is released after that final verse, freed like a bluebird, but that lingering uncertainty, for me, adds to that internally-conflicted tone the whole song’s presented with so far…

It’s that kind of simplicity I love—The writing is creative, beautiful, but understandable, the music is minimalistic but fitting, and the best part?
You don’t need to care about any of this!
You can enjoy all of Henshin’s dramatic edge, melancholic vocals, and flowing guitar even without thinking about its meaning or composition~!
They’re perfectly-fitting in that nothing takes us out of the experience, and beautifully-fluid in that nothing makes us want to get out of the experience… unlike the uselessly-vulgar and predictable lyrics of today’s pop hits. (;_;)
“Even today’s evening calm will be beautiful…”
Heehee~ Maybe I’m being too harsh on mainstream Western pop, I definitely have my biases in some places…
But it’s hard for me to dismiss the feeling that, at some point over the last few decades, the industry’s just become oversaturated with conventionally-attractive people who are only really composing for the money and fame…
Can’t say us in the East aren’t guilty of that—the idol industry can be genuinely disgusting at a lot of times—but Henshin? For a song released in 2006, it really holds up well compared to the many J-pop hits of the 80s that I love, and that’s one of many things I’ve always admired Mariya Takeuchi for: you can 100% count on her to always put the art in music!
As a closing note, I haven’t actually seen the movie Henshin was written for, Deguchi no naiumi (出口のない海), but the wartime premise does sound really interesting—This tie-in definitely explains all the song’s references to the sea and ocean at least~
I originally wanted to talk about another song after Henshin, but heh—looks like I’ve been rambling much longer than I thought~

But, sometime in the future, I’d love to show you something with that same, dramatic flair as this song, but in a much more different style and era…
A certain French song old enough to have influenced a teenaged David Bowie- ψ(`∇´)ψ
Hopefully I can see you again for when that comes, and for the rest of our week in general, so until then, all the love to ‘ya~!
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From a koi pond to bliss… New song out~!!

Hiya—How’s your day been-?
Wherever you are, I hope we’re all enjoying some semblance of peace for today—goes without saying this world could really use a lot more of it (T ^ T)
I just wanted to chime in today to share my first new track since mid-July: something I’ve been working on for most of the week~
I had a few working titles for this song: Window into Bliss, Peek into Ataraxia, but in the end, I settled on Dreamer’s Wonderland!
It’s another song that I wanna tie in with my current books, so when the time comes to place this on the rankings, we can talk so much more about that!
But for some quick context: my inspiration for this song came about from me tinkering with the DALL-E image generator, since I received my invite just a few days ago~
At some point, I thought of this image of me lying on a windowsill overlooking this koi pond, so I asked DALL-E to draw these, and…




Sure, none of it’s perfect, but the general aesthetic gave me this image idea for a song—Ennarin and Sakiyo pacing about a koi pond and eventually feeding the fish~
I don’t think the final output is exactly that image, but as a jumping-off point?
Heh~ Let’s just say everything came about naturally after that! =(^.^)=
Musically, this track’s also a bit unusual for me: it’s my only song composed with a BPM of 102, only the second written in the key of F# Major, and also the third or so where I challenged myself to try and create the drum beat myself…
Oh and thanks to a pitch slider with the lead clavichord, I was able to play that middle section with notes outside of the usual tonality~! Hopefully my melodies there still sound coherent-!
And yes—Clavichord! But I loved the sound of it so much that I kept adjusting it until it sounded much closer to the Chinese Yangqin (扬琴) dulcimer, which is probably one of my favourite instruments of all time~
Whether or not you’ll listen to Dreamer’s Wonderland, many thanks for just coming to check out this sudden announcement—and I hope your weekend treats you well-! ^ ^
Any and all support is greatly-appreciated~!
All the love to ‘ya! ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ
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A Novice’s Studies of Joe Hisaishi, a Story of a Troubled Child, and the Song Born Afterwards (Home for Somebody Else)

Among composers I admire for their style, I can praise few as well as I can praise Joe Hisaishi, a man you probably best know from his works on Studio Ghibli films!
For me anyways, he’s always had a very particular style of capturing the emotion and heart of any scene with any piece, and as someone with a similar goal in their music, he’s someone I’ve turned to a lot for inspiration.
I’m nowhere near qualified to give a full lecture here or anything! After all, I’m still just a novice messing about with what sounds right.
But in December last year, I decided to give a shot at producing a song more influenced by him than ever before.
Looking at One Summer’s Day
One of Hisaishi’s most well-renowned tracks and a song I have a personal connection to- well, in a vague sense!
As a requirement for my university’s Music Production applications, all of us candidates were asked to audition with a musical performance, and I settled on One Summer’s Day on solo piano, out of both my love for it, and my ability to simplify the song into a version I could play, but that still kept the heart of the original!
It wasn’t all that good of a cover—I’m gonna be real with you, I flubbed some notes around the middle of the song, but I guess it’s a different skill to carry on and play these off as a part of the performance \(//∇//)\
What this did help me with more, though, was giving me my first chance to explore Hisaishi’s music physically, and little would I expect that, quite a while later, this would come in handy again.
So first of all- I want to credit the people who I learned more specific theory from!
I watched all of these videos multiple times to pick up on what I could, and I believe they summarise the theory far better than I could—so:
These are the Hisaishi-centric ones, and these were my beginner / intermediate-level introductions to the intricacies of his music. I did learn a lot more later down the line, but after reviewing these over a month, I felt as if I could manage… something.
I can’t emphasise this enough—if you’re somebody passionate about studying Joe Hisaishi, then I highly recommend paying the videos above a view and using them as your introductions to this topic! Gavin Leeper is probably the best teacher among them when it comes to Japanese music theory, but if you’re looking for more general and digestible content, then Nahre Sol and Charles Cornell will have you covered!
Moving on, however, we come to the song I cobbled together in light of all this…
Life as a Vassal
To set the stage for this song, I want to share with you a scenario.
Imagine being born as the only daughter to one of the wealthiest families within your country.
This nation, boasting a culture that emphasises harmony and prosperity over individuality, places great value in those who dedicate themselves to serving society and family, but leaves little room for anybody who may not fit this ideal.
You, as this only child, are poised for only one role in life: to take over your family’s business holdings the moment you are eligible.
Your mother sees her only purpose in life as grooming you for this calling. Every minute you spend with her is akin to a conversation with your boss, with very minimal emotional bonding thrown your way as you spend your time in a lavish mansion all alone.
At school, your wealthy background becomes a disservice to your social life. Your peers tremble at your name and that of your family, and those who do try to befriend you do so for no reason other than bragging rights. It doesn’t help that your poor family life has already left you clueless as to how a child your age should be interacting with others.

Your only ray of hope is your father: a man who grew up under very similar circumstances, but has willed himself to break the generational trauma by being as humble yet caring of a parent as he can. While your mother is busy attending board meetings, appearing on television, and flying abroad, your father sits with you for dinner and chats with you about your school life, your studies, and your plans for the coming Sunday. He even takes you halfway across the country to a vacation home in a quiet village, and relaxing here with him becomes a part of your routine every summer break.
But just one responsible adult is not enough.
Your father alone cannot quell the feelings that your life is being wasted away in blind servitude to somebody else.
You know exactly what your future will look like.
High school is coming to a close, and you have had no say in your prospects moving into university.
Back at home, your mother flip-flops between first cheering in excitement at your inevitable entrance into the world of commerce, before then admonishing you for your appearance, your presentation, your academics, your few friends, your hobbies, your diet, your schedule, your organisation…
How much more could you take before you decide to abuse your available resources to get out of this mess?
The (Fictional) Story of Sakiyo
This scenario above is the backstory of Sakiyomazu Nazakano, or simply Sakiyo as she goes by: the deuteragonist of my now-previous two books!
What happens with her afterwards is long, but to summarise what she did do, she resorted to faking her death and fleeing to a neighbouring country, where she took advantage of her family connections and wealth to make sure she could start a new life alone and undetected.
Things were fine that way for a while, until one day in the year 2283, almost five years after her escape from her home country of Sarozanka, when a mysterious figure emerged in her new town of Niraveth, one who piqued her interest enough that she called them in to learn about their circumstances.
Soon, Sakiyo learns that this figure is none other than Ennarin, who has also forgotten their own background, aside from a strong suspicion that they are not human in nature.
Ennarin believes that meeting with a god, known in this world as a Prince, would help them remember what they actually are, and Sakiyo is again interested, taking the opportunity to meet a Prince for her own studies.

~an early conversation between Ennarin (POV) and Sakiyo~ With the same goal, Ennarin and Sakiyo set off for the City of Aravythrin to meet Adaire, the Prince of Rationale, from whom they learn that Ennarin was indeed a former Prince themselves, prior to their expulsion from the Synod at the start of the year, which further erased all of their memories.
This begins Ennarin’s goal of tracking down the other 10 Princes to piece together their past and their place in this world, with Sakiyo joining them out of her own desires to learn more about the Princes, about Ennarin, and about who she wants to be.
It’s not until much later that Ennarin themselves learns of Sakiyo’s past, only coming about after the two were forced to enter Sarozanka to meet with one of the Princes.
With all of her unresolved traumas, guilt, and bitterness boiling together, Sakiyo gets caught by her mother when she tries to drop off an innocuous gift at her childhood home, and all of this comes to a sudden head.
Just before that though, she writes down an entry in her diary:
9th of Dairan, Sunday, 2283
Everything about Tsuzugo feels the same as I last saw it. It’s home, but for somebody else now, and even then, Ennarin will probably want to spend some time here. Don’t blame them, at least I’m somewhat used to laying low.
Walking down these streets after five years is like some muted testament to the government and people of Sarozanka: not a spot out of place, not a person out of line, just as robotic as the environment I was raised in. Journalists abroad touted Premier Miura as a visionary and a reformer, but first impressions are just more and more of the same of what I ran away from.
It’s still the early evening as I write this, so perhaps there may be time to drop this package off at my old home, but whether or not she receives it, I don’t particularly care.
I don’t care… that’s what I write here, but if I really didn’t, would I be mentioning it at all?
Everything from the city to this bench feels like a sweaty, unhygienic old man forcing me by the shoulders and locking me in, and I hate that. Like the atmosphere of this city has lodged itself somewhere in me to keep haunting me no matter how far I travel.
But maybe that’s why I still feel so relaxed here.
I haven’t told Ennarin yet how hard it is to find someone like them that would spend so much time with someone so different from them. Even my neighbours at Niraveth still see me as just that “silent foreign academic girl”.
Yet here, almost everyone seems like me, or rather, how she wanted me to be before I left.
Another cog in a collective resigned to the endless grinding of some invisible, emotionless machine.
– Sakiyo Naozami (Nazakano Sakiyo)
From Story to Song
Now first of all, I hope that little glimpse into my writing was interesting, at a minimum~! It’s been a while since I’ve shared much of that ( ・∇・)
But also… translating any of that into music is easier than done, to say the least.
All I knew was that the background suited the kind of emotional mood that a lot of Ghibli soundtracks in general have, so where could I actually go from there?
One of the core lessons I learned from Hisaishi’s style was to introduce varied dynamics and timings to solo piano parts, and from here, I worked out a fairly-nice intro on a pentatonic scale known as the Min-yō scale, which, in B Major, encompassed the five notes of B – D – E – G – A
Here’s the interesting part—I could not, for the life of me, find any reliable information on this scale for a while!
I forgot where I first learned about it, but I saw an example in C Major, thought it sounded nice, and transposed it up to B Major by noting the intervals between the notes, and I just… left it at that.
It wasn’t until just this week that I finally found something to back me up.
Enter Kawase Akihiro—a researcher who published a paper in 2013 of Japanese folk scales!
I actually have the full citation here if you’re interested in checking this out, which I do recommend! Kawase details a lot of information on Japanese folk music which is otherwise very difficult to read about outside this sphere!
Kawase, A. (2013). Construction and verification of the scale detection method for traditional Japanese music. International Journal of Affective Engineering, 12(2), 309–315. https://doi.org/10.5057/ijae.12.309
It’s subtle, but on Page 2 of the paper, Kawase notes several tetrachords first conceived by Koizumi Fumio, one of which happens to be the Min-yō (民謡) Tetrachord!
The intervals noted match up perfectly with what I’ve used—the first two notes form a Minor 3rd, the next two notes form a Major 2nd, and the first and last notes form a Perfect 4th.
4ths.
That was another thing I learned from Hisaishi—4ths are severely underrated for emotion and uncertainty!
You can hear that all across the first 2 and a half minutes or so of this song, where, for most chords, I just left out the fifth one way or another to create this more ambitious, floaty feel to the piano!
To the best of my memory, the chord progression at the full extent of this first section, before it slows and quiets down, is as follows:
Dsus2 - Bsus4 - Gsus2 - Dsus2
It’s here where the song veers into a whole different direction, however.
A Dance with Ambience
Ocean waves, boat horns, city traffic, footsteps, metro trains, and phone rings.
For just about the next minute or so, this is what we’re greeted with, and as somebody who’s always advertised herself as an ambient musician, this was really the first time I tried leaning into that label more!
It doesn’t last for awfully-long, as we shift back afterwards into a closing section in G# Minor that concludes the song after some more build up, and this mainly just follows what I’d previously established with the intro section.
All that remains for me to point out are the bells!
As something of a reoccurring sound in my music, the chimes in this song, and like many others, follow just simple quarter notes that loop for as long as they’re needed:
B-B-Ab-Gb-B-Db-Ab
It’s something I personally call the “chime melody”: something not too intrusive that accentuates a song as a part of its harmony that borders on being a rhythmic aspect too.
Once that wraps up, we jump back into the ambience of the Sarozankan Port City of Tsuzugo, where Sakiyo was born and raised, as we get a glimpse of what her teenage years resembled.
Taking the train alone in a crowded metro, all the while ignoring the incessant phone calls from a mother whom she knew never cared for much than to use her.
Why would she answer that? Just like with the first ambient section, Sakiyo just hangs up the call after letting it ring for a while, already anticipating a scolding regardless of what she does.
Departing Tsuzugo
I wouldn’t say at all that Home for Somebody Else captures any sort of a dreary, hopeless mood, but for me anyways, it does manage to lean in to a bit of a nostalgic feel, at least thanks to what I’d learned from the likes of Joe Hisaishi!
It was December 8th of last year when I finished this song, just two days after I’d begun—to put that in perspective, Wayfarers of Snowfall, the last song I’d finished before then, was accomplished over a month before that!
If you remember previous posts of mine too, December 8th was merely three days before I took off for Singapore in my first foreign trip in quite some time!
So you may be wondering: with this renewed motivation from finishing Home for Somebody Else, was I fuelled enough to try and work on a song while I was abroad? To try and capture a new feeling in my music straight out of the new environment I was in?
Hehe… Stay tuned for my answer to that, if you’d so please~!
I know this post has been one of my longest thus far, but there’s simply so much I’d love to share that it can be a bit difficult condensing down some of these summarise, so rest assured at least: once the dust has settled and I’ve gotten some of these set-up posts out of the way, I’ll be able to focus a bit more on specific works, PLUS branch out to comment on some media I’ve gotten lost in during this time!
Sincerest thanks to you if you’ve read this far! (((o(*゚▽゚*)o)))♡
And ‘til I finish up my next piece, all the more love to ‘ya~!
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Here’s to One Year (~And Some Overdue Housecleaning~)

As of July 6th, this page officially turned one year old~! (*’ω’*)
I would definitely be celebrating more if I hadn’t *poofed* the last six or so months, but you know, life just loves getting in the way.
But that’s alright, because all that’s in the past.
First off—thank you so much to anyone reading this right now, especially if you were one of my readers from when I was a lot more active!
I’ve never strived to be someone popular, and I still don’t, so having this little safer corner with a handful of people checking in is already more than I’ve ever asked for (*^▽^*)
So whether you’re somebody who interacts or somebody who doesn’t, all my thanks and love to you regardless!
There is one thing I’d like to get out of our way quickly though…
AI Images and Housecleaning
I’ve been using a lot of AI-generated images—I’ve acknowledged it several times, and I even made a few posts about it.
This will continue, but I will avoid putting any emphasis on them going forward unless I have to, because the ethics of this field have just become way too murky for me to want to be associated with.
I’ve taken down my three past “galleries” of these images—those will be gone for good! They had been bringing me a bit of guilt for a while now ʅ(◞‿◟)ʃ
To put simply: transparency from AI companies has not necessarily improved, and these developers have yet to reach any reasonable compromise with the artists who put all the real work into creating illustrations to be proud of.
But as I said, I’ll still be using them as little decorators for my site, simply because, as much as I love artists, I’m not in a good financial position to be cashing out for every little nook where I need some visual…
I wish I could do more for the field, but consider this as my explicit pledge to just tone down this side of things a bit—I was all in on this revolutionary idea a few months back, and now is a good time to step back and strive for a balance (^ω^)
I’ve also shot down my previous update, and that’s for a much more selfish reason: I just completely failed at holding true to any of those promises~
Which is why I don’t really plan to make many this time around- I’m just not good enough at what I do to push through with all of my dreams, and that’s alright, I have a lot of time to work on that!
All this more serious stuff aside!
~Six Quiet Months, at least online~
So a lot’s gone on over these last few months, including a good cup of things I can’t exactly talk about here, but for something that I could make material out of:

(it’s a shame I didn’t have a better camera (T . T)) I was back in Hong Kong a month ago!
Truth be told, I’ve kinda lost track of how much I’ve gone there—visited a lot over my childhood with my family, and after five years, I was excited just to be back there!
It wasn’t the most eventful trip, but I definitely saw a lot: some new places, a handful of old ones, and at the end of the day, a good little break for me after months of (almost) nonstop academic output!
Will I be writing a piece on the travel? Probably! But it depends on how much I can think of, and how much I can share in the end, which was what stopped me from finishing my last attempt at this ヽ(;▽;)

~Personal Projects~
I’ve also moved on quite a bit creatively—I’ve begun writing a whole new book series! I don’t quite have an elevator pitch yet, since I’m still quite early into writing it, but what I can say for sure: I’m dabbling with slightly more action than I have in the last year!
I’ve shifted back to third person limited for a start, still with internal monologues thrown in, but overall, I think this’ll be a nice challenge for me—the first in quite a while, since my previous two works were in exactly the same style!
As for my music, my album A Time for Memories is nearly complete—yes, I started it one year ago! Well almost- we’re a few more days until that anniversary~
But one more song to go, and my greatest musical project to date will finally be finished for… possible publication?
I don’t really know yet, but what I can say is I’m excited to show off some of the songs I’ve finished in the downtime right here~! ♪(๑ᴖ◡ᴖ๑)♪
~Some Maps~
I’ve also grown a bit addicted to sketching maps of places in my worlds! Nothing good or complicated, really just simple outlines for visual reference, but I might as well dump ‘em here~

Districts of Muuninrae, the Capital of Vinnive 
Counties of the Republic of Decceliar 
Boroughs of Tsuzugo, a City in Sarozanka 
Boroughs of Saro-Kanazara, Capital of Sarozanka Side note: I learned of the Four-Colour Theorem after drawing these maps, and decided to test it on the Borough Map of Saro-Kanazara…

The fact that this mathematically works is still mind-boggling to me, but I can now say that it’s one of my all-time favourite somewhat-obscure facts!
~1 More!~
Oh and one more update—I’m officially a Persona 5 Royal addict (^O^☆♪
Managed to grab the game on sale and I haven’t let go of it since. I may be eight years late to the release, but I can see so easily how this game won so many awards- it’s brilliant!
I can’t really think of anything to complain about right now, but if I reference this in the future, then here you have it~
If anything though, I gotta say: the social commentary in this game is on point.
When I was more active here, I remember writing a lot about my own experiences, views, and understandings on more sociological topics, and I think this game captures a lot of what I read about, as well as what I’ve seen, which ain’t a surprise given the developers!
For example, I can’t remember the last time a game ever made me despise an antagonist (yes it’s Kamoshida) to the point of playing 10 hours (almost) straight just to beat him down, while also making me reflect a lot on the social conditions that really produced such a despicable person.
It’s a lot of food for thought, especially when it comes to my creative and academic writings, but we can save all this for its own discussion- it simply deserves one~
~A Closer~
With all of this in mind, I think I can bookmark this quick update here~
I want to thank everyone reading this again, no matter how long you’ve been around or how much you’ve seen! Time really means the most to me, so if I could borrow even a little of your time willingly, then I consider that an honour itself!
I doubt I’ll be able to commit to any more upload schedule going forward, but that’s fine by me again—can’t really afford to burn out so quickly again after all (╹◡╹)
A great happy one year for this little corner, and here’s to another peaceful year, no matter how quiet!
See ‘ya when I see ‘ya, and until then, all the love to you once more!
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Revisiting Marina Bay 6 Years On — ~Day Two in Singapore~

As I write this, I’m now back home from Singapore, which is a shame—I do envy my longtime friend who lives there (*^_^*)—but it does mean I have time on my hands once more!
That trip itself already feels so distant as I just look back on it now, and that was just less than a week ago, so imagine then how I perceive my initial 2016 trip~
Honestly, if it weren’t for the photos I took back then, I get the feeling I would’ve forgotten far more than I have, but that camera reel did give me quite a mission for my second day back there.
From a rundown of the day’s activities to even some background surrounding this very blog, there’s a lot I’m excited to write about, so without further ado—
The Morning Markets
Now, our schedule for the second day was quite stacked, but all of it started in one place: Chinatown.
As someone who frequently visits our own Chinatown here in Binondo, Manila, I went in expecting something similar, but in place of highrises and decayed colonial homes was a landmark I’d made sure to stop by:

The Buddha Tooth Relic Temple (新加坡佛牙寺龍華院) was a place I’d learned about almost last minute actually, but once we did, we made sure to ask our taxi driver to drop us off right at its doorstep!
Got a greenlight to take photos from a sign near the entrance since I don’t use flash anyways, and inside was an interesting mix of people: a good portion were there to pray, another half or so were tourists like us, and there was a small minority of devotee-tourists as well.
Didn’t realise until later that we’d entered from the back of the temple, but that meant that the main chamber was what we saw last:

And this… this is the kind of setpiece I wanted to find on my travels.
If you’ve been around for a while, you may know how I love writing my worlds with a strong sense of culture to them, and these kinds of places are often the best inspiration possible for crafting something wholly-original!
The actual story behind this Temple is that it contains one of Gautama Buddha’s tooth relics, and if you’re interested, you can read up on the significance and history of this in this Learn Religions article, because I myself am not really qualified to discuss it ♪(´ε` )
As it goes though, one such tooth relic is reportedly in the 4th storey of this temple, though because of time constraints, we were sadly not able to head further than the ground floor!


These are two more photos from inside the temple, one being a chamber around the back and the second being an artifact on display along the halls, but these aside, our visit largely boiled down to that main chamber, and that sense of scale is something I hope to translate better into writing someday!


The rest of Chinatown was an interesting experience—these images above are of street art we saw along alleys and roads in the area, and compared to the usual graffiti I’m familiar with, this was a visual relief, if anything!
We stayed mostly around the Chinese area—once again time constraints forced us off the other sectors, and this was largely down to… welp, how filled our schedule for the day was ٩( ‘ω’ )و
With a little more shopping for souvenirs, we soon called up a taxi and left the area, now aiming for our main destination for the day: Marina Bay.
And what better place to start than with Marina Bay Sands~?
Closing a Distance
In 2016, during our first visit, I took this photo of Marina Bay Sands from the Merlion Park, and for such a recognisable landmark, we sadly didn’t have the time to stop by it back then, so this was really my only memory of the place.

This time around, we were dropped off at The Shoppes just across / under the main hotel itself…



…what an absolute first impression to be met with!
In my current novel series is an affluent port city by the name of Tsuzugo in the country of Sarozanka, and a highlight of the town is the Koro-o Ferry Terminal, a multi-layered marvel of modern engineering that blends together a port, a subway station, and a mall all in one.
When I went into the mall and saw this, I just immediately knew in my mind that this was exactly what I imagined that ferry terminal to look like!
It’s hard to give a sense of the sense of verticality that just towers over you as you walk through this place, but in some wings it’s more noticeable:

This hall, for instance, was easily one of the most impactful for me—even if it didn’t have the mini river that that first one rocked, those windows really made me feel that the airport / seaport terminal vibe of the mall was intentional.
Nope, I don’t have the historical anything to back that up, but I promise you it’s how the whole place will come across!
We ate lunch that day at the food court—the rest of the mall was ungodly expensive—then set off for a nearby attraction: the Future World in the Art Science museum.
And I’m unsure how best to capture that experience here.
Lemme put it like this: art galleries are one thing, but imagine being in one that makes you half of the art.
In this installation for example, the moving drawings on the table are fully-interactive—what you’re seeing is me moving about some objects they left on the piece, and as you move them, the sketches respond appropriately!
As for the background sound, it’s from a nearby installation that let you create some music by pushing some buttons—it looked lovely to try, but kids were hogging it the whole visit- good to see they’re having fun though!
This exhibit, meanwhile, felt like the centrepiece of the whole experience—you could choose a template of some various aquatic animals, sketch in whatever you like, scan it, and your drawing would join the many you’re seeing on that screen!
Some of those drawings were signed, others simple sketches, others more intricate, and yet they all come together so mesmerisingly on this one wall.
It’s these kinds of experiences that defined this attraction for me: I was half of the art in that the art wouldn’t be complete without me nor the rest of the people there that day.
And if anything, it’s empowering, just not in a way I’d expected going in.
There was much more in this museum that I managed to document, but in the interest of space, I’ll skip them for now—feel free to tell me if you’re interested though, or if you’ve been here yourself- I’d love to hear more of that!
Side note too: thanks to the museum’s location, I was able to snap some very-close shots of the Marina Bay Sands Hotel itself, and we even passed along the lobby later on, so that’s another unresolved wish from 2016 checked off!

But as the early afternoon set in, there was one more major destination left for the day…
~Where it all began~
My camera reel from 2016 and before is depressing, in the sense that it’s just empty as hell.
It wasn’t because I didn’t have a camera, just more that photography of any kind never interested me, and after losing a lot of my early photographs around 2011, it felt a bit like there wasn’t much of a point to it.
But my December 2016 trip to Singapore changed all that.
I’d been to Hong Kong several times before, but my very first visit to Gardens by the Bay marked the first time in my life I felt that desire to immortalise my view and place in time.
I left that day with photos that have stayed with me six years later, and a casual hobby that’s only grown stronger and stronger as the times have changed, so when I returned to the Gardens last Tuesday, I set out with one goal: to find those same spots that captivated me so many years ago, and take an updated photo!
The photos below are my 2016 shots vs. my 2022 shots, and there were four areas in the Cloud Garden that I felt deserved this exhibition!
First off: the actual garden itself:


This original photo here was one of my all-time favourites from my camera reel, and the moment the Cloud Forest’s cool breeze and fog swept past me again, I found myself facing a crowd first.
I thought I’d have to wait to be able to recreate the shot, then I found a rather large empty space towards the back, and it hit me then: that was where I’d stood to take the shot 6 years ago-!
So I went for it—and took 15 photos actually—but this one above was the closest to the original that I could manage~
Now in this visit, the Cloud Garden was very different, because it was advertising none other than James Cameron’s Avatar: The Way of Water.
A lot was changed to accommodate this theme, but right here, at the very base of the garden, it all just felt so familiar.
I love seeing these two images side by side: not much has really changed, has it-?

A path drenched in fog wrapped around the side of the garden, its slight inclination indicating that the road to the very top began right here.
But as I went around the back of the garden, I snapped a few shots before continuing, and I didn’t realise until getting back to the hotel that…


These two were the same area!
You might be familiar with this original image—this edited version below is one I use as my home page’s background!

And yet, for a wall of orchids, I had never considered that they’d change such a location so much.
When I was going through my camera reel that night, I devoted some time to trying to find this area for a comparison shot, because I was so sure that I’d definitely revisited it.
It’s only thanks to the support bars from the walkway above that I even realised these were the same place—and that took quite a while to set in (^^)
I’m almost tempted to say that the original configuration was better, but know that if I’d seen this Avatar-influenced design first, then the orchids second, I’d be saying the same thing—it’s really just the nostalgia talking!
Even at the very top of the Garden, I chased after that nostalgia by dashing for the small pond that I’d always remembered had been up there, and sure enough:


I guess it’s a shame that it was so crowded this time around, but personally I’m fine with having gotten a close-to-the-original photo out of it all! I
n one of my few memories of the 2016 trip, I even remember my grandfather sitting to rest just a little out of frame in that first picture. He may not be here anymore, but reliving being there is a recollection enough for me (^-^)
And while nowhere near as marvellous, one last sight I remembered well from 2016 was a small movie theatre inside the mountain / garden—and what do you know, it’s still there!
Appropriately enough, it played a trailer for Avatar this time, compared to the climate change informational from before, and I recorded that but I’m not quite sure I’m allowed to put it up here~


From that theatre, some small-but-pretty views lined up across windows on our way out.



And I’m happy saying that I left that place a slightly-different person: not because of anything profound, but more thanks to my 6-year long hunger to return there being satiated at last.
The place where my photography addiction was born, where I’d made memories with family no longer around, where I’d snapped photos present me is still fond of…
All just so familiarly-wonderful ((o(^∇^)o))
~Moving Onwards~
My post about day one was honestly rushed given I wrote that after a whole day of walking, but now that I’ve got more time and energy, I fully intend to continue the remaining days as I go along~!
Because of how packed this second day was, there’s a lot I honestly glossed over, and some I haven’t talked about at all, but I did want to focus on what I felt left the biggest impact on me in the moment, and with that in mind, I want to leave one last gift here for now: photos from our afternoon walk along Marina Bay.



I’ll have another two or so posts up soon about my music instead—so more of my usual content—so if you want to see follow-ups to this tour, then stay tuned, I’ll deliver… eventually~
‘Til then, thank you very much for sticking around, and if you have any thoughts or questions, I’d like to hear ‘em!
All the love to ‘ya!
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Where I Was & Where I Am – Day One in Singapore

Was writing papers, now in Singapore! If you only needed a quick answer, then there you have it~
If you want more updates though, feel free to read on if you please! I’ve definitely got a lot to catch up on (;ω;)
From when I announced something of a break in September up until now, I’ve been a bit preoccupied with academics, to say the least, which, combined with general mood swings, forced me to shift my focus away from a lot of my interests for a while (*_*)
I still have a few loose ends to tie up, but those aside, I’ve largely done what’s needed to be done, and if time allows, I do wish to come back here and write what I’ve grown to enjoy more over the months!
At the moment, I have quite a bit to catch up on: writing, music, the usual mix, and if any of you have been checking out my channel, you may have noticed a new song I released a few days ago, which I’m excited to talk about soon! If you’d like to give it a quick listen for now though:
From Joe Hisaishi (久石譲) to contemporary ambient music, I drew a lot of information and learned… some theory to being this piece together—so I hope you enjoy it for now!
Six Years On…
As I write this though, I am currently staying for a short bit in Singapore, a visit planned for quite sometime now, but only kicked off today.
Safe to say, four years of not traveling on aircrafts meant that today’s flight was… not pleasant, to say the least—I was fine by the end! But I dread the return flight just having gone through that, and that was barely three and a half hours ( ; ; )
Regardless, I look forward to finding some new inspiration and catching a breath while I’m here—there are some sites I may visit soon I may write about too, so time will tell if that can happen!

Naturally, though, the Jewel Changi, attached right to the Changi Airport, was something of a first stop—when I was last here in 2016, none of this was open at all, and to come back to such a sight felt like stepping into a painting!
The Rain Vortex, as it’s known, is apparently the world’s tallest indoor waterfall, something the complex will proudly tell you about when it can, and by all means is it something to marvel at~

With tickets for the mosaic bridge, I was able to lounge back on the highest walkway overlooking this dome, which reminded me a lot of the Zhangjiajie (张家界) Glass Bridge in Hunan (湖南), China, for one main reason: the path’s floor was translucent.
From this video, I’m walking above around five-ish stories, though the glass is translucent enough that it didn’t make me nauseous or anything, more just fascinated by the opportunity.
Even just this dome aside, experiences around the complex remained varied and interesting, such as this one room that let me play some music by waving a brochure:
The Experience Studio, as they called it, was like this interactive museum, if I had to describe it: from history lessons to airport arcade games and that music room, all of it was powered by that brochure you see me holding, which activates the attraction’s events when placed around—clever technology, in short!
If anything, however, this whole experience at the Jewel reminded me of how much Singapore loves and prides itself on greenery, something I wish more countries could do ( ;∀;)
What I’m interested in seeing soon, though?

…is how much will have changed in the Gardens in the six years since I took this photo.
Hoping to share more when I can, and may I just say—it’s lovely to be back here, both in this country and on this website!
To anyone who’s been here before too, I’d like to hear whatever you have to say about the country, even if just to share a little of what we can love or not about this place!
Sending all the love to ‘ya, and looking forward to the next entry here! ♪(๑ᴖ◡ᴖ๑)♪
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Reflections on Oscar Wilde’s The Picture of Dorian Gray… and a lead-up to my fourth work!

A post I have long promised but been very slow to work with… hehe (;ω;)

In any case—Hiya!!
Responsibilities stack of course, but life lately has been calm—and that’s something I’m glad to take in the meantime ٩(๑❛ᴗ❛๑)۶
I want to try and take us all today back to the days just after I’d finished my third book, because for once, I can say that a different author came in to stock me up with some new ideas!
So let’s rewind to those first few months: just around April and May of 2020, when I’d just finished my third manuscript, and when my fascination with older English authors really began…
“The ugly and the stupid…”
Maybe it’s our temporal distance from them, maybe it’s just a difference in cultures, but there’s something oddly-fascinating about Victorian era authors, yeah?
Everything from the personal life of George Eliot to the death of Edgar Allan Poe have intrigued me every now and then—like peering into a stage where all the characters have taken on lives of their own.
For me, Oscar Wilde was no exception to this, but with him, I was introduced to his writing much earlier on thanks to some horror games I played that tied in with his works!
He wasn’t someone I remembered hearing in our English classes, since it was mostly the bigger names like Poe we discussed…

I remember Poe well actually- teachers and professors over the years often compared my works to his, and to top it off, we share a birthday~! ヾ(๑╹◡╹)ノ”
But as for Wilde?
Other than that video game tie-in, the only other thing I’d heard of him back then was… well
Finding out how he was treated over his sexuality was heartbreaking, even if it was expected for that time, but it also makes me appreciate how much us today can look back on his works and his life without any of the stigma he had to deal with (>_<)
As with most artists though, his most popular work ended up as my first experience with him: none other than The Picture of Dorian Gray.
“Everything whose beauty does not die…”

If you’ve yet to read The Picture of Dorian Gray for yourself, then it’s a novel I’d highly recommend you check out if you have time! (^з^)-☆
I’ll not be giving like a point-by-point summary, but I’ll be discussing quite a few of the twists and themes, so if you’re a fan of Victorian, Gothic, and philosophical works, I feel this is something you’ll quite love!
From here on out, we’ll basically be in unmarked spoiler territory, so you’ve been warned~
Now if I read this book correctly, the core of the plot is basically:
Dorian Gray, in an effort to preserve his youth and beauty, makes a supernatural deal to let a portrait of him age in his place, allowing him to preserve his appearance eternally even as his misdeeds add up and wither this picture over time.
Let’s look at that first: that desire to remain eternally-youthful.
It’s basically a fairytale villainess stereotype at this point, but I’m 100% guilty of feeling like this too ♪( ´▽`)
I can be a bit vain in good moods, and overall a lot of it adds up to this sense of wanting to freeze my age in some way.
It’s unrealistic, of course, and meaningless too as anyone who has grown out of this phase will agree—so someday I can only hope to adjust to that mindset once my own delusions start to fade!
But about two and a half years ago?
Reading this book gave me my first experience of feeling… this kind of personal connection with the themes at hand.
No matter how different we were physically and mentally, I felt a lot of connection with Dorian Gray first through this, then through his slow arc of regret as he realises just what this dainty side of him has done.
Chapter 13 was the point where Oscar Wilde made it known to me how bad desperation could get, and how well a skilled author can weave emotion.
Seeing how withered his portrait has become, Dorian, knife in hand, stabs his friend Basil Hallward to death: the very man who’d painted that piece for him.
Wilde’s way of describing the murder was visceral and harrowing in a way I hadn’t seen before: everything from the way he paced the scene, to the emotions that flashed in both men, to the moodiness of the overall setting…
I feel that’s a good word to describe it: harrowing.
Up until then, I’d written a lot just describing events and letting a plot flow… but emotion?
I’d never been that good at slapping it into my works, and yet here was Wilde threading it in so carefully that I could never imagine this book without it.
To remove the emotion from this book would be like removing all the threads of a carpet.
From there to the end, I can describe Dorian’s descent and downfall in so many ways: tragic, karmic, euphoric, relatable, reflectable…
And all of it culminates in one scene that I still remember well for how much it jarred me.
Distraught and remorseful, the ever-youthful Dorian once again takes the same knife he’d used to murder Basil.
He heads up to where he’s kept the cursed portrait of him and, deciding he needs to redeem himself, he stabs it again and again, ultimately destroying it, but with a cost: his own life.
He’s found soon after dead and withered, to the point that he can only be recognised by the rings on his hand, and yet Basil’s portrait of him is once again pretty, clean, and handsome, exactly how it was when it was created.
There’s pretty much no more explanation I remember past this, yet I think that’s also why it’s so effective for me.
What actually happened behind this plot? Well- your imagination’s the limit!
I’m not religious myself, but I do love the theory that Lord Henry Wotton, a friend of Basil’s and Dorian’s who influences the latter’s downfall, is either a representation of, a follower of, or simply Satan himself, which would make sense given Dorian’s eventual epiphanies about repentance and his desire to be absolved of his misdeeds.
We have quite a lot of ways to look at and interpret this plot and what connection, if any, it has with Oscar Wilde, and this is one area that I’d love to leave to you too—!

For anyone else who’s read this book, what do you think about it~?
My love for it mainly did stem from the relatability of its themes, the graphicness of its highlights, and the grittiness of its characters—so what made you like / dislike this?
For me too, there’s one more reason I remember this book so well~
Prudence for every occasion…
As a non-native speaker of English, diving into literature from about 150 years ago was interesting, to put it plainly!
There was I understood and a lot I didn’t—so to make up for it, I kept a list of memorable words I found as I read: usually more uncommon words that I thought I could use myself someday!
By the time I was done reading, my list totalled 136 words… many of which were so rare or archaic that I actually didn’t bother using them much afterwards /(^o^)\
So among the ones that have just shifted into my vocabulary over the years:
- Dais
- Candour
- Articulate
- Unbecoming
- Listless
- Squander
- Brevity
- Uncouth
- Pallid
- Indolence
- Travail
- Morose
- Elocution
- Ardent
…Not an exhaustive list by any means, but I’d estimate around 1/5 of the words I saved I’ve at least remembered in some way!
I’m actually kind of curious how common some of these words are over in the States or the UK, since here anyways, “brevity” is the only one of these words that I hear used, and even then that’s mainly in academic contexts (^-^)v
Vocabulary aside, there was one other impact this book made on my writing: characters and dialogue!
quick admission: I definitely went way overboard with the eloquence of my characters in my fourth book, especially since it was set in 2001 and not the 1890s!
But looking back, I do feel I managed to make them far more distinct and memorable compared to my previous works, something I’m still quite proud of!
“A falsehood shall only escort you so far…”
I’ll go over all the detail around this next work of mine on my next post, so if you’re interested for a plot and writing breakdown, then stay tuned! There’s a lot about it I wanna tear apart ( ^∀^)
So until then, here’s a little gift in that regard: a teaser, and profile cards for the main cast—complete with the usual AI-generated portraits (^_^*)
And yes, this is the same Griffin Landon I discussed here before—so if you want a bit more from me in the meantime, then here’s me just having fun punching him down a little (^ー^)
I hope you’ll be around for when I delve into the mess I’ve created, and ‘til then, all the more love to ‘ya!
In a desperate time, a broke and unhinged socialite resorts to unthinkable measures for his own good. His plan is unexpectedly met with an interruption, and when the sordid truth begins to seep through the cracks, the situation within his inner circle gradually devolves, in an environment where trust is soon relegated to a distant memory.






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Japanese folk theory, suspended chords, and straight ambience… An actual new song out now!

The more music I produce, the harder I have to think about… well, ensuring each track is as distinct as possible, especially I exhausted basically all the easy ideas early on!
One thing almost universal about those older tracks though, and most Western music in general, is that nearly every chord was built based on either a major or a minor third… so: what if I created a song that removed nearly all of these?
That led me right to suspended chords, which use major seconds and perfect fourths instead—and that was already a great start!
But in terms of scales, I ended up turning once more to some Japanese folk theory, this time with a specific scale I’ve never actually used before!
So first of all… what even is this song?
I’m happy to tell you here that this is another one of those songs with a pretty-long history!
It all started back in December 2021 to January 2022, when I was still producing Northbound Voyage—my list of song ideas totalled 14 by the end, and while I tried to turn all of them into something listenable, there were four I just couldn’t figure out:
- Glistering Gardens – A young student tours a colourful, lively garden perched atop a futuristic housing block.
- A Tale of Three Winds – Cold breezes blanket a barren tundra, with the snow trickling down upon the arriving hikers.
- Light the Way Home – Moonlight touches down from a clear, twilight sky, illuminating the trodden streets of an old village even as the lampposts go out.
- Pilgrims of Snowfall – A large congregation of robed people pass through a barren, snow-covered plain, venturing towards a long-forgotten sanctuary far, far ahead of them.
These are exactly what I wrote for these song ideas back in January, and I’ve linked the final versions of those first three in order of their release—so you can hear just how much they changed from my visions *\(^o^)/*
I’d wanted to finish all four of these songs for my follow-up album, A Tale of Three Winds, but alas, Pilgrims of Snowfall eluded me again, because I just couldn’t figure out how to make it work.
I thought it was a lost cause by that point… but today, I’ve proven past me wrong (((o(*゚▽゚*)o)))
Last time I’d attempted to make something out of this idea was June, so three months later, here we are, with a completely different take on the idea and a new title to spare!
So as I mentioned earlier, almost the whole song’s built off suspended chords—First with perfect fourths, but that changes to major seconds at around the three minute mark when the track modulates into B♭ Minor!
Now there isn’t too much melody to speak of because I wanted to lean into that ambience as much as I could—to that end, there are up to like 9 synths playing together to create that mood, but whether or not it’s effective is up to you to decide, yeah?
When it comes to the koto (事) part or the background motifs though, what you’re hearing is in two different Japanese scales: the usual Hirajōshi, then a different scale apparently known as the In scale; it’s apparently usually pentatonic, but I did a bit of research to pull up an octatonic variant ♪(๑ᴖ◡ᴖ๑)♪
The In scale in D♭… based on what I know anyways ( ^ω^ ) From what I’ve read, the fact this scale has neither a minor or major third makes it very suitable for playing over songs without these, so once I’d found out all that out, I practiced it a bit and… well, got to work!
This song came together over a week and a half—probably shorter if I didn’t get distracted by live mixes—and given how much I have to finish nowadays, there were definitely better uses of my time…
But I don’t regret once again putting together everything I know of music so far, and even if that’s not much, we still have something here today, don’t we~?
I’d like to hear what you think of the track, but ‘til then, all the more love to ‘ya!
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Some live mock-ups of my songs *\(^o^)/*

Fun fact: I have actually performed a song live once before!
Wasn’t any big venue, just a modest bar, and it was not my proudest moment… but hey, it’s one hell of an opportunity, yeah?
As of writing, I have nowhere near the skills needed to actually perform any of my own music, but as a joke I made to my friends in the past, I said I’d create live renditions of them anyways if I could—and today, that promise comes true!
So yeah, this is just a live mix, not an actual performance—if it was, you wouldn’t hear me over the all the booing! (*゚▽゚*)
But I arranged this in about four hours, and it’s more of an experiment than anything so it’s definitely rough…
so if you can listen, do let me know how it turns out!
If you’ve heard the originals, then you’ll definitely notice how much faster Glistering Gardens is here—I always thought the song’s climax would make a good danceable tune of sorts, so this was my opportunity to put that to the test!
As for Northbound Voyage, what I play here’s more of a truncated version of the first “act” in B Major; once again, slightly sped up, but overall, I imagine it as the true intro of sorts for the “show”!
I’m honestly interested in continuing this project now, but I have a lot more interesting things lined up, so I’ll just see where time takes me I guess ♪( ´θ`)
See ‘ya soon, and all the love to you!
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Disassociation & Depersonalisation: Two ways I write internal thoughts and conflict~

Like with most of my ahem “advice”, I wanna preface this by saying that these are just tricks I personally use!

There’s a good chance someone out there’s already given this tip before, or that you’ll interpret my writing differently from how I do—and sorry about that in advance-! (^з^)-☆
But as our title says, subtly showing character emotions is something a lot of us struggle with, no?
Personally, I still do a good bit of the time—It’s this cycle of toning down emotions to avoid melodrama, then tuning it up again when I realise it’s now too unrealistic, so on…
So—I’d love to show you today two subtle things I do to make this easier for me! *\(^o^)/*
Specifically, I think these tricks work best on stuff like reluctance, contempt, or discomfort, so if you’re looking to portray these, then I hope I can help just a little-!!
Mind-Body Disassociation
So… yep that’s one heck of a title to start with but- I couldn’t think of anything better!
I wanna try demonstrating some of these through an extended look into my writing process, so let’s start here!
Let’s picture this scene: we’re in this quiet restaurant of sorts, and a woman is here meeting an acquaintance she doesn’t fully-trust.
He asks her to look for her wallet inside her purse, and if I was writing this scene from- well, either a first or third person view, here’s my most obvious option for starting it:
She opens her purse, taking out her wallet and showing it as asked.
But… This is a bit too bland of a sentence, yeah?
That and something about the tone is off anyways—Writing it like this, for me, gives our protagonist this helpless vibe and makes them look willing to go along with this situation without any real reason…
So- let’s make a quick change!
She opens her purse, taking out her wallet and showing it as she keeps a tight gaze on the man’s gestures.
For me, this rewrite fixes our previous problem: she’s still doing what was asked, but now with an apparent alertness that takes away our helpless portrayal of her earlier!
That and, without even saying it, we’re conveying another fact here: that our protagonist does not trust this acquaintance, which wasn’t ever stated, but her weariness here, for me anyways, is one way of implying that!
But we could add more to this, yeah~?
What if we could imply some hesitation in addition to her caution?
Her hands open her purse, taking out her wallet and showing it as she keeps a tight gaze on the man’s gestures.
Yep—seems like a minor change, but personally, I feel that shifting from mentioning her to just a part of her says something.

Something I’ve noticed across social media both here and in the west is this disapproval of referring to people with the words “female” or “male”, unless in a biological context of course, and this is a matter I personally agree with.
Because it can be a bit pretentious or dehumanising to say something like “a female walked into the bar”, can’t it?
Not to mention the binary nature of those terms when describing people socially, which, living in a conservative nation, is something I unfortunately have to explain to people a lot… to usually-limited success. (-_-;)
But for me, describing only our protagonist’s hands‘ movement has this same clinical, detached tone.
I genuinely don’t have a good term for this other than disassociation, but that might be a bit too unwieldy…
But this is one way I like to write these scenes where a character’s actions don’t reflect how they actually feel, either through coercion, inattention, or just general discomfort—
This isn’t something the character is doing, it’s either something their body is unconsciously doing, or something they’re reluctantly doing!
Here’s another quick example, trying to apply both this disassociation and emotion, I’ll challenge myself to not provide any context to what’s going on~
Chengmin waves for his mother, staring at her as he paces backwards.
~compared with~
Chengmin’s arm waves for his mother, his eyes darting towards her as his legs, trembling, pace backwards.
Without saying it, our changes to the first sentence suddenly add a lot more context, didn’t it?
So now, we can infer that our protagonist is uncomfortable about something—likely related to his mother, that’s what we can guess so far, but that’s already more than what we were given in the first sentence, yeah?
And that dissociation trick comes back here, which not only shows that not all of Chengmin’s gestures are conscious, but also emphasises his body’s movements more as opposed to him as a person! For me anyways, that only adds more to the tension of this scene~
There’s one more change I made there that’s unrelated to dissociation or adding emotion, which is me changing the word “staring” into “darting towards”—and this is really just weak verb substitution, which I’m confident we all know about!
Now this isn’t possible for our example sentence here, but there’s one more way I like to write this kind of subtlety: by distancing pronouns.
From someone to something…
To put it as simply and as inoffensively as I can: what if you replaced all the personal pronouns in a sentence with “it” or “the”?
One of my favourite examples of this being done is~surprise surprise~in Osamu Dazai’s (太宰治) No Longer Human, one of the most fascinating books I’ve personally read, and one I’ve briefly talked about before!
Today though, I want to point us to one of the earlier pages in the English translation of the book, as written by Donald Keene:


Of note here is that our protagonist in this chapter is not Yōzō, but someone else who’s never really named—While difficult to capture in English, it’s more obvious on a surface-level in the original Japanese text, where this person uses the pronoun “私”, whilst Yōzō mainly uses “自分”, whose usage rules I honestly can’t explain well… *\(^o^)/*
That aside, notice how this character’s pronoun usage in the passage gradually shifts from personal “he” and “him”, to inanimate and distant “it”, sometimes just going with the article “the”.
For me, de-personifying pronouns like this is an interesting way of showing contempt, disgust, or otherwise fear, like how this person exhibits these first two emotions quite plainly!
In Japanese and other languages with complex honourifics, this is easier as slight changes in words or affixes can make a sentence far more rude, but in English?
Well… this is one way of doing something similar with the same minimal changes, yeah?
For a comparison, let’s try this passage:
Hifumi’s eyes shifted to the man seated in a row across from her. What met her were cold, blurred pupils, his face twisted and bent in manners he likely could not help.
So let’s try and change this a bit with depersonalised words and pronouns in mind:
Hifumi’s eyes shifted to the male seated in a row across from her. What met her were cold, blurred pupils, the face twisted and bent in manners it likely could not help.
That’s three words I changed—but doesn’t it sound so much more clinical now?
You could argue the tone in the first passage was still somewhat neutral, but this time, there’s this underlying sense of disgust that paints Hifumi’s perspective in a new light!
(Fun fact: the kanji for the name Hifumi is literally 一二三, or “one, two, three”, and I’ve never known any meaning for it other than this, so I’ve always found it funny—sorry to anyone named that-!)
Side note: if you’re someone who uses “the” or “it” as pronouns, then I apologise here if this came across as insulting! I’m really just going by the linguistic consensus for the usage of these two right now, so as that changes, so will I!
Melding…
So, not to be overbearing or condescending, but I wanna challenge myself to try and rewrite an entire passage using my two main ideas today:
- Mind-Body Disassociation
- Word / Pronoun Depersonalisation
And to make sure I don’t accidentally insult anyone, I’ll be correcting the work of an objectively-flawed writer: 2020 me!
So… here’s a ridiculously-long and unedited section from my third manuscript, which I talked about previously here and here~!
(Feel free to skip past this if you wanna save time—this is stupidly-long and disgustingly-bad HAHAHAHAHAHAHA)
My next stop was the three international restaurants by the recreational hall. Admittedly, Alfred never sent any of us to patrol this domain, and I nearly forgot it existed in the first place. The Persian restaurant caught my attention in particular. A good portion of the chairs and tables inside had been flipped over or otherwise defaced. The moment I stepped foot on the glazed, ceramic tiles, I discerned shuffling coming from behind the counter. I stood and waited for minutes, and eventually a man peeked out. For once, I was able to set aside my doubts and within seconds, I had my rifle raised and aimed. As the man stood frozen, I fired about six shots and he snuffed it without a skirmish. Once he had fallen, I tramped behind the counter and found a cowering trio. They just turned away, not even a plea uttered in the moment. Of course, a little over a dozen bullets hastily sent all three into the skies with the first man. It was then that cries started resonating from the kitchen, but these were no ordinary cries. I took a glance through the kitchen counter, and sure enough, inside was a woman, holding back tears and clutching the grizzling infant. The mother didn’t look like she was past her thirties, and the infant was certainly below two years of age at best. They both still had long lives to live, and with the absence of any father with them, it immediately dawned on me that one of the four men I had just slaughtered could have been the missing progenitor. If that was truly the case, would putting both the mother and the child out of their misery serve them any better? I ruminated on the idea, just shooting the two and marching away “victorious”, but what would I even achieve at this point? I took aim and placed a digit on the trigger, but alas, all I could do was turn away and leave them be. I may have just shot a father to death. It didn’t seem sensible to eradicate the rest of the family. Perhaps one day, that child I spared would grow up, somehow recall this very moment, then build a career off of it. I would never live to see that day, but the prospect was unequivocally feasible.
For context, this happens during the climax from the perspective of one of the shooters: someone so resigned to his cause that he’s willing to do this for effectively nothing—the perfect type of person to apply my ideas today on!
So, can 2022 me rewrite this better~?
My next stop were the three international restaurants by the recreational hall. All across this Persian restaurant, most of the chairs and tables laid toppled, scattered, and defaced, yet as I stepped onto the glazed, ceramic tiles, some shuffling creaked from behind the counter.
I stood and waited for minutes, and eventually, a male peeked out, my hands raising the rifle at him. As his legs stood frozen, my fingers fired six shots, the body tumbling over like a rock rolling off a hill.
Behind where he was laid a cowering trio: huddled together, completely silent, as if the mouths clamped themselves shut at my arrival. My hands on my rifle’s trigger, none of these three breathe much longer, yet then echoed cries from within the kitchen.
It’s here that some lone female clutched onto a grizzling infant, her face only holding back the tears slightly-better. Neither human looked particularly aged: both still had long lives to live, and with the absence of any other person with them, it seemed either fate already handed them a twist, or somebody chose well in detaching themselves from these two.
A digit hovered over the trigger, but my legs shifted, and so did my arms—My hands couldn’t pull it, though that urge to still coursed through me… so I left them be, before they would end up too as statistics. The human toll we exacted today is more-than-sufficient, so there would be little purpose in adding to that a parent and its offspring.
…I did not enjoy writing that.
My mindset and interests are so different nowadays that this kind of edgy bastard is just not someone I find entertaining in any way anymore, and if I someday rewrite this, then for our sake I hope I can deal with the tastelessness a lot better…

…but my disgust at my own writing aside—what do you think-?
Is our perspective character’s tone and mindset clearer in the first or the second passage? And do you think my “tips” today helped with that~?
As I’m still honing this craft everyday, I’d love to hear from anyone who has any such tricks in writing! No matter how useless you think it may be, I promise you, nearly all advice I hear remains in my mind until the moment I’ll need it!
See ‘ya tomorrow for whatever comes to mind, and sending all the love once more, because past-me definitely had very little to give! ((o(^∇^)o))
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The story I wanted to tell with Another Breeze… plus a new format for these posts! (Last Night at the Fjord; Lo, a Ripple; Relic; The Ballroom)

Hiya!! I was originally writing this piece like my previous music reviews, but I wanted to take a different approach today.
I want to change my format a bit to present my music in a more narrative-manner, since Another Breeze was an album I created with this kind of story in mind!

I’ll probably compile a full ranking in the future, but for now, I’ll just go about these songs in a way we can enjoy better: in full context and in sequence!
almost… Heh—You’ll see what I mean soon~!
Anyways, to start off today’s ramblings-!
A lot of my earliest works, in both writing and music, have this amateurish charm to them that I think’s down to my lack of awareness on conventions!
My first two books, for me anyways, were bad in terms of story and characters and pacing and… everything, but in my head, a lot of it still plays like a Michael Bay-type movie: most of the time, you’re only really there for the visuals, yeah?
Same goes for my early songs—I didn’t think much of stuff like chords or meter or mixing, I just wanted to take ideas and make things out of them!
Since we’re doing four songs anyways, I’ll try to go in the order that I feel makes the most sense~!
One’s own faults…

One of my favourite genres of video games or movies are East / Southeast Asian Horror, and personally, I think developers and producers from these regions do these so much better than elsewhere!
I have a few reasons, but what I think makes the biggest difference is their emphasis on trauma and psychology—if there is a supernatural ghost, then there’s probably an explanation related to these instead of just like demons or what not.
I want to write a full tribute to these media in the future honestly~ but in terms of this song, I only really took surface-level inspiration from them!
So—Picture this:
An 18-year-old-ish student enters an old ballroom alone: a space cloaked in darkness and frozen in time from years of disuse.
Old chairs sit stacked atop each other and beside ageing tables, a stage plants itself empty and dusty with its curtains sprawled on the floor, tall windows lie boarded up and shattered…
Yet in the middle of it all is a single chair, facing the stage as it rests at peace with the neglect around it.
Our student settles in this seat, gazing ahead and locking their eyes upon where orchestras, ensembles, and troupes once performed.

Behind them, a silhouette begins to fade into view: a shape somewhere between human and beastlike, yet with a demeanour mirroring neither.
White eyes emerge and stare at the student, yet the ballroom remains as still as it always has, as the shade wonders whether it needs to make a move or not.
“What is this human doing?” the figure thinks, as baffled by this student’s presence as they would be of it, if they turned around anyways.
But soon enough, it chooses to stop and remain still.
It remains observing our student as they too remain idle, as if neither figure is willing to tread on the barrier between the rational and the irrational.
And perhaps the world is best left at that.
If that sounds interesting to you, then I beg you not to listen to this~!
or perhaps you could if you wanted to—but I think this is another good example of me squandering an otherwise-good concept (〃ω〃)
I recorded The Ballroom in one sitting that took around 2 hours I believe-?
It was actually the first time I tried playing something without autoplay, so those first and second “verses” I played myself on GarageBand’s virtual piano!

Those “flashback” sections though—the slow middle one and the faster, climactic one—are 100% autoplayed, except I adjusted the speeds to match the moods I wanted.
I guess among my works, The Ballroom is definitely pretty unique, just not too coherent or polished… like you can hear how I basically kept looping and speeding up the same melody just before the climax, and how I glossed over smoothening that (*´-`)
It doesn’t tie in much with the narrative either, which is why I wanted to go over it first here…
but funnily enough—this song was actually one of my first “hits”, and still one of my few to have surpassed 100 views!
Suuuure, a bunch of those are from people I know, but given my usual average of like 30-60, it’s still interesting… even if I wish those views went to my newer tracks 草草草草草
As they would soon come to know…
And now—for a song that continues Another Breeze’s narrative!
So for context, preceding this song is none other than Floe, which I discussed here before~!
But to summarise, in that song, my vision was to depict some glacier slowly melting due to rising temperatures, and here in Last Night at the Fjord, that very plot continues!
Like with a lot of my songs, we have again a lonely person as our star, and this time, they stand just by our titular fjord.
In normal days, they would glance down and watch as tour boats pass by, cool breezes patting them down as trees provide decent shade from the cold, distant sun.
But today, thanks to glaciers melting all around them, something catches their eye: how much higher the waters are.

And despite that, most of Last Night at the Fjord is still pretty-upbeat, which is down to… well, partly inexperience again (^ν^)
But also, this time, some of it’s down to how I perceived our protagonist!
They’re someone who’s never seen nor lived through something this catastrophic before, so even as a looming disaster stares them right in their face, they still find it hard to comprehend how bad the situation will be.
They may not know it, but this likely is their last night at this fjord—if not because of rising sea levels, then probably because they would’ve been forced to evacuate the area in due time…
Musically, Last Night at the Fjord’s pretty interesting for me—it doesn’t really stay anywhere, since it just goes from an opening synth line, to a clarinet, then a bassoon, then some strings with drums, then back to the clarinet, then the synths again…
But around this point of Another Breeze, I began to use synths to represent something new: danger.
At the very end of this song, it’s kinda soft but—you can hear this synth playing a very specific chord progression: C – Am – B♭ – F, which is what I like to call the nature motif!
I play this progression throughout basically all of the song Another Breeze, and after that, I reuse it as a sort of status check for nature, getting more and more distorted and windy as the album goes on.
So hearing it as just a faint background noise in this song means…
Nothing lasts forever.
My description for Relic is just these three words.
That description continues directly from Last Night at the Fjord’s, but this is a song that basically takes place in the past.
By this point, that Fjord is long a relic of the past, just like many other once-beautiful landscapes, and that’s why I open with another synth line—like a way for us to access some digital memory of what we’ve lost.
From there, an Erhu (二胡)—also known as a Chinese violin—takes over, playing a really-long solo that is 100% autoplayed again, but honestly?
I still love it-!
Fun fact: I actually own an Erhu myself, though I’m terrible playing it—I honestly got one more for my love of instruments from my native regions than anything else!

And I can’t play anything close to what I made using GarageBand for Relic, so it’s still pretty-memorable in my repertoire as one of only three songs to use this instrument so far!
A lot of people here, and probably in the west too, associate this instrument’s sound with old Chinese settings, so I thought it was perfect for capturing that image of a bygone era (^ν^)
And as Relic goes on, the synths start to return, until they take over at the end as the Erhu fades out, with the song closing on this two-note electric piano motif that alternates between mid and high C.
I personally call this motif the “doom signal”, and I use it one more time in a different song, but that’s for next time~
As Relic closes, there aren’t any more glaciers or fjords, and all we have left are memories and shelters… for those who can afford them.
But what about those who are willing to adapt to something else?
It will be alright.
There’s one more pocket of humanity that’s desperate to cling on, and as temperatures go up, these people have gone down into caves.
Yep—I took that title from the same Robert Frost poem I talked about before: For Once, then Something, but this time, it’s a lot more literal of a meaning…
Taking place in-between Last Night at the Fjord and Relic, Lo, a Ripple’s main setpiece revolves around an underground lake, with vibrant moss growing all around it.
In a way, it’s what I imagine these last pockets of humanity could be like: just this untouched paradise hidden so deep that only desperation could bring anyone there.
And musically, this song also marked a first for me!

Here you can hear my first attempt at a song entirely without Autoplay, with me playing the entire lead piano in a C Mixolydian mode—I also played the drums, but that… honestly went way off beat.
I took a lot of inspiration from JRPG music for Lo, a Ripple, and honestly, my original melody for the last section was straight-up ripped from Final Fantasy 6 before I caught and changed it (*´∇`*)
And sandwiched between the adventurous songs of Last Night at the Fjord and Relic, this one’s really a break of sorts, both in terms of music and the narrative!
To top it all off, Lo, a Ripple was basically an afterthought!
Just before producing the album’s closing song, I wondered if I’d already composed enough for the plot at large, and when I answered that with a “no”, I came back to record something really-different to fill that gap…
and as flawed as it can be… Lo, a Ripple is the song here I’m most fond of!! *\(^o^)/*
~I’m glad I really tried to force myself to do something different~
Even if I didn’t know it back then, my “performance” here basically proved to myself that I could solo entire melodies; I just needed a good prompt and idea!
Horizons…

With the middle of Another Breeze finished now, we still have three songs in this album left: Another Breeze, Blombrück, and Eastward, and tomorrow, I hope to tell you all about what’s left of our story here!
Even if my tone in this project’s pretty-pessimistic… well, it kinda shows exactly what was on my mind at the time, doesn’t it?
Like I talked about with my stories, a lot of my music also stem from personal anxieties and fears, and though my outlook’s shifted since, I don’t really harbour much hatred or anything for this phase of me.
More just understanding… if only because I know how right I was to be scared, but my thoughts on this are best saved for when I talk about the end of Another Breeze!
‘Til then, all the more love to ‘ya! (๑>◡<๑)
-
Didn’t think I’d hear it so soon…

I’d heard of the news of Queen’s Elizabeth II’s health since around 8:00 PM in my local time, and it’s gonna take time getting used to picturing a UK and Commonwealth without her…
Given some of my tendencies, I honestly thought she’d outlive me for a while, but it’s such a weird feeling to live through history, especially when I saw the news around 30 seconds after it first broke…
This kind of post is unusual for me, but I’d like to offer my respects to Her Majesty, her surviving family, and the Commonwealth at large.
Despite all her controversies and all the negative press around her here, she lived one hell of a life and led for seven decades of our world’s history.
Wherever we live, and whatever our opinions on Queen Elizabeth II or the monarchy are, I really hope we can find it in ourselves to show some basic courtesy during this time.
Personally, I’ll be postponing my original write-up for today to next week—There’s a lot we can say about sensitivity, and I’d rather not mess that up for any of us right now…
Even living here on the opposite side of the world, I can’t name anyone I know who hasn’t heard of the Queen… and it’s hard for me to imagine anyone else in our century who’ll ever have this level of recognition, adoration, or admiration.
Sending all the love to everyone affected by this loss, and if you’re among them, I hope all the best for your coming weekend! These last years have been way too gruelling for our world…
And it’s kind of a harrowing thought that, for one reason or another, this may be the last many of us will see a Queen of the United Kingdom and the Commonwealth Realms in our lifetimes…
– 海咲むんだえ
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A personal loss, the birth of “Dear Prospects”, and where a tragedy has left me…

So if you haven’t seen it yet, I’d love to link you to a short story of mine, “Dear Prospects”, which I uploaded here yesterday~!
Whether you’ve seen it or not though, I wanted to use today as an opportunity to look back on my writing here and what exactly inspired it…
But, as a forewarning, my blog for you today’s much more personal than anything I’ve previously posted… If that’s fine by you though, then I hope you’ll read to the end! It’s something I’ve wanted to get off my chest for a while… (^_^*)
“Trees should blend their roots and shade…”
As an avid RPG player, side quests are basically ubiquitous to me—I’ve played a lot of amazing ones, a lot of boring ones, and a lot of others too meh to really remember!
And as much ire as Genshin Impact gets from a vocal minority of gaming elitists, I want to say: this game is, in terms of narrative, gameplay, and quality, probably one of the best games that will come out this decade!
This is a game that has, in all honesty, made me cry much more than others—I won’t spoil anything major for your sake~! But as the quest I wanna talk about’s been out since the game’s first release, I feel safe talking about it a bit…
One of the areas in the game is an abandoned mining village named Mingyun (明蕴), where we can get a quest as soon as we enter!

~A sign at the entrance to the abandoned village~ If my memory serves me well, there’s a ghost of an old man you can find in the village, who speaks about wishing to move out of the town and start over again…
Whatever he means isn’t clear to us yet, but in one of the ruined houses, we find a note seemingly left from the same man, which comprises a cryptic hint for the man’s three sons to find treasure that he left behind for them!

~The note was in one of these houses~ In his note, one message stands out for later:
Unite, and you shall share in its blessing.
Given the letter implies that the father’s ill, and it’s marked as his will, well… we have quite a set-up here, don’t we?
From here, our goal is basically to look around the abandoned town for where this treasure could be!
We check four spots total, all in ruined mines scattered around the mountainous terrain, and at the first three spots, we encounter the ghosts of each of the three sons, bickering and racing against one another as they rush to hoard the treasure for themselves.

~One of the mines we check~ At the final spot, instead of either of these three, we instead meet the father’s ghost again, who simply sighs in disappointment at the feud his family’s descended into.
Yet… we still don’t have the treasure anywhere, so where do we check next~?
We take a look at the will again, and this time focus on his mention of:
The tree who stands alone has no forest to call his home.
And luckily for us, on one of the highest cliffs surrounding the village, there’s a lone tree matching that description! Much taller and grander than any other trees in the area.
So, in a last push to search for the treasure, we head up there, approach the tree, and sense… something.

~The tree in question, at sunset~ Something buried in the plot we’re standing on.
Sure enough, we dig a bit, and find a hefty chest—the treasure at last!
But it’s also here where we find out what really happened.
The father’s ghost returns, alongside the ghosts of his three sons, and he lectures them for fighting each other for the treasure, revealing that the chest, in fact, contained riches and trinkets he’d slowly saved up over the years, in the hopes that, someday, he and his family could look back at this collection and revel in memories…
But instead, we see that the selfishness of each of the sons not only damaged their relationships with one another, but also left their already-dying father in a state of despair at what his family’s become. 。・°°・(>_<)・°°・。
The ghosts disappear, and we contemplate for a bit as to whether we should collect the treasure or not. Our companion mentions that, perhaps, this family could come back someday to finally take these items for themselves, but given how much time has passed… and the fact we see everyone involved as ghosts…
Honestly, it’s kind of anyone’s guess what really happened after that reveal.

~Bonus shot of the village~ Personally, just given what I saw being said and how eager everyone seemed to take all the treasure… I have a pretty-pessimistic view on how the sons ended up as ghosts afterwards, but that’s just my take of course—the open-ended way this quest concludes is really good in a solemn way…
But that final reveal of the quest really struck something in me I didn’t expect.
This little storyline was the first of many times this game made me cry, and the reason why is…
I hope you can bear with me on this ( ; ; )
“For that is where the home is made…”
When we wake up everyday, we rarely expect anything bad to really happen to us, and when most of a day goes alright, it’s even harder for me to break out of that sense of security…
One night, I’d just finished eating dinner earlier than my family—given it was a pretty slow day, I took a nap to refresh myself after a day of work.
I had some sweet dreams about my friends in a bank~ It’s weird now looking back, but that was an hour or so of just slumber that left me entirely detached from the world around me (^_^)
Then some loud thumps echoed from somewhere.
My vision was blurry, my hearing was still messy, but on such a normal day, it’s especially unusual for a traditional East Asian household to be so… loud.
And then came a frantic doorbell, a lot of running, panicked speaking…
By the time I was up and moving from my nap, I was the last person in the household to hear the news.
To my knowledge, I was the only one who didn’t see at all what had happened, but I returned and sulked for the next hour or so, until we got the call.
My paternal grandfather had just passed away.
I didn’t know what happened, just that it was near-instantaneous.
Knowing that he always wanted to go out painlessly like that helped ease me just a little, but I went back to sleep early that night, and for many nights thereafter, at least until after the initial services were finished…
The day of the internment at the temple gave me a lot of closure at the time, but, as with losing anyone close, some things just don’t really leave you, you know?
That night is still one of the most vivid memories I have of recent years, and there’s a part of me that can’t help but wonder what would’ve happened if I hadn’t taken that nap…
If I was there to see what happened, how would I have turned out after?
If I’d heard and saw what happened that night, instead of being woken up into it, would my emotional scars have been deeper?
I honestly… don’t really want to know the answer.
But that time was a challenge for almost everyone around me, and even now, almost two years on, I get the impression that none of us have fully recovered from something so… well, sudden.
I only knew one way to try and make sense of what I was feeling, and when the opportunity presented itself…
“An ornament frozen in time, always grasping at the same minute in the hopes it may some day serve its purpose.”
In the end, I knew well enough that I couldn’t let the pain hit me for long!
I fear sometimes that people might say I move on too fast, and while that’s partly down to some of my disagreements with our traditions, I also don’t blame anyone who gets that impression…
The same week as the final internment, I’d already put together some of my life back: I was back to my bubbly self my friends were used to, I’d returned to writing my 6th manuscript, and I was finding motivation again to carry on with my usual work after an entire period of feeling drained!
But it’s really fitting to compare this kind of loss to a scar.
While I feel letting out my emotions early on helped me move past faster, there are still imprints and impacts that will take much longer to heal… if ever.
I wrote Dear Prospects around several weeks after all of that happened, and my idea was basically to feature someone completely-unlike me, physically and mentally, in a very similar position to the one I was in…
Our protagonist, with the pretty-grand name of Adair Isidor Priestly-Eccleston, is someone I imagined as a middle-aged man who’s in a state of confusion in the aftermath of losing his mother.
That’s kind of the premise of my story—His dream reminding him of the thoughts and emotions he may be repressing, as is sadly too common with men especially in this scenario.
Everything from social expectations I’ve seen myself, to a friend’s personal experiences, helped me craft Adair’s experiences better, but every now and then, he writes things that I feel reflect more about me than him.
I didn’t know what was on it or what the rest of the room looked like, but that image of something so familiar lying right there in front of me filled me with this… torrent of comfort I may never feel again.
Because yeah… familiarity is comfort, isn’t it?
In an odd irony, every now and then when I let emotions out, I’m taken back to how much I cried and ranted back when this first happened, and it gives me that sense of comfort… that I’m still the same person as I always was, with the same ways of trying to cope with problems…
And in that way… Dear Prospects was kind of a turning point for my writing…
“Talk about the old times…”
I don’t mean to say this to devalue anyone writing these of course-!

But I feel like when it comes to most genres like romance or action or thrillers, anyone can write them as long as they have the experience, skills, and feedback necessary, right?
So what about writing out of your personal experiences?
Your anxieties?
Your fears?
Your desires?
Maybe I just think I’m special~ but Dear Prospects made me realise that, if there was anything I could write that nobody else could, it would have to be about something from within me, right?
My way of coping with loss through letting the emotions out, leaning on others for comfort, then expressing my thoughts through writing isn’t something everyone does… A lot of people do, sure!
But not everyone, and that’s what I love focusing on.
Since Dear Prospects, every book and story I have written has centred on a different fear or anxiety of mine, from mortality, to identity, to memory, to security, to stability, to society, to expectations…
Everything representing, as best as I can anyways, my perspectives on things and the dreams, desires, and despairs flowing through my mind in that very moment…
This level of personal connection’s honestly what’s kept me motivated to write after my thirst for adrenaline rushes ran out, and to this day?
I don’t really have any regrets~!
I just wish what led me to this point didn’t have to be so painful…
…but it’s a part of life, isn’t it?
I don’t think I’ve written anything this personal yet, so if you’ve stuck around until here, then just know I can’t thank you enough! (^з^)-☆
I’m sure we’ve all had our experiences like this, and our own ways of dealing with things… and maybe if you’re comfortable sharing, I’d love to hear some of your own too—if only so we can share our lasting grief in a safer place (>_<)
But whatever the case… All the more love to ‘ya!
And please, wherever and whoever you are, keep the people around you as close as you can… because sometimes, it really is too late for us to realise these things. (T-T)
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“A Town of Trades”… an excerpt from my book~

Hiya-!! I thought of doing something a bit different today from the usual musical analysis~
Today, I felt like actually showing a bit of my current writing, especially after the rambling yesterday, I felt it was about time to put a little more out~
So the chapter we’ll see below is Chapter 5 of my work-in-progress book, and I mentioned this in my previous post, but here’s the blurb for it-!
A 12,000 year old deity awakens in the human world with only two memories: their name, and the fact that they are not a mortal. Will they find a way to return to godhood, or remain and adapt to the world they once held influence over, but has now forgotten them entirely?
To summarise this chapter, that former deity, taking the name Ennarin and presenting as a female human, retains only their immortality and incorporeal status, otherwise losing nearly all memory of who they once were! This leaves the universe’s Synod with only 11 remaining Princes, with Ennarin currently seeking to become the 12th once more~
By this chapter, they and their traveling companion, a quiet woman going by the name Sakiyo Naozami, arrive in a town named Kergant, in search of Urillan, the Prince of Dealings, as they learn that, in order to attain status as a Prince again, Ennarin must receive a token of approval from all active deities: thus, they travel here in pursuit of their second Assent, along the way facing the trial that he has already set up~
Hopefully that’s enough context to help set what’s actually happening here-? But my judgement could be wrong, as I usually am (>_<)But enough of me—However much of this chunk you’ll read, I hope you’ll find something worthwhile~!
I hope to catch you all again soon~!!
-
“In this age of grand illusion…”

In December of 2018, I visited Hong Kong for a leisurely trip, and being a place that my family was also familiar with, I’d had a long history of enjoying various sights around the place!
This trip was the second time I’d been to Lantau Island—probably one of my favourite destinations in the entire region—and as with the first time, I headed for The Big Buddha (天壇大佛), or the Lantau Buddha as I like to call it!
It was a pretty foggy day, so at first I thought the sights would be… not great.
But little did I expect to be greeted by a sight so surreal… that the image has stayed with me to this day (*´ω`*)
“Growing heart and soul…”

This was my view from the stairs leading up to the Buddha, and everything just gave off a vibe I hadn’t felt anywhere else: from the fog, to the sun’s position, and even the tranquility—it was crowded, but almost everyone was pretty quiet, so it was just me, my camera, the Buddha, and the footsteps of everyone visiting the site too…
As I went up the stairs, I felt a mixture of pressure and calmness, like the Buddha, looking down, was almost judging me in general… I couldn’t see its eyes, but it felt like it could see right into mine… and that kind of one-way staring’s always a bit unnerving, isn’t it?
On my very first visit years before this, I remember being able to enter this museum area at the very top around the Buddha, but this time, for various reasons, the very top was cordoned off—didn’t stop a few cheeky tourists from jumping the ropes, but welp I felt like playing it safe that day~

Here’s the better of two shots I got from the highest point we were allowed to climb, and given I’m no professional photographer… this one image is one of my favourites out of all the ones I’ve ever taken!
I wanna ask first though: what do you personally feel seeing this?
For me, the way the Buddha remained blurred and fogged this high up made me feel even tinier—it’s what I imagine coming face to face with him would look like in some dramatised biography…
In that moment, I felt like me, all the people taking photos alongside me, and everyone on that staircase were completely insignificant… and the fact I’ve never been overly-religious really made it a strange feeling, even now.
Around that level we were at, there was a balcony of sorts that wrapped around the statue, and it wasn’t the highest point, but because most people were around the stairs, this little ring was pretty quiet…
It was there that I noticed another sight to my left.

Now I’m not 100% sure, but I think this mountain is Lantau Peak, in English anyways—If I’m not mistaken, its Chinese name is 鳳凰山 (Fung Wong Shan), a name that actually references its two distinct peaks: one known as 鳳山 (Male Phoenix Mountain), and the other 凰山 (Female Phoenix Mountain)l which I thought was a cool etymology~!
But if that Buddha and the sun behind it made me feel tiny, then Lantau Peak here reduced me to a speck.
I was genuinely mesmerised just gazing off at the mountain—in the fog, it looked to me like a floating island: like some higher plane, maybe a mythical garden, perhaps the geographic manifestation of Nirvana- I didn’t do it of course, but I felt this urge to just head over and climb that peak myself… to find out what was above the mist.
I was so transfixed by everything at the time that I just stayed up there for a good hour or so… but eventually the fog went away, and so did that surreal, boreal feeling that kept me around for that long ( ; ; )
The emotion of the moment receded with the fog, but my love for Buddhist monuments really began here—helped a lot by my pre-existing fascination with stuff like Shinto temples and shrines…
Like a lot of the teachings of Eastern religions, Buddhist landmarks like this did a good job of making me feel tiny—to use psychological terms, it was like its very presence removed my ego from my self-concept for just that one hour…
“Sweet name, you’re born once again for me…”
1976 was an interesting year for David Bowie—he released Station to Station, presently known as one of his greatest albums, performing alongside what’s also known as one of his greatest backing bands-!
But it was also a year marred by widespread accusations that he was a Nazi sympathiser, largely because he portrayed his then-personal the Thin White Duke, as a nasty, soulless figure with those kinds of tendencies…
Whether or not Bowie actually believed these views at the time is… in all honesty, a matter of debate, but what is for sure is that his spiralling cocaine addiction amplified a lot of these controversial moments of his.
Most of Station to Station is defined by surreal, grungy topics and tracks that I feel really reflect this addiction of his, but when I first listened to the whole album, one track really stood out to me…
In between songs like the epic, progressive rock title track, to the funky, soulless, romantic crooning of Golden Years, then the rough guitar edges of Stay, is a lone pleasant, if melancholic, ballad: Word on a Wing.
So no exaggeration here…
That opening piano is one of my all-time favourite bars of music!
The pianist here is Roy Bittan—and you might recognise him from all his work with Bruce Springsteen over the years!
But the way he articulates that opening bar after two whole songs from an emotionless void…
For me, it’s such a sudden but pleasant break that I couldn’t help but just kick back and let some of my day’s burdens take off into the air…
Now for a quick preface—I wanna make this analysis not of Bowie himself, but largely of the character he portrays in the album, so when I do begin talking about him as a person, I’ll hopefully remember to clarify…
The opening lyrics, personally speaking, echo a lot of that bitter yet defiant tone the prior songs established:
In this age of grand illusion
You walked into my life out of my dreams
I don’t need another change
Still you force your way into my scheme of thingsComing from Golden Years, my first guess was that this was another song about some romance-gone-sour… because it kinda has that tone, right?
But for me, his choice of words echo this questioning of something much larger than just another partner.
His slow, quiet vocals don’t have a sense of rage in them too… it’s more of a confused anger at something he knows is out of his control.
Then the pre-chorus segment comes, and the theme of the song became really clear for me…
Sweet name, you're born once again for me
Sweet name, you're born once again for me
Oh sweet name, I call you again
You're born once again for me
Just because I believe don't mean I don't think as well
Don't have to question everything in Heaven or HellHe is disgruntled at someone again… but this time, it’s a higher being—perhaps God, perhaps Buddha depending on what he believed- but personally?
I think it’s a lot more of a vent at fate itself than any one higher being…
In the chorus, Bowie’s vocals ramp up like he’s on the verge of crying, and he sings:
Lord, I kneel and offer you my word on a wing
And I'm trying hard to fit among your scheme of things
It's safer than a strange land, but I still care for myself
And I don't stand in my own light
Lord, Lord, my prayer flies like a word on a wing
My prayer flies like a word on a wing
Does my prayer fit in with your scheme of things?For me, this is kind of an image of someone struggling so much in life that they turn to spirituality as a last resort… yet they’re so far downhill that even faith can’t help them anymore,
And as an inherently-religious song, I feel like Word on a Wing is still something that might be able to speak to a lot of us outside these faiths…
We all have our own ways of dealing with personal tragedies, but personally, bitterness towards some irrational being has always been a part of my experiences.
That constant feeling of “why is this happening to us?” when, in reality, the question should really be “who is this not happening to?”
But I think grief and reason are all too often mutually-exclusive.
And songs like Word on a Wing showcase a very-real person in such a state: in 1999, when Bowie revived the song and performed it live for a studio audience, he said something along the lines of “I’m sure it was a cry for help,” labelling it one of the only genuine moments in all of Station to Station.
Drug addiction, marriage problems, career troubles—all of it stacked up in this one song that showcases the real Bowie in, what I feel anyways, may be one of his most vulnerable on-record moments…
I think he channels so much emotion in this performance that the music was almost secondary—that he really just wanted to vent about the place he found himself in as he found himself, for a rare moment, aware of his own mind.
“Does my prayer fit in with your scheme of things?”
It’s pure speculation from here onwards… but I wonder if his thoughts at the time were similar to what I felt looking up at that statue and that peak?

As humans, I feel almost every culture out there at least somewhat focuses on showcasing ourselves in some way… perhaps for independence and self-actualisation in Individualistic societies, or to best contribute to the population in Collectivist societies.
But having that sense of self disappear is really surreal to look back on for me…
It’s not like blending into a crowd in a busy shopping district, it’s more like disappearing altogether—becoming, if for but a moment, so intertwined with the world that you become inseparable from it.
To feel like your life is spiralling because of some sort of fate that detests you… Would it feel the same way? Would someone in that position also feel like something less than a pawn—so helpless and powerless that even complaining becomes taxing?
I don’t know the answer to this honestly…

I can’t say I ever found myself in a situation as dire as Bowie’s was in 1976–I remember seeing reports that he himself was surprised he even survived that year thanks to how bad his self-destruction got…
To me, it’s like a negative version of the Buddhist concept of anattā or the non-self: to become completely detached from any self-concept or essence, but through tragedy rather than enlightenment.
Hearing about the amount of people going through similar, and much worse, problems nowadays… will never not be depressing for me.
Wherever you are right now, I hope you’re doing alright! There are people out there with all sorts of love for each of us, so if trouble appears to be brewing, then I hope you’ll pull through and come out someone new, if not for yourself, then perhaps, for all those around you!
Have a wonderful weekend, and all the love to you~! ♪(v^_^)v
– むんだえ
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Northbound Voyage now released on Bandcamp!

Hiya~!!
If you’ve been to my About Me page, you’ve probably seen my Bandcamp linked, but it’s been an empty profile… until today!
Feel free to have a look over here if you’d please—I love to say there’s something for everyone, but only you can really judge that, yeah?
It’s mostly the same as my YouTube content, but I did make minor edits here and there to polish the quality a bit~
In the future, assuming I do alright on this platform, I’ll begin releasing exclusively on it and see where that goes~
But until then, it’d mean a lot to me if you could pay some bits a little listen~
Once again, you can find the album here, and if you want a bit of backstory behind one of its tracks… then don’t let me distract you from checking this post out either! ♪( O▽0)
Whatever the future holds, stay safe, and all the love to ya’!
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The story of my first book… and the mistakes I made with it-! (~Part 2~)

Now this is a follow-up of sorts to a previous post I made on August 15th, so if you haven’t seen it, feel free to check it out here if you wish! (*゚▽゚*)
But with that out the way…
When it comes to discussing culture in countries around East and Southeast Asia, I feel like it’s a bit difficult for me to put into scale how influential Confucius’s teachings have been.
Bit-more-recent articles like this break it down much better for us—but all across Mainland China, a lot of quotes from Confucius’s and Mencius’s works live on as proverbs, and with how highly-regarded moral values, discipline, and wisdom are in families around here, there’s a good lot of us who grew up learning some versions of some of these!
Here’s a simple one that was among the earlier ones I picked up from textbooks: 温故而知新 (wēngù ‘ér zhī xīn), which directly translates to “Learn from the past,” but in context usually has a longer meaning of “Learn from the past to make sense of the present.”
And I think that’s quite a fitting preface to my takeaway from this journey!
It was late-2019, I just finished my first ever book draft without much experience, and… welp the problem is: that book only went through the first two seasons of the series-!
So my idea was to just continue things—after all, there were eight seasons total, and if I could write two each per book, then maybe I could pump out a best-selling series, yeah-?
I think I took about one day off before continuing the second book, but no—I didn’t really spend any of that time trying to reflect on my mistakes, or trying to learn more- I’d say I was carried away, but at that time and place, it was still a bit unusual for people like me to chase these kinds of dreams outside our loved ones’ demands…
So perhaps a part of it was me just wanting to be different—some way for me to put myself above the collectivist values I was raised with.
Maybe it was the process of growing up artistically, or maybe some natural energy intervening to prevent a second war crime, but in the end—I never actually finished book 2 of this series *\(^o^)/*
~The beginning of learning~
It was January of 2020 that I began to realise I was way, way out of my depth in this regard—and I think there were several factors that played into that revelation for me.
The first was my growing interest in what’s been called the Booktuber community—a subculture of authors and readers and even agents and editors on YouTube who spend a lot of time reviewing classics, dissecting troops, scanning new releases, so on like that!
But there was one kind of video that I grew addicted to: reviews of terrible books.
There were two of the first I came across, and I highly recommend not just these videos, but also both channels-! Both KrimsonRogue and Strange Æons balance comedy, entertainment, and criticism well, and I credit a lot of my early writing knowledge to them both!
But whether it’s really-bland romances or self-published epics of delusion… something about watching these bad examples get completely torn apart was really entertaining for me!
If I had to explain it, I guess there’s merit in learning what not to do as well, yeah?
I really enjoyed reviews of one person’s books in particular—Onision, someone so vile and demented that I’d rather not describe the stuff this guy has been accused of…
Now sometimes terrible people become good writers- I won’t name anyone in particular but the number of authors with really-inflammatory beliefs is staggering sometimes (_ _).。o○
Luckily for us, Onision was both a terrible person and an atrocious writer—and I learned so much from watching his three books get shredded!
Basic stuff like plotting and structure were like alien concepts to me at the time—others like character development I had a marginal grasp of, and things a bit more advanced like descriptive prose… was in a completely different dimension.
Not to really inflate myself here but-
A question I got asked a lot back then, and still do sometimes, was how exactly I became proficient in English in a country that has a pretty-ineffective way of teaching it.
It’s hard for me to give an exact answer to something like that, but I usually reply with this: from around the age of 4 / 5, I was already an avid reader of online and offline encyclopaedias in not just my native languages, but also in English!
That’s still something I do a lot nowadays, but at the time, I didn’t realise that the English used in these formal texts was a different register than what’s used by authors in books…
And that is the first mistake I found out I made with this project.
Mistake 1: Register / Tone confusion
Now quick disclaimer I’m not saying this to like belittle our English teachers or anything—they did the best job they could given our curriculum and I honestly learned some good stuff from them-!
But for a while, I was taught that English was only ever in five registers: frozen, formal, consultative, casual, and intimate—We weren’t taught the equivalents for writing, but given my native language also had a complex system of honourifics, plus its own registers, these five categories made a lot of sense to me!
So I kind of want to ask you this here: do you think language is best taught through rules or through experience?
Personally… I’d answer experience for quite a few reasons—if you’ve seen this post of mine, I gave a few examples of English’s phonosyntactic rules and how both aware and unaware we are of them—and I think that captures our minds’ capabilities well.
We don’t really have to be told of a rule to be able to follow it, yeah?
So because of that, I wrote almost entirely in what I thought was a “formal” style.
In reality… my writing comes off more as what I’d call an informative style—the same ones used in the encyclopaedias I always read-!
It honestly took me a while before I noticed that I was kind of just… emulating the style of stuff like Wikipedia articles and not actually what authors used.
For me, looking back, that’s mainly why my writing came off as so soulless—because I was employing a style meant not for creativity, but for education.
Now maybe it’s just because I know this difference now, but doesn’t confusing something like that feel a bit too basic of a thing to mess up?
I was already pretty internet-savvy—so if I just looked that up, I think that would’ve clarified things, right?
If you have the same conclusion as that, then correct actually! But…
Mistake 2: Doing absolutely no research~
Maybe it was my eagerness, maybe it was my ignorance, maybe both—but whatever the answer is, I really should’ve done some research into basic writing first-!
I was listening to these reviews and they’d bring up a lot of concepts like the Hero’s Journey or the Three-Act Structure—but believe it or not I didn’t know about these at the time-!
I had basic ideas, yeah, like I’d seen some games divided into acts, I’d read other books divided into acts—but actually writing these concepts?
“What’s the worst that could happen?”
And as it turns out… well, stuff like this is what happened.

If you do read this… What do you think about it?
Personally, I think it perfectly captures that juvenile bloodlust I had at the time… as well as all the pratfalls of investing everything into ideas and about nothing into the actual execution-!
I wanna know though—were the number of names in these two pages a bit confusing-?
Personally, I like to think I’m good with remembering names, but… I think there’s a limit that I didn’t violate, but rather murdered then cremated…
Mistake 3: ~Character Soup~
…I’m not actually sure where I heard that term used, sorry-!
But I love it too much not to throw it in here~
I didn’t think about it at the time, but I had a really bad case of naming every single character who ever appeared—and to try and give a picture on how bad it got…
Every time I write a story, I create these spreadsheets of sorts that tracks each individual character by various things~
Here’s a small part of the one I created for this book!

Now I remember all of these characters clearly even now—but I spent months just creating them, moving them about, and… well, killing them! ٩(๑❛ᴗ❛๑)۶
But what about a first-time reader-?
My complete lack of any description only makes it worse—like if I asked you to try and visualise Fredrick, for example, what would you imagine?
It’s so bland that I actually forgot what he looked like… so… (^O^☆♪
If me, as the author, can’t even describe my characters’ basic traits well enough, what can I really expect from an average reader who basically has to do all the work?
(almost) Three Years on…
If you ask me, then I think the three mistakes above were the worst things that I messed up—being completely fair, I feel like there were quite a few characters and arcs that weren’t all that bad, just executed so, so sloppily…
So I wanna use this moment to thank all the YouTube book reviewers!
Just seeing bad examples, and then hearing an explanation of why these were bad, really made me aware of how… well, how much worse I wrote compared to even these people-
And it made me feel really embarrassed at the time.
I felt like, by writing these atrocities, I was wasting the time of the few people around me who were really just trying to offer help…
That I looked like too much of an idiot by trying to be different and by swatting these people away from me.

~Another digitally-rendered sketch of the Brandenburg Gate, which appeared in the series~ On the night of January 11th, 2020, I wrote the very last sentence I ever would in this book, and then I closed it.
Writing this for you now means I went back to look at these books… and what I feel is a mix of that shame I mentioned, but also of some light pride—that I can look back in the past, show us both why it failed, and then pull up something much better thanks to all the lessons I learned!
It’s like a forest fire…
On that night I decided to cremate this series and stuff it into an unmarked urn, I was on my laptop again when a new inspiration hit me…
And if there was anything I really knew at the time, it was that a fresh start was better than anything else~!
If time allows, I wanna continue this retelling with the history of the book that followed this series—the one I personally consider to be my first real attempt at a novel-!
If you’re interested in that, then feel free to check back by that time, or leave any comment or question—I wanna welcome anything at this point, at least while I’m still a bit free from obligations (๑˃̵ᴗ˂̵)
Till then, have some fun, and all the love to you~!
-
A botched debut… (#52 – Searing Debut)

Hiya!!
So I was undecided before, but I think for now, I’ll allot Wednesdays for something a bit special: I’ll use it as an opportunity to look back in the tracks I’ve produced so far, and break down their histories, as well as my opinions on them, positive or negative!
After all—this kind of objective retrospect is how we really learn improve ourselves creatively, isn’t it?
Personally, I keep a ranking of my own songs from best to worst updated every now and then, so I’ll be discussing 51 tracks total, starting from the bottom of the litter, all the way to the ones I think we’ll enjoy the most-!
A quick disclaimer though—I’m in no way any kind of professional musical critic! I think there’s no such thing as objective perspectives anyways, but, as long as I don’t carried away, my musings on these past tracks will largely just reflect some of my personal and technical opinions on them-!
So without further rambling, here we’ll begin at the very, very bottom… ʅ(◞‿◟)ʃ
The third album I ever worked on for my YouTube channel marked a bit of a shift in my sound at the time!
The German Electronica band Kraftwerk has long been one of my core influences, but I’d spent the previous two albums mostly trying to work out what I was even doing- so now that I was a bit better, I thought, “what if I tried embodying one of the groups that I looked up to?”
This line of thought started what would become my third concept album, Day of the Dead, and from the Kraftwerk-influence came two songs, Atop the Outermost Peaks and The Winterbourne, that, luckily for us, fared far better than our topic today~!
One thing I wanna tell you first though: the theme of Day of the Dead itself was something of a reoccurring trope in my works, specifically, environmental destruction, and for the people who don’t think that’s a problem, they’ve clearly never lived in a country loved by earthquakes and floods *\(^o^)/*
That aside, my vision for the album basically split it into three thirds: a calm, first section depicting the beauty of nature, a second, melancholic section depicting it in peril, and a third, discordant and dramatic division depicting nature’s downright desecration.
Searing Debut is a song that I wanted to insert into that last section—but it’s about here that I made my first mistake with this song: I had literally no direction-!
I mentioned in this post before that I usually keep a certain image in mind when composing my songs, and this time I was so eager to keep going that I really didn’t bother with that…
I just sat down one afternoon, pulled out the digital instruments, and played away… so here’s the end result, for both of us to probably laugh at~ (=^▽^)σ
So… I personally really don’t recommend listening to this—but it’s your choice of course, so if you feel like it, then you can do whatever you please with this track for a bit-!
For me though, the first problem comes up right in the runtime: nine minutes-!
I really don’t have a problem with longer instrumentals—I feel they have their place honestly—but this?
Barely any musical progression other than just getting louder, and not really trying to say anything either.
Let’s try to imagine I’m some stranger that stumbles upon this track—My reaction to it would probably go along the lines of:
“Why is this piano so out-of-time? It doesn’t seem to follow any pattern and just sounds really bad-?
“This Piano really isn’t going anywhere—where is this song going?”
“9 minutes!? Well, I think I’ve heard enough, I can try something else now…”
Genuinely… I’m sorry if this has taken an overly-negative tone but- I re-listened to this track and just barely paid enough attention to articulate my thoughts on it… (had to wash it off with some Anri afterwards ʕ•ᴥ•ʔ)
But I feel that’s the core of my problem with this song—it starts nowhere, goes nowhere, and kinda does all of that sounding like a 6-year old trying desperately to mimic someone like Hiromi…
Now I don’t think a song being “nowhere” is inherently bad, and if you’re interested you can have a look at my take on that here!
But I feel there’s a level of artistry that’s needed to execute something like that—proficiency that I just completely lacked in when attempting this style.
So, almost 10 months later, here we are: me just lightly-tearing apart one of my own tracks, and you… well, honestly if you’re still here, then I’m ever-grateful you could sit through one of my rants~!
(fun bonus for you—Searing Debut is also the only song I’ve removed from all my playlist…)
If you gave the 9-minute noise a listen, then feel free to share your thoughts down here—I think we’ll have a great time just tossing knives into this! Unless you actually like it- in which case, if you’re up for it or course, I’d also like to hear from you to get a different perspective on things~! ♪(๑ᴖ◡ᴖ๑)♪
Whenever the next entry in this ranking comes out, just know I’d love to see you back here to join me for that~
‘Til then, all love to you!
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“Here, there’s no music here…”

A question I think we’ve all thought about at some point goes something like:
“Would you rather know about the date of your death, or the cause of your death?”
And I think we’ll all have different answers to this… Personally? I don’t think I’d choose either—as is a common belief around here, sometimes it’s best got just let things happen…
I do fear that, if I knew either for certain, I would obsess so much with the prospect that I wouldn’t have any time or calm left for myself-!
But that question brings me to David Bowie once again, because, as the story goes, he apparently knew the answer the both!
According to his longtime pianist and friend Mike Garson (he’s amazing by the way—look at his channel here!), Bowie consulted with a psychic in the 70s who informed him that he would die at the age of 69 or 70, and from the moment he heard this, he believed and accepted it, soldiering on under the idea that he would only have about 40 years of life left.
By 2014, aged 67, he received something all of us dread: a cancer diagnosis.
And yet he pushed on, releasing one last goodbye album, Blackstar, on his 69th birthday in 2016, passing away just two days later.
Now as reported, he knew his diagnosis was terminal and ended treatment by late 2015, so if he still had that psychic’s message in mind, then you can argue he knew both answers to the earlier question…
I honestly wonder how he felt during those months…? Just to know that the prediction of some random psychic almost 50 years ago was unfortunately pretty-accurate?
But he wasn’t known as an innovator and a reinventor without merit—and he turned his impending death into his final piece of art, a last farewell gesture that’s really made me appreciate his career from start to the present!
Perhaps it’s my age speaking, but were I to be in that position, I think I would be too consumed by fear to really plow on as well as he did—but just like other industry legends like Queen’s Freddie Mercury, it was like his life was one grand spectacle right up to the end; an ending that he took into his own hands and turned into one of 2016’s greatest records!
I might talk about my personal thoughts on Blackstar in the future, but the thing is, Bowie’s death was really not the end of his career-!
Just one year later, on what would’ve been his 70th birthday, his estate released an EP: No Plan, consisting of some of his last-recorded songs that didn’t make it into the prior album.
I honestly love the three deep cuts in this record—but today I wanted to show you the title track specifically-!
No Plan – David Bowie, 2017
No Plan has a lot of hallmarks of Bowie’s post-2003 releases, with everything from cryptic lyrics, to an avant-garde jazzy presentation, it’s a style that I feel only someone like him could not just dabble with, but completely embody!
This music video has a lot of cute-little callbacks to past Bowie too, like the store being named after his The Man Who Fell to Earth role, the street being named after a place he resided in in London, the rocket launch from Space Oddity, and even the bluebird he sings about in Lazarus, but I think the most effective visual element of the song isn’t even any of these.
From the moment the first bystander comes to the store’s windowfront, the camera freezes on his face for a moment, and as the crowd grows larger and larger, it does the same for most of them—and almost everyone here appears to be of a different ethnicity, a different age, everything! Like a neat nod from the video’s director towards how internationally-loved his music is, and writing this as someone in a region Bowie rarely ever visited, I think that’s quite the fitting imagery!
I say that all without even touching on the lyrics, and they’re definitely open to a lot of interpretatio, but if I had to make a comparison… it’s as if this song, and the rest of the EP, are like the closing credits of Bowie’s career: less a final goodbye like Blackstar and more of a look on the future and past that he was running out of time to think about.
Right when it starts, we’re met with two contradictory lines:
“Here, there’s no music here. I’m lost in streams of sound.”
Does he mean to say that the sound around him is just meaningless noise now? That the music has gone? Or is he saying that “music” and “noise” have become interchangeable?
For me, the line feels like him guessing at what happens after his passing: that he may go someplace where he’ll never hear his music again, or that he may end up as somebody who doesn’t see music the same way he did—given his spirituality changed as much as his genres over the years, it does make me wonder what he believed he’d experience after this life…
But I think this opening line gives us a hint at the tone he follows with for the rest of the song:
Here, am I nowhere now? No plan Wherever I may go Just where, just there I am
For me, his lyrics evoke a sense of timelessness: once he’s gone, he’s both nowhere and nowhen, and he doesn’t quite have a plan for that.
I think the somber mood of the whole song paints a much more vulnerable image of Bowie in his last weeks compared to what we heard in Blackstar, but of course, it’s anyone’s guess as to which image represents how he truly felt: the defiant artist eager to be liberated from this world, or the everyday man who wishes for just a little more time?
Realistically, the answer’s probably somewhere in-between, and the second half of the song does a good job alternating between these two archetypes!
All the things that are my life My moods, my beliefs My desires, me alone Nothing to regret This is no place, but here I am
Moods, beliefs, desires… Just like his timelessness in this song, to me there’s also a sense of impending transcendence: like he’s ready to let go of everything you’d consider “material” because he knows none of that ever truly was him.
On the topic of my question earlier, his simple line about having no regrets puts him in a good balance between the two scenarios: he’s still just a guy in the end, but someone who not only wants to leave free of regrets, but also announce his peace with his life in a grand statement!
A pretty simple but cryptic line closes off the song:
This is not quite yet
What is “this”? is the first question that comes into my mind…
Is he talking about death here?
I mentioned earlier that the song to me has a timeless tone to it—and I feel like this closing line reinforces that.
If I asked you where you’d place death on a timeline… well, none of us would say “right now”, only a few of us would probably say “later”, and anything specific like “tomorrow” or “next month”… would have to take some really tragic circumstances ( i _ i )
I think the best most of us could really answer is just as Bowie sings: “Not quite yet”.
Like it’s on a dimension a simple timeline can’t really capture.
And that right there is the power of No Plan for me: it says so much through saying so little!
Even though Bowie may be gone, one of his most powerful vocal deliveries of the 2010s shines through on, what I believe anyways, to be one of his most vulnerable Blackstar-era tracks.
Just like the rest of them though, through brilliant lyrics and masterful production, Bowie has made certain that his work will seize a life of its own separate from him.
Immortality-by-proxy, I suppose you could say (*´∀`)♪
Now here’s the thing about discussing Bowie and spirituality—there’s one song of his back from the 70s that I feel really deserves more attention-!
One song that, intentionally or not, perfectly captures the image of somebody struggling not with impending death, but instead with the means of confronting that fate that they thought they had.
So I hope to see you here again on Friday, when I’ll discuss with you what that song is!
Until then, stay safe, and all love to you~! ♪(*^^)o∀*∀o(^^*)♪
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The story of my first book… and my failure to realise I had no idea what I was doing (~Part 1~)

The year is 2015, and through a routine YouTube binge, I was introduced to this cool-looking sandbox game on the source engine—I remember in that video, the guy playing threw this grenade into an office room, and the explosion sent papers and cans and chairs and computer parts flying everywhere-!
I was very inexperienced with video games by that point, so that kind of physics was like landing on the moon for me—I had a Steam account I rarely used back then, so I immediately searched up Garry’s Mod and snagged the thing on sale-!
By 2016, I developed a really strong addiction of just creating storylines in the game through whatever I had available…
Before Garry’s Mod, I basically sketched almost all my stories in really crude, basic drawings that even a kindergartener could probably critique, so being able to simulate everything how I wanted was literally magic-!
And little did I know it back then, but a specific storyline I came up with one day ended up being, to this day, the longest-running thing I ever worked on (´;ω;`)
My premise for it is, to be honest with you, basically the most disjointed possible mix of the media I consumed at the time: an officer in a top agency goes around and… does cool secret agents things.
Taking down drug cartels? Eliminating mob bosses? Weeding out corrupt cops? Exposing top-level moles-? Disarming nuclear warhead!?

Digitally-edited-screenshot-turned-sketch of a location from the series-! My close peers at the time were largely obsessed with everything from reaction channels, to toy reviewers, to beyblades and Hello Kitty merch—so me writing stuff like this was like my way of trying to stand out more at the time, and I’ll admit, I really did have fun working on that plot line…
For almost four years!
It may not sound like too much for you, especially with legendary authors like George R. R. Martin taking like a decade to write one book, but for my pace before and after this series, it was less an obsession and more like a real-life friend by the end (・Д・)
All in all, by the time I finished, my series consisted of:
- 8 Main “Seasons”
- 3 “Remasters” of the first three Seasons
- 1 Non-canonical sequel
- 2 Canonical Spin-offs
- and 1 Extended Cut featuring everything I’d ever cut from the main series-
But it wasn’t until 2019 that I really got the idea: what if I turned this series into a book?

~another sketch~ So you may be wondering here: what experience did I actually have with books up to this point?
Maybe like a few classics? Some action-packed stuff to match the genre I grew obsessed with? Maybe Romance novels that only the schoolboys really read?
Nope—it was much simpler~
It was nothing!
Except a few book reports in school of course, but I had quite the overconfidence problem—It really didn’t take long for warning signs to just start popping up all over the first manuscript, and yet, being a lass with an ego, you can imagine I ignored just about… all of them (´∀`=)
My very first page was a literal info dump on like three years of history, followed by another dump on the main protagonist’s backstory!
Page after that? More dumps on everyone else in the team—like genuinely, I kid you not, I thought this was good writing at the time…
My thought process went something along like: “OOOOH THE MORE THE READER KNOWS THE MORE THEY’LL LOVE MY WORLD AND MY CHARACTERS HAHAHAHAHAHAHAHAHA”
And—yeah, that ain’t wrong!
But there’s a difference between patting someone’s head and giving them a concussion, one that poor young me just thought I was immune to. o(^▽^)o
And thus, despite literally everyone in my life telling me this was a bad idea, I pushed through… and finished the thing.

~one more sketch~ I didn’t keep track of my writing progress at the time, and now I’ve honestly forgotten the exact timeline, but I think I started around June or July of 2019 and finished by October… and the funny part is, since then, I’ve finished first drafts in much shorter timeframes than that!
Now—I don’t believe it when I say it, but I had slightly more than 1 IQ point back then… so when I was done with the first manuscript, I did the next best thing any sensible author would: immediately look for a platform to self-publish!
Did I proofread the spelling? Did I check the plot for any of its several dozen plot holes? Did I run the book by my friends or family for sensitivity issues? Did I look for-
Okay I won’t prolong that~ I think you and I both know the answer… (*⁰▿⁰*)
Luckily for the entire world though, I was a lazy excuse of an aho あほ—so the book never, ever saw the light of day, and I can just hide my shame… or…
I think for once… I’ll put my shame to some good use!
The image below here is a screenshot of the first two pages of this book, which I haven’t seen nor touched since I winged the first draft in late-2019, and below that?
I hope you enjoy my improvised attempt at deconstructing my war-crime-level writing!

(◕︿◕✿) - This first page is so dense it probably qualifies as a wall somewhere in the world…
- For like 80 years now, the United States-mania lives on in this large chunk of Asia! Not that there’s anything inherently wrong about that, but hey I did love poaching any setting that was trending…
- I’M SORRY I LAUGHED REREADING THAT LINE ABOUT FREDRICK—HOW DID I THINK THIS WAS SERIOUS WRITING 草草草草草
- The plot didn’t begin until 3/4 of the way down the page—That is amazing, and not in a good way m(._.)m
- Oh my I really did name every single one of them—Like I promise you three of these characters are dead in the next ten pages why did I- *hides face*
- “Sensing a fiery passion” From retired Navy Seal to Anime mentor—no wonder he gets offed by a serial killer in the next ten pages~!
- That is such a long line for page 2—like not even for any emotional purpose- I usually make exceptions for paragraphs-long lines when it’s something technical like this, but- it’s really obvious I watched like five movies and thought I was a genius…
- Okay no I’ve seen interviews with actual police officers from here, from where I come from, from the US, from countries I’ve never been to—They usually serve much longer than this-! Most of this dude’s force quit in two years or under-? Is he sure he ain’t killing them off-?
- The punctuation on that line below the “most quit in two years” nonsense is really wrong…
- AND IS IT JUST ME OR CAN I NOT TAKE THAT LINE SERIOUSLY AT ALL—HAHAHAHAHAHAHAHAHA GOOD SIR YOU ARE A SHŌNEN REJECT
- “Torrid Affair” I know it sounds a bit hypocritical given some of the English I use but—oh my he’s British now!?,.,,??!?!
…I’d really upload more but I think it’s safe to classify the rest of this book’s 202 pages as a hate crime against us authors- It’s hard to even call it a learning experience because of how little effort I put into this…
Because here’s the thing—I didn’t stop the series with this book’s failure.
Somehow, at some point, I was delusional enough to keep going and going—and even when things came to an end eventually, the road to becoming a dedicated writer was still kilometres ahead-!
So, believe it or not, I did write a sequel to this…
Despite having no clear understanding of what I was writing about, nor any understanding of writing in general, I kept going—because I really thought I had something legendary in my hands!
On Thursday, I’ll be back, and I’d love to share with you the story of how this series finally retired itself…
As well as all the lessons for myself I’ve picked up in retrospect.
Will I really be able to offer you some new insights? I don’t know—my inexperience makes me doubt it a lot, but as long as I enjoy sharing these tales of failure, I’ll be here!
And hopefully I can have you along for the ride too~
Take care, and bye bye ‘til next time! ╰(*´︶`*)╯
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“Even the strongest person…”

From 2016 to 2019, stories I wrote tended to follow a really similar pattern…
I can summarise for you what almost all of these involves in three words: ghosts, guns, gore—because as a newbie writer and storycrafter, that seemed like the cool thing at the time!
And don’t get me wrong—all of these are perfectly fine to write about, but I had neither the wherewithal nor ability to pull a single thing off, except maybe some characters but- they’re irrelevant to me now I guess.
There was one series I had that went on for around 10 instalments, and the third “season” has always been memorable—because out of over 100 characters introduced, only 7 walked out alive!
To give you a picture on how that got whittled down, some of the more memorable deaths included:
- A character who got their limbs torn off one by one by an alien.
- Several characters who drowned after being trapped in a train that derailed into a river.
- One character who was killed in a mine collapse.
- Three characters killed in a helicopter crash after said chopper was swung out of flight by… another alien (=^▽^)σ
I could go on, but from here it’s a lot of bullet wounds doing the work—and somehow these deaths got more ludicrous as the series went on, but because of how often I’d just drag someone in, then immediately delete them, character friendships never really got a chance to shine through.
Fast forward almost four years, and I’ve just completed a manuscript without any named characters dying, and whose main plot revolves around a very-unlikely friendship… (((o(*゚▽゚*)o)))
And I think my shift in writing’s really down to one thing: time, and how quickly those fun days with friends fade as early adulthood sets in.
That proverb “I’ve no friends, so I make my mind my friend” is really one of the few options left once everyone’s committed to their own paths in life—and perhaps this is part of why Omori really hit something emotional in me, but instead of wallowing about this, I’d like to dedicate today’s recommendation to… well, friendship!
Now Yakusha Damashii (役者魂!!) may not be the most popular drama out there, but its theme song is something that’s stuck with me since I first heard it online: Minna Hitori (みんなひとり), written and produced by Mariya Takeuchi (竹内まりや), and first recorded by Takako Matsu (松隆子)-!
Takeuchi’s version from her 2008 album Expressions has become a staple of my city pop playlists nowadays—but I also have a lot of love for Matsu’s versions- specifically this live performance here-!
For me, both of these versions strike “beauty” in different ways—from the minimalism of the former, to the slightly-higher key and wailing strings of the latter- and honestly, I can’t tell you which one I love more—for such a fitting and poignantly-penned tribute to friendship in general, I think it’s only appropriate that it can be performed in two different yet equally-moving ways… ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ
“Even the strongest person hides weaknesses, carrying wounds that can’t be revealed” goes one line before the second chorus—and it’s simple!
Simple, but definitely relatable for all of us, because whatever that pain may be—well, it’s a part of what makes us human, isn’t it?
No plugs or promotions this time, I think it’s best I just let this ode to friendships speak for itself-!!
And wherever, whoever you are—I wish you and your loved ones a great day~!
Because, as Takeuchi and Matsu sing, even if we’re all alone when we’re born and when we pass, we can all enjoy that bit of warmth while it lasts ♪(*^^)o∀*∀o(^^*)♪
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Character Names—and the fun of stirring the real world into a broth!

As a longtime fantasy writer, character names are one of those things I have to put a good bit of thought into—so over the years, I’ve also seen a good bit of advice on how exactly this should be done!
One bit I see a lot is that a character’s name ideally has some meaning that corresponds to their qualities… and I like that idea, but it does make me ask: of all the popular names over the years, how many of their bearers really become something akin to its meaning-?
Maybe if I was writing a purely-romance piece, I’d commit to choosing names based off whatever they actually mean—I don’t read the genre much, but I hear of a lot of mainstay authors taking this approach, and I’ve always thought it was quite a clever way to add extra flavour to their texts!
Here’s one of my favourite resources for real-world names by the way~! But that aside…
This advice gets a bit problematic for me personally when writing worlds that really stray from our own—which is almost everything I write-! So back when I first began dabbling in this genre, I almost immediately wanted some way to just… roll with stuff that actually did suit my worlds~ (^◇^;)
It’s here that a personal interest really came to save me: linguistics!
I only found out lately that the study of names is called Onomastics—that’s not something I actually knew for a while… ٩(^‿^)۶
But the very origins behind so many real-world names and rules always captivated me, and I personally have that mindset that anything can be inspiration for writers—in this case, obscure, often-archaic rules behind so many names that we take for granted.
Among the systems around the world that I found fascinating:
- Russian diminutive names, their association with formality and intimacy, and the many variations—this article gives a pretty good overview of the basics!
- Chinese & Japanese names using their logograms to imply additional meaning outside of the sound alone: both 美咲 and 海咲 are read みさき (Misaki), but while the first roughly means “beautiful blossom”, the second instead translates to “ocean blossom”, and as someone endlessly intrigued by the ocean, I’m quite glad to be using that second variation~
- The fascinating culture behind Burmese names: from how normal it is to change your own, to its extensive connection with astrological elements—this article summarises this much better than I can!
Me learning about most of this was, in all honesty, mostly from my habit of just browsing and binging websites like Wikipedia, Quora, YouTube, and various travel blogs every night—and with everything I wrote down in my notes, it was really just a matter of… welp, figuring out how exactly I could create something similar for my worlds!
I only began true work on this idea in 2020, thanks to two factors: one, the initial COVID-19 lockdowns giving me plenty of time to myself for once, and two, a friend’s dream, which she and I discussed extensively as everything about this world just fell into place in my head~
Eight Islands: arranged in a ring with the last at the centre, all cut off and isolated from one another following a war that occurred 70 years in the past.
Coming up with the naming scheme / convention for each island was a lot of fun—but I typically started off with one basic factor for each: differentiating female from male names.
That didn’t universally-apply—It only went for the three islands I felt would be the most conservative on that topic—but as with real-world customs, it was a great place to start devising rules from!
The next was a more-linguistic matter: I wanted several islands to echo real-life places and groups, but at the same time, I wanted it to be different enough that I didn’t just basically rename said group.
This is where one of my favourite worldbuilding elements stems from: taking a look at the languages these groups speak, and then deliberately breaking as many rules as possible!
Phonosyntactic rules are among my favourite to just twist, because most of us aren’t even that aware of them, but it’s really obvious when they’re broken!
One such rule for English, for example, is the fact that the velar nasal /ŋ/ sound (ng) can never start a word—any word that does start with that immediately sounds un-English, for lack of a better word!
I also love introducing sounds that otherwise don’t occur in a given language—like separating the “L” and “R” sounds from one another in Japanese-inspired regions, as these sounds are basically the same for native speakers of Japanese and several other languages!
Last but not least, I also have a lot of love for just blending cultures and geographies together that you wouldn’t otherwise see—Ancient Romans on a tropical island under a Westminster-inspired government? Modern Koreans residing in a cold, arctic archipelago? Secular Persians in a flat, Mediterranean environment?
Even without using these real groups… it’s really fun for me to just throw together these random elements, then sit down and actually write how these societies all work—but at that point, it’s not about the names anymore~ *\(^o^)/*
And all of this without once worrying about the meaning of any name—not that they’d even have one since I just pulled them out of nothing!
I’m not saying this is the best method of naming your characters of course—I do think that losing the meaning sacrifices a bit of depth that could’ve been there—but in its place instead is, for me anyways, pages upon pages of notes on how each and every morpheme in a fictional language melds together to create a name!
All notes that I may post here someday actually…
Much of this has been pretty rambly and general, so in the future, I do plan on going over specific characters from my (all unpublished (^O^☆♪) works to just discuss them—from where and how I got their names, to why I’m so fond of them~
‘Til then, have a lovely day, and all the best~!
(If you want to learn more about English Phonosyntactics by the way, then I recommend Heidi Harley’s 2003 book English Words: A Linguistic Introduction! Pages 58-69 really highlight how much about this language even non-native speakers like me just pick up without thinking about it…)
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Hello~! A bit more about me…

Great to see you on my page today!
I’m Mundae Misaki, as you can see, though I also go by Mundae-Ennarin on other sites—hopefully I can reveal soon why I went with something more usual here- ( ◠‿◠ )
Writing and music are my main interests—as of right now, that mostly entails fantasy works and instrumentals, but if that changes in the future, then it’d be lovely having you around for the ride!
This website’ll be my outlet for these interests, so you can expect periodic uploads of short stories and music, maybe poetry if I’m feeling bold enough—and all of these will be announced on my blog page, Occasional Dreams! Along with random thoughts, of course—it’s nice to have these recorded somewhere, ain’t it? Even if you do look back on things with shame…
If the blog’s title’s familiar, then by chance are you a fellow David Bowie fan-? I’d still put him at the top of my influences, but down here’s a quick rundown of artists, games, and other properties I find interesting!
- David Bowie
- Kraftwerk
- Mariya Takeuchi
- The Bee Gees
- The Final Fantasy Franchise
- OMORI
- Genshin Impact
- Pokémon
- Cookie Run: Kingdom
- Garry’s Mod
- Minecraft
- Re:Zero
- Spy x Family
- Is the Order a Rabbit?
I could go on and on—especially with a list of authors, so maybe someday I’ll run that down too when I’ve made up my mind a bit more ( ̄▽ ̄)
If you find any of these above interesting, then great! I’m sure we could casually discuss a lot—and if you don’t, then great! No problems with that either. (^_^*)
In any case, I hope to see you again soon when I begin posting for real!
While you’re here though, feel free to have a look at some of my released tracks on this page, all free of any charge! Including one song I’ve released nowhere else~
If you have anything to say so far, please do leave a comment, and if you’re interested in seeing my writings, then come sign up down here!
Whether it’s enigmatic, allegorical short stories, or full-length fluff novels, I’ve got quite a lot I’d love to show here someday.
And if you’re a fan of the art here, be sure to check out @rrain_013 on Instagram! Anything not AI generated is drawn by them—and it’s turned out quite lovely huh?
All the best~! ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ -
Down with the ship… A breakdown of the 5 biggest mistakes I made in my third manuscript~! (~Part 2~)

Hiya~!! Great to start another week with you!
Before our usual post though, I just wanna promote here my latest release—a song that’s kind of a mix of soothing, cocktail piano with the backing of a Chinese percussion ensemble-! (=^▽^)σ
It will 100% not fit, but who knows—it might be a great accompanying track as you read this! Though it’s definitely not that relaxing…
Heh- enough promotion—If you’ve clicked here, then you’re probably here for…
“Always wrong to the light…”
If you missed my previous writing post, then here it is~! I discussed my third ever manuscript here, some of its plot, characters, and setting, and also what I feel I did right-!
But as with anything… There’s always another side, isn’t there?
Now to be honest, a lot of the mistakes I committed here are similar to my errs from my first two manuscripts—so I’ll try to speed past those, and go over some more-interesting problems I think we could have fun looking at, yeah-?
So—Of all my problems with this manuscript, here are the five I feel really dragged my work down!
1. Punctuation…
So- I forgot which post it was, but I remember saying once that English education here is… a bit questionable (^^;;
It works well enough, but especially given what I know now, I feel like there’s a lot that rigid curriculums and repetitive lessons can’t exactly teach—and when it comes to writing fiction, this kind of misstep becomes a lot more obvious…
My punctuation nowadays is basically this—more for tone, emotion, and impact than really getting it right!
But that wasn’t something I knew too well back then…
Take this short chat for example:

…yeah this is kind of a goldmine of amateur mistakes (*´∀`*)
For dialogue ending with question marks and exclamation marks, I really did think writing a comma after the quotation mark was right—I don’t like the notion of language having an absolute “correct version” of course, but writing it like that doesn’t:
- have any stylistic effect.
- have any emotional effect.
- showcase any kind of character.
- make any kind of statement.
- even look good…
And that’s my problem here—I love breaking rules, and I thoroughly believe you can break anything as long as there’s a good reason! But when there isn’t a point, then for me, it goes from a creative decision to… welp, a mistake (-.-)y-., o O
Same point with the way I used quotation marks inside the quotation marks—I heard the conventions for this actually differ between American and British English?
Although what I did was neither of those, so again—my bad ( i _ i )
2. Nonsense plot!
So there’s a concept in literary criticism called the Idiot Plot—a plot which, basically, only happens because everyone involved is an idiot~
I share my view with a lot of people’s in that: this isn’t necessarily bad, because a plot doesn’t have to be complex and cohesive to be entertaining, yeah?
But at the same time, it’s like the wasabi served with sushi—when you commit too much to an idiot plot, things get really dumb really fast…
I briefly talked about my book’s plot last time, so here’s a more specific rundown of what exactly happens!
Everything on the first hours of the cruise goes alright for our protagonists, Gideon and Lucia, but things take a quick turn when a brawl breaks out, with a drunken passenger assaulting Harlan Milford, another person our protagonists briefly encountered.
Hours pass, until an alert goes out across the ship: the drunken passenger, Mr. Hammond, was found dead after being detained!

yes I broke tense again in that first paragraph… I promise I’m better at this now~!
So… would that twist interest you-? Because personally, I still think it’s a pretty-effective, if expected, way of progressing this kind of thriller!
And from here, more and more strange things begin occurring:
- A random passenger is arrested and detained for the murder without any clear evidence or closure as to what actually happened.
- On the second day of the voyage, several passengers fall ill after consuming a specially-brewed alcohol, with performing pianist Terry Hartley suddenly accused of and detained for allegedly tampering the batch.
- Early morning on the third day, Thomas McClellan, a struggling alcoholic befriended by the protagonists, disappears from his cabin, only to be found bloodied and unconscious in a bathroom. Though the doctors describe his condition as non-serious, they refuse to let him leave the sickbay for the remainder of the voyage.
- Animosity begins growing amongst the crew, with some paranoid over the situation, but others seemingly calm, as more and more passengers get unwittingly involved in the plot.
- The protagonists begin discovering ammunition hidden around the ship, eventually followed by reports of a break-in at the armoury, where several firearms were taken.
And all of this eventually escalates into the plot twist of the book!
Three of the security staff, alongside the Captain, are sympathisers of a recently-disavowed Nationalist extremist group, and they’re planning to stage a massacre on the ship to send the government a message.
…yep it’s- kind of ridiculous…
First of all, I’m not particularly familiar with militaries in general, but aren’t there vetting systems and background checks and what not that keep these extremists out of their ranks-?
Not to mention a funny inaccuracy—British cruise ships don’t even have armed security! At least that’s what I was told by one of the three forum users who helped me out~

So already, this idea of a terrorist mass shooting on a British cruise ship is not just a bit tone deaf, but also… basically implausible, which in all honesty is great news!(^∇^)
Now okay, maybe I could’ve gotten away with this through suspension of disbelief, but I didn’t do a particularly good job either tying all these sudden events together—For me, reading it now, it really does feel like everything just came one moment after another after another after another after another-
T-There wasn’t any cohesion or structure… and that brings me to our next major problem:
3. Structure
Normally, this is the part where we rant against discovery writers / pantsers—but personally?
I find a lot of the fun in writing to come out of my plots just unravelling before me, and I’ve had many, many examples of happy accidents just occurring!
My personal favourite comes from my 5th book—which I’d love to talk about in the future—where a character named Kara Calienne joined the main ensemble cast of six initially as a guest for one area.
Then I ran into a problem…
None of the main characters knew how to sail a boat, and the guy who’d done that for them previously had just been assassinated—only Kara could fill that role.
So, she not just tagged along for the rest of the book, but basically became the main protagonist of the second and third instalments!

And among all my characters, she’s still one of my favourites—so hopefully, hopefully I’ll get the chance to talk about this series next time!
Now what differs here is that, for that book, I had an idea on the overall structure: the protagonists travel across six islands in the hopes of uniting them against a looming threat, so each arc was basically one whole journey across each island!
But for this book…?
There wasn’t really any arc or structure—things just happened, the protagonists went along with everything, until the very end when the climax happened and they were finally forced to act.

This is how I ended Chapter 4, and I think it shows this lack-of-structure problem well: events keep happening, and happening, and… yeah they just happen—there wasn’t even an escalation: it started with an assault, then a murder, then multiple attempted murders, then… well it just dipped until the massacre began.
Speaking with Jennings didn’t go anywhere by the way—he just updated them on even more things that happened-!
It’s less like my protagonists were causing events to happen and more like I was just throwing challenge after challenge at them that they simply resigned to, which can work, but when every challenge is like a roll of a dice… well, how can I really expect my readers to feel any tension-?
Personally, I do think that the shooting section wasn’t all that bad—but that only came about after… 200 or so pages-?
Like if anyone read to that point, they may as well just use that level of patience to become a monk… m(_ _)m
4. Character Agency…
So I’m sure all of us writers are familiar with the difference between passive and active characters!
Among those who definitely didn’t know that difference though was my past self…
My plot’s cycle was basically this: something happens, my protagonists try to investigate, something else happens that cuts them off, they get distracted, and repeat…
They were trying to investigate the situation, but the mystery never unravelled itself until they were being shot at by four guys—so the entire 200 pages worth of set-up could’ve happened without the protagonists ever being involved!

a scene from the attack… When I was editing this after I finished it first, I was really confused as to why my protagonists felt so uninteresting and uninvolved while others like Thomas or Harlan or Atwood or the guards all felt like actual people in my universe…
Looking back?
I really feel like this is why I felt that way—They weren’t doing anything to advance the plot, so I felt like I was watching things through the eyes of bystanders instead of actors (^^;;
Now like I said… Passive characters can definitely work—like they’re everywhere in older works—so why did mine turn out so poorly?
5. Genre Research
So this whole time, I’ve described my work as a thriller…
Heehee~ Wow did I not know what a good thriller was…
Did I love the genre? YES! 100%
But that didn’t necessarily translate to me being able to write it well—and a lot of that was just down to the fact I didn’t know what made the genre so good!

~the moment right before Townsend and Lång go movie-villain mode~ My point about the active protagonist is one such example—generally we have pretty-active characters with intuition and motivations in this genre, but mine didn’t really have either of these…
Their only real interest was survival, which again can work, but in this context… well, it basically means they contributed nothing to my plot…
This was a comment I got a lot when I asked for feedback for this book—it really didn’t feel like a thriller because, not only was there very minimal tension for like the first 80 pages, but my protagonists also didn’t take much initiative to find out what was going on…
I really didn’t know how to build up tension until something bad was already happening… and if I’d actually analysed how thrillers did this before writing, I probably could’ve written this so much better…
“Whatever it was lay there at the bottom…”
So~ my titles for these sections are all lines from one of my personal favourite English poems: For Once, Then, Something, written by Robert Frost.
For me, his poem’s always gave me the image of someone unable to break out a cycle to see some hidden truth, instead only seeing something under the ripples—something they miss seeing every opportunity they get…

I thought this was a pretty good metaphor for the conflict in this book, so I opened the story with the last four lines of Frost’s poem!
Ironically enough, this poem now reflects me too, doesn’t it~?
I was too caught up in writing this action-packed crime-filled “thriller” that I completely forgot what made thrillers so fun in the first place…
My largest mistake, to put it simply, was thinking I could write a book without knowing what made one good.
I didn’t know why us today prefer reading active characters, I didn’t know why structure was so important, I didn’t know why setting up tension was so important…
You know, in the end, I still had a lot of fun writing this!
I’m still emotionally-fond of this book, and I have no regrets about writing it, but realistically?

I think very few people would enjoy this, and even I don’t like the finished product, because all of those mistakes added up into a manuscript that had spirit but not skill ♪( ´▽`)
It’s not until now that I can confidently break down my old work like this, but back then, I did feel like something was off… so much so that I actually gave up editing because I couldn’t stand the book anymore ☆*:.。. o(≧▽≦)o .。.:*☆
I thought to myself, wouldn’t it be a better use of my time to try and read something new to refresh my mind on what makes a good novel?
I ran through a lot for April and May of 2020 as I just searched books for inspiration, both old and new, but there’s one novel among them all that left quite an impact on me…
And hopefully, some time soon, we can just relax a bit and reflect on that~

For us writers out here, I’d love to hear how your early novels went, and whether they succeeded or not!
I remember one advice I read often which was to never expect our first novels to ever be published, and I didn’t listen to it at the time, but nowadays… yep, I see where that comes from ψ(`∇´)ψ
See ‘ya tomorrow, and all the love to you~!
-
Where the music began… (#48 – Upon the Stair / Face to Face)

So let’s rewind time once again to almost exactly one year ago, August 29th, 2021!
It was a slow afternoon, and I didn’t have too much to do, but I was feeling more elated than usual thanks to some recent events!
A part of my euphoria manifested as this desire to just… do something new, you know?
At some point in the late afternoon, I found myself playing around on GarageBand, an app I’d long had installed but only really used for… Well!
I have a vivid memory of opening a specific synth with one of my friends and just screaming pop song lyrics as a public nuisance—Not my proudest moment, sure, but good luck talking sense into young lasses like us-!

this is what Upon the Stair’s intro looks like in detail~!
I started out hammering that synth again for old time’s sake, until I switched to the usual grand piano, because I noticed something.
In the corner was a knob that would basically autoplay a select few melodies—all I had to do was select a chord, and bam, music!
I think this is the first time I’ve talked about this feature, but Autoplay is basically 90% of my early songs… and you know what? I’m still really fond of the feature~!
“We passed upon the stair…”
GarageBand on mobile offers this Autoplay option for basically every instrument—For some like guitars or the strings, we get options to vary the patterns up depending on how many fingers we use, but for others like the piano, the most variation we get is basically just in the selected chords, how much we switch them, and how often we mix and match the melodies!
Discovering this that afternoon… welp, I became obsessed with trying to create something out of it, and eventually, I recorded an entire almost 6-minute piano piece!
Now I made the entire piece from Autoplay alone, so none of it’s as impressive at it kinda sounds… (-。-;
But progress is progress, ain’t it~?
Honestly, if you played me this song and I had no idea all of it was basically automated, I would think it was pretty good!
At the same time… Yeah, it’s just a piano piece—nothing else really happens, I don’t introduce anything else, and I don’t really take the piece anywhere… (゚ω゚)
If you know me, you know how much I adore Bowie’s songwriting, and I took the title for this piece from his song The Man Who Sold The World, if only because I had a really-surreal image in mind for this track~
Upon the Stair is a quieter moment in Another Breeze, and for me, it’s a picture of somebody watching their world crumble, metaphorically and literally!
A rare moment of calm contemplation for someone alone and isolated enough that even their own thoughts struggle to drown out their anxieties…

I imagine the fade-in and fade-out ending of Upon the Stair kind of show how this life has become a cycle for them: someday it’ll end of course, but in the present?
What can they do but watch their world fall apart beyond recovery?
If you read my previous ranking of Floe, my theme for Another Breeze was always a out environmental destruction, and by this point in Upon the Stair, the world in this universe has crossed that point of no return.
Are things still stable? Eh, mostly!
But the song’s protagonist knows that this is not just a calm before the storm, it’s the last calm before the ultimate storm…
So what happens when that storm hits-?
“We never lost control…”
On the same night I finished Upon the Stair, I was so excited by everything that I copied the project file for the song and… well, immediately made a remix~!
My first plan was to speed things up and basically record a boss theme for some mock video game, but later on I decided to just… make something frantic, you know?
Keeping with that David Bowie theme, this song’s also named after a lyric from the same track~
If Upon the Stair was the calm before the storm, then Face to Face is the storm itself.
All that contemplation on the previous track… *poof*

I pretty much left no breathing room at all in Face to Face, and yep, that is entirely because I had no clue how to record and produce this kind of song! *\(^o^)/*
But thematically, I think the harshness of it all kinda fits, doesn’t it?
Unprecedented forest fires, devastating flash floods, colossal tornadoes—all of these disasters have become daily events by the time Face to Face is occurring, so any silence our protagonist from before had is basically gone…
Not one second here to rest from my sped-up piano barrage, not a moment of break from the chaotic strings…
Heh, this song was a complete mess, but it turned out to be a storm in more ways than one, yeah-?
“For years and years I roamed…”
One year later… and my nostalgia for these early days of producing music’s even stronger than I ever thought it would be!
I think with a lot of creative endeavours, we always tend to start small, no?
My early days of autoplaying, recording, and uploading involved like… an hour of work at best? And thanks to technology, everything turned out presentably!
But maybe I say this only because I don’t have the appropriate experience and what not in this field yet…
Maybe, in another two years or so, I’ll look back with a much more negative look on my earliest works, but as of now? I still love them emotionally—even if I try to break down why each of them just didn’t quite land~!

So as a little gift to you… Feel free to have a look at my ~Just Another Breeze~ page, where I’ve just put up a remix of Carnaverie exclusively on this site!
I know it’s not much, but heehee—I promise you, there’ll be a time for more personal stories at some point in the future!
As usual, I wish you a great coming weekend, and hopefully I’ll see you again next week~
Mark my words, I have another short story ready to put up, and in terms of translating my personal experiences into fiction…?
Heh—I wish you all the love ‘til then! ☆*:.。. o(≧▽≦)o .。.:*☆
-
Moonlight on the high seas… The story of my third book, an overview, and what I did right! (~Part 1~)

Before we begin, I’d like to take this moment to thank any one of you reading this right now!
(^ー^)
Today, my site’s just surpassed 400 views—not the biggest milestone, sure, but none of it was possible without you, yeah?
Whether you’re here for my talks on music or my discussions on writing, I love having you here all the same—It means a lot to me~!
Where do I plan to take this going forward…? I’m not entirely sure—BUT so long as I have the time, I think I’m content pushing through with the current schedule~
So whoever and wherever you are, new or returning viewer alike, just know that your time and ears mean everything to me, and I can’t thank you enough! (๑>◡<๑)
– 海咲むんだえ
Rules… to break or not to break…?
So today I continue the story of… well, where my writing journey currently is~!
To catch you up quickly if you missed this post, our timeline’s now in mid-January 2020, the pandemic was just around the corner, and my general fears at the time led me to… something new!
In the little break I took between my first two books and this one, I’d spent a lot more time watching reviews of god-awful books—to this day, this is something I still thoroughly enjoy~!
Among the lessons I learned from the likes of KrimsonRogue, Strange Æons, Caleb Joseph, Jenny Nicholson, and many more were:
- Chemistry goes hand-in-hand with character voice; don’t force either.
- Letting dialogue flow with minimal tags is generally more immersive.
- A story without a clear structure can come off as too disorganised to follow.
- A protagonist who starts off as a terrible person and never develops is not particularly entertaining.
- A protagonist without agency is not particularly entertaining.
- Thorough editing fixes far more than typos, including character, plot, or scene rewrites, rearrangings, or outright removals.
- Too little worldbuilding forces the reader to do too much work; too much worldbuilding allows the reader no opportunities to engage.
- A consistent perspective is important; jumps or changes must be clear and not confusing.
- Every detail and scene must be relevant, as irrelevant details may lead the reader to question, eventually, what the point was.
That’s not everything of course~
But remember when I said I’m not particularly a fan of hard, rigid rules?
I feel like I can think of exceptions where all of these rules don’t really apply, but that’s kinda missing their point—In a lot of the examples they reviewed, these were basically broken for no creative reason, so the end result we’d see was always… well, messy, to put it mildly (*´-`)
I still like to follow these as rules of thumb of course!
My personal philosophy with all things creative is basically:
Know why a rule exists before breaking it.
Let’s take for example, the note on too much worldbuilding!
That’s a mistake I still do nowadays—I’ll tell you more about it in our next post—but what if that’s just how our perspective character is?
Imagine like an architect or engineer whose job calls on them to pay attention to as many details as possible…
Or in more Western fictions, even military personnel and what not fall under this hyper-observant category too!
Sure, doing this will still take us good and careful execution, but if we can manage it, then that’s a rule broken effectively, yeah?
So… what about when rules are violated in much more amateur ways?
A nightmare on board…
After I felt my first two books were a bit beyond recovery, I took some advice I heard from some published authors: try and start somewhere a bit smaller!
My Garry’s Mod simulations I talked about before were what birthed my next idea, and this time, I actually had a bit of a clear direction!

I wanted a story that could stand alone in one book, help me develop in areas where I was still shoddy, and come out with something that may be presentable… so here’s the idea I came up with!
A couple board a luxurious cruise ship in search of leisure, but as the voyage sails on, they are embroiled in increasingly-worrisome events that put the safety of everyone on board in limbo.
As you can kinda gather, I was envisioning this book to be a character-focused thriller of sorts, where the protagonist couple would meet more and more people as time went on, all of whom seem equally-plausible as a part of the conspiracy!
I can promise you this—it was a very fun experience to write, and for fun, I can run you down some of the main characters!
- Gideon Caden Goodwin – Our main protagonist: a wealthy, self-centred snob who slowly learns to be more attentive and active as danger builds up around him.
- Lucia Cathryn Verity – A tech-savvy software engineer who adapts to become more resilient as external conflicts leave her with few confidants.
- Thomas Jacob McClellan – A troubled, recently-divorced alcoholic desperate to rehabilitate himself, but also too bitter at how his life has turned out.
- Harlan Milford – A lonely man with bipolar disease struggling to find himself accepted by friends and family, who see him as too volatile to support.
- Franco & Bianca Cardona – A traveling Spanish couple unwittingly dragged into the conspiracy as their vacation turns sour.
- Jackson Townsend & Fritjof Lång – A pair of security officers on board the ship whom the protagonists come to befriend as circumstances become increasingly-dire.
There were more minor characters too, like:
- Terry Hartley, Ulrich Snyder, and Shannon Strickland – A high-profile jazz trio performing on the ship whose fame becomes a liability as they get forced along into the conspiracy.
- Wilton Atwood – Lead Cruise Coordinator and reliable workaholic who is among the first to realise something is amiss.
- Captain Marcus Kevin Maynard – The Captain of the SS Integrity who is more often seen spending time with his passengers than on the bridge.
- Avery Westbrook – Another security officer who appears the most troubled by the unfolding crisis on the ship, despite Townsend & Lång dismissing him as being too paranoid.

I wrote far more characters than this, but these were the most important ones anyways!
My plot itself was basically a series of escalating events, starting with strange IDs and documents being scattered around, then someone being murdered, followed by a string of alcohol poisoning, mysterious arrests, and all the way to ammunition and weapons going missing just before the big attack!
But honestly… My description is way more interesting than what I actually wrote (*´∀`*)
As usual, I went wrong somewhere along the way, but instead of focusing on that today…
What exactly did I do better this time~?
“Take my rede…”
Firstly—I think I can proudly say that this novel turned out much better than my first two attempts, even if what I wrote is still a mess…
So- what exactly made it better!?
1. Listening to professionals!
This sounds really obvious… but it did take two failures for me to humble enough to realise that: Yep, I do need to take the word of those with experience!
Most of my references during this period were those reviewers I mentioned earlier! But I also followed a number of authors on blogs and what not to see what they had to say on the matter—Unfortunately I’ve long forgotten who they were, but I clearly remember popular names like Stephen King, Neil Gaiman, and Haruki Murakami among people whose advice I not just listened to, but also tried to apply!

Will listening to these people immediately improve everything?
Well, never say never, right~?
But realistically, there probably won’t be any author whose advice you agree with 100%, and that’s alright!
In the end though, I’ve found that just trying anything you hear is not that bad of an idea~
For instance, an advice I heard early on from Murakami was to “write to discover”.
To summarise a bit, his advice was basically pantsing! To write mysteries and plot lines where we’re on the same page as our readers we don’t know how things will resolve, so we’re writing to find out!
Is this good advice though?
Welp—I’m not the judge of that really, but I personally agree with it a lot!
Even to this date, I only plan major beats like the ending or the climax—everything in-between? Heh, anything goes~!
2. ~Just doing things~
And that brings me to my second realisation… I just needed to keep writing and reading!
I like to believe that patience, dedication, and experimentation are keys to any kind of creative success—and even early on I had that belief reinforced by a lot of who I watched and listened to!
When we keep doing something, we just naturally get better, no?

Comparing this book to my first two, these are the improvements I noticed that came about from listening to advice + continuing to practice my writing!
- Characters had more distinct voices, focuses, and motivations.
- Characters had more importance and weren’t just extraneous!
- Plot had more structure and intrigue.
- Perspective was a lot more consistent.
- Descriptions were more detailed and vivid, but not necessarily better.
These are where I feel I personally improved the most through practice, and while nothing was remarkable of course, it was an attempt nonetheless, and an attempt that not just showed I was learning, but that I also learned a lot from~!
3. Editing
…yeah (*≧∀≦*)
I did not edit my first two books at all—I swear I’m not joking, that was just how clueless I was about writing…
Now I still made a bunch of mistakes in editing, which I’d love to tell you about next time, but what matters for me is that I actually tried it for once! (^^;;

some of the typos I found in editing… But here’s a question… how do we decide what to edit?
I made a big mistake here—I put my manuscript into online editors, and let them point out what exactly needed to be changed…
What happened was I ended up with a work that sounded more like a dissertation than an enjoyable work of fiction, and for a while, I thought this was alright, because if my work satisfies these online checkers, then that means I’m clear, right!?
4. Asking for feedback!
My short answer is… nope.
My conclusion nowadays is that grammar checkers are unreliable at understanding stuff like context, creative intentions, character voices, all these kinds of things—Yep, they can really help find typos, but I made a mistake in trying to rely on them for more than that…
But I found out soon enough thanks to one thing: I actually asked strangers for feedback!
I really don’t recommend how I went about it though… heehee (╹◡╹)
I discovered this forum called Jericho Writers, and ignoring all the rules, I signed up for an account, went by a male identity as J. G. Charleston, then dumped… 27,000 words in a post asking for feedback.
For context, users recommended somewhere around 300 words for adequate critique and what not, so to say that I overblew that is… kind of an understatement (*´∀`*)
Thanks to three very-kind users though, I did receive extremely-helpful breakdowns on what I did wrong and where I could improve, and given how early on in my journey this was, a lot of this advice has stayed with me through the years!
These three users were the ones who helped me realise how formal and cold my language was as a start, but they also gave me the mindset of questioning whether details I wrote were actually necessary, or if they were too extraneous and insignificant!
For example, one scene I wrote where my protagonist counted every single chair in a restaurant… Yep, I don’t know why I thought that was needed—草草草草草草
As the site was mainly comprised of users from the UK, they also pointed out some cultural and geographical mistakes I made, like how I assumed Canterbury was a coastal town… ♪(๑ᴖ◡ᴖ๑)♪

So unfortunately, I lost access to my account on that site after I forgot my email account’s password, and I haven’t really been back there since…
I really doubt those three users would recognise me here given how different I presented myself there, but in the slim chance they’re reading, hiya! And thanks for talking so much sense to me at a moment of overconfidence! ٩(๑❛ᴗ❛๑)۶
Across the channel…
Breaking down all of this for us is kinda cathartic in a way…
In my head, I’ve long just derided this third book as a mistake of sorts, but looking back?
For me anyways, I think it’s clear I learned a bunch of lessons from my previous mistakes, and that I had that determination to try and take what I could to a new level!

To my fellow amateur writers—I wanna know, what were your early days like~?
It’s funny how so many of us have similar goals, but the start of our journeys are always so diverse, aren’t they~?
Next week, on Monday, I’d love to share with you the other side of this story though…
Because there’s always still room for mistakes, ain’t there?
And given how long I’ve been rambling today—Heh, I thank you sincerely for staying around up to this point~!
‘Til next we meet, all the more love to ‘ya!
(Heh one more note~ Terry Hartley sharing a name with Wallace Hartley was a coincidence at first, but I did try and make the parallels more clear while editing! That band’s story will never not be legendary, if tragic (T.T))
-
At the edge of dreams… Plus more from Bataan~! (#49 – Between Fantasies)

Does anyone else here keep a dream journal~?
I’d love to share mine someday but, in short—I’ve always loved challenging myself to record my own dreams and just see how… well, chaotic they can be-!
Among my friends, I have one whose dreams resemble what living in a movie poster would be like, and I have another who sees their dreams as if they were mangas / manhwas…
Me personally? I tend to experience dreams in a first-person manner, but the medium varied—In fact, it usually changes in the middle of a dream!
One of my entries to my journal this June, for example, transitions frequently from realistic scenes, to video game moments, complete with objectives and maps that I could see like with a VR headset…
That dream also unusual in another way: I found myself randomly swapping between my actual self and a different person who… Doesn’t exist at all—I went googling in the morning and she did have some resemblance to a British politician, but that aside, this was someone completely new my mind just *poofed* into existence!
One moment about that dream lingered with me though…
“When the rest of the world walks out…”

Around halfway through the dream, I ended up in this unfamiliar shopping mall and befriended… someone.
I don’t know who she is at all—I didn’t get her name at any point in the dream, she doesn’t have any resemblance to anyone I personally know, and the setting was too surreal for me to feel she’s based on anyone I’ve ever met…
But- we got along well!
Some of my real friends were in that dream, but they were more of side characters in the overall “story”: whoever this person was, they were the one I spent the most time with, so waking up that day was… sadly disappointing (T . T)
For me, finding out the new person I befriended and spent hours with didn’t actually exist was… well, it hurt me a bit—I felt there was so much more about that person I could’ve learned, but of course, it was time for me to return to reality, wasn’t it?

What I didn’t realise at the time was that this kind of dream would become… a reoccurring thing.
The pattern I’d experience was always the same: I’d go somewhere new, meet someone new, have fun just hanging out for a while, and then at some point I’d leave and realise I never got that person’s contact details or anything…
A lot of the spiritual stuff about dreams is pretty-interesting, but I like to believe that this is just reflecting… well, some of the loneliness brought about by the pandemic (-_-)zzz
Whenever I’d wake from one of these dreams, I’d always feel a little empty and disappointed that I couldn’t learn more about whoever I’d met—but that’s kinda funny, isn’t it?

Everything was just my unconscious imagination: While I’m conscious, I could give these people all a name, an identity, a family, anything to satisfy that desire!
But doing that here in reality doesn’t feel the same…
I feel a bit uncomfortable “editing” my dreams actually—I just think there’s like a barrier between our conscious and unconscious moments that would ideally stand, no?
So… I’ve wondered for a while now~
What happens to someone who’s trapped in-between their dreams and their reality—?
A fine line…
So I’m getting a bit carried away here—let’s head back in time by a while~!
By September last year, I had a lot of these questions about dreams in mind too—But I wasn’t really looking for answers~
I’m no neurologist or psychologist or anything, so I’m really not qualified to clarify more, but I’ve read of some studies into people who can’t tell dreams apart from reality—The research does exist in his field!
But I love thinking about this topic in a more spiritual or fantastical way—Like let’s say here that dreams happen in some alternate reality that we access for just a moment-!
What if you get stuck between there and our world?
Heehee~ I don’t actually believe any of this, but it’s fun to think about…
And these thoughts eventually inspired me to try and make some track out of it!
When I first began producing my second album The Broadcast, Between Fantasies stood out among all my other ideas for a few reasons!
It was:
- the only idea that wasn’t political in any way!
- the only song intended to be a lengthy piece.
- one of only three tracks composed primarily on piano / keyboards.
- the only track to not follow any standard meter or tempo.
I wanted to create a song based entirely off the moods, and I think even the intro captures how chaotic my composition of this song was!
What you’re hearing are two keyboards played in reversing glissandos, which I imagined as a way of representing that clash between reality and fantasy right from the start~!
But from there, my direction starts to… fade a lot.

I honestly don’t think Between Fantasies is awful, and in terms of being utterly-unpredictable, I feel like I did achieve that to an extent!
And maybe you’ll have a much better or worse opinion of the song than I did, in which case, I’d love to hear what you think-! *\(^o^)/*
But I also find it a bit hard to say more about this song since I recorded it basically on a whim…
Everything after that intro? I did it all in the span of a few hours, just because I felt like it~
So there aren’t many interesting musical things I could discuss here—I just had an idea, immediately got to work on it, and came out with something… I personally wish I’d worked on more (`・∀・´)
Aside from fantasies…
I can’t tell you how much I wish I had more to say about this one song~!
Less because I have any fondness for it, but more because I always find these kinds of behind-the-scenes discussions interesting, yeah?
I love the openness I can communicate with here—All my grievances and likings for my works in one place! Free for me or anyone else to look back on, so long as this all remains online of course~
As a compensation of sorts for this short post, I wanted to share some more pictures I got from my time at Bataan, just for the fun of it really~!

The building you can see here’s a replica of the Hotel de Oriente, originally built back in the capital of Manila in the late 1800s—and indeed, it was apparently one of the best and only hotels you could stay at back in those times!
As our guide told us, it was apparently the first place in the country to receive a working telephone, which I find a pretty-interesting little anecdote~
But unlike the house I talked about here, this is just a replica—Heh, I don’t actually remember what happened to the original, but it’s definitely not this…

now I’ll admit first—I forgot the story behind this church… my bad .°(ಗдಗ。)°.
But I do believe it was the original, if I’m remembering correctly!
Like those houses I mentioned last time, I believe these were the actual ruins of the church transported and rebuilt here, but if I’m wrong (I probably am ♪( ´▽`)), then feel free to correct me—My memory is really hazy…
But it’s one heck of a view, isn’t it’s~?

We weren’t actually allowed to enter as far as I remember, but I did get a few photos of myself just outside by the bridge~

Our resort was huge, but I honestly love how that church is visible from so many areas—this was in a plaza right across from the bridge leading to it, I just found this fountain pretty~
Now this place wasn’t the only one I visited while there…

But I wanna save Mt. Samat for a different time~
if only because of how much came to me while I was there…
Take care ‘til then, and all the love to ‘ya all! (=^▽^)σ
-
From Fears to Simulations to Stories: How Garry’s Mod continues to aid in my writing…

Hiya-!! Whether you’re a returning visitor or a new one, I love seeing you here regardless!
Before today’s post, I just wanted to share again my latest release: Dreamer’s Wonderland, the second track of my in-progress album A Time for Memories-!
You can check out my brief announcement right here! Or you can play the song here too, maybe as a background thing for the rest of my post? but I digress~
If you like what you hear, I tremendously appreciate any support you can give-! Even just knowing you enjoyed listening to this as much as I did composing it would be splendid!
But that aside, onto what I wanted to tell you about today…
A cube in a desert…
If you were around in Japan in the early 90s ((*_*) which I wasn’t), you might remember a psychology show of sorts called それいけ!!ココロジー, or simply translated as Kokology in English!
I think outside these areas, the book series is a lot more popular—and for good reason!
The books feature a lot of interesting theories and tests based on the ideas of predecessors like the usual Freud and Jung—I think the most popular among them is the Cube test, which you can try a version of here if you’re interested~
Through the power of imagination, the authors claim that you can interpret and reveal a lot about your mind and soul, hence the name coming from 心 (kokoro).

But is any of this actually scientific?
Well… Not that I know of—Like a lot of Freud’s and Jung’s ideas, in all honesty, a lot of the assumptions aren’t particularly supported by science, but that kind of takes away from the fun of the experience, doesn’t it?
I wouldn’t say my own results taking these tests have ever been 100% accurate, but I’ve always found them fun and rather amusing—
I love the idea that our imaginations can really project a lot about who we are.
The tests in these books kinda run with that idea as a theme—and I think it’s a good way of at least putting into picture how different the things we imagine can be.
Personally, I love imagining vast, scenic vistas: perhaps still, perhaps on the move, but generally just something picturesque, like a city at night, or a frozen tundra, or quiet, rocky islands…
A lot of the scenes I imagined, like for the Cube test for example, went along with these themes—but in terms of reoccurring thoughts?
heh… I’ve definitely had a lot worse regular ones.
Catastrophising
Preparing for the worst outcomes is generally helpful… but I think there’s a fine line between being prepared and being obsessed.
Early 2020 was a really surreal time—By January, I already knew of what would eventually become COVID-19 from Chinese news sources and other international reporting.

Did I think much of it? Not really—at least not at first, because the number of cases at the time seemed so low that it did feel like it could still be contained, no?
But some days after the first confirmed deaths, my paranoia began spiralling a bit- nowadays I can safely say that my fears back then were way more tame than what’s happened, but that aside (T . T)
My uncertainties at the time probably heightened my fears over other things—Living on an island country, you kinda expect better border security and what not, and yet it wasn’t long before we got our first case here too.
Some of this tension nationally and internationally mounted in… what I can only describe as an irrational fear of terrorist attacks…
It’s not even that these are common here, but hey-! Not like paranoia’s ever too sensible…
Some grim simulations…
I’ve talked about Garry’s Mod and the inspiration it is for me before, but for those who haven’t heard of it, it’s this sandbox physics game with… well, near-limitless possibilities!
As a part of everything I was feeling during this time, I booted up a lot of maps in this game as a way of simulating some of the stuff I feared…
But what I did a lot was… basically a massacre simulator.
Four guys with guns attack a crowded cruise ship—how would the civilians in this case survive?

I can just preface this by saying… they didn’t have too many options.
I’d always put myself as one of the civilians, and rarely did it ever end too well—sure, hiding on a cruise ship is pretty easy, but the attackers were always persistent, so surviving long enough until rescue came was… usually hopeless.
The map I ran these scenarios on is ttt_theship_v1, based on a different game that I honestly didn’t hear of until then… ♪( ´▽`)
I’ve put some screenshots from the ship above, and there’ll be more to come since I’ve done a lot in the map in my spare time~!

But it wasn’t that long before these simulations went from dealing with a fear to… something I could kinda work with.
At least when I came to accept how unrealistic my general anxieties were over this kind of an attack, I first wondered if I could turn this scenario into a fictional story…
Hey, pandemic lockdowns were almost certainly coming, so, might as well make the most of my time, yeah?
“For once, then…”
Everything was close to being presentable.
Through so many bad book reviews, advice articles, author blogs—I thought, this time, I was ready for something big but doable: a standalone thriller novel!
And my premise this time felt interesting too!
So for now, let’s call this work “Book 3”.

~a bit of an out-of-context moment~
The plot of Book 3 was basically what I was running in Garry’s Mod all those days: a cast of characters on a luxurious cruise ship find themselves embroiled in a terrorist conspiracy, with threats of an attack looming at any moment!
My idea was so good in my head—even now, I think it’s a bit insensitive, but still something we can make a plot out of, right?
I reused same map I used in the game for the setting, but with a lot of modifications, and funnily enough even the characters were based on some of the civilians that I often used for these simulations!
Unlike before, I had more going for me this time~
- A specific premise with potential.
- A narrative with potential for character-driven plotlines.
- A visually-memorable setting with its own identity.
- Lessons learned from prior mistakes!
- A ton of new advice from experienced authors and hobbyists alike!
- Insights on what not to do from bad examples!
But there’s one thing I didn’t think of at the time that’s missing here…
“Something.”
Last week, I went on this unorganised tangent on how helpful story themes have been in motivating me to write and push on with projects…
And looking back?
I really should’ve considered that when writing this book 3… (OvO)

I’d really love to but I genuinely cannot tell you what I thought the theme even was-!
Friendship? Nope I didn’t grow a fondness for that until this year~
Something profound? Eh, I was (and still probably am) too young to consider anything I write profound~
Did I write a good story in the end? Eh, not really either—
So what did I write?
Well… unlike before though, this time, I think I can say I did write a book!
It’s just that its edges are so small yet blatant that the entire book deserves at least a choking hazard label…
I hope I can see you back here on Thursday, where I can tell you all about the actual contents of this book, and more on the story of its writing-!
Honestly, reflecting on my past writing in a timeline like this has been pretty fun so far—through all the disorganisation, if you’ve made it here, then I can’t thank you enough for sticking through these ramblings~! ☆*:.。. o(≧▽≦)o .。.:*☆
Take care, and more love to ‘ya!

(Heh—Felt like tossing in another one of my shots from Bataan! Anyone know what plant this is~?) -
From an amusing antagonist to a spiceless song… (#50 – A. T. Landon)

Whether it’s anime or books… I can’t be the only one who really loves a good villain, right?
As in: some smart, well-spoken, eccentric villain with a stage presence that can often shadow our protagonists—I could list a bunch here, but I’m sure you have your own favourite example of this trope!
If I had to explain it… I guess it’s some sort of hate overflow: you detest this kind of villain so much for being annoying or malicious—yet they’ll find a way to grow on you through sheer personality alone ٩(๑❛ᴗ❛๑)۶
Roswaal Mathers from the Re:Zero franchise is one of these kinds I fawn over—I don’t wanna spoil too much of course, but despite what’s revealed about him as the series goes on, I can’t help but love that formal clown look he rocks- not to mention his voice in the show!?
Whether it’s Takehito Koyasu (子安武人) or Ray Chase, I honestly can’t decide whose performance I love more—I think it’s especially funny that they got Koyasu in the role given his usual typecasting as villains, but all those aside~
I have this kind of type for villains… and in my own writing, I’ve always loved writing at least one, two, maybe three of them into each story—so! Who exactly did I get started with?
“The acquaintances of real men are those from whom he may find comfort in, and those whose presence alone is a mutual benefit.”
Now we’re skipping ahead a bit in the timeline so… I’ll summarise things a bit quickly to avoid confusion~!
My fourth attempted book differed from my previous ones in that I wanted to write just a novella for once—and I got the idea right from a friend, who had inspiration to write this murder mystery family drama type of affair, but couldn’t really find the time to get her idea into writing (´-`).。oO
Set in an unnamed city in early-2000s South England, our story follows a wealthy but troubled man attempting to piece together the sudden assassination of his brother, who was murdered the same night their father died of a suspected poisoning.
One of his closest friends and confidants is the CEO of a local law firm, Griffin A. T. Landon, someone I’d describe as an old-fashioned and upper-class kind of man, but also someone who’s very willing to conduct illicit acts for personal gain.


(this balloon would love living in either of these~) Now I’ll be honest here—Writing Griffin was one of my most enjoyable experiences in my early books, and it’s largely because he’s the archetype I described earlier: an affable, maybe-quotable villain character with a confident presence, even if some of the things he says are ridiculous, archaic, or just completely repulsive!
So to spoil the twist here: Griffin turns out to be behind most of the book’s “sudden accidents”, having orchestrated a series of killings to protect himself in a criminal investigation he got caught up with—and this poorly-thought out plan ends just as poorly for him: he does get out the country, but ends up taking his own life before he could be arrested.
The quote I put up here as our title’s actually something Griffin said at one point: I think the matter-of-fact way he puts it, plus the way he implies there’s some sort of rulebook for masculinity, perfectly captures how I’ve always pictured this bastard~
Goes without saying I don’t agree with 99% of the stuff I put into this guy’s mouth—and the fact this kind of masculine success-oriented toxicity’s becoming more widespread again is really bad for us on this side of things—but given Griffin’s pure fiction?
Well… I had enough fondness for this doofus that I wondered: what if I produced a song about him!?
“My hands shall always be clean, unless there is an interest I mean to protect.”
Another Breeze ended up being my first real album, and like I discussed in my previous entry, that project had environmental destruction as an underlying theme of sorts.
So moving immediately into a second project—I thought: what better theme to dabble with than politics!
Not any one ideology in particular—my idea was more on general concepts like corruption or fabrication or propaganda- You know, near-universal problems about everyone everywhere has some idea about~
My idea for A. T. Landon came right from that idea of corruption—and when I was thinking of how I could frame this song in the least-controversial way possible, I settled on letting Griffin become the star of it!
In my “official” index for ideas, this song is #6, and from the earliest stages, I really wanted this conceptually-bitonal song, with an upbeat, cheery melody hiding something more nefarious.
Only problem?
I had no experience doing anything that complex…
So this is what we have instead: a really-repetitive, directionless jingle that starts at point A, wiggles around, and then ends having accomplished pretty-much nothing… ( ゚д゚)
Compared to Searing Debut or Floe, A. T. Landon’s much more listenable for me I guess, but I find myself spending most of these six minutes just kinda begging for some reprieve.
And that’s really what I find most troubling about this song… It’s not overly-atrocious, but it’s nothing spectacular, and it doesn’t commit any like huge, glaring mistakes I could learn a lot from—it’s just mediocre…
Which is kind of its biggest shame, yeah?
The novella’s tale of Griffin Landon is an arc that, conceptually anyways, really nosedived from atop the outermost peak, to the deep end of an arid gorge.
But I failed in capturing any of that in this song named after him… None of his stage presence, his charisma, his utter depravity~
I do have some desire to try and remake this track, but that’ll probably come some time in the distant future—Maybe you’ll be there to witness that too-? But I jest~
I think a lot of my takeaways from this track come down to one thing: rushing!

like look at the completion dates on these recordings… (*_*)
A. T. Landon was the fifth song I finished for my second album, and the catch? I finished all five of those songs in five days!
From start to finish, September 8th to the 12th, these songs went up one by one… and for comparison, my latest tracks have upload gaps of anywhere from a week to several months!
Like with a lot of creative matters, I didn’t take the time to polish the edges, and I’ve been left with something… befitting of being stuffed into a Hyottoko (火男) mask~
~A brief message for you~
Hiya! Another post, another weekend huh? At least in my timezone~
If you’re reading this, then I wanna thank you for sticking around!!
*\(^o^)/*
Even when I spew out all these negatives, I still have a lot of fun retracing my creative journeys so far, breaking down the lessons I’ve learned, and just appreciating how much I’ve personally grown since then… but I guess all of us creatives do this, yeah?

Now if you’ve been around earlier, you may be wondering why I didn’t do any musical analyses this week—honestly, I just wanna make my schedule a bit more flexible since I’ll have to shoulder additional commitments in a week or two (´⊙ω⊙`)
Next week, I can’t promise what I will or won’t post, but you can count on my word: I’ll put up at least one more recommendation / analysis type thing-!
I will love David Bowie ‘til I die, but for that upcoming post, I think I’ll come back to something a lot more homely for me~
So stay tuned, and all the love for you and your incoming weekend~!
– むんだえ





















