Aaron Febre

52 POSTS 0 COMMENTS

Kevin Abstract – “Ghettobaby” EP Review

One of the most famous members of Brockhampton, Kevin Abstract, just released an EP titled “Ghettobaby.” Abstract worked with Jack Antonoff to write and produce the project. Antonoff is known to be the lead singer of Bleachers and has produced records for Taylor Swift, Lorde and Lana Del Rey.

Prior to this EP, I was wondering what the members of Brockhampton were going to do since the release of their 2018 album, “iridescence.” While I liked “iridescence,” I just didn’t think it was as good as the “Saturation” trilogy was.

On top of that, the events that lead up to the release of “iridescence” must have had a tiring effect on the group. Music YouTuber Oliver Kemp (channel DeepCuts) felt that the group may need a break and do solo work before coming back together. I completely agreed with Kemp; it seemed like the creative spark the group usually had was starting to dwindle on “iridescence” and a little break would help regenerate their creativity.

Upon learning about this new EP, I was genuinely curious what Abstract has up to since the release of the last Brockhampton album. In fact, this is the first time Abstract has released solo material since 2016’s “American Boyfriend,” a record he released before Brockhampton’s rise to fame. A week before this EP’s release, half of the tracks were released under the “Arizona Baby” single.

When listening to the new EP it was very clear that the first two tracks were influenced by OutKast. Abstract’s rapid-fire flow on “Big Wheels” and “Joy Ride” was something Andre 3000 would have done. However, they’re mixed with blaring horns and fingerpicked guitars, which brings a contrast with Abstract’s flow.

Lyrically, “Big Wheels” is a personal commentary about Abstract’s new fame as well as hitting back at haters who accused him of queerbaiting, a practice where LGBTQ+ topics are featured in entertainment just to attract an LGBTQ+ audience. This accusation upsets Abstract as he identifies as gay himself and said in an interview on DJBooth that he will rap about the topic as long as a fan is in need of a voice.

The way Abstract tackles his accusers is done in a very angry yet insecure way which gives listeners an insight into what his mindset is. He raps, “My n****s back home ain’t proud of me | They think I’m a bitch | Just queerbaitin’ | Quit bein’ a bitch and quit hatin’ | Y’all pump fakin’.”

“Georgia” gives off an ambiance in the production. As a matter of fact, it reminds me of Frank Ocean’s 2016 album, “Blonde.” The track brings up Abstract’s past before fame when things were simpler. The chorus feels like a mantra, something that Abstract says to himself when his anxiety comes to take over his thoughts. Abstract sings, “I got Georgia on my mind, ain’t nobody left behind | It’s just me, my team, my weed, my baby’s Audi parked outside | Call my mom and let her know that everything is alright.”

On “Corpus Christi,” Abstract’s insecurities return to the fold and go deeper than ever. He talks about being ridiculed by loved ones and questioning his self-worth. Abstract shows how he tries to cope with these problems by using drugs. The most noticeable thing about this track is that it talks about the departure of former Brockhampton member and close friend, Ameer Vaan. Vaan left after receiving allegations of sexual misconduct and hasn’t talked to the group since then. Abstract ponders what his friend thinks of him almost a year after Vann’s departure.

The only problem I may have with this EP is the production. The influences on this project are very strong and you could almost mistake that you are listening to these aforementioned artists. Nothing wrong with showing your influences, but sometimes it can drown out the artists’ own voice.

When I first heard the “Arizona Baby” single, I felt there was something missing and was a bit unsatisfied. When Abstract announced that he will immediately follow it up with “Ghettobaby,” I thought it was going to fill in the gap that “Arizona Baby” left behind.

Now that “Ghettobaby” is out and I can see the tracks as one cohesive unit, I know I was right because seeing the project as a whole brought a much better experience for me. “Ghettobaby” is a fantastic EP that will certainly fill up Brockhampton fans as they wait for news from the group.

Label: Question Everything/RCA

Listen to “Ghettobaby” on Spotify:

Tom Petty – “Full Moon Fever” 30 Years Later

Strangely enough, “Full Moon Fever” is Tom Petty’s first solo album without his band the Heartbreakers. It’s considered strange since some viewed the Heartbreakers as his backing band (akin to Bruce Springsteen and the E Street Band). Furthermore, some of the members performed on the album and were even displeased by Petty’s decision to call it a solo album. But it felt right that “Full Moon Fever” needed to be under Tom Petty’s name alone and not with the Heartbreakers.

Why? Well, before the sessions of the album began, Petty met Jeff Lynne, the lead singer of Electric Light Orchestra (ELO). After Petty presented a few songs to Lynne, the latter agreed to help produce the album. It was also around this time that Petty and Lynne would join George Harrison, Roy Orbison and Bob Dylan to form the Traveling Wilburys. This collaboration would give Petty a chance to work with people outside of the Heartbreakers. Although the elements of the Heartbreakers were still there, there was enough room in Petty’s solo album that gave him a chance to do things differently.

With “Full Moon Fever,” Petty coworked with Lynne on songwriting duties. The recording location provided by Heartbreaker guitarist, Mike Campbell, produced a relaxing atmosphere for the pair to work on the album. Harrison and Orbison would also appear on a few of the tracks such as “I Won’t Back Down” and “Zombie Zoo.” This experience left an impact on Petty, and he went as far as saying this was the most enjoyable record that he ever made.

For that, I agree with him. When you hear “Free Fallin’,” Petty sounds so refreshed and inspired. Even when he’s yelling out in the chorus, it doesn’t sound stressful for him to produce. It helps bring the song to life which is why it is one of the most memorable rock songs of all time. Plus, I love the little references to various places in Los Angeles such as Reseda and Ventura Boulevard in the lyrics. Those are places in Los Angeles that I remember visiting when I was a kid and hearing this song makes me want to go back there.

This aura of relaxation and confidence remain throughout the entire record. Sometimes, that confidence is taken to another level. “I Won’t Back Down” burns with confidence inside the lyrics, “Well I know what’s right | I got just one life | In a world that keeps on pushin’ me around | But I’ll stand my ground | And I won’t back down.” It’s spine-chilling just to see how much confidence can do to someone in a song.

One notable aspect that has been pointed out when listening to “Full Moon Fever” is the tracklisting is reminiscent of a compilation record. Track-by-track, Petty putting out the best songs that he has ever written and it doesn’t slow down one bit. The adrenaline really runs high on a track like “Runnin’ Down A Dream” with its crunching guitars or the euphoric melodies in Petty’s cover of “I’ll Feel A Whole Lot Better.”

I find it even more fascinating the production. With the Heartbreakers, Petty made songs for a rock band. With this album, there is more freedom with the instrumentation. The usage of acoustic guitars, vocal harmonies and keyboards help give these songs depth. The more I listen to this album, the more I feel like it wasn’t made in 1989. If anything, it felt more like it was made in 1969. To me, it would have fit right into that time period. These approaches to production showed just how much Tom Petty believed in having full artistic control over his music.

Having that control helped with making him stand out in history as he was a man who did what he wanted for his music with no compromises. It preserved the quality of his music and yet he retained his popularity. It’s even more bittersweet listening to the album now since his passing in 2017. However, listening to this album is also a privilege to know and enjoy this man’s music.

For that, “Full Moon Fever” (as well as Petty’s music in general) deserves the credit it has been receiving in the time since its release. May it long continue to bring joy to fans and introduce new people to the life and music of Tom Petty.

Label: MCA

Listen to “Full Moon Fever” on Spotify:

A Look Inside UNC Charlotte’s Costume Shop

When watching a performance presented by the College of Arts and Architecture, you immediately notice the costumes that the performers wear. You might be wondering how they managed to get their hands on these costumes. While it would be easy to say that the departments bought these costumes pre-made, some of them are actually made from scratch by students.

Where exactly can students make the costumes? There is a costume shop inside Robinson Hall where students can learn to make costumes that will be used for the upcoming performances. It is managed by Professor Hali Hutchinson who is currently working on an upcoming play called “Blues for an Alabama Sky.”

When working at the costume shop, it has to be noted that learning to sew is a skill. Hutchinson is aware that students can get easily frustrated by the difficulty of learning to sew for the first time. “It’s something that you get better and better at with repetition.” she said. She also takes into account how students learn, whether they learn by watching the instructor or from spoken instructions.

According to the Head of Costume Design of the Department of Theatre, Professor Aly Amidei, the costume shop can also be a place where students learn the skills of modifying, such as sewing or altering a suit. “That room is a learning space, classroom space and a production space.” she said.

When picking a play, a faculty meeting is held where they propose and vote on a production. They also factor in personal interests, student interest and impact on the campus. “We pick them by the impact they will have on in terms of campus culture [sic], or [if they are] something that can be good for the world a[t] certain given time. Or sometimes we pick them for fun.” Amidei said.

An ultimate decision is made by the chair of the department, Dr. Lynne Conner. Afterward, the department will see if they can get the rights for the proposed play.

Photo by Daniel Johnson

Timeline wise, productions are chosen a year before they are performed. The process of planning costumes starts a semester before the showcase. The choice of play can have an effect on the production and preparations of the costumes. Depending on the semester and the season, the department will determine how to prepare for the upcoming events.

The department also takes into account the students’ skill set to determine what they would design for the play. If they have less experience working on certain aspects of the costumes, employees of the costume shop will help assist the class.

According to Amidei, there are two parts when it comes to teaching students in the shop. The first part is building the ideas for the costumes. Students start doing research, analyzing the script and understanding the characters. “You [are] kind of creating an image; an idea of what that character/dancer will look like.” she said.

The second part is when you bring these ideas to life. This is where students actually find the materials that will be required to make the costumes. There, students make the costume from scratch or look for clothing/materials from storage or shopping areas. Sometimes the shop may need to rent costumes from other schools or other costume shops. “All of those things are determined by the budget and the time we have for a show,” Amidei said. “We might have tons of budget, but if we have only two weeks to make it happen, that’s not enough time to build something.”

This process is very evident in preparing the costumes for “Blues” as the setting of the play takes place in the 1930s during the Harlem Renaissance. Students spent much of this semester researching and replicating the clothing to fit the setting. From this, students learn to serve the story for what it needs, since some would find it out of place if a style of clothing from another time period appeared in the play.

An example in “Blues” would be the character Delia. She contains a liberal mindset but dresses in a conservative manner. This is done in order for other people to take her seriously about her views. It is these characteristics that will be in a student’s mind when it comes to designing what Delia will look like on stage.

However, some plays aren’t very specific in their costume design. Depending on the play and how open the director is to ideas, designing can go in various directions. Amidei points out that Shakespeare plays can be very open-ended because people have different ways of interpreting those stories.

As the costume designer for “Blues,” Hutchinson is using more practical and fewer builds to fit the students’ time. This means students will be more focused on things such as sewing, suit modifications and hemming.

An example from “Blues” is the dresses. Instead of using polyester, students are using silk or cotton, which is what was used during the 1930s to make dresses. They also have to look at the cotton patterns of a dress to make sure they are very accurate for the time.

Photo by Daniel Johnson

The shop features two courses, a practicum and costume tech class. The practicum class is where the costumes are made for the performances; the costume tech class is where students modify clothes that they can wear for themselves.

Students who are not majoring in theatre or dance can register for a class in the costume shop. In fact, you can take many theatre classes without being a theatre major. There will be costume crafts class next semester that will be taught by Amidei. According to her, there are at least three non-major students who are registered for that class. The costume tech class is another common class for non-majors to register for. However, the practicum class is more difficult as it is more major-specific.

Non-major students have also done wardrobe and backstage work. You can go and audition for the department if you desire to do so. “Some of our best student workers have been from other majors,” Amidei said. “If you have the skills, the interest, the time and want money, they often post that job in the fall and spring.”

The costume shop here at UNC Charlotte is a place where students can learn the ropes of designing clothes and costumes for all skill levels. The experience a student can gain here can be a building block for those who wish to pursue a career in costume design. Amidei advises that a student should take as many costume and art history classes as they can. She also believes that you have to be a well-rounded artist. “You have to go out and get it. Most of your jobs will come from word of mouth. You might have to hustle to get that first job. If you’re doing a good job, it usually starts to cascade.”

Album Review – “When We All Fall Asleep, Where Do We Go?” by Billie Eilish

At the age of 17, Billie Eilish has been making waves with her debut album, “When We All Fall Asleep, Where Do We Go?” The album made it to number one on the Billboard Top 200 Album Charts. Furthermore, the new album received critical praise from various publications. Eilish announced a world tour starting April 24.

Prior to the release of “When We All Fall Asleep,” singles such as “You Should See Me In a Crown” and “When the Party’s Over” created anticipation for the album. They featured unsettling music videos. For example, “When the Party’s Over” displayed symbolism inside Eilish’s drink; it represented her metaphorically drinking up negative thoughts. As the video progressed, we see her crying with the liquid she drank instead of her tears. This continues until the end of the where it drowned out the entire room she is in.

It was pretty alarming to read about these type of lyrics for a 17-year-old. This is kind of content is something that continues onto the new record. In the track “xanny,” Eilish talks about how she doesn’t want to lose any more friends over something that can cost them their lives. It is believed to be about the drug Xanax. In the chorus, Eilish sings, “I don’t need a Xanny to feel better | On designated drives home | Only one who’s not stoned | Don’t give me a Xanny, now or ever.”

Although “When We All Fall Asleep” features heavy topics, that doesn’t mean that the music is completely melancholic. “Bad Guy” and “You Should See Me In A Crown” feature pulsing beats that give intensity to the lyrics. This helps bring excitement and variety to prevent the whole album from being completely soft and melancholic.

When listening to this album, it is easy to draw comparisons to her contemporaries. There are times where I am reminded of Lorde’s last album when listening to “When We All Fall Asleep.” This is mostly because they both share similar lyrical topics and have a variety of instrumentation to their music. However, the difference is when I hear Eilish’s music, it gives me a sense of paranoia. In fact, the upbeat tracks on “When We All Fall Asleep” add unpredictability to her attitude.

“All the Good Girls Go to Hell” backs up this point. It contains a bass riff that complements Eilish’s crooning. I can’t help but draw parallels to various Cure songs such as “Lullaby” and “Close to Me.” Lyrically, the song sees Eilish playing with the dichotomy of good and evil in religion. Is the afterlife really supposed as gloriously as we are told? She describes it as a “picket fence” and wonders if humans are truly good since we have a dark side inside all of us.

To conclude, “When We All Fall Asleep” is a great package of pop songs with thought-provoking topics. While the hype surrounding the new album can be ludicrous, it is a stunning album that makes me look forward to hearing more of Eilish’s music in the future.

Label: Interscope

Listen to “When We All Fall Asleep” on Spotify:

Pixies – “Doolittle” 30 Years Later

It should come to no surprise that the Pixies’ second album, “Doolittle,” is one of the greatest albums ever. This was an album that provided something new in the late 1980s and would help set the course of rock music for the decade after.

One year following their debut album, 1988’s “Surfer Rosa,” “Doolittle” feels more refined and visceral compared to the predecessor. Opening track “Debaser” launches with frantic drumming and maniac-like yelling from Black Francis (born Charles Thompson). However, this is contrasted with the grooving bass and soft backing vocals from Kim Deal that brings a calm melody to the abrasiveness of Francis’ voice.

This is continued in tracks such as “Tame,” “Wave of Mutilation” and “Monkey Gone to Heaven” where the band implemented the “quiet verse, loud chorus” dynamic into these tracks; soft and melodic one minute until it erupts into a soaring chorus. This method became popular among rock bands that came after the Pixies, most notably with Nirvana using this method with their biggest hits such as “Smells Like Teen Spirit” and “Heart-Shaped Box.”

However, not all of the tracks on “Doolittle” strictly follow this method. “Crackity Jones” is a full-speed rocker while “Here Comes Your Man” is a glorious pop song. This helps bring variety to the album and prevents it from being a one-trick pony.

Lyrically, the album provides some gruesome topics. “Wave of Mutilation” is based on stories of Japanese businessmen committing suicide by driving off a cliff. “Gouge Away” features a sexual affair that ends violently. “Monkey Gone to Heaven” talks about the world being destroyed by environmental pollution.

It’s quite horrific when you realize how a song can be so catchy but contain such violent lyrics. Imagine the reaction of listeners upon realizing the meaning of “Gouge Away” hiding snuggly inside the music. “Sleeping on your belly | You break my arms | You spoon my eyes | Been rubbing a bad charm with holy fingers.”

That’s the beauty of “Doolittle;” it’s an album of catchy rock songs that feature lyrics that weren’t found in a typical rock or pop album of the time period. To this day, the album still sounds modern and slick. It’s even more evident in how this album was the precursor to alternative rock in the 1990s. Many bands from that time period have cited them as an influence, such as Nirvana, Radiohead, Weezer, Pavement and Smashing Pumpkins. Even artists from before such as David Bowie praised the Pixies for their sound.

Had the Pixies came around the same time as these aforementioned bands, they would have probably received the same commercial success. However, that would take away from the uniqueness of the band. While they never received the success Nirvana had, there is still a special aura surrounding the Pixies. They were simply a band who were ahead of their time.

The Pixies was very different from other rock bands (mainstream or underground) that existed at the same time as them. It is very hard to believe that they had just arrived when Mötley Crüe, U2 and Metallica were releasing their seminal albums of the 80s. To sum this record up, it was a 90s classic not made in the 90s.  

Label: 4AD

Listen to “Doolittle” on Spotify:

When Your Generation Hates U2

I have a long history of loving U2. My uncle was a big fan of the group and him often playing their music around me is why I became fond of the group. I obviously love the classics such as “The Joshua Tree,” “Achtung Baby,” “War” and “The Unforgettable Fire” as well as their lesser-known (and more daring) material on albums such as “Boy,” “Zooropa” and “Pop.”

However, many of my peers best remember them for releasing their 2014 album “Songs of Innocence” where it was preemptively downloaded onto everyone’s iPhone. Many people were angry as Apple made removing the album not an easy task.

Now I never got direct insults, but the way people talk about them in front of me makes it seem like they’re having a slight dig at me for loving them. I could be misinterpreting and overthinking this, but I find it sad since I’ve never done that towards any of their favorite musicians.

And it doesn’t stop there; in online music communities which I’m a part of, I find that many people doing the same thing. Except it’s a lot of worse. People have made memes and negative comments on this band (and particularly towards lead singer Bono). Some of them, however, is a bit unnecessary.

I get that it’s tiresome to see Bono talk about whatever political issue he is crazy about. I do too. The obvious solution to this is to not listen to them. Simple as that. But then there are some that take a shot at The Edge (the guitarist) over his abilities to play guitar compared to the likes of Eddie Van Halen or Slash.

To keep it short, Edge is not like Slash. There is nothing wrong with those types of guitarists, but Edge is the type who cares more about the song than his own technical abilities. Take a look at “Bad,” “Where the Streets Have No Name” or “The Fly.” The simplicity of his style built alongside his mastery of effect pedals creates beautiful melodies and soundscapes coming out of.

Unfortunately, these are only classic songs. U2 hasn’t put out a recent album that can remind the people of how special they can be. Personally, the last time they showed it was 2000’s “All That You Can’t Leave Behind,” which was backed by tracks such as “Beautiful Day,” “Stuck In a Moment You Can’t Get Out Of” and “Kite.” 2004’s “How to Dismantle An Atomic Bomb” felt a bit inconsistent, while the last three albums (from 2009’s “No Line On the Horizon” to 2017’s “Songs of Experience”) haven’t been convincing and stagnant in my eyes.

It’s a little sad because some people don’t really take the time to see what made this band so special. Listen to the aforementioned albums. Search up some of their live performances on YouTube. At least understand U2’s significance in music even if you don’t personally dig it.

For fans who are like me, the solution to dealing with all of this is to ignore them. In the words of musician Noel Gallagher, “I don’t give a f*** what you think about them anymore.” Matter of fact, you might as well play the song “Numb” off of “Zooropa” when you’re dealing with them. That song fits perfectly for when you’re dealing with so much nonsense in your life.

You can apply this to whatever musician or actor or movie that you love whom everyone seems to hate. All you have to do is to just not care about them. They can say what they want. I know for certain that I’m going to continue loving U2 for the rest of my life.

Listen to U2’s music on Spotify:

Little Simz – “GREY Area” Album Review

The new Little Simz album, “GREY Area,” has received praise throughout the month of March in notable publications such as NME, Pitchfork and The Independent. Furthermore, YouTube music critic Anthony Fantano (of TheNeedleDrop) went as far to say that it is the best hip-hop album of the year on his Instagram page.

So is the hype around this album all true? For one, I had no prior knowledge about Little Simz and never really listened to her music. So coming into this album, I had a clean slate to see what she was all about.

I was impressed with the new album. Right off the bat, tracks such as “Selfish” and “Venom” demonstrate her flow; one that is smooth, rapid and confident. “Selfish” displays how she attempts to practice self-love by having high standards of the men that she is seeing and how she views herself as a “woman of class.” She doesn’t want some who is lazy and waiting for things to happen, she wants someone who has worked their way up to make things happen.

Interesting enough, the chorus (sung by Cleo Sol) shows an acknowledgment that some can view her thoughts as a bit selfish. She responds that maybe they are right, which shows an acknowledgment of her vulnerability.

One of my favorites off of the album is the track “101 FM,” a track that talks about a simpler time in her life playing Mortal Kombat and Crash Bandicoot. But there she was also dealt with hardships with her friends as she mentioned that one of them was robbed, which brings really touching and revealing moments on the album.

Most of the album’s production shows influences of jazz rap, which already entices me as a fan of the genre. But the most interesting aspect is that it feels modern and slick as well making sure that Simz retains her own personality and voice. It’s a healthy balance of drawing from the past but also providing new things for the present. It is these arguments, as well as the lyrical topics, that makes “GREY Area” a contender for the best hip-hop album of the year.

An example of this is the track “Wounds,” I love the jazzy guitars, slinky bass and the soothing voice from Chronixx. Lyrically, this talks about the horrors of gun violence and how holding that gun hurting others doesn’t make you tough or a man, because with that gun, someone can lose their life and can bring serious damage. The chorus adds that love is the best way to quell the anger inside the person who holds the gun; it can bring them to reality and help them understand the potential harm that it can bring to others.

“GREY Area” is a fantastic listening experience and I certainly agree with many people that this is one of the best hip-hop albums of the year. In fact, this could be one of the best albums of the year.  I never really got bored with it during the entire 35 minutes. This is a good album to introduce yourself to Little Simz’s music and it gives you an opportunity to listen to her catalog.

Label: Age 101 Music

Listen to “GREY Area” on Spotify:

TV REVIEW: Riverdale Season 3 Episode 16 – “BIG FUN”

WARNING: The following review contains spoilers for “BIG FUN.”

Riverdale’s latest episode sees the show feature their second-ever musical. This one is based on the 1989 film “Heathers”, which has brought concerns to the parents of Riverdale students as the musical is about violence and suicide and the previous musical saw someone get killed.

With Evelyn (Zoé De Grand Maison) and Toni (Vanessa Morgan) being a part of the production team, conflict within the cast is imminent. With Betty’s (Lili Reinhart) problems with Evelyn (since she is a member of the Farm) while Cheryl (Madelaine Petsch) and Toni are still fresh from their breakup. Betty’s case with the Farm is one of the most interesting parts of the episode.

While the musical parts definitely provide a break from the conflict that is displayed, sometimes it can be overbearing with the sensual dance moves, and the fact that I saw Jughead (Cole Sprouse) singing, felt a bit uneasy to watch. Don’t get me wrong, the choreography is great along with the musical choices, but seeing Jughead singing seems out of character, it is even more evident with him being dragged into it at the end.

Speaking of Jughead, we see that he continues his mission to stop his mother’s drug trade. Apparently, Gladys (Gina Gershon) made his former trailer home into a drug lab which obviously left him rattled. Seeing him so conflicted about the fact that his childhood home was turned into a drug lab headed by his own mother has brought overwhelming emotions onto him. Unfortunately, his singing parts ruined it for me because I would love to have seen an emotional scene with him and Betty instead since it can remind us why they are considered to be the best pairing of the entire cast.

Speaking of pairings, Hiram (Mark Consuelos) and Hermione (Marisol Nichols) decided to split up after Hiram found out that she sold off his drugs while he was in the hospital and hired someone to kill him. Because of this, their daughter Veronica (Camila Mendes) turns towards Reggie (Charles Melton) for comfort. Reggie is unsure if it is the right thing to do, especially after questioning about what he means to Veronica considering that they slept together after learning that her parents had to split. Ultimately, Reggie decides to call it off.

Meanwhile, Archie (KJ Apa) and Josie’s (Ashleigh Murray) relationship is made known. While Josie is hesitant to make it official, Archie thinks that it will be okay. I do wonder how this pairing will turn out especially as Josie hasn’t been getting the spotlight prior to now. This felt like an odd pairing that may not last long, but there’s a chance I could be wrong.

The episode ends on a cliffhanger where the cast would play “Seventeen” on opening night. What follows are slow, synchronized claps from Evelyn’s father, Edgar (Chad Michael Murray) and the other members of the Farm. This strange clap has left both the cast and the families of the Jones and Lodges confused. The Farm is quite a weird lot, but somehow I don’t find them as threatening as the Gargoyles were. We will hopefully find out more in the next episode. Overall, this episode gave a nice change of pace with the musical that can add some fun to the season, especially it can ease up viewers for the next episode.

You can catch new Riverdale episodes on Wednesday at 8 p.m. on the CW channel.

Death of a musician: How do you react?

  1. Death. It’s a painful thing to feel, whether you lost a family member or a friend. It’s an unfortunate part of life that you have to live with. But does it work the same with an actor? An athlete? A musician? Do you mourn for their death as if they were a friend or family member? Do you have more of a sense of gratitude towards the work and achievements they made?

This week, Mark Hollis passed away at the age of 64 caused by a short, unknown illness. Hollis was best known as the lead singer for the English band Talk Talk, a group that initially started out as a Synthpop band and received commercial success in the early to mid ‘80s. But in the late ‘80s and the early ‘90s, Talk Talk moved towards an ambient and experimental direction that saw them become pioneers in the genre of Post-rock. Following their disbandment, Hollis would release a self-titled solo album in 1998 before retiring from the music industry.

Some of my favorite records come from Talk Talk’s catalog. Records such as “The Colour of Spring,” “Spirit of Eden” and “Laughing Stock” took my music taste to new horizons. But upon hearing about Hollis’ death, I wasn’t sure how to feel about his passing. It didn’t leave me bawling on the floor. It didn’t leave me in a state of numbness and lacking of emotions. The only thing that I felt was a sense of gratitude.

Now I have my reasons for why I feel this way. I obviously don’t know Hollis personally, but he seemed to be a generous man based on interviews I’ve seen. Secondly, he was a very private man who hadn’t released new music since the late ‘90s and preferred to remain out of the spotlight. Hence, why he hadn’t been in the public eye for many years and rarely gave interviews. So there’s personal respect for Hollis in keeping his life private and releasing music at his own pace and leisure.

I’m not one for mourning for a person that I personally don’t know, even if I really like their music. It’s a bit of an extreme measure for me. But it is very understandable why some mourn for their loss. Their music has taken on a huge meaning to the listener’s everyday life and was there for them during hardships.

Granted, I have only listened to Talk Talk’s music for the last two to three years compared to those who were listening since the ‘80s. I’ve yet to experience the death of a current musician who I really love. So I wonder how I will react when I learn about Alex Turner, MC Ride or Kendrick Lamar’s passing, especially since they share similar qualities to Hollis.

When it comes to the death of an artist, take this is as an opportunity to look back on the music that they made and find meaning out of it. If you never got a chance to listen to it for the first time, then this is a way to pay respects to the musicians. As a fan of Talk Talk, it was a personal reminder of how these records were able to take me to mythical places.

Whoever you are a fan of, take their death as a way to celebrate their work and give them thanks for providing you with an experience that you will never forget.

For Mark Hollis, I’d like to give my most sincere thanks for providing some of the most fascinating records ever made and here’s hopes that someone will discover and appreciate your music. Rest in Peace.

Listen to Talk Talk’s music on Spotify:

Green Day – “Dookie” 25 Years Later

“Do you have the time? To listen to me whine? About nothing and everything all at once?” Billy Joe Armstrong says on the track “Basket Case.” This is a question that has been burning for generations of teenagers. Hearing those words as a 14-year-old kid was a bit of a revelation; growing up confused and a bit angsty about the things that surrounded me, there was a sense of feeling like an outsider. But hearing those words gave a life-affirming sense that I wasn’t alone and was not the only one who was feeling this way.

While most of my generation first remember Green Day for their 2004 album, “American Idiot,” it wasn’t the first time that they made their mark on the world. It was in 1994 when the band released their third album, “Dookie,” that they received commercial success. Among the Grunge acts that were prevalent in America during the early ‘90s, “Dookie” provided a brighter sound but retained some of the angst found in the Grunge acts. It was a welcome break from the gloom and anger that Grunge provided. While there’s nothing wrong with Grunge music, it was starting to become tiresome to hear it over and over again.

Hit singles such as “Basket Case” and “Longview” came with audacious and funny music videos that felt like a diary of a teenager’s life. They were filled with bright colors and three misfits. That was the beauty of it, it felt relatable for teens to see these three guys who were thinking and doing the same things as they were. Even Armstrong noted how people reacted towards the band’s appearance, particularly towards the music video of “Longview” where the members looked notably different from the typical clean-looking pop star. “We wanted to show it all, zits, acne, you know, blemishes,” Armstrong said.

Take a song like “Welcome to Paradise.” It’s a song about being on your own and having fun with your freedom but also dealing with the consequences of living independently. Or the song “She,” a song about the problems a teenage girl face in a sexist society. These are some serious topics but it’s balanced by how incredibly catchy the songs are. The choruses soar, the guitars roar and the bass is melodic. They get stuck inside your head for countless hours. Matter of fact, I’m already hearing “She” inside of my head.

The best part of this album is that it doesn’t let up on its energy. This album plays like a train that will never stop. Track by track you are injected by high-pace songs that will leave your heart pounding. The opening track “Burnout” makes it clear that this is a train ride that will rattle you for the next 40 minutes.

“Dookie” still feels as youthful as it was 25 years ago and has been an album that remained constant in many teenagers no matter the time period. Even if you no longer a teenager, you can still listen to these tracks and get taken back to a time period where it seemed like the world was against you. However, a band like Green Day was able to provide the music that helped get you through the times.

Listen to “Dookie” on Spotify:

Diving into K-Pop

In the past two to three years, Korean Pop music (K-Pop) has become a very popular genre in the United States. You can find it almost everywhere, and you can run across a fan wearing merchandise from one of their favorite groups anywhere as well. How is it that a genre from the other side of the world has gotten so popular here in the U.S.? This has been a burning question for many people; many of whom do not understand the genre’s appeal.

Well for one, K-Pop music is catchy. It does the job of what a pop song does with thumping beats, pulsing synths and great vocals. There’s also the music videos which contain very bright and pastel colors. On top of that, when you watch the music videos, the dances are well-synchronized, very technical and well-produced.

According to Emily Figueroa, a sophomore majoring in Kinesiology, “If you watch [the music videos], you can tell there is a lot of effort put into it,” she said. This is noticeable among groups who have a large number of members. These aspects provide a stark contrast to American Pop music, which usually has smaller groups and resorts to including instruments rather than just dancing.

The fact there were once very few Asian pop stars that were known in the United States made the genre even more appealing. While there was an awareness for the genre, with artists like PSY and BIGBANG, it never reached major success until the rise of BTS’ popularity in 2016. Whether you are a student of Asian descent or not, the style and culture that is presented in K-Pop brought in something new to music in mainstream America.

While BTS is the group that spearheaded the popularity, there are other groups that extend beyond them: Seventeen, GOT7, NCT, EXO, BLACKPINK and Red Velvet. There’s also the underground Korean music scene that features the likes of Jay Park and DEAN. What’s notable about the underground is that they have started to gain attention as well and have been receiving praise from fans.

However, it doesn’t stop there. K-Pop also has the ability to connect with audiences who are non-Korean. BTS is the biggest example: They were able to collaborate with notable American artists such as Nicki Minaj, Chainsmokers and Fall Out Boy. There is also the fact that there are groups who can speak more than just one language. BTS, BLACKPINK, BIGBANG and GOT7 contain members who can speak English, Japanese, Thai or Chinese. This is further emphasized as some of the members of these groups aren’t even Koreans.

Many of our students, such as Tyler Ho, a junior in Computer Science, were introduced to the genre at least a couple of years before BTS’ popularity exploded. Many were at least in middle school or high school when they first heard about K-Pop music. Ho recalled how a few of his friends were playing it around him before he finally got into the genre himself. “I had one of those friends and all they listened to was K-Pop,” Ho said. “But I really got into K-Pop when I found BLACKPINK and explored from there on.” Some of Ho’s favorite groups are BLACKPINK, LOONA and EXID.

Photo courtesy of SM Entertainment Co.

Darlene Ual, a sophomore also majoring in Computer Science, recalls her first encounter with K-Pop music through a friend from middle school. While she loved it, she didn’t get into the genre until later in life. “Once I got into high school, that’s when I started to get into Korean culture and music.” Some of her favorite groups are 2NE1, NCT and EXO.

Figueroa recalls her first memory after watching a Korean drama with her mother. The group SHINee were the ones who provided the soundtrack to the drama. Like Ual, Figueroa wouldn’t get into the genre until high school with her favorites being Seventeen, GOT7 and Twice.

You might be surprised how easy it is to find people who like K-Pop music on campus. Ual has often found classmates who are interested in the genre. “I’m like, ‘okay, this is one thing we can talk about for the rest of class,’ so I find it pretty easy [to find people who are into K-Pop],” she said.

However, the popularity of K-Pop has brought in the bandwagoners or people who only follow the genre by only listening to one extremely popular group. In this case: BTS. For a longtime fan like Figueroa, it was a strange turning point as more and more people got into the genre she once thought was niche. “Once it started getting popular, they started to jump on,” she said.

The fandom has even had cases of extreme fandom. Ho recalled one moment at the restaurant Let’s Meat, “There were these girls with their BTS shirts on and had like a blanket with [the members] faces on it,” Ho said. “It’s kind of weird if you bring a blanket of a dude’s face in a restaurant.”

Figueroa has noted how some fans glorify these groups as religious-like figures. “I can see why ’cause they look good and can sing well and dance, but it’s not for me,” she said.

Now more than ever, K-Pop is making their presence known in U.S. BTS has even shown up at the Grammys and BLACKPINK is currently on their American tour. This leads to the question: Will K-Pop become even more popular still? Or has the genre reached its peak? Many students believe it will get bigger over time, but some believe it will get bigger as long as there are newer groups to carry it on. “I think it’s not at its height yet, but like all good things it’s gonna end up mainstream,” Ual said.

On campus, there is a student organization called the Korean Dance and Culture Club. Led by Diamond Lawrence, the club meets biweekly on Tuesdays and/or Thursdays. “The sole purpose of this club is to explore and get to know about Korean culture, especially K-Pop dancing as it has become a big thing in media lately,” Lawerence said. “By getting into the dances, we hope to get people into the culture itself.” The club picks out the tracks they’ll dance along to through a group vote, with the difficulty of the song also considered for newcomers.

If you are going to start listening to K-Pop music, fans say that you should take into the account of what the listener is personally in to. Students would personally base their recommendations on that. While it is easy to simply go to BTS, BLACKPINK or BIGBANG, it’s best to search up the music at your own pace and pick out the ones you personally like.

But whatever you think about K-Pop music, you can’t deny that the success it has received here in the U.S. has brought in something for the American audience. Who knows whether this genre will blossom even more or fade away, but at least we’ll remember a time when it was the most popular of the genres to not come from American shores.

48 Hours: An Inside Look at the Global Game Jam

The only sounds in the room are soft conversations and the clicks of fingers on keyboards. Someone is curled up in a sleeping bag by the window, another has their head bent over their desk. At this point, some of the people in the room have been present for almost 36 hours, putting every ounce of effort into designing and creating a unique video game. This is the Global Game Jam at UNC Charlotte, an event created with the goal of allowing developers to learn and work collaboratively to build new games. The catch? They have to build the game in 48 hours. The Global Game Jam, hosted by the student organization Game Developers at UNC Charlotte, took place in Woodward Hall from Jan. 25 – 27.

How does a group design a video game in just two days? Those of us in the Arts and Entertainment section were curious about the answer. To find out, a roving team of five reporters covered the entire Game Jam, hour-by-hour. Read below to learn what the experience was like.

Friday

6 p.m. Noah

Kicking off the event, an intro video on the theme of the Game Jam is shown. This year’s theme: “What home means to you.” A few people from around the globe display their own thoughts on the theme inside the video, and then the event is kicked off. The officers at the front make sure no new people are without a group, and from there everyone splits off into their teams to begin brainstorming ideas for their games.

7 p.m. Noah

The first team I sit down with is Upside Down Bird, a team well-acquainted with the Game Jams already. Benjamin Hamrick and David Dempsey are UNC Charlotte alumni and founded Upside Down Bird. The two have been participating in Game Jams from as early as 2013. The two are programmers along with Matthew Schwiebert. Also on the team is Mike Murray doing level design, Aaron Schwiebert, Nick DeJohn and Cyrus Homesley as musicians and finally Nick Eldridge who is going to help with brainstorming ideas, food runs, and a number of other needed tasks.

As the team gets into ideas, some of them range from a procrastinating simulator to a smart home escape room, as well as a sibling war game/pillow fort builder. Signature to “Resident Evil” is the safe rooms, the few areas where you are truly safe in the hostile environment and save the game. The team springs off this thought and its relation to home by adding the idea of running one of these rooms where multiple adventurers from different game genres come in to save (The player runs and manages this room).

8 p.m. Noah

Jumping to a new group, Guardian Frontier, the team is well into brainstorming their idea. The entire whiteboard is covered in ideas and extrapolation on them. The plan combines two of their initial ideas of a kid talking to several NPCs and finding out what home means to them. Then each NPC will take you into the gameplay in the form of a flashback, bringing out the story from there. Dillon Zhong works as programmer, designer and project manager. With him is programmer Justin Carrasquillo, 3D-modeler/programmer Michael Helwig, programmer/writer Jacob Miller, programmer Hashim Qureshi, designer Don Albert Collins, artist/programmer Irvin Naylor and artist/designer Christina Andre.

9 p.m. Elissa

In the corner of room 140 is the team Pixelsprite, comprised of four members: Jahdiel Couchman, Charlotte Barrett, Vishal Naik and Stephanie Lam. The first three are taking charge of the coding, while Lam is the artist of the four. Pixelsprite met in the fall semester during their Intro to Game Design and Development class, and have created approximately two games together (though Couchman was not a full member for those games). Their project’s concept is that the player will take on the role of an ant which will seek to find safety and a new “home” after being chased by obstacles, such as a vacuum cleaner.  While coding begins, Lam works on creating the aforementioned ant and vacuum cleaner which are red and pixelated in a classic video-game style.

10 p.m. Elissa

Gaming duo Worst Case Scenario works on their project “Mistep.” Photo by Niyathi Sulkunte.

Nearby is the duo Mike Dorn and Jonothan Sigman, otherwise known as the team Worst Case Scenario. Dorn is in a state of controlled panic, as his Cdrive was accidentally wiped directly before the event. This means all of his pre-made designs have been completely deleted or corrupted, though the team is confident everything will still turn out fine. The two worked together previously when they were randomly placed in the same group during the Fall 2018 UNC Charlotte Game Jam. This time around though, it is clear the team began to plan out their idea before the event. The current concept is a two-player game that takes place in a single, temple-themed room with pressured tiles. At the start of each round, the players will be allowed to link a trap with a specific tile (though this will be invisible to both players once the round begins). When the round begins, both players will set off in hot pursuit of a treasure, both trying to avoid the traps and reach the treasure in the short time allowed. Whichever player survives, wins. It doesn’t really fit the theme of “home,” but Worst Case Scenario is largely unconcerned. Dorn hastily creates graphics, including the tile floor’s layout and animation for when the tiles are activated.

11 p.m. Elissa

As the Game Jam edges into the later hours of Friday evening, first-time team Game PJammers works diligently on graphic design. Half of the team has left the room to go home and grab some sleep, but Shaquiel Smith and Kristian “Axel” Melendez plan to rest later. They hope the team will operate on a shifting schedule in which at least one team member at a time will be working on the game. Focused on the guiding concept of “What home means to you,” their game will be centered around the idea that “friends and stories are what makes a place home.” One will play as a character who has just moved to a new city and will have the option to travel to a number of different locations, such as work, the gym and the library. They will meet new characters at these locations and attempt to befriend them. If they achieve a certain level of closeness, they will receive a reward from their new friend (i.e. a dumbbell or a book) to fill their new-but-empty apartment. At the moment, the main goal is to have as many friends and rewards as possible before the game ends after seven days. At this point in the evening, a few of the original characters and text bubbles have already been created by team member Naima Karzouz. The fourth member, Martin Gutierrez, worked on making an animated typewriter effect for the game’s text before heading to bed. Melendez will spend the evening creating the various scenes and locations while Smith examines various camera angles and different options for how objects can interact with each other.

Saturday

12 a.m. Elissa

One of the less-conventional team dynamics comes from JEM++, a group that consists of current Vice President Jonathan Keku and alumni Matt Ballard and Eric King. They have worked as a team for the past two Game Jams, typically as a cohesive group. This time though, the personal theme of “home” presents a challenge, and each member is working on a different game prototype. They plan to meet within a couple hours to decide which is the most fun and work as a coordinated team from there. Keku and King are both working on varying versions of a “Snake”-inspired gameplay. Keku’s main character is a person, while King’s is a house. Both versions will have the player travel to try and collect houses and from a “tail.” Running into the tail (as well as off the edge of the map in Keku’s case) will result in a Game Over screen. Keku’s idea extends a bit beyond that, as the end of the game in his version will display the way the main character died, as well as list the significant life moments (such as childhood, entering college or getting a job) represented by each house the player added to their tail. Ballard’s strategy is to try various gameplay mechanics until he finds one he likes, though he is currently running with something inspired by “Excitebike.” Midway through the hour, he changes strategy to try and create a sort-of Shuffleboard but with houses.

1 a.m. Noah

Probably the most passionate team I have come across tonight, team Space Shark is making good progress on their bombastic fighting game. Chris Sanchez and Timothy Walker take on programming, whereas Hamilton Rice works on the art and Tyler Johnson handles the concept design and music. The group likens their game to a retro-style “Smash Bros.,” in which the focus is knocking characters off the stage rather than your traditional health bar. The roster consists of four characters, including Heinrich, a hellspawn focused on fire-centered attacks, AieserBeard, deadly captain of the S.S. Grimeback, and Douglas, a muscular dwarf who spends a majority of his time mining in caves. All of these characters feature elaborate backstories on the team’s design document, except their star character Cleetus, whose background simply reads as “Just Cleetus.” I got a peek at Cleetus’ character design, a mountain man who wields a banjo as his weapon of choice. As I sit here writing this, the team debates over whether they should make one of Cleetus’ special moves involve throwing a bottle of moonshine or ramming his enemies with a truck.

Members of Upside Down Bird work on creating their game. Photo by Niyathi Sulkunte.

2 a.m. Noah

Back with Upside Down Bird, the group has settled on the game idea of driving to “the ultimate destination,” home. The challenge presented in the game is that navigation has to be done by pulling up your map, which completely covers your view of the road. With three musically-inclined individuals on the team, the speed of the car will be dictated by changing the radio to faster and slower tempo songs that will control the speed of the car. The team has a driveable car at the moment, as well as a partly designed map for the car to actually drive on.

3 a.m. Noah 

As the night hours draw on, five of Upside Down Bird remain working on their game for the night. At this point, the team has the car driving on a map featuring roads, trees, mountains and other obstacles. The team works on getting the wheel to actually turn, adding hands for the players to see on the wheel, ironing out the kinks in the car’s physics and adding other details on the map, such as a waterfall. It is incredible to see them start off brainstorming their title, and then to come back about 8 hours later and see them have a somewhat playable game already. As the hour draws to a close, the remainder of the team heads home to get some semblance of sleep to be ready to work tomorrow (or today).

4 a.m. Noah

Most of those who remain in these wee hours of the night are either continuing work or getting what sleep they can in sleeping bags on the floor.

5 a.m. Noah

For a majority of this hour, everyone was asleep (or at least trying to).

6 a.m. Noah

The sleep continues…

7 a.m.  Noah

As everyone continues to sleep, the sun finally begins to rise. A pair of students (not associated with the Jam) come into the room attempting to print something. The two are completely unaware that there are multiple people trying to sleep, and after some loud arguing, the two eventually give up on trying to print in the room. A few of the jammers begin to awake because of the disturbance.

8 a.m. Melissa

Hansel Wei is the Site Coordinator of the Game Jam. He is a senior computer science major and Secretary of the Game Developers at UNC Charlotte, the student organization hosting UNCC’s Game Jam. This Game Jam came together quickly: the majority of its organizing occurred two days ago, with some of the work beginning last week. This was partly the result of delays with reservation services. YoYo Games was one of the companies to donate free software which the developers could choose to use during the week of the Game Jam. Their software, GameMaker, enables pieces to be dragged and dropped into the game.

A spotlight on Wei: While he has done some game developing in the past, he now focuses his energy on developing curriculum to teach people about coding. He is currently working on developing a curriculum for UNCC’s satellite location of the North Carolina Science Festival.

9 a.m. Melissa

The Global Game Jam is an annual, international event with sites operating around the world. At the beginning of this year’s Jam, each site played the same keynote speaker video to announce the theme: “What does home mean to you?” There was a social network — similar to Reddit — for the jammers to share their ideas and communicate with other participants. Jammers needed to be careful of the things they posted on their social media (and on the aforementioned network) so as not to spoil the theme for the jammers in the last time zone, Hawaii. The theme could be openly discussed at 11:10 p.m. on Jan. 25, EST.

In addition to the theme, there were specific challenges jammers could choose to attempt that were sponsored by outside companies. Prizes were offered for challenge winners. One such challenge involved creating a game that used iPhones as controllers. As stated by Hansel Wei, “The idea of the game jam is that you band together.” Like an instrumental band with a drummer, singer, guitarist etc., in this game-developing event individuals come together with their specific skill sets to create one cohesive piece.

10 a.m. Melissa

Where are they now? A review of three teams’ progress:

The Game PJammers at work. Photo by Niyathi Sulkunte.

When I first arrived at 8 a.m., The Game PJammers was the only group awake and working. Furthering their theme that friends and stories make a place home, the team concisely states that “home is where you make it.” Having moved on from graphic design for the moment, the team is developing dialogue responses to progress the story.

Jonathon Sigman continues coding solo for Worst Case Scenario as his partner gets some rest. Sigman has just completed writing the code to link multiple traps to a single tile, a game feature that means an unlucky player may set off multiple traps at once. This task was the hardest yet, according to Sigman. Some of the traps proposed for the game include a saw blade swiping across the screen, blow darts and crumbling platforms. A trap that has already been coded is a pit the character can fall into. When a character is killed by a trap, they will respawn so long as it is within the round’s time limit. A round is completed either when a player successfully procures a gem from one side of a room and returns it to a starting place, or when the timer runs out. Currently, the team plans on the game consisting of four rounds. The team’s new response to the query: “Does your game relate to the theme?” is “Yes and no.” The game relates to the theme in the idea that the player is an adventurer, and an adventurer’s home is the places they discover.

Guardian Frontier has begun to develop their cast of characters, that is, the characters the player comes to know during flashback sequences. One such character is Calendella, a soldier who desperately misses her family. A more complex character is Mark. Mark’s parents both died, his mother from natural causes and his father murdered (a fact Mark learns by watching the evening news). With no one to care for him, Mark was sent to an academy for soldiers and put into a class with five others his age. The purpose of the academy is to try and find ways to reduce PTSD. Mark’s backstory focuses on the six characters making up his class.

11 a.m. Melissa

The Game Jam is back in full swing with five teams actively present. The room has grown gradually louder throughout the morning and is currently a hub of activity. In one corner of the room, alumni team, House on Fire works on their game and their fourth member has just arrived. Members of the team have attended Game Jams for the past several years although they have not always worked together. This team is one to watch according to Wei. Wei recalls that last year, they created a game in which players moved physical pieces on a projector (such as pieces of paper) to manipulate virtual items in the game. This year, House on Fire is making a two-player virtual reality game that requires a single headset. The objective of the game is to escape a burning house. However, each player faces a physical limitation. One player, the one that wears the virtual reality headset, is a paraplegic in a wheelchair. This player is to sit in a rolling chair in the physical world outside of the game to simulate the wheelchair. The second player, not wearing the headset, cannot see the virtual world and its obstacles. This character is blind. It is the job of the player in the chair to direct the blind player in moving the chair around virtual objects to escape the burning house in the game.

12 p.m. Maya

At noon, there are still people who are sleeping after a long night. Other participants are currently walking in to begin work, while some are leaving room 140 to grab a bite to eat. There is only a little bit of dialogue between participants. Beyond that, the room is quiet. The only thing you can hear is tapping from the keyboards and clicking from mouses.

1 p.m. Maya

The room is still quiet. Everyone is focused on getting their game finished. Richard Camara from the independent team Game Dev Pro is hard at work. The rest of his team is not there now; they are out taking care of other responsibilities. Even though this is the case, the team keeps in contact by communicating on a message board. In the meantime, Camara is working on a projectile for one of the bosses in the game, which proves to be difficult to create. However, Camara relies on a game engine called Unity for help. It provides tutorials for game developers. Eventually, Camara finds a function that works. It’s not perfect but it’s a start. The artwork seems to be completed already since one team member sent in the artwork. They have made some progress since Friday evening. Game Dev Pro will meet back up 3 p.m.

Tyler Johnson of the team Space Shark. Photo by Niyathi Sulkunte.

2 p.m. Melissa

In contrast to the general buzz of collaboration I left, the silence I return to after my lunch break is deafening. Heads bow over individual keyboards almost reverently. And then the silence is broken by the tinkling of music: many of the groups, having by this time finished the development of their stories, are focusing on the special features of the games. One jammer with the team Space Shark works on designing the menu for the game. Another jammer, Tyler Johnson, works on music, playing a guitar and keyboard. To record the music, he plugs each instrument into a red box and plays. The box is plugged into a laptop, which is then plugged into a monitor. On the computers, the sounds recorded from the instruments can be manipulated. The team plans on creating four songs, one to go with each of the four worlds and four characters (remember: demon, pirate, dwarf and mountain man) in the game. The group is calmly working.

An update on JEM++: Their “Snake”-like game now has a game mechanic differentiating it from the original game, that is, part of the game now includes returning houses to their appropriate plots.

An update on The Game PJammers: Most of the tasks on their to-do list, art withstanding, have been completed. This is far ahead of the schedule they expected. They are now working on the end-game mechanics throwing around ideas such as, angry neighbors smashing the windows of the apartment if the player does not create enough positive relationships by the end of the game.

Global update: Break time approaches. This break time is a feature of the Global Game Jam, with sites responsible for scheduling their own activities for the breaks. Several sites around the world engage in yoga. Others located in the southern hemisphere go swimming in outdoor pools.   

3 p.m. Melissa

The break time was announced and met with little enthusiasm. Some jammers, clearly in the zone, reject the interruption. Others have just returned from staggered break times with their group members and do not feel the need to break so soon. An organizer started writing out team names on the board but gives up on that endeavor as the jammers talk over her in their planning.

4 p.m. Aaron

The teams that are present during my arrival are Team Guardian Frontier and Space Shark. Then, two boys appear.

The duo consists of Riley Jones and Luke Sloop. They are working on a game that features a crab with a colony of shrimp. You control the shrimp and perform certain tasks with them. Jones thinks of the mutually beneficial relationships in marine biology when he hears the theme of this game jam. He thinks of how one big animal needs small animals to clean it while the small animals find the big animal a nice place to stay. This duo has been part of previous game jams. Riley does the art aspects of the game while Luke does the programming and mechanics. The duo met each other through other friends and began to work together during the spring semester of their freshman year.

Continuing on with Tyler Johnson of Space Shark, so far the team has created three out of four of the tracks they were making. He is currently working on the track for the wild character named Cleetus. Johnson has referred to old country music to help give him inspiration for theme track of the son. He uses an unconventional guitar tuning that is D flat tuning (the most common guitar tuning is Standard E). This tuning could be inspired by stoner rock/metal bands such as Sleep, Kyuss and Queens of the Stone Age.

5 p.m. Aaron

Work continues on as usual for the teams. Everyone is focused on their work but retains casual conversations with laughter and banter.

The boys of JEM++ so far have most of the basic mechanics of their game. They will be using sample pieces of music as the team does not have a musician in the group.

I begin talking to team Pixelsprite. This team typically does Adventure/RPG games but decided to make a side-scrolling game this time for the convenience. According to Jahdiel Couchman, the previous Game Jam taught them a lot from the sheer scope of what they were trying to do last time.

6 p.m. Aaron

The members of Anticipate (formerly Pixelsprite) present their game, “Bug Out” on Jan 27. Photo by Niyathi Sulkunte.

Continuing on with Pixelsprite, Jahdiel Couchman states that if they were given more than just 48 hours, they would have converted the side scrolling game into an adventure game.

As I write my observational notes, the team is very quiet and focuses on the programming aspect of the game. Couchman uses a calculator on his phone to help calculate the place of the pixels and the animations. This will help him know if the items are way too close or too far.

Couchman demonstrates how he is programming the game. At the time of this writing, he is working on placing the items during the game. He hopes to make the items randomly generate after each level, as well as making the vacuum move faster. The items featured in the game are spiders, webs, ledges, walls, etc. Couchman also uses a blank sheet of paper to draw out the level layout to help plan out on what is doing. This is where he would measure out the ledges.

7 p.m.  Elissa

When I walk into the main room 140, there are a number of groups at work. Sometimes, the lines between them are blurred, as the computer-filled room’s setup requires the teams to format themselves in rows.

The duo Worst Case Scenario’s tile/trap game now has a name: “Mistep.” They’ve made significant progress and feel confident about their ability to finish before 3 p.m. tomorrow, the suggested time to submit games before the server begins too slow. Coder Jonothon Sigman believes he’s conquered his hardest challenge: linking the traps to specific tiles. While he had worked on trying to link multiple traps to one tile this morning, that plot has now been abandoned. Now, each tile can only have one trap. He is now embarking on making the game transfer from one round to the next. Mike Dorn’s animations are complete for at least four traps, as well as the movement of characters walking side-to-side. Each small animation takes him between 2 – 2.5 hours. President Alexus Smith travels to each team in the room giving them advice and supporting their endeavors.

I take a trip down the hall to room 154, where I find a group of six people including some members of the team House on Fire. They sit around a table with a hand-made game board consisting of squares and three different kinds of dice. The group is all alumni, mostly ex-officers of the club. According to Taylor White, the unique board game is called “Mundane Heroes” and was created at a Game Jam a couple of years ago. It is now a tradition. It functions a bit like “Dungeons and Dragons,” with a game master leading a group of heroes on an adventure. The trick is that they all have lackluster superpowers, such as the ability to summon a toddler. The adventure they are currently on features one of the players, who has the ability to talk to demons but not to understand them. Unfortunately, this means the group is now under attack by a demon. Actions made to try and avoid the demon include throwing food out of a window and hiding in a barrel.

8 p.m. Elissa

Three members of the PJammers spend a decent part of this hour trying to plan how the conversation feature of their friendship-building game will operate. The team has set up positive and negative responses to prompts made by the various characters. The debate is whether they should create and program the conversation to have multiple threads and tracks based on how the player responds. Instead, they decide that choosing a negative response will simply send the player back to the last stage of the conversation. Beyond this, they have completed designing the apartment and are working on perfecting how the gym conversation will operate. Once that conversation is completed, they will be able to easily copy the coding format for the other characters and places. The list of planned settings the main character can travel to is currently: the park, a general store, the bar, work, the gym and a bookstore. Rewards one can win for friendship include coupons, alcohol and a lucky pen. The team wants to finish the game before 3 p.m. but seems nervous about their ability to do so. They split up to write the conversation scripts and draw the backgrounds for the other places/characters in the game. Their fourth member, Naima Karzouz, is working on some of the backgrounds from home. She is also in charge of music for the game.

I check back in with the musician Tyler Johnson from Space Shark. He has moved on from Cleetus and is now almost complete with the music for the character Douglas. Since Douglas is a dwarf, Johnson would like him to have a Celtic-inspired sound. Unfortunately, he doesn’t have an electronic bagpipes (though he does have a number of electronic instruments, from cellos and drums to sitars and synths). He rejects the idea of sampling something, and thus decides to use his guitar instead. After he is done with this track, he will move on to creating the theme for AesirBeard.

Matthew Ballard of JEM++. Photo by Niyathi Sulkunte.

9 p.m. Elissa

An update on JEM++: Jonathan Keku suspects that the team will have no trouble finishing their game in time. At the moment, he believes that the only things they have left to do are create a game over screen, create a better feedback system for players and work on improving the graphics. He is in charge of the latter part and is thinking of creating some animations for when the houses “come to life,” primarily a sparkle effect. He has also created a simple animation of a bouncing/jumping house for when the houses join the chain and travel around the map.

An update on Guardian Frontier: Two members of the team, Dillon Zhong and Irvin Naylor, work on creating the dialogue system and finalizing the art for the game. They have just recovered from a three-hour set back in which the code for the dialogue stopped functioning when they were trying to give it the ability to change for different characters. After strenuous troubleshooting, they finally found the one word that was throwing off the code. While they’ve since fixed the issue, this unfortunately means the two are back to solving the problem of switching characters. The team plans on working overnight to finish the code by tomorrow morning. As of right now, they plan for the game to consist of an introduction, three chapters and a conclusion. It will have four characters. First is Alan, a magic character the player will assume the role of. There is also Mage, a magical hunter, Mark, an engineered soldier from the year 2050, and Calendella, a “regular” soldier from an alternate-universe Earth.

10 p.m. Elissa

Catching up with Pixelsprite, Jahdiel Couchman is working on trying to solve a problem in the code. As the ant moves through the level, it comes into contact with a number of objects. While all of these objects are not squares, invisible squares called “collision boxes” appear around them. These squares are what the ant collides with, and unfortunately, they aren’t lined up exactly with the non-square-shaped objects (meaning it sometimes looks like the ant is floating in space). Couchman would like to simply code for the objects at the same time as the boxes. Organizer Hansel Wei walks over to the group to provide suggestions, though it eventually seems to be unavoidable. Couchman will have to code for the collision boxes and actual game objects separately. Meanwhile, Stephanie Lam works on creating the title page for the game. This presents a challenge as the game still does not have a working title.

Wei explains to me that there are actually three Game Jams a year at UNC Charlotte. Two are local 49er Game Jams. These occur in the fall and late spring. The Game Developers club that hosts them typically tries to find sponsors for the events to provide things like food and caffeinated drinks. The Global Game Jam is consistently in January. Sponsors for Global Jams provide things like code and access to their platforms.

When I walk past room 154, the group of six alumni is still playing tabletop games.

11 p.m. Elissa

Team Space Shark works on their character, AesierBeard. Photo by Niyathi Sulkunte.

Team Space Shark is at the point in which they have a working prototype of their game, “Home Field.” They seem surprised by the fact they actually feel like they might have a shot at finishing the game before 3 p.m. Still, there is a lot of work to do. Things still on the to-do list include: a “win” screen, a flashy death animation, adding in the music and the hardest task: trying to make the game use Xbox controllers instead of keyboard commands. They are also considering adding voice lines. Chris Sanchez and Timothy Walker are currently debating over a piece of code that has abruptly stopped working. While they know the code is either A) the one allowing players to select a character or B) the one that carries that character selection on to the next screen; they are unsure which of the two it is.

The biggest area of uncertainty for the fighting-style game is trying to tie it to the theme of “what home means to you.” Currently, the team is running with adding backstories to the four characters that will allow each one to represent a different type of home. For example, the pirate AesierBeard’s ship is always moving and rapidly changing while the dwarf Douglas never leaves his enclosed cave. The team seems unsure of how to make this tie to the theme clear and are toying with the idea of having the backstories appear during the character selection screen.

Midway through the hour, Jonathan Keku plugs his Nintendo Switch into the projector and turns on the game “One Strike” for attendees to play. The room seems torn between watching and trying to ignore it to focus on their work. By the end of a couple rounds though, the room is mostly invested and cheers and laughs at the game.

Sunday

12 a.m. Elissa

As the night (or early morning, depending on how one decides to view it) wears on, discussion about the lack of a “dark room” begins. In the past, the group would book a room specifically for attendees to sleep in without having to leave the Jam. There is not one for this Jam, though people have still brought blankets, pillows, etc. While the dark room was nice for convenience, Marketing Officer Dylan Zhong points out that it wasn’t without issues. People would often walk in and out at varying times, meaning people would be forced awake without planning to be. Without a dark room, attendees have previously slept under tables and in spaces by windows. This seems to be the plan for tonight. Considering the fact that it is absolutely frigid outside, I understand the urge not to leave.

The game playing on the main screen has switched to “Super Smash Bros. Ultimate.” The members of Space Shark have been in full control of the Switch since it started. Team Worst Case Scenario leaves, agreeing to meet back in the morning.

The Game PJammers have made a lot of progress in the past four hours. Their debate about how the conversation feature will work is settled. They now have functioning animations for four out of their six characters; scripts have been written for three. At the moment, Axel Melendez is working on completing those last scripts and characters. Meanwhile, Shaquiel Smith is creating the gifts/rewards. Naima Karzouz works on designing the backgrounds at home which she then sends in remotely via Discord. She completes the bookstore scene.

1 a.m. Noah

Preparing for a run to Cookout, the jammers continue to play “Smash Bros. Ultimate” and work on their code as they wait for the groups heading out to be ready. Usually, this event is done as a walk to the actual fast-food hotspot, but due to the near 30 degree temperature outside, travel by car is the preferred method. I ride along with Hansel Wei, Dylan Zhong and Jacob Miller. We talk about our classes in computer science.

2 a.m. Noah

After the recharge from Cookout, some jammers head home, some prepare to sleep and the rest continue what work they can with the energy they still have.

Guardian Frontier presents their game “Where the heart is” on Jan 27. Photo by Niaythi Sulkunte.

3 a.m. Noah

I talk with Dylan Zhong, the sole remaining jammer from Guardian Frontier at this point, a little about what the game itself will turn out as. There is the visual novel aspect as a front for the main protagonist, and the different flashbacks split off into different gameplay variants. The main three discussed include a platformer, a top-down isometric shooter (similar to “Hotline Miami” or “Enter the Gungeon”) and a run ’n gun style game inspired by “Mega Man.” The team has done these different kinds of gameplay as individual games at previous game jams, so the idea is to take this experience into one package. This is the team’s fourth game jam, and when asked about whether he thought they would finish in time, Dylan Zhong said that with cutting certain corners and some retooling, it is always a for sure thing. Essentially, what you can consider “finished” is always subjective.

4 a.m. Noah

Part of the remaining jammers still here are either sleeping or hard at work continuing their games. Dylan Zhong from Guardian Frontier continues programming on his game, as do Vishal Naik and Jahdiel Couchman of Pixelsprite and Shaquiel Smith and Axel Melendez of The Game PJammers. Some time is spent watching short skit videos with Couchman, Naik, Smith and Melendez in an attempt to unwind. Upon asking about their team name, both Couchman and Naik made it clear that they wanted a name change from Pixelsprite. The group opens it up as a discussion for other suggestions, as well as ideas for a name for their ant-themed game. Some ideas included “A Bug’s Life Sucks” and “Bug Out.” Deep theological questions on whether Dr. Pepper actually has his Ph.D. are also discussed, and it is becoming increasingly apparent that the late-night hours are having an effect on all of us.

5 a.m. Noah

Members of “House on Fire” at work. Photo by Niyathi Sulkunte.

I check in on the alumni group House on Fire, though the team has already retired for the evening. Two are asleep on desks, one is on a bed of rolling chairs and the other is in a sleeping bag on the floor. This is a wise decision, as they’ll need as much energy as they can as the deadline approaches. I shadow in on Pixelsprite, and after a bit of explaining in how the designing of levels and the use of XY coordinates work, I get to try out the game for myself. The main objective for Jahdiel Couchman right now is still to make different designs for half of the level so that they can be randomly matched to create a new level on each play. The artwork done by Stephanie Lam is really good, even without considering the amount of time that has been given thus far. Eventually getting into a discussion about game design courses offered in the computer science department, they soon become focused on debating “The Elder Scrolls V: Skyrim” versus its predecessor, “Oblivion.”

6 a.m. Noah

Heading into the morning hours, I sit down with Vishal Naik of Pixelsprite, who gives me a look into adding a smoke effect for the vacuum in his game, which at first glance would seem like a simple task. Essentially an image is used that has multiple sub-images of smoke that gives the effect that it is real, like a gif. There are then a number of values associated with getting it into the level in the correct spot, size, transparency and much more. It’s clear that Naik has a good understanding of how this process works, and he even is able to explain it in a way that makes sense to myself as well. It is a great example of how little things in games can be taken for granted when in reality there is a whole process and amount of time needed to even implement something as simple as a trail of smoke. It makes me much more appreciative of those kinds of things in games, and for the endless number of names in the credits that appear in your typical triple-a game. Satisfied with the progress made, both the jammers left from Pixelsprite and The Game PJammers make a trip to McDonalds for breakfast/dinner.

7 a.m.  Noah

Dylan Zhong remains the only person left coding for the time being and has just finished the dialogue boxes for his game, the visual novel aspect specifically. This gets his team over a tremendous hurdle where a good portion of the work now is to get some art assets created and added in. He now would like to get some sleep. As the sun rises, the McDonalds crew also makes their return with newfound energy. The PJammers present now, Shaquiel Smith and Axel Melendez, both have been working on multiple aspects of the game. Now those pieces are coming together at once so the pair is obviously very excited.

8 a.m. Elissa

When I arrive, only one PJammer remains. The room is mostly empty, and a couple of attendees are asleep at their desks (plus one in a sleeping bag on the floor). Hansel Wei attempts to get some sleep while sitting in his supervising chair. The sound of light snoring fills the room, only interrupted by Pixelsprite’s Jahdiel Couchman as the lone attendee coding. Talking feels like disturbing the peace. Eventually, two other coders awake and work silently on their projects.

9 a.m. Elissa

Finally, there is some semblance of conversation and life. A couple of the coders break into “Tell Me Why,” by the Backstreet Boys, blaming it on the long hours and delirium.

Worst Case Scenario returns; they’ve come a long way since I last spoke to them. “Mistep” is now a (mostly) working game with spike, pit and dart traps functioning. The duo is in the process of playtesting the game for bugs and creating a final to-do list. The main goal is refining the already created traps, and adding in springs and rocks. They tried to create the rock trap last night but decided to come back to it later after it caused persistent issues. Other things on the list include walking and death animations, finding public domain music and fixing some lighting problems with the game.

10 a.m. Elissa

Everyone works diligently at their games. The room is largely silent except for when bugs appear in someone’s work.

An update on Space Shark: This group largely didn’t work overnight and remains about where I left them on Saturday evening. Only one of their team members, Hamilton Rice, is currently on site. He is working on completing some of the final animations; other tasks that need to be finished are adding in Tyler Johnson’s music and playtesting for bugs.

An update on Guardian Frontier: This team still has a fair amount of work to do, probably because their game seems to be one of the more elaborate ones. Irvin Naylor is adding color to the hand-drawn character designs; he will then scan them in Atkins Library to digitize them. Dillon Zhong is working on coding the platforming round of the game. Other rounds still need to be coded for, and the dialogue also has a couple of holes left. Four members of their team will be arriving soon to help finish the process.

The goal of their game is to allow their main character to learn what home means from their three other OCs, each of which has their own definition. What are those definitions? For Mark, it is the idea of not being alone and creating a family of friends that will support you. For Calendella, home is whenever and wherever she can be in contact with her family and know that they are okay (even if that is just via letter form since they are separated by distance). Alan defines his home as being located within himself, sort of like a self-assuredness that he will be okay.

Members of independent team “Game Dev Pro” rush to meet the 3 p.m. deadline. Photo by Niyathi Sulkunte.

11 a.m. Elissa

I travel down the hall to rooms 144 and 145, where most of the alumni and independent teams are working. There I find the team Game Dev Pro, which is composed of a group of adults that attend Meetup game design events at Central Piedmont Community College. Outside of game design, they range from a college student to an eighth-grade teacher to a programmer at Duke Energy. Since UNC Charlotte’s Game Jam is the official Charlotte location, they’ve been using the space during the day but returning home to work at night. Their game’s concept focuses on a young artist living with his overbearing, controlling parents. His “home” is art which he must use to escape his physical house. There is still a significant amount of work to be done; models, the combat system and a boss are only partially completed. Team member Alec Ziskund tells me the goal for today is simply to complete one level and one boss. As a whole, Game Dev Pro wishes they had been able to spend more time working on the game.

An update on Upside Down Bird: This team did not visit campus yesterday, but has returned with an almost-completed driving game titled “Cruise Ctrl.” The aforementioned map still blocks one’s view, but now it also causes changes to the viewer’s perception via filters. When I play, the map causes the game to look blurry and turn into a green notepad. I am absolutely awful at the game, though I am consoled by the fact no one else has made it home yet either. The team is especially proud of the comedic commercials that play on the vehicle’s radio which were crowdsourced from friends using Facebook and Google Voice. The only things left to complete are simple logistics, such as finishing the credits, completing the main menu and inserting a “real” house instead of a simple placeholder one.

An update on House on Fire: Progress is going slowly. Team member Ryan Carpenter is worried about the team’s ability to finish in time but reminds himself that a majority of the coding typically occurs in the last couple of hours at the Game Jam. For now, they have the basic set of the room. However, they still need to add in the puzzles and interactive aspects.

12 p.m. Elissa

Team member Eric King of JEM++ tells me the group is at “rush point.” They’ve rejected the concept of adding any new ideas and are simply sticking with polishing what they currently have. This means adding some simple missing animations for the houses and as well as background music and sounds.

The Game PJammers are also hard at work putting all the pieces of their game together. Currently, three of them are working to code in all of the characters’ dialogues. There are still two locations and two characters left to be animated as well. The exhaustion in this group is palpable (Shaquiel Smith is taking a nap on the desk when I arrive), but they are confident and driven to finish in time.

1 p.m. Elissa

All four members of Pixelsprite collaborate, determined to complete the game by 3 p.m. Charlotte Barrett is searching for music/sound effects for public use. Vishal Naik is still working on the vacuum’s smoke and adding powerups while Stephanie Lam attempts to create 10 different color variations of the game’s background. Jahdiel Couchman has headphones on and talks to no one as he concentrates on coding the game to have new levels generate one right after the other.

The teams are quite aware of the time crunch.

2 p.m. Elissa

While the teams rush to complete their tasks, I interview Game Developers at UNC Charlotte’s President, Alexus Smith.

Smith was elected President almost three years ago, after attending only one Game Jam and maybe two meetings. She had a history of leadership experience and a strong background in computer science. In all, her election took less than 15 minutes. While the Game Developers have been around long enough that only alumni remember when and how the group started, Smith’s goal has always been to maintain and grow the club. She says, “My main focus was to make sure that it existed, no matter what, outside of just the people who always want to do Game Jams, so that there is something for other people that are going to come along and will eventually be just as passionate as them.”

In the past three years, a number of things have changed in the structure of the organization. The days and structure of meetings, the roles of eboard members and the addition of a Discord channel are also components of that list. The club has also shifted to trying heavily to recruit from outside CCI. “When people are like ‘I’m a musician,’ we’re like ‘Yes!’” states Smith. She continues, “Because we are always trying to bring artists and musicians more than programmers. Everybody will eventually program on the team. So we feel like we should supply teams that need that type of specific…you know, someone that can hear and write specific music, or artists, assets. That’s the type of person you need.”

Since I’ve talked to only three women participants during the entirety of the Game Jam, I ask her about her experience as a woman in computer science. She notes that my experience of representation at Game Jam is pretty comparable to her classes where she has typically only seen five or six (always less than 10) women. When asked what that experience is like, she remembers a time recently where a student in her ethics class asked the professor why equality of the sexes in computer science is important. Why is it important? Smith references a study that was published in the American Journal of Public Health that demonstrated that women were more likely to die in car crashes because all the safety features (seatbelts, airbags) were designed with crash test dummies that were men. If more women had been involved, she argues, that would change. She also discusses the fact that Dr. Fatma Mili became the Dean of the College of Computing and Informatics last year. Smith tells me that as an employee of the department, “She’s [the Dean] taken the good staff that we already have and worked with them to say: ‘How do we do this?’ And they haven’t just been like ‘Okay, we’ll quietly implement changes and see if we like them.’ They’ve actually taken the time to be like ‘We’re going to host a forum, we’re going to have one-on-ones.’ The personal assistant of the Dean wants to meet with us next week to talk about what is going on with the college. So I do see the change…it is happening.”

3 p.m. Aaron

One of the members of Chip Boat, the team responsible for “25-Piece Shrimp Meal Organic Fresh-Caught.” Photo by Niyathi Sulkunte.

I go to catch up with the duo of Riley Jones and Luke Sloop (later known as the team Chip Boat). They are currently test running their shrimp-themed game and adding any else to refine the game. Jones stated that this is a game he is really proud of due to the amount of work they’ve put into the game. He cited the fact that the Game Jam was very early on the semester and that he did not have anything major in his classes to prioritize as reasons the team was able to be very creative and put so much effort into their work.

Jones has noted that the teams in this Game Jam are more ambitious than the previous ones. The title of their game is called, “Fresh Cut Organic 25 Piece Shrimp Meal.” According to Jones, having long titles for their games has been a running gag for a very long time.

I notice that the atmosphere in the room is very vibrant. People are either still working or are talking to each other and laughing. I can only assume that this is due to it being the final hours of the Game Jam. They can at least relax a bit before presenting their games.

4 p.m. Aaron

Checking in on Space Shark, all of the animations that Hamilton Rice made are finished while Tyler Johnson is importing all of the music into the game. They are also testing the game out so they can deal with bugs. One of the bugs in particular features characters being stuck on the floor after performing a particular jump. At the moment Rice does not have a solution to the problem. Regarding his final thoughts on this year’s Game Jam, Rice feels proud. He says that he is much more prepared this time and that this Game Jam was able to fit into his schedule better than last year’s.

I check in with the boys of Worst Case Scenario. Apparently, a game bug has been very persistent and caused a delay in turning in the game. They now expect to be finished by 5 p.m.

5 p.m. Aaron

Mike Dorn from Worst Case Scenario talks to me about the bug in their game. The rock trap that they were working on was described as a “sentient being.” When this trap was activated, one of three things would happen. One, every trap in the field would activate. Two, a random trap in the field would activate the rock. Three, the trap would shoot diagonally across the field like a meteor. The solution for this rock trap? They had to delete everything involving the rock trap and replace it with a GIF that features an animation of the rock falling down. That GIF solved a lot of problems. According to Dorn, this bug took over three hours to settle. The other bugs that they were handling were effectively dealt with. It has already been announced to that they made the upload deadline.

Some of the people involved in the Game Jam had begun to pack up and leave. The link to the server to submit the game is shown on the projector. There are still some teams left working on the finishing touches and uploading their games. It leaves me wondering if 48 hours is enough for people.

6 p.m. Aaron & Noah

Overhearing the conversations of various teams, they are quite relieved about having the whole thing come to an end. The overall atmosphere is in good spirits. Some team members said cheers before drinking their soda.

—-

Final Teams and Games

Anticipate (formerly Pixelsprite)

Anticipate displayed their platformer “Bug Out,” which has players take control of an ant escaping a vacuum trying to make its way to its hole/home. The final game features random level generation, matching two of six different level designs together to make each playthrough different. Jahdiel Couchman handled programming and the mixup system of the level design, Charlotte Barrett worked on the different levels themselves, Vishal Naik worked on the background, powerups and smoke effect of the vacuum and Stephanie Lam created the game’s terrific retro art style.

Chip Boat

Chip Boat created a sea-exploration action game entitled “25-Piece Shrimp Meal Organic Fresh-Caught.” A game that allows one to take control of a crab rounding up shrimp, the game’s underwater art style works well with the given backdrop. While there were only two enemies by the end of the jam, they were unique enough in design and play that they kept things interesting. The angler-like fish had a cute animation and could eat the shrimp that you shoot at them, while the starfish became a pest by knocking away your shrimp and stunning them. Riley Jones handled the art for the game and Luke Sloop did the majority of the programming.

Guardian Frontier

An ambitious project at first, “Where the heart is” is a visual novel that leads to different forms of gameplay at certain story beats. The game follows the protagonist to multiple characters that will each teach the player what home means to them. The game was originally set to include a different form of gameplay for each character’s flashback. However, due to time constraints, this was limited to one platforming level in which the player takes on the persona of a soldier named Calendula, whose flashback involves a game of hide-and-seek with her siblings. Dillon Zhong worked as programmer, designer and project manager. With him was programmer Justin Carrasquillo, 3D-modeler/programmer Michael Helwig, programmer/writer Jacob Miller, programmer Hashim Qureshi, designer Don Albert Collins, artist/programmer Irvin Naylor and artist/designer Christina Andre.

The Game PJammers

The game that probably meshes the best with the Jam’s central theme, “Jem’s Adventure,” finds players in control of Jem, a character who just moved to a new city and is looking to make friends. The main theme behind the game is “home is where your friends are,” which was inspired by one of the game’s own developers, Shaquiel Smith. Smith moved to the U.S. from Jamaica and was faced with the challenge of making new friends himself. The game’s other two programmers were Kristian “Axel” Melendez and Martin Gutierrez. Melendez also authored the game’s story, as well as contributed to the art with the team’s artist, Naima Karzouz. Karzouz also created the game’s soundtrack. The game had an overall wholesome vibe which can really be attributed to its great character animation.

Space Shark

With inspiration taken from “Super Smash Bros.,” “Home Field” is a retro fighting game with four main characters with vastly different backgrounds. There is Heinrich, a hellspawn focused on fire-centered attacks, AieserBeard, deadly captain of the S.S. Grimeback, Cleetus,  a powerful mountain man, and Douglas, a muscular dwarf who spends a majority of his time mining in caves. Just from the well-designed main menu and heavy metal soundtrack, “Home Field” immediately leaves a positive impression. The game was also a huge hit with the crowd during its presentation and garnered a lot of laughter during matches. Chris Sanchez and Timothy Walker took on programming, whereas Hamilton Rice worked on the art and Tyler Johnson handled the concept design and music.

Upside Down Bird

A well-oiled machine with experience making games, Upside Down Bird created the game “Cruise Ctrl.” For the team’s roles, Benjamin Hamrick, David Dempsey and Matthew Schwiebert handled programming. Working on music was Aaron Schwiebert, Nick DeJohn and Cyrus Homesley. Mike Murray worked on level design and Nick Eldridge handled design ideas, crowdsourcing and food runs. In line with the Jam’s theme, the objective of the game is to drive a car to “the daily final destination” — aka home. The actual driving mechanics are intentionally difficult, which can lead to some funny moments. As discussed in their presentation, another challenge in the game is that to see your long-term destination, you have to block your short-term sight by using your map. Not only does it cover up the entire screen, but once it is put away, a distortion to the screen is added as well. This was the team’s first year without an artist, though they did have the three musicians, so music played a large role via the form of the car’s radio which dictated the speed of the car.

JEM++

A sort of combination of “Snake” and “Pac-Man,” “Home Run” has you play as a house chasing other runaway homes, slowly building a chain of houses. The game features a nice upbeat theme song and meshes well with the 3-D, isometric-like art style. You have the option of picking either a small map or a big map, the latter of which definitely fits its adjective of choice. Eric King and Matthew Ballard worked as the game’s programmers, and Jonathan Keku oversaw the game’s art.

Worst Case Scenario

This duo created the two-player game, “Mistep,” in which your goal is to beat your opponent to a prize hidden in a tile-based grid. To sabotage your opponent, you can utilize a number of different traps. The game’s setting is an ancient temple, and the traps are similarly-themed. They include pits, spikes and darts. There were multiple maps planned, though only the temple was ready for the demo. At one point in the jam, the team had the choice of paying for their licensed music or buying a pizza. They chose the music. There is also a funny victory animation for the victor. Jonothon Sigman handled the programming side while Mike Dorn helped with the design and created the art.

No Name

“Boxing” is about moving, and in regards to the theme, runs on the notion home is always on the move. Played in a 3-D space, the game simply has you boxing up items from your house as you move to your new home. Items include rotary phones, slim vases and even your own baby. Once the boxes are packed up, you are immediately taken to your new home, where only the rotary phones will follow you due to a bug in the game. With no team name, the game was created by James Kingdon and Vuong Le. They created the game outside of the space used by Game Developers at UNCC but came in to present their final work.

House on Fire

An ambitious project created for the HTC Vive, “Fire Buddies” is a cooperative game for virtual reality. The main premise is that the player with the headset is in a wheelchair and must guide his blind brother (the player without the headset) to escape their house fire. The team was composed of alumni such as Ryan Carpenter, William Karnavas, Michael Pedersen, Ryan Cook and Bijan Razavi. Vuong Le contributed voice acting. 

Game Dev Pro

This team, composed of Richard Camara, Lynden Hill, Alec Ziskund, Manaka Green and Keith Isham, created the game “Tasukete.” The premise is that the player takes on the role of a young artist trapped in his house by his overbearing parents. He then realizes that art is his true “home.” Gameplay is centered around escaping his overbearing parents and the family home he is enclosed in.

You can play the games and read more about the teams here: https://globalgamejam.org/2019/jam-sites/university-north-carolina-charlotte/games

Correction: The article originally stated that Hansel Wei was the organization’s Treasurer. Wei is actually the Secretary.

“Technique” by New Order 30 years later

Album Art Courtesy of Factory Records

Imagine being part of a highly important band that combines post-punk and dance music. You’re the one behind club hits such as “Blue Monday,” “Bizzare Love Triangle,” “The Perfect Kiss” and “True Faith,” but can you keep this up forever? Can you repeat this after doing it in the past three albums?

This was a question for New Order. By the late 1980s, they had outgrown their days as Joy Division and created a unique sound in records such as “Power, Corruption & Lies” and “Low-Life.” But it wasn’t going to remain like this forever. Already, they were suffering from financial troubles for co-owning the infamous Hacienda nightclub with their record label, Factory, and there was a bit of division over how the band was going to take their music.

According to lead singer Bernard Sumner, “We were in this position of being known for this dance-electronic sound and it would have been daft to have just stopped doing it.” However, bass player Peter Hook wanted New Order to retain their rock sound and jokingly described the process of making “Technique” as “an epic power struggle between the sequencers and me.”

It wasn’t hard to understand this struggle, especially as the times were changing in the late 1980s. In Britain, there was the rise of acid house music, particularly in their hometown of Manchester. Younger bands such as Happy Mondays and The Stone Roses emerged. Their contemporaries were heading in different directions. The Smiths split up in 1987, Echo & the Bunnymen would see the departure of lead singer, Ian McCulloch, and Depeche Mode would move towards a more darker sound before achieving worldwide success in the 1990s.

So for New Order, a change was in the air. They decided to make the album in the island of Ibiza under Hook’s insistence. At Ibiza, the band was immersed in the local Balearic club music. This fascination saw the band slowly worked on the album and returned to Britain where the album was finished. But their experiences had greatly influenced the making of “Technique.”

The opening track “Fine Time” made it clear New Order has brought in a fresh sound to them. “Fine Time” retained the danceability of their old sound but with a big dose of ecstasy. The bopping synths and low-pitched sample voice gave new life to the band. This is continued in tracks such as “Mr. Disco” and “Vanishing Point.”

Even with those upbeat dance tracks, the simple rock tracks are here as well in tracks such as “Dream Attack” and “Run.” While they are more introspective in comparison, they provide a good balance that shows the diversity that New Order brought this time around.

You can argue that this was probably the band’s best album to date. They created a cohesive album experience that provided diversity that never got boring. The production was very unique in that it retained some of the quirks of its time period but also tried to bring something new, and they managed to do this while facing creative stagnation.

It’s these kinds of stories where a person (or in this case, a group of people) are entering at a crossroads of whether they will suffer creative burnout or bring something new that can add a layer of creativity and versatility to their art. “Technique” 30 years later remains an important moment that allowed a highly influential band to make their legacy even better.

Label: Factory

Listen to “Technique” on Spotify.

Best Songs of 2018 as Selected by A&E Writers

Album art courtesy of Tessa Violet.

Elissa Miller

4. “Trip a Little Light Fantastic” by the “Mary Poppins Returns” Cast: If there was a machine that you could throw your interests in to create a new product, the entirety of the movie “Mary Poppins Returns” would be my result. A sequel to one of my favorite movies? Check. Lin-Manuel Miranda as a character reminiscent of Bert the Chimney Sweep, my first childhood crush? Check. London as a backdrop for musical theater? You got it. While the movie is not a perfect film, “Trip a Little Light Fantastic” is a practically-perfect song and dance number. Clearly mirroring “Step In Time” from the first film, this is Lin-Manuel Miranda’s (and the movie’s) biggest number. It absolutely screams classic musical theater in both sound and design. Honestly, this felt extremely cathartic, because while I’ve loved the recent resurgence of musical films, they’ve generally failed to truly recapture that signature style. The dancing is absolutely breathtaking. The song is catchy and upbeat. Lin-Manuel Miranda looks like he is literally made of sunshine. I cried.

3. “Burn the House Down” by AJR: AJR crafted a perfect album with “The Click” in 2017. It was hard to imagine that adding anything could improve it, yet “The Click (Delux Edition)” somehow managed to do so when it included four new songs. While I’m a fan of generally every new addition, this the absolute best of them. It is a loud, angry anthem that reflects on Twitter and modern-day protest culture, while still being able to function as a dance track. The band allowed it to be used in conjunction with the March for Our Lives movement earlier this year. Everything about it, from the musical style (the horns in this are GREAT) to the lyrics, is compelling. More songs like this in 2019, please.

2. “Bad Ideas” by Tessa Violet: While Tessa Violet made waves with her other release, “Crush,” this year, I’m quite partial to this second song. One of many musicians to first find their audience on YouTube, Violet has continuously grown as an artist to create a signature style. This is incredibly clear with “Bad Ideas,” which stands out among indie-pop releases for its unique sound. Lyrically, it explores the concept of falling for someone you really don’t want to, while sounding upbeat and light as a musical piece. The music video for this is also a great time and uses color in one of the best ways I’ve ever seen. Violet will continue releasing her new album as singles in 2019; I’m incredibly excited to see how it evolves.

1. “Everybody’s Lonely” by Jukebox the Ghost: I definitely link songs to specific times and places in my life. “Everybody’s Lonely,” off Jukebox the Ghost’s fifth album, “Off To The Races,” was the distinct soundtrack of my study abroad trip in the spring. I listened to it during bus commutes, while stuck in airports and when typing papers at the very last minute. It is extremely fun to listen and sing along to, yet it is also complex musically. It uses a number of instruments and vocal layering; soundwise it is largely reminiscent of the band Queen. I cannot recommend it enough.

Photo courtesy of Sony Classical Records.

Noah Howell

4. “Spidey-Bells (A Hero’s Lament) by Chris Pine: “Into the Spider-Verse” was one of my favorite films of the year, and is easily the best animated feature of 2018. The whole ride is a spidey-bonanza, and waiting into the credits was worth the wait for this song alone. Chris Pine is hilarious here and he gives me the Spider-Man Christmas song I never knew I actually needed. This song, along with the album I discovered on Spotify after the movie, will be a staple in my Christmas playlist for years to come.

3. “Shockwave” by Elena Siegman: Easter egg songs are a staple within every zombies map in the “Call of Duty: Black Ops” series, and many of these, like “Shockwave,” are written by Kevin Sherwood and performed by Elena Siegman. There is a reason for this: simply because the duo is fantastic. Siegman’s vocal performance is always stellar, and while the lyrics take a bit to wrap your head around, her job on the song here is no different. I don’t usually find myself listening to much heavy rock/metal like this song, but perhaps it’s just a great backdrop to the actual gameplay of killing zombies that makes it work so well.

2. “That’s The Way it is” by Daniel Lanois: The score within “Red Dead Redemption 2” is already phenomenal, but the best moments of the game are the long, reflective horse rides which come after key story beats and feature songs from a variety of different artists. This song comes towards the game’s climax and is the perfect beat to go alongside the penultimate moment of the player’s journey. I can’t give away too much without risk of spoiling the game, but the song is right at home at this particular moment and is one that will stick with me for a while. 

1. “Kitster’s Song” by Trevor Moore: When a friend first suggested this song to me, I was on board right from hearing the title. A song about Anakin Skywalker’s somewhat obscure friend in “The Phantom Menace” who had only a handful of lines? Count me in. The song straddles the line of being outright hilarious and emotional all at once, with Moore singing from the point of view of Kitster years after his appearance on-screen, reminiscing on what his childhood friend — now Darth Vader — is doing these years later. I had never listened to Moore before this, but one thing is for certain, he knows his “Star Wars.” Parodies of “Star Wars” songs usually rely on simply changing up the lyrics of an already popular song, but Moore creates an entirely new song on his own for Kitster and it is a great one.

Album art for “EVERYTHING IS LOVE” courtesy of Parkwood Entertainment.

Breanna Herring

4. “Sauce All On Me” by CoCa Vango: Another song to contribute to my high self-esteem! This song raps about containing the sauce. “Sauce” is used to describe someone who has a style, confidence and attraction about them.

3. “Nice” by The Carters: Let’s be honest, The Carters are black royalty. This song serves as a confidence boost for me and motivates me to be successful. Some of the lyrics highlight how African Americans are told that they can do anything in America, but racism and inequality challenge the belief.

2. “Wasted Love Freestyle” by Jhené AikoThis song hit close to home for me. The song describes how sometimes our energy and love are not reciprocated back to us in a relationship. We find ourselves realizing that we wasted our time and energy on someone who was incapable of loving us the way we wanted to be loved.

1. “CPR” by Summer Walker: I adore Summer Walker and can completely relate to her and her music. The song “CPR” is a metaphor describing the artist’s lover. She characterizes his love as air bringing her back to life because she’s been misunderstood and alone for so long.

Album art for “Let’s Go Sunshine” courtesy of Lonely Cat Records.

Tyler Trudeau

4. “All the Stars” by Kendrick Lamar, SZA: As Marvel’s ‘Black Panther’ erupted onto the screen as one of 2018’s biggest movies, the soundtrack, curated by hip-hop icon Kendrick Lamar, also made waves as it brought some of the top names in hip-hop together to showcase the massive influence of the superhero hit. Featuring the likes of The Weeknd, Travis Scott, 2 Chainz and Future, the song that comes to my mind first lies in the Lamar and SZA team-up “All the Stars.” With it kicking off the end credits for the blockbuster film, the rhythmic ballad of SZA mixed with Lamar’s rap inklings remains one of the top tracks from the soundtrack.

3. ”Holy” by King Princess: One of the most enigmatic new artists I uncovered this year was Brooklyn native Mikaela Strauss, or as her fans know her, King Princess. A multi-instrumentalist with soulful vocals to match the atmospheric synth melodies that run behind her, Strauss has already made a name for herself as the next bold revolutionary in the queer-pop genre. As a proud member of the LGBTQ community, the artist has expertly carved her way to the top as one of the most promising new artists out there. While her early hit “1950” might have won the hearts of fellow artists Harry Styles, Halsey and Mark Ronson, her somewhat haunting track “Holy” off her debut EP echoes with sonic nuance and cinematic flair.

2. “No Pressure” by The Kooks: After grappling onto other alternative rock groups like Arctic Monkeys and The Strokes, the unique sound of English band The Kooks quickly drew me into a similar fascination into their more recent releases. While their hit 2006 track “Naive” made for a worthy song to lodge itself eternally within my brain, I didn’t initially pick up their later records until this year’s “Let’s Go Sunshine.” With the rest of the record offering a foot-tapping catalog of drunken nights and unrequited affections, the closing number of “No Pressure” perfectly captures the ease and joys of a new relationship.

1. “Superposition” by Young the Giant: Easily one of my most anticipated albums of the year, the latest record from indie rock outfit Young the Giant kicked off with a trio of sensational, cinematic and undeniably catchy tracks. Escorting us effortlessly into their newest collection of soul-searching tunes of lost love, adrift ambitions and super-sonic melodies, the best of the trio in ‘Superposition’ shows off the band’s talented and atmospheric instrumentals, as well as the dreamy vocal nuances of frontman Sameer Gadhia.   

Album art for “Joy As An Act Of Resistance” courtesy of Partisan Records.

Aaron Febre

4. “One Point Perspective” by Arctic Monkeys: It was pretty difficult to pick one track off the new Arctic Monkeys album as I was thoroughly impressed with the overall product. This song takes the cake due to the wonderful layering of instrumentation, Alex Turner’s witty and observable lyricism as well as one of his best vocal performances. Plus, this reminds me of the 1970s for inexplicable reasons.

3. “Baby I’m Bleeding” by JPEGMAFIA: Released in January, JPEGMAFIA’s “Veteran” is one of the most exciting and intense albums of the year. “Baby I’m Bleeding” shows JPEGMAFIA’s fierce flow that is backed-up with an abrasive production that will leave your jaws dropped. Go ahead and play this, you won’t find another hip-hop track (or album) of this year that as fierce as this one.

2. “Dilemma” by Death Grips: As if all of their music wasn’t crazy enough, Death Grips returned with an even crazier album that made their previous work look more accessible. Out of my favorites from “Year of the Snitch,” “Dilemma” is my favorite for various reasons. Spoken word by Andrew Adamson (the director of “Shrek”), MC Ride screaming “DILEMMA!”, the video-game synthesizer and too many things that are incomprehensible to digest even for a fan of Death Grips.

1. “I’m Scum” by Idles: English Punk band Idles returned with a new album (“Joy As An Act of Resistance”) that is catchier and angrier than their 2017 album, “Brutalism.” This track encompasses the overall sound of the new album: Joe Talbot’s gruff voice, the steady and danceable rhythm, dirty guitars, a chorus that drunk soccer (or football) fans can sing along to, and the theme of “say what you want, I don’t care” in the lyrics make this song a favorite.

Artwork for “TINTS” courtesy of Aftermath/12 Tone Music LLC.

Cecilia Whalen

4. “Bring Me Love” by John Legend: Yeah, it’s a Christmas song. I get it; Christmas is over. But I love John Legend, so I take what I can get. He definitely has one of the most beautiful voices of this generation, and this song is upbeat, well-arranged, and of course, well-sung.

3.“TINTS (feat. Kendrick Lamar)” by Anderson .Paak: I don’t think there’s anything smart I can say about this song, but it’s just fun to sing along and dance to, OK? Plus Kendrick Lamar is featured on it, so you know it’s gotta be a win.

2. “1985” by J. Cole: I love J. Cole’s voice and basically every song he’s done. This song is kind of a diss track to all those who have come out dissing him, but Cole doesn’t just cuss them out and be done with it. Cole warns them about the harm their attitudes and their lifestyles are causing themselves and others — and he doesn’t sound like a bully or a punk defending his own pride. Really, he sounds like a big brother looking out for the hip-hop community, while peppered with the occasional big brother boast.

1. “Brackets” by J. Cole: J. Cole knows how to use rhythm. While a lot of rappers tend to repeat a similar rhythmic pattern, triplet and sixteenth after triplet and sixteenth, Cole masters syncopation. This matched with his poetry creates a whole album of reflection and creativity, and “Brackets” is the climax of both of these musical attributes.

Album art for “Love” courtesy of Reprise Records.

Mayra Trujilo-Camacho

4. “Taki Taki” by Selena Gomez, Ozuna, Cardi B and DJ Snake: It’s a song I can dance to that has a mix of Spanish and English.

3. “Money” by Cardi B: I just think it’s a very catchy song and even a good workout song. It’s very hype.

2. “Scripted” by ZAYN: This song comes from his second album “Icarus Falls,” after leaving One Direction in 2015.  It is a love song with a creative melody and nice chill R&B background.

1. “Love You Anymore” by Michael Bublé: From his new album “Love,” which was released two years after his son was diagnosed with liver cancer. “Love You Anymore” is a very beautiful song. It’s more of a song to forget your ex, but it just has a very nice melody and aesthetic.

Album art for “CARE FOR ME” courtesy of Saba Pivot, LLC.

Arik Miguel

4. Shoota (feat. Lil Uzi Vert)” by Playboi Carti: When I listen to this song, I know that half of what I’m singing is my incorrect decipherings of Uzi and Carti’s mumble rapping. The other half of the lyrics have about as much depth as the line “money on the floor just like some shoes,” but maybe that’s not a bad thing. “Shoota” is fun just for the sake of being fun, and that’s really all we could have asked of these two besties in 2018.

3. “Hunnybee” by Unknown Mortal Orchestra: This is one the most gleefully infectious songs I have heard in a long time. “Hunnybeehas the power to evoke the childhood joy that comes from somersaulting down a grassy hill.

2. “PROM / KING” by Saba: “CARE FOR ME” is Saba’s greatest album yet, and “PROM / KING” is its emotional peak. The seven and a half minute song builds up slowly until Saba is rapping at breakneck speed, describing his cousin’s untimely death. Saba has always had an incredible gift for storytelling, but he’s never told his story as breathtakingly as this.

1. “Noid” by Yves Tumor: Yves Tumor intertwines beauty and violence in an incredibly jarring and exciting way. “Noid” is unlike any song I have heard in my life. Almost as if you asked an alien to compose a song about police brutality.

 

Listen to the music featured in this article via the Spotify playlist below!