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PC Game Review: Kind Words (lo fi chill beats to write to)
Review by Casey Douglass
Playing online games with strangers often seems to bring out the worst in people. No matter how much you try to keep things in perspective and tell yourself you are just a nickname to someone, being verbally abused or insulted can still hit home. Kind Words (lo fi chill beats to write to) is the polar opposite of this experience, as it's a game in which you share what's troubling you, and in which you can send and receive kind words instead.
If that last sentence made your heart beat a little bit faster, don't worry. It's all done anonymously, with the letters you send simply being signed with the first letter of your chosen nickname. There are also safety warnings about not sharing contact information etc, which is very sensible. People can post "Requests" where they share what they want to share, and you can browse these and decide which ones you'd like to reply to. When you click Reply, you have a number of lines in which you can type your answer. You can even attach a sticker to brighten the recipient's day, with the potential to unlock other stickers as you interact with people. The person receiving your letter can't respond beyond sending you a sticker back as a thank you. That's it, end of exchange. While on some levels, that might feel disappointing, I personally think that it adds to the charm of Kind Words. You don't have to get into a prolonged exchange with someone to possibly help them have a brighter day. At times you'll wish you could say more, but for the most part, I think it's a good limitation to have in place.
A lot of research has gone into the power of writing and how it can help people who are struggling with something. Give James W. Pennebaker a Google to find all sorts about how disclosure can boost mood and function, as just one example. There is also a panoply of information about how feeling compassion towards others (and yourself) can bring health benefits, and it's hard not to feel compassion for most of the people who write on Kind Words. In the days that I've been on there, I've seen people post about porn addiction, loss, loneliness and fears about the future. I've also seen people just wanting to share a funny experience or a pleasant dream, so it's not all "heavy" by any means. Kind Words gives people an outlet who might feel invisible in their everyday life, or who don't feel they can voice their troubles to the people around them. It also seems to give a far better feeling of connection than any social network seems to offer. There is less meaningless bullshit for a start.
As far as I can see from the developer's Twitter postings, the letters appear to be moderated by a mixture of auto-flagging word lists and manual moderation, so if someone is posting stuff that is really unacceptable or worrying, regular users are unlikely to even see it, and if they do, there is a Report button to flag up your concerns. I would imagine this extends to the paper airplanes that you can also send. They are a more instant way to send a very brief message floating through other players' rooms. These are usually a quote in my experience, or a brief sentence saying "You rock!" etc. A nice little feature.
The bedroom in which the game takes place is a cosy graphical space in which your in-game character sits at a desk, listening to those lo fi beats mentioned in the title. As you post, reply, and earn new stickers, these can be used to decorate your room with models of what the sticker represents. It's another nice touch and a pleasing thing that gives the kind words you've received a visual representation in your environment.
Popcannibal released Kind Words on 12 September 2019. By 30 September, over 250,000 letters had already been sent, far surpassing the developer's hopes:
When we dreamed up this little trust experiment, we never imagined it would get this big. In fact, before launch I did a stress test on the server with 60,000 fake messages and laughed to myself "hah, we'll NEVER get close to that".
I find myself dipping into Kind Words a couple of times a day, whether I'm feeling troubled or not. It might be that I just want to see if there is anyone struggling with something I can offer words of encouragement about. Or it might be that I've been playing another game and want my last interactions with people online that day to be kind, rather than just the memory of being told to kill myself by a salty bad loser.
I bought Kind Words on Steam for just over £3 in a sale, but its RRP is only £3.99. For either price, I think I would have been happy with my purchase. You can find it on the Steam Store here.
Labels: compassion, gaming, Kind Words, PC, Popcannibal, review, Steam, writing
Dark Ambient Review: Birds of Naukan
I often like to listen to some dark ambient that has a shamanistic or ritualistic element, so when the opportunity to listen to Creation VI and Ugasanie's Birds of Naukan fell into my inbox, I was easily intrigued. Birds of Naukan is a re-issue of an album originally released in limited form back in 2015. It's a collaboration between the two artists and is dedicated to some of the sacred places of Chukotka, the northernmost region of Russia, with spectacular tundra scenery and history.
As you might expect from an album that is focussed on that kind of landscape, the music is laden with field-recordings, tribal sounds, chants and a feeling of cold exposure. The opening track: Nuneangan is a great case in point. It begins with the sounds of birdsong and trickling water, a bit of thunder and an echoing quality that seems to hint at being in the mouth of a cave. It isn't long before other notes and tones emerge, from one that sounds like the shushing of a boiling kettle, to horns and a kind of guttural gurgling. It's a texture-laden opening track, and I particularly liked how the soundscape darkens as it progresses.
Track two is Yttygran, a track that has a quite ominous quality, with scraping and rustling sounds, playing along with the boing-boing sound of a mouth-harp. This track felt like it was a slow build-up of forces, the sounds taking on the nature of the wind inhaling before it screams. Near the midpoint, footsteps can be heard making their way through the landscape, walking the listener into a different space of high shimmering resonant sounds and an insect-like swarming buzz.
Track three is Souls of Whales, and it begins with a deep, whispering rustling, and a sound similar to someone running a finger-nail along a plastic comb's teeth. About one third of the way in, drum-beat and bone sounds make way for the sound of the sea, crashing waves and piped notes. Things turn a little more ominous towards the end as some of the calls and cries that can be heard take on a wolf-howl aspect, to me at least.
Next up is Pegtymel, the longest track on the album. Something about this track hinted at a "fever dream" like quality, the dog-like barks and pleasing mouth-harp tune sitting amongst a drumbeat and voices that take on the element of screams as the track plays out. A track with quite a ghostly feel to it.
The final track is The Keepers, the shortest track at just over five minutes, and one that eases the listener back to the real world by way of more mouth-harp, the rise and fall of drone, and a furtive ethereal quality that is chased away by hints of birdsong at the end.
Birds of Naukan is a pleasing album, probably containing the most mouth-harp of anything I've ever listened to, but that's no bad thing. The instruments and field-recordings used in each track really do create a feeling of an ancient culture in an even more ancient land. I also think it's a great antidote to the mind-numbing Xmas music that is plaguing much of the Western world right now. Who needs a fat git in a red costume squeezing down your chimney when you can have the stark beauty of the Russian tundra filled with the voices of the ghosts who once lived there. There's no comparison as far as I'm concerned.
Visit the Birds of Naukan page on Bandcamp, and check out Yttygran below:
I was given a review copy of this album.
Album Title: Birds of Naukan
Album Artists: Creation VI & Ugasanie
Labels: ΠΑΝΘΕΟΝ & NEBOSVOD
Labels: Birds of Naukan, Creation VI, dark ambient, music, NEBOSVOD, review, Ugasanie, ΠΑΝΘΕΟΝ
Dark Ambient Review: Anomalies
ProtoU is one of my favourite dark ambient artists. I think I've reviewed more of her albums than I have any other artist. Which says something. Two of her albums were in my personal Top Dark Ambient Relaxation Albums as well. Which says something too. So here we have Anomalies, her latest album, and one that, for me, seemed to have a cyberpunk aesthetic.
The album description is one of dreams and memories. If that's so, I went to a realm of churning pipelines, crackling electricity and strange robots. This began with the first track: The Escape. The light drone led me into a gentle rhythm and cushioned soundscape, but one that seemed industrial. The best way I can think of describing it is like a bird flying through the kind of tunnels you might have seen in the real-world scenes of The Matrix. This culminated in it emerging into a massive, night-filled crater, maybe one caused by some kind of nuclear detonation. There is an increasing fuzz to the track, and some nice field-recordings of rain nestling amongst "egg-shell pebbly crackling" and echoing beats. Quite an opening track.
If that track was the emergence into the crater at night, the next: Transparent Clusters, was for me, the sun rising and casting its golden rays into the crater. It opens gently with some interesting sounds, one like someone flicking a plastic straw over and over. Dripping water peacefully hits the ground and later, sets up a bit of a beat as it seems to hit a plastic container or something. A rising tone seems to hint at the sunrise, and for me, this light shone on all of the debris and discarded things. A dump basically. Later in the track, piano notes and furtive movements hint at the life of things amongst the rubbish.
Track three is my favourite track, and runs with the junk-yard theme even more. Electric Grounds begins with a deep, bassy sound, gently clicking metal joining it. The sounds tell tale of something moving. Fast paced notes enter the ears like boiling atmosphere, with static and hisses as the moving thing gets closer. For me, this was a kind of robot, hulking and steaming as it searches through the garbage. With this in mind, some of the clattering sounds might well be caused by it picking up old shopping trolleys and emptying out their contents. Some of the peripheral tones seem to embody that of an air-raid siren, which again, for me, reinforced the post-nuclear feel. The track ends on a lighter feeling, maybe the bot having found something of interest amongst the rusted metal and discarded smartphones.
This particular narrative seemed to end at track three for me. The next track: Lucid Sequences did seem more dreamlike and ethereal to me. The track that follows though: Chamber of Visions, is my other favourite track on Anomalies. Chimes and echoes, and what could be the sound of millions of dead leaves cascading down the walls. Ghostly swells and cries sound, alongside gently tapped notes and whisper-like tones. The sounds of machinery emerge, creating a thrumming soundscape that ends with what could be a "real world" scene, people bustling at a tram station, going about their commutes. I really liked how the unreal seemed to become more real in this track, a bridge between the soundscape reality and the reality we might recognise.
The final two tracks, Ghost in You (Part 1) and Pellucid Waters, were two more tracks that seemed more nebulous to me. I enjoyed the sounds in them, whether it was the gently clinking machinery, distant voices and warm static of the first, or the field-recordings of water in the second, but there was less to hang my hat on, image wise, so to speak, in these tracks.
Anomalies is another brilliant album from ProtoU. I was pleasantly surprised by the cyberpunky feel for me, as that wasn't something I was expecting going in. I appreciated the relaxing field-recordings and the way that lightness and darkness seemed to play with each other, and certainly enjoyed my time with the album. If you like the smoother, darker kind of dark ambient with a bit of lightness to relieve the murk, check out Anomalies and other albums of ProtoU's.
Visit the Anomalies page on Bandcamp, and check out the Electric Grounds below:
Album Title: Anomalies
Album Artist: ProtoU
Label: Cryo Chamber
Labels: Anomalies, Cryo Chamber, dark ambient, music, protoU, review
Battle Quest Book Playthrough – Caves of Fury - Part 4
By Casey Douglass
Welcome to Part 4, the final part, of my adventure through the Caves of Fury. If you've yet to read a single instalment of my barbarian's tale, you can find part 1 at this link, with each part leading to the next, until finally bringing you back to this one again. It's worth a read. It's a tale of paranoia, inadequacy and bastard goblins, to name only a few elements. You might not like it if you're an advocate for goblin rights, but if you are a normal, warped human being, you'll agree with me that they are bastards.
Part 3 ended with my barbarian floating unconscious on a raft in an underground swamp, a drowning bastard goblin nearby, and little hope of getting much further. The barbarian had only two Strength left of the six he started with, and only one treasure to his name, secreted in his loin-cloth inside the ingenious hidden pocket. Between you and me, I think he is quite ready to get this adventure over with, his luck has been terrible from the start. Let's see if his tale ends with triumph or a whimper...
The barbarian slowly regains consciousness and finds the strength to stand. Not feeling like being a floating-lure for any underwater leviathans, he steps back onto the stepping stones to continue his trek across the swamp. There's no sign of the drowning bastard goblin, which makes him smile. 'Good!' he thinks as he pushes forward into the deepening mist, the thrumming of mosquitoes and green vapours his only company.
In the same manner as the previous tunnels, the stepping stones actually split into three paths. Who'da thunk that would happen? Remembering my resolve to not keep choosing the middle path, I went with the left one this time, hoping for something evil to be waiting at the other end. Why not? It isn't far down this path that the barbarian spies an inscription on one of the stepping stones. This is surprising in two ways. Firstly, that it's there at all, that someone took the trouble to mark a stone in the middle of a dangerous swamp. Secondly, judging by the inscription's length, I realize that I've been imagining these stepping stones as woefully tiny, which irks me a little. The message has lost some of its letters to erosion but it says:
'O, foolish one! It was one of the oth r brac es that you should have c osen. The mag c power of fores ght would have been g ven you there.'
Oh for fuck's sake! A chance at gaining a bit of magical power goes begging! If I can believe the message of course. Not much in this place has been truthful, so why start believing the rock graffiti now? It could be the equivalent of seeing a "Call Bianca for a good time!" scrawl in a public toilet cubicle, a mystery very possibly, or more likely some false advertising at the minimum. None the less, my barbarian ponders whether to retrace his steps, but on turning sees that the previous stepping stones have vanished. That figures. Pushing on sees the stepping stones ahead meet up with the other two paths again, but no option is given for backtracking down one of those other paths at this point.
It's just after the paths have joined that he hears quiet footsteps coming up behind him. He wheels around and his mouth falls open. It's the bastard goblin again! He swings his sword at the wretched thing's head. It screams for him to stop, yelling that it hasn't done him any harm! The gall of the little prick makes his sword falter. Hasn't done him any harm? He almost caused him to drown! The goblin snivels and says that the barbarian encountered his wicked twin, and that this one is the 'good' one. How convenient! It's a little like when politicians say that "they are different" to the ones that have come before. Be wary in both cases.
You'll be amazed to know that this goblin also has advice to give, don't they all? He urges me to step off the stones and to wade the rest of the way to shore, saying that it's shallow enough here. Bollocks to that! There's no way I'm going to believe this goblin, even if it isn't the same one. For all I know, it might have found out that I let its brother drown and be out for revenge. I'd rather die due to my own choices than to being deceived again. I choose not to take his advice.
I push on, not hearing any sign of discontent or disapproval from the goblin behind me. All seems okay, but after a few stepping stones, the next one ahead bursts into flame! Then the next and the next! The book describes the flames as being two metres high! These are less like stepping stones and more like Bunsen burner nozzles poking out above the water. I try to step off to the side but some force is keeping me on the path. My only option is to run ahead through the flames.
I push through, the smell (and pain, let's not forget the pain) of sizzling flesh gives me uncomfortable flashbacks to the wizard's scorch and my hungry stomach. Thankfully, survival is the up-most thing in my mind, ahead of how tasty I smell. I make it across to the shore and collapse on to the ground, trying to get my breath and thinking about finding some mud to soothe my burns. I've lost another Strength with all of that messing around. Only one left and then I'm dead.
As I rest, I find the goblin standing beside me again, but I don't have the energy to throttle it. The book describes his eyes as having a friendly aspect to them. I guess it's still the 'nice one'. He warns me to rest awhile, and that when I'm ready, there are four monsters that live here. Two carry swords set with diamond, the other two have swords set with ruby. Shouting Cragcliff's name summons the first two, shouting it twice the other two. I'm not sure I want to be shouting Cragcliff's name at all if I'm honest. I notice that saying his name three times isn't mentioned, so he isn't related to Beetlejuice in that regard.
I ponder a little, trying to outfox the conundrum of who to summon, as it appears I can't just keep my mouth shut. I opt for the diamond bearing creatures as ruby could signify some kind of fire monster, and I've more than had my fill of being roasted. I yell Cragcliff's name. The goblin trembles and runs away. He doesn't want to see what happens next. I wait for five minutes, ten minutes, and nothing happens. Mosquitoes still buzz and whine but everything else is silent. Until that is, the water glugs, and it comes.
The water bubbles near the shore, a creature slowly rising from its gloopy surface. It has black tangles of weed and slime draped over its body, and is holding a large sword. The book points out that it is holding said sword with webbed fingers, and that this might be a handicap for it in combat. Funny that the book is being so helpful all of a sudden. I decide to fight it and am overjoyed to see that it is another creature that only needs two wounds to slay it.
It's a fight that lasts for fourteen dice rolls. There is much clanking of swords and plenty of instances where my shield is raised as the swamp creature just stares at me in disgust. Of course. I should be used to that by now. On roll thirteen, I wound it with a massive sword slash, trimming the weed on its left side and carving a deep furrow into its hip. It mews and bubbles, which is a sound I didn't really expect if I'm honest. But regardless, one wound down, one to go! I might be able to do this after all!
Roll fourteen sees it run me through with a glugging bellow of rage. Well... shit. My barbarian looks down at the sword pushed through his abdomen. He knows it's protruding from his back too as his legs are numb, suggesting some kind of damage to his spine. He puts his hand into his loin-cloth to hold his treasure one more time. His one precious diamond that is, not what you were thinking.
It had all been for nothing in the end. He laughs. The funniest thing is that he lost more Strength in his dealings with devious bastard goblins than he did in fighting the more obvious monsters. He'd have liked more time to reflect on that, on another day, in other circumstances, but now, on this day and in these circumstances, he spat out his last words before he died: "Bastard goblins!"
The swamp creature nodded as it let his body fall to the floor with a glug.
That's the end of my playthrough of Caves of Fury. I really enjoyed writing about it and injecting my own take on things into the narrative. As I said at the beginning, I didn't think it would go on for so many parts but it did, and it's a shame it ended in the way that it did. That being said, I do enjoy bitter stories and unhappy endings so I can certainly find enjoyment in that. I hope you did too, if you followed along from the start.
Labels: bastard goblins, Battle Quest, books, Caves of Fury, fantasy, Hodder & Stoughton, humour, Stephen Thraves, Terry Oakes
Welcome to Part 3 of my adventure through the Caves of Fury, a Battle Quest book where turning to certain pages means you can control the path of your treasure-seeking barbarian warrior. If you are joining the series late, part 1 can be found at this link, with other links finally bringing you back to this instalment, once you've brushed up on the tale so far. I'm good like that.
Part 2 ended in a prison of stalactites and 'mites, with my barbarian beheading a monster and lifting his first piece of treasure: a lovely glittering diamond. It helped put his run-in with the crotchety old wizard who'd scorched his chest into perspective at least. Finally, he has something to show for his labours, beyond his wounds and feeling knackered. Let's see how his tale continues...
In a turn up for the unlikely, our plucky barbarian finds himself at the edge of an underground swamp. It smells of rot and decay, and its main feature seems to be a massive lake, its surface algae-covered and perfectly calm. It seems to share a few elements with the watery cave in which a certain hobbit meets a certain Gollum, but there's more greenery and less fishezes, at least, that are visible. The other difference are the stepping stones that stretch across the lake, appearing to go all the way to the other side.
Seeing no other route, I step onto the first stepping stone, waiting for something evil to grab my ankle and pull me down into the water. Not even a ripple! I step onto the next, and the next. It's all going very well isn't it? It's as I get to the tenth stepping stone that it all starts to go wrong. A shriek sounds behind me on the shore that I'd just departed. The fright almost sends me into the water, which at this stage, I have no idea how deep it is or what's in there.
Carefully, I turn and see an irate goblin waving his arms, shouting at me that if I step on the next stone, I'll drown! He says that every tenth stone is a trap and that I should jump straight over it to the next one! Now, I wasn't born yesterday. I know how tricky these goblins can be. For a start, they hate anyone taller than them, which is pretty much everyone. Another factor is that they lie more often than they tell the truth, but when they do tell the truth, the disbelieving of it usually leads to disaster anyway. You can't win is what I'm saying.
I try to reason things out. Firstly, every tenth stone being a trap seems a bit arbitrary to me. Why not the seventh or fourteenth? Then again, I can understand why letting someone walk on nine stones might build their confidence enough to not be so careful for the tenth. Also, why more than one trapped stone? It doesn't sound like the person who made the trap is particularly confident that it will achieve its goal first time around. Another thing, if the goblin is trying to get me into a trap, what kind of trap would need me to actually jump on it to trigger, rather than merely stepping on it? His having to shout at me isn't a very efficient way to catch out the unwary. Consider me very wary!
The book gives me the option of using a trance spell to wheedle the truth out of his nasty goblin mind, but I don't have one, and even if I did, I'd imagine his brain is full of yucky goblin pornography and strange, secret perversions. Another thought occurs to me. Why should he shout at me at all, as I would have been bound to step on the trapped stone anyway? It's a bad situation. I decide to trust him, but vow to myself to wring his scrawny neck if things go badly, and if I later get the chance. I make the leap over stepping stone ten.
I've almost landed on stone number eleven when it recedes out of sight under the murky water! I plunge into the lake, the weeds and other growth starting to pull me down as they attach to my body. The book tells me that I lose One Strength. Fucking great... another one down! As I splutter and struggle for air, I reflect on how, if I'd not jumped, I'd probably have been able to stop myself from falling in. Bastard goblin!
Through the glugging of the water in my ears, I hear laughter and see a small raft coming towards me, the grinning face of the goblin looming into view. He pokes me with his paddle and teases it just out of reach, enjoying the spectacle. An idea flashes across my mind, something that might get me out of this. I yell that I'm one of Cragcliff's bodyguards and that I've lost my way. The look of fear that washes over his face is a beautiful thing to behold, well, if your concept of beauty looks like a constipated goblin-face. Then it happens, the thing that I should have predicted. He wants to know the password.
I'd sigh if I wasn't struggling for air. The book gives me three options as usual, and as usual, I choose the middle one: GARLON. (Sadly, Googling the meaning of GARLON didn't return any humorous or naughty double entendres as to its meaning, I guess I got lucky with the other password attempt in part two). Wouldn't you know it, it was the wrong password, yet again! It's a pity that there wasn't an option to whisper the password, and when he leaned in closer to hear me, drag him in with me!
The goblin swears at me and calls me a dog as the water drags me below the surface one last time. The little idiot doesn't realise what I'm doing though. I have a palm to the underside of his raft and slowly pull myself underwater to the opposite side, feeling the clutching strands of vegetation unwind from my legs as I go. I ever so carefully pull myself up and clear of the lake, trying not to tip the rickety thing too much and alert him to my presence. The little thug is too busy craning his neck over the other side, trying to see if I've drowned yet. I see red and give him a mighty shove, sending him not just overboard but well beyond the row of stepping stones too.
He squeals like a flying pig that isn't quite sure why it's flying. He then squeals like a pig that's fallen in a lake and can't swim. Can pigs swim? (Google: Yes they can!) Weariness claims me and I collapse to the deck of the raft. I smile at the sounds the goblin is making and wish him a slow death. The book tells me that the struggle to keep afloat and to not drown has cost me another Strength. I have only two left now. It's not looking good. On the plus side, my scorched chest feels soothed by the water. I just hope it doesn't pick up a nasty infection from the algae. It would be just my luck after all. My last thoughts are two in number: I'm not choosing the bloody middle option for passwords or paths any more, and secondly, I really wish I'd strangled that goblin, just like I'd wanted to. I pass out.
That's where I'll leave this session, my barbarian unconscious and floating on a small raft in the middle of an underground swamp with a drowning goblin nearby. If this was a TV series, the camera would slowly be pulling up to show more and more of what's around him, which knowing my adventurer's luck, would be a host of strange creatures circling in for the kill. The music to accompany this would be slow and synth-based, maybe a single deep tone wavering with menace. I quite like the sound of that actually.
If you enjoyed reading about my adventure so far, join me again soon for Part Four of my delve into the Caves of Fury, coming out next weekend.
Labels: barbarian, Battle Quest, book, Caves of Fury, choose-your-own-path, fantasy, Hodder & Stoughton, humour, Stephen Thraves, Terry Oakes
Dark Ambient Review: Hydromancy
Hydromancy is a dark ambient mini-album themed around water and its use as a divination method. Released by Subespai, the solo project of Mauri Edo, at the beginning of October, it's described as telling the story of a divination session gone wrong, which sounds like a great concept for an album to me. With that in mind, I let each of the tracks speak to me in their own way, wondering what visions they would bring to my mind.
The opening track is Rough Start, a track that features the deep rumbling of distant water currents alongside what I'd describe as a fast "ticking" sound. The rumbling you get deep underwater is always a sound that I find quite awe-inspiring, so I instantly appreciated this track. After awhile, the "ping" of sonar can be heard, which opens up the soundscape nicely and makes it seem a much larger space. As I became used to the sonar pings, it occurred to me that the sound could equally be some kind of crystal bell ringing in the deeps, summoning forth who knows what from the abyss below.
The next track, A Face in the Ripples, is my favourite track on the album. Opening with a siren-like sound and a rumbling drone, the very first image it brought to my mind was that of a large ocean liner, sinking deeper and deeper into the murky depths, with me watching from the outside, hearing the muted siren as it slowly falls past me. Then, I found myself watching a kind of Lovecraftian undersea race of fish people, sitting at their dinner tables eating in the eerie green glow of fungal illumination, the massive ship floating past their abyss-facing windows. The denizens stop chewing and look on in mild interest, wondering if the Elder Gods will destroy it without thought or keep it to toy with later. The odd clang here and there seems to suggest its not a smooth descent for the ship, but by then, the diners have already returned to their meals.
The third track is Revelations, and this also brought some interesting images to mind. It begins with a staticy hiss and some plinking sounds, and the general acoustics of the soundscape brought to mind a strange machine surfacing in an underwater cave, with water running from its strange angles and curves. A regular knocking sound begins, which to me, suggested someone trying to get out but finding the exit door sealed. I really liked this image, the illusion of emerging into safety but then being stuck in the craft that got you there. As the track nears its end, a deep vibration sounds, like a frog croak, but much deeper and more rumbling. I wondered if something was approaching the stricken craft, something that would open it up in more ways than one.
The final track is Bleak Consequences. This track, for me, was an above-ground track, as it seemed to feature the sound of rain or a stream flowing. After a deep opening and a kind of fast rhythm set by one of the sounds, it painted a picture of a really grey day, the kind where the clouds are almost black and the scenery looks leached of colour. A stream runs through a valley, but something isn't right with it. Glugging bubbles begin to pop on its surface; oily blisters smearing a glowing ooze into its currents. I'd guess for me, this track is saying that what happens deep in the ocean will eventually affect the land-dwellers too. A bit like watching Jaws and feeling safe if you stay on land, and how you'd then feel if you heard that sharks could get you on land anyway. Near the end of the track, the water stops flowing, which is also an intriguing end to events.
Before I listened to Hydromancy, I knew that it was themed around water, I was interested but not expecting to be wowed. Hydromancy did wow me though, as I'd forgotten how dark water could really be! I'm saying this as a Lovecraft fan who is well acquainted with the goosebumps that might arise when thinking about the watery abysses of the Earth and what they might contain. I'm also saying this as someone who has listened to a lot of dark ambient that features water in some way. Often though, the water is a flavour or scene-setting sound rather than the main event. Or, the water might be represented by other sounds in a more abstract way. The exception that immediately comes to mind is Ugasanie & Xerxes the Dark's Abysmal, which is also a great water-based dark ambient album. If you liked that one, I think you will like Hydromancy. If you check out Hydromancy and enjoy it, you now know the other one I'd recommend.
Hydromancy is a free download from Audiotalaia, and if you're a fan of dark ambient and deep sea horror, I'd really recommend you go and download yourself a copy as it is well worth listening to.
Visit the Hydromancy page at Audiotalaia here, and check out the teaser trailer below:
Album Title: Hydromancy
Album Artist: Subespai
Label: Audiotalaia
Labels: Abysmal, dark ambient, free, Hydromancy, Lovecraftian, Mauri Edo, music, review, Subespai, water
Dark Ambient Review: Black Stage of Night
The Victorian era always seems to be such a rich vein for media that likes to draw on the dark side of life. From the opium dens and the diseases that dogged the huddled masses, to the dabbling with the occult and emerging sciences, there are plenty of places to look for darkness. Black Stage of Night is a dark ambient album that hits a rich vein in this regard, and whether that vein is found by a sad soul in a mine with a pickaxe or by the prick of a needle, it doesn't matter. Black Stage of Night is dark and twisted, and is a fantastic album.
Dark and twisted though it maybe, there is a gentle melancholia to many of the sounds and tones, from delicate piano notes and acoustic tones, to a hissing static and warping notes. It very much comes across as an album of the night, the time of the day when the shadows deepen and the world feels more closed in, the universe ending at the reflection in your window panes. It's very easy to imagine a Victorian lady or gentleman standing vigil at a window, the light from their lantern hindering their view as they struggle to peer past their own reflection.
Chaos Unmade is my favourite track by quite some distance. It opens with a repeating rhythm that put me in mind of the arrangement you might find in some kind of warped country music. It wouldn't be a song about cattle wrangling or unrequited love though, this one would more likely be about a skeleton on a horse trying to capture errant ghosts in a misty, moonlit valley. A tone rises and falls with this repeating rhythm, later joined by a more trilling, whistling sound. Things quieten near the end of the track, with it ending with a staticy looping sound, maybe hinting that the skeleton horse-rider has disappeared over the hill.
The Great Order of Things is another track that stood out for me. It opens with a howl-like sound and a deep stuttering tone that pulses into life every now and then. An "Ahhh-like" vocal meets the howls as the track progresses, lending the track a church-like feeling. This track could be about another misty, moonlit valley, but this one has a dark church at its centre, with people huddled inside praying for the wraiths outside to go away. The howls become more cat-like in the last third of the track, which to me, made me think of someone on an opium high, sitting near a flickering fire and being woken from their reverie by the family cat wanting to go outside.
The other two tracks I'll mention are the first and the last: Mind Turns to Night and Night Becomes Morning. They are great bookends for the other tracks as the first seems to deepen as it continues, while the latter lightens. This felt very fitting for two tracks that could be the soundtrack for the fading daylight at night's approach and the lightening effect of the sun rising the next morning. Almost like an hypnotic induction and a "Wake up" call, they smooth the way from, and back to, reality.
Black Stage of Night is a ghostly dark ambient album, the cobwebs and coal-smoke of another age mingling with the mind that is looking back at the past. For me, brings up all manner of Victorian aesthetics, the one thing they all have in common being the way that they are tinged with the lust for things to be different to how they are, whether that be by dream or occult means, wishful thinking or prayer. Atrium Carceri and Cities Last Broadcast came together to make Black Stage of Night the welcoming, dark thing that it manages to be, and if it is based in the world of dreams, I'd be eager to see what the nightmares that come after may contain.
Visit the Black Stage of Night page on Bandcamp, and check out the track Mind Turns to Night below:
Album Title: Black Stage of Night
Album Artist: Atrium Carceri & Cities Last Broadcast
Labels: atrium carceri, Bandcamp, Black Stage of Night, Cities Last Broadcast, Cryo Chamber, dark ambient, music, review, Victorian
Welcome to Part 2 of my adventure through the Caves of Fury, a Battle Quest book where your choices decide the fate of your own hulking barbarian adventurer. If you haven't read the first part, it's the best place to begin. If you don't, you'll still be able to understand what's going on, but are you strong enough to begin something on Part 2 when the beginning post is just a click away? I know I wouldn't be able to. Just saying.
At the end of Part 1, I saw my barbarian take a wound from a nasty ape-monster thing, then take flight, running haphazardly down the tunnel, squealing and generally not very happy. I hoped he'd knock himself out and have a bit of a nap, but I doubt anything so pleasant will have happened to him. With how his luck was going, he'd wake up tied to a roasting spit being turned by cannibal goblins. Anyway, let's open the book and see...
He's still running down the tunnel. That's quite a few days if I take a "real-time" view and imagine he's been running since I closed the book. I guess fear gives you quite the energy boost. The tunnel he is careening down eventually splits into three. I opt to take the middle one again, what with my always liking the middle path; walking between extremes. It's not long after taking this route, that I come to a cave that branches off from one side of the tunnel. An elderly robed man is sitting with his back to me. A table is in front of him, containing all kinds of objects, from a skull and a large leather-bound book, to strange glassware bubbling with garishly coloured potions.
Without turning, he speaks. He thinks I'm the new novice Cragcliff has sent him, but just to be sure, he wants the password. Shit. Why are these types so paranoid? I don't know the damned password, and I don't have the password scroll to look it up. Well, I mean I do, I can see it in the pile of stuff that comes with Caves of Fury, but I'm too honest to cheat. Where's the fun in that? The book gives me three options for the password, and I choose the middle one: TAGEL. If it works for tunnels, it can work for passwords. Maybe. (Out of curiosity, I just Googled TAGEL, the first result was for a Cornish dictionary that gave the word's meaning as "fleshy appendage". This amuses me more than it should. I mean, fleshy appendages, tunnels... it's all very rude if you think about it).
'TAGEL' I exclaim, trying to sound confident. The man turns and looks at me for the first time. He sees that I don't really look like a novice and demands to know who I am. I try to tell him that I mean no harm, that the sword on my back is purely decorative and these muscles are just water weight, but he blasts me with a spell. An arc of violet light hits me in the centre of my chest. I scuttle away, embarrassed once again, and a little unnerved by how hungry the smell of my own roasted flesh is making me. I've lost another Strength from my counter! Only four left now. One third of my health gone and nothing to show for it! Well, a wounded arm and a scorched chest that will be the subject of all manner of jokes at the next Adventurer get-together.
I soon find myself in a cavern, my rumbling stomach finally getting the message from my brain, that it's entirely inappropriate to lust after your own cooked flesh. This place is full of stalagmites and stalactites, and I occupy myself by trying to remember which is which, "uppy from floory" or "downy from roofy". Whichever is which, it feels a bit like being in a stone cage. This feeling is enhanced by the snarling monster looking back at me from between the 'tites and 'mites to one side. It's even holding them in massive fists, like someone who was on probation who happened to get caught one too many times thieving and is now looking at hard jail time. I get the fleeting impression that we are two food-scraps stuck between a dragon's teeth. I can fit through the "bars" though, this monster can't. It's another muscular ape creature thing. I didn't do well against the last one so I take the option to skip this fella.
As I move through the cavern, another creature hisses at me. Is this some kind of prison for the monsters that misbehave? It's starting to feel that way. I get the impression that the book really wants me to have a go at beating one of them. This one is half-gorilla, half-humanoid. Mmm. Sharp claws and drool too. Interesting. The glimmering of a diamond catches my eye. Fuck it, let's do it! I turn to the correct page and almost squeal with delight. This monster is slain in two wounds!
The joy doesn't last long, as I really don't fancy my luck. Losing to a creature that needs eight wounds to die has a bit of honour to it, but two? If I don't manage that, what sort of barbarian am I? What sort of dice roller? I push through the feelings of inadequacy like an arachnophobe rushing through a cob-web strewn attic. I've not lost yet after all. I roll the dice and see the all too familiar result of my shield being raised at the creature's face. Oh hell, not again! (See part one for how excruciating this is for me). Roll two has the same result. Can I just throw away my shield book? Please?
Roll three sees an epic sword swing from my good self, one that cuts a nasty gash in the creature's side. Oooh yeah! Roll four... well let's just say a shield is involved again. Roll five... sigh. On roll six I lop off its head! I take a few moments to fully process that I've actually slain a monster. Get in! I watch its body gurgle on the cavern floor, then quickly pick up the diamond before the thing's blood reaches it. My first treasure! I proudly put it in my loin-cloth, as it has a secret pocket that not only hides my 'valuables', but also makes me look like I have more than I really have... ahem. I set my Treasure Counter to one! A glorious moment!
I decide to close the book at this point, to make that moment of triumph last as long as it possibly can. All too soon I'll be back in the Caves of Fury, and it would be nice to once, just once, end a session with a win. There's plenty of time for the wheels to all fall off later. I just hope that my barbarian doesn't pick at his chest. He's very hungry and he's been doing all sorts of running, fighting and over-thinking after all.
If you enjoyed reading about my adventure so far, join me again soon for Part Three of my delve into the Caves of Fury, coming out next weekend.
Labels: barbarian, Caves of Fury, choose-your-own-path, fantasy, Hodder & Stoughton, humour, Stephen Thraves, Terry Oakes
Battle Quest Book Playthrough – Caves of Fury
More than six years ago, I did a little playthrough of one of the Battle Quest books that I happened to come across while having a sort out. Sadly, I didn't make it out of the Tunnels of Fear with the three diamonds I'd managed to liberate, but it was a fun way to spend some time. I've decided that I'm going to go through the process again, but with Caves of Fury this time around. I will inject my own, probably warped, sense of humour into the perils that are inflicted on my character. I will be letting the events play out as the book dictates however.
Caves of Fury is a choose-your-own-path type of book by Stephen Thraves. It was published by Hodder & Stoughton in 1992, with illustrations by Terry Oakes. It comes with two wooden battle dice, two counters to keep track of your character's Strength and Treasure levels, and a variety of cards and see-thru plastic things to decode cryptic clues, if your character is lucky enough to find the item ahead of the time it is needed. All for the very reasonable price of £5.99.
The lead-up into the action describes you, a famed barbarian warrior, being summoned by an old lord. This old lord immediately got on my nerves, making me follow him up a steep cliff moments after arriving on shore after an arduous journey by sea. I'd go so far as to call him a pompous prick, but there was treasure to be found so I kept my mouth shut.
At the top of the cliff, the old man points at a sheer-sided island in the distance, telling me that it is the Island of Fury. This island, apparently, is owned by one Cragcliff, a ruler who delights in filling its dangerous caverns with treasure to lure in the foolish and the greedy. I was about to suggest that this place sounded like it was performing a valuable service by weeding out the idiots who lived nearby, when the old man says it has claimed four of his sons. Foot in mouth avoided. Technically, the youngest did come back but he was mute and maddened by the experience, so I wasn't really going to quibble about his "Loss Count" either.
The wind is really howling up on the cliff and I'm starting to wish I wasn't standing there wearing only a loin-cloth. You'd be amazed at how little protection a sword strapped to your back offers against the elements. Nevertheless, I turn my back to the distant island and give it a try. Nope, still fucking freezing. The old chap is babbling about how he wants someone to go to the island and steal as much treasure as possible. He admits it won't bring his sons back but thinks that the feeling of having deprived Cragcliff of his treasure will give him some kind of bitter joy.
He sniffs and looks at me silently for a moment before asking if I'll do it. He tells me that I can keep any treasure that I'm able to bring back with me. I look over my shoulder at the island, trying not to focus on how far the goosebumps are rippling down by body. It looks stormy out there, moody my old Mum would say. I turn back to him and nod. I could do with a good adventure. I lost a month to trying to get an Adventuring Permit a short while ago, and it has played merry hell with my income for the year to date.
The next few pages of the book yank me out of the story and explain how to play, telling me to set the Strength Counter to 6 and that when it gets to 0, my character is dead. It then warns me to set my Treasure Counter to 0, half implying that I'm the sort of cheeky chap who might set it to 2 and give myself a head start. I'm almost offended. I'm told about how the dice work, how the blue one represents me and the red one the monster. It then explains how the battles work, how all monsters fight to the death but if my character gets wounded, he loses one strength and has to flee. Doesn't sound very heroic to me but okay. I just want to get started.
So I get started. I row away from the shore in a little row-boat, bumping along on the waves. It's still bloody cold, and now I'm getting wet too. Joy. As I near the island, I see a number of chasms looming in its side that I can choose to enter. This is the first decision that the book has given me, wanting me to flip to a certain page depending on the choice that I want to make. I opt for the middle chasm, as I've always been a fan of taking the middle way, the path between extremes.
As I near my chasm of choice, much howling and screeching arises from deep inside, as if the creatures on the island have sensed that I am here. Well, scream and howl all you want beasties! It's the silent stuff that I can never see coming that makes me uneasy. A stealthy goblin stole some of my gold once. It wasn't the loss that bothered me, just the fear that he could have slit my throat while he was at it. I look over my shoulder and then feel foolish. I'm in a row-boat for goodness sake! I make it to the shore and I'm given the option to rest awhile if I'd like to. The rudeness of the old man is still fresh in my mind, making me trek so far without a care to my well-being, so I opt to rest.
I rest for a very lazy and languid ten minutes. Why only ten? Well the noises coming from deeper in the chasm do start to niggle at my courage and resolve. You see, I'm a barbarian very much in touch with his emotional side, and I know when I'm bullshitting myself. Most of the time anyway. Ten minutes seems the ideal length of time to rest, yet not let my mettle weaken too much. Every time my eyes close, the screeches get louder too! They know I'm here and they are deliberately robbing me of rest! Paranoia is something I also dabble in, as you can probably tell.
I stand and stretch as the thought crosses my mind that it will be even colder once I go inside. Unless, I think hopefully, it's some kind of hell-spawn pit with fire and brimstone. That would actually be quite nice, under the circumstances. I could dry off if nothing else. I enter the chasm and all the screeching and wailing falls silent. Now they definitely know I'm here! This isn't paranoia! All I can hear as I move forward are my footsteps, steps that echo back louder than I'd really like. It almost sounds like I'm being followed by a pirate with a wooden-leg. I soon realise that I have a stone stuck in the sole of one boot, which is a bit of a relief.
As I move deeper, the cavern I'm inside merges with two more, likely the paths that I didn't take when I made my choice for the middle chasm. The whole thing narrows into a tunnel as I wonder what pitfalls I avoided in the other two. I hope they were nasty, just so that I can feel a bit smug. Flickering torches begin to appear on the walls, setting me to pondering the question of if they are magically induced or kept going by minions. I briefly ponder what the economy of a dark lord might consist of. Underlings don't come cheap. It's while my head is full of, well, overheads, that I practically stumble on the first monster of my adventure.
An ape-like thing snarls at me, all narrow-eyes and flared nostrils. It has a big "Fuck-off!" sword next to it, but it's holding a big "Try it punk!" diamond in its claw. That type of diamond is the best! I decide to fight it for it, ignoring the option to avoid it. I turn to the applicable page and catch my breath. It needs to be wounded 8 times before it will die! I could understand if it was some kind of land-based octopus, having to lop off each tentacle first, but even that might need 9 wounds if we include the killing blow. Actually 8 might work if you don't mind waiting for the loss of blood to kill it. Does an octopus have blood? Ichor? A snarl brings me back to the ape thing. Focus.
I loosely hold the dice in my right hand and roll them on the floor in front of me. This is real life me, not barbarian me. Meeting a snarling creature and promptly bending down to roll wooden cubes in front of it isn't that conducive to survival. Unless, I guess, you find yourself up against a monster partial to a bit of gambling. The first roll tells me that the creature bashes my shield with its sword. I'd expected to be wounded and to run away on my very first roll, so this was a bit of a result.
Roll two has the exact same outcome, another shield bash, sending shock-waves up my arm. The next roll results in my shield being raised as the creature just stares at me. So much for the rule of three that Hollywood abuses in almost every blockbuster. Where was that third strike on my shield? Blasphemy! It's on the fourth roll that I wound it with a darting sword strike. Haha! How do you like that ape monster!
The fifth roll results in it staring at my shield again. I wish I was a bit more proactive, that shield is coming up so often its embarrassing. Next, I land another wound. Just six more to go! I still don't think I'll achieve the kill but I'm persistent if nothing else. Roll seven sees it looking at my shield again. I feel myself beginning to blush. Roll eight is another deft sword strike from my good self. Five wounds left for the win!
Roll nine is my shield and its face again. Damn it! Roll ten just shows our faces glaring at each other. Should battles to the death be this awkward? Roll eleven has my shield raising in-front of its face. Again. Roll twelve gives me something new, our weapons actually clash! I listen to the sharp "ting" of metal echoing away down the tunnel. It lasts for far longer than I expected. Roll thirteen sees my shield raised in its face again. Of course it is. Roll fourteen is the same thing... yet again!
This creature must think I'm such a coward! Roll fifteen sees me wound it once more! Just four more wounds needed! Then it happens. Roll sixteen sees it cut an angry gash along my right arm, sending my hulking barbarian running down the tunnel, screeching that he doesn't want to play any more! Shit.
I reduce my Strength Counter by one and use it as a bookmark to hold my place. Not the best of starts, already weakened, no loot and a character already struggling with paranoia and afraid of what the monsters he is fighting must think of him. I hope he doesn't run into a trap in his panic. Best case scenario he runs into a wall, knocks himself out and has a nice little nap. Otherwise, part two will be pretty damn short.
If you enjoyed reading about my adventure so far, join me again soon for Part Two of my delve into the Caves of Fury, coming next weekend.
Labels: Battle Quest, Caves of Fury, choose-your-own-path, fantasy, Hodder & Stoughton, humour, Stephen Thraves, Terry Oakes
Dark Ambient Review: Quintessence
I find it fascinating to see something broken down into its smaller parts, especially if it is then put back together again. Anything themed around the elemental view of the Universe is therefore quite interesting to me, especially as it brings to mind more occult and metaphysical ideas. And wizards. Wizards with elemental magic blasting chunks out of each other as they bicker. Shrine's dark ambient album, and debut on Cryo Chamber, Quintessence, is an album themed on just such an elemental theme. You have to bring the wizards though.
Quintessence consists of five tracks, each labelled after the element that they focus on. As you listen to each track, the featured element will shine through nicely, although some are more subtle, as naturally, using field-recordings of Water is a little easier than giving Earth a sound. I liked how each element gives each track its own unique feeling, yet the tracks themselves do share similarities, such as how they gently build up into an almost rapturous wall of sound, and then slowly diminish again into a more gentle soundscape.
Alongside the elemental sounds, there are female vocals that swell and support the "action" in the soundscape. I really liked these as they lend each track an almost mythic aesthetic, making something that would already be full of awe, actively majestic. There are other instruments and effects too that jumped out at me, and help build each track. In Gaia, this is a repeating electric-guitar-like tone and steady beat. In Hydor (water), this is the sound of sea birds and a rumbling distortion. In Aer (air) it's a fuzzy beat and the static of a storm front. In Pyr (fire) it's long string notes and shimmering tones, and in Quintessence (life itself) it's the use of a fast-paced beat and electro-notes.
Unusually for me, I'm not sure I have a favourite track, as they are all enjoyable in their own way. I do think Quintessence had the best beat/rhythm of the bunch, but I guess that is only right if it is showing the evolution of life itself, rather than a single element. Life does like to move after all. When I was listening to Gaia, the electronic tones made me feel like I was envisioning a digital version of the Earth, for some reason. I think I had this in my brain as I listened to the next track, Hydor, as I found myself thinking about the scene in the Battleship (2012) film where the aliens spew up out of the water and things kick-off. Just goes to show how one thought can lead to another. I'd also add that I saw Battleship years after its release, and I found quite a lot to enjoy in a film that was largely derided.
Quintessence then, is an album full of energetic and rapturous tracks, each reveling in the element it is themed around and each "different from the next but similar" in just the right ways. Each track mixes chaos with order, manifestation with destruction, and does it with a deft touch and a pleasing balance to the ears. The beats carry things along nicely while the swirling maelstrom of tones and field-recordings create something majestic to listen to. I think that's the first time I've said majestic twice in a review too. If you are a fan of nature and the elements, you should take a closer listen to Quintessence.
Visit the Quintessence page on Bandcamp, and check out the track Hydor below:
Album Title: Quintessence
Album Artist: Shrine
Labels: Cryo Chamber, dark ambient, dark review, elemental, elements, music, Quintessence, Shrine
Dark Ambient Review: Beringia
I'm often up for music that takes me on a bit of a journey. Whether explicitly with characters actually delivering dialogue, or more subtly, it's a nice feeling to open your eyes again and feel you've gone from "there" to "here" in the hour or so you've been listening. Creation VI's Beringia is a dark ambient album that falls into the latter category, a shamanic-styled journey of drones, rattles and drumbeats, that lull the mind and lead it into potent spaces.
The soundscapes on Beringia are textured and often rhythmic, with piping and clacking going hand in hand with anything from field-recordings of water to the twang of a jaw harp. That's not even mentioning the drones and didgeridoo. The tracks carry themselves along in their own rhythm, the main drone or beat gaining flourishes or extra detail sounds around it but largely following a rhythmic, trance-like predictability.
I think my favourite track is Haunted Shore, a soundscape that really brought to mind a dripping, misty shore, with the sound of muted things knocking in the distance and a strange little repeating tone that seemed to hint at the unease of the location. It also features a sound that I liken to "insect gloop" and the kind of rain that sounds like it is hitting a plastic bag. A drone rises at the midpoint that lends the whole thing an added feeling of menace or threat, a bassy beat fleshing out the edges.
I did really enjoy the final track, Conversation of Elements too, another track that opens with the sound of water, but languidly builds up to feed the listener gusts of wind and later, the crackle of fire. There are rattling wooden wind chimes, exhalations and sounds of snuffly activity, that might just hint at being underground at one point. I guess that's all of the usual elements covered, earth, wind, fire, air and water. If you include spirit in the mix, that would be the people making the journey, in my humble opinion. Or the listener, if you want to get a bit meta about it.
In Beringia, Creation VI has made another fine album, one that uses rhythm and shamanic/tribal sounds to create a space that is a refuge from the mundane world. Gone are the annoying chimes of social media notifications and outrage-fueled news. They get smothered and muffled by the warming drones, energised drum rhythms and insect-like buzzes that remind the listener of the more primal parts of the human psyche.
Visit the Beringia page on Bandcamp, and check out the track Haunted Shore below:
Album Title: Beringia
Album Artist: Creation VI
Released: September 17, 2019
Labels: Bandcamp, Beringia, Creation VI, Cryo Chamber, dark ambient, dark review, music, ritual, shamanic
Bloody Red Nose: Fifteen Fears of a Clown Out Friday 13th
Bloody Red Nose: Fifteen Fears of a Clown is a new anthology of dark tales, tales in which the clown is the victim or hero, rather than the gurning evil-grin wearing psychopath. This particular anthology contains one of my own dark tales too.
The blurb: In a world filled with menace, dare to paint on a grin. The world is full of images of scary clowns: packs of grinning figures with knives plaguing towns; pom-pom clad serial killers; loners who like children in the wrong way. But clowns can be a force for good: it takes a kind heart to put other people's joy first; keeping children entertained is honest work; what better disguise than one that makes the villains laugh?
What if, rather than being childhood-spoiling serial killers, clowns were the victims or heroes of the story? When all the children at a party are poisoned, an entertainer's profession and past both make him a prime suspect. An anti-corporate prankster discovers his guru might be just as callous as the capitalist world-view he claims to reject. A clown attempts to redeem the image of his profession by saving a group of teenagers from a serial killer. And twelve more stories of clowns facing humanity's baser natures.
Bloody Red Nose: Fifteen Fears of a Clown releases tomorrow, Friday the 13th September 2019, and is available from the following retailers, among others, with the paperback costing £7.99 and the eBook version coming in at £3.99.
Paperback: https://smarturl.it/BloodyRedNosePrint
Kindle: https://smarturl.it/BloodyRedNoseKindle
Kobo:
https://www.kobo.com/gb/en/ebook/bloody-red-nose
Barnes&Noble:
Paperback: https://www.barnesandnoble.com/w/bloody-red-nose-david-r-higgins/1133395384
eBook: https://www.barnesandnoble.com/w/bloody-red-nose-dave-higgins/1133387784
iBooks:
https://geo.itunes.apple.com/us/book/id1479227618
Labels: anthology, Bloody Red Nose: Fifteen Fears of a Clown, clowns, dark fiction, milestone
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Should damages accrue to the Orderer due to a delay which has occurred as a consequence of our fault, the Orderer shall be entitled, under exclusion of any further claims, to demand compensation for delay. For each full week of delay it shall amount to 0.5%, however no more than 5% of the value of that portion of the entire delivery which is not available on time, or as contractually agreed, as a consequence of the delay.
Should despatch be delayed at the Orderer's request, the costs incurred by storage shall be charged to him for each month – beginning one month after notification of readiness for despatch – however, in the event of storage on our premises, at least 0.5% of the amount of the invoice. We shall, however, be entitled, following the setting and fruitless expiry of a reasonable deadline, to make the items to be delivered available elsewhere and/or to deliver them to the Orderer with a reasonably extended deadline.
All on-call orders are, to the extent that nothing else has been agreed, to be collected within 3 months following expiry of the contractual deadlines, without collection being required to be demanded. Should this deadline have expired, we shall be entitled, at any time, to invoice the goods at the same time as despatching them.
Should no contractual deadline have been agreed, the specified rights shall accrue to us following expiry of a year since the Agreement was concluded.
The risk shall be passed to the Orderer at the latest upon despatch of the parts to be delivered, and actually even if partial deliveries are made or we have also taken on other services, e.g. the despatch costs or delivery.
Should despatch be delayed as a consequence of circumstances for which the Orderer is responsible, the risk shall be deemed to have been passed to the Orderer from the day of readiness for despatch.
We insure deliveries if required, and at the Orderer's expense, in accordance with his instructions.
Partial deliveries, as well as deviations from the quantities ordered of up to +/- 10%, shall be permissible.
The Orderer undertakes, to the extent that he has received instructions, hints regarding use or warnings or descriptions of risks from us, to also pass these on when passing on the products delivered by us, and to impose such an obligation upon his own customers. In particular, the Orderer has a comprehensive checking, testing and supervision obligation towards us regarding the entire goods delivered by us with regard to any possible damage by third parties.
Any further processing of the products delivered by us lies outside the scope of our influence and thus within the exclusive scope of liability of the Orderer, who is therefore, to that extent, also obliged to continually observe the products.
We reserve ownership of the items delivered by us until such time as all payments have been received by us. In the event of the Orderer engaging in conduct which is contrary to the Agreement, in particular in regard to delays in payment, we shall, following a reminder, be entitled to take back the items delivered, and the Orderer shall be obliged to deliver the items to us. In the event that the Repayment Law does not apply, in taking back the items, as well as in the execution of the matter by us, a withdrawal from the Agreement shall only be present if we expressly declare this in writing. In the event of executions or other interventions by third parties, the Orderer is required to inform us in writing without delay.
The Orderer shall be entitled to sell on the items delivered in the orderly course of business. He does, however, already now assign to us all rights which accrue to him against the customer or against third parties from the selling on of the items, whether the items retained are sold on without processing or following processing. The Orderer shall also be empowered to incorporate these demands following assignation. Our authority to incorporate the demands ourselves shall not be affected hereby; however, we undertake not to incorporate the demands, so long as the Orderer duly undertakes his payment obligations. We can require the Orderer to make known to us the assigned demands and the debtors thereof, provide us with all details necessary for collection, hand over to us the associated documentation and inform the debtors of the assignation. Should the items delivered be sold on together with other goods, which do not belong to us, the claim of the Orderer against the customer shall be deemed to have been assigned to us in the amount of the delivery price agreed between us and the Orderer.
The processing or transformation of items reserved shall always be undertaken by the Orderer for us. Should the items reserved be processed together with other items, not belonging to us, we shall acquire co-ownership of the new item in the proportion to the value of the item reserved to the other items processed at the time of processing. Furthermore, the same shall apply to the item which has arisen through processing of the reserved goods.
The Orderer undertakes to insure the items delivered during the period of retention of ownership against theft, breakage, fire, water and other damage, and to inform us accordingly. Should this not occur, we shall be entitled to conclude the insurances at the Orderer's expense.
The retention of ownership and the securities accruing to us shall apply until complete release from all possible obligations (e.g. upon payment in the so-called bill of exchange procedure) which we have undertaken in the interests of the Orderer.
We undertake to release any securities accruing to us to the extent that their value exceeds the claims to be secured, in so far as these have not yet been paid, by more than 20%.
Notices of defects and guarantee claims are – to the extent that they are obvious – to be lodged with us in writing or asserted without delay, however at the latest within a week following delivery or execution of an order. Should this notification of defect not occur, the Ordered shall be excluded from all claims regarding the guarantee. Defects that are not obvious require to be notified to us within one year. Should this notification of defect not occur, the Orderer shall also be excluded from any guarantee claims regarding defects that are not obvious.
For defects correctly notified, we make a guarantee to the extent that we will repair or deliver a replacement, at our discretion. The Orderer is required to set us a reasonable deadline within which to remedy the defect. In so far as no reasonable deadline, within the above meaning, is set, we shall be freed from liability for the defect. The Orderer shall only be entitled to withdraw or reduce payment if a replacement delivery or repair is, in the individual case at hand, culpably omitted, despite the setting of a reasonable deadline, or is not possible, despite repeated repair attempts.
Replaced parts shall become our property; they are to be returned to us carriage paid upon request.
For parts not manufactured or repaired by us ourselves, and third party services, our liability/guarantee shall be limited to assigning the claims regarding any defects to our suppliers or sub-contractors and referring the Orderer to asserting these claims directly. Only in the event that the Orderer cannot implement these claims against third parties, shall our liability, as regulated within the scope of these conditions, continue to exist.
Liability in the case of job order production is generally limited to the services confirmed by us. In particular in the case of coating orders, we shall thus not be liable for damage to abandoned materials. The exclusion of liability contained herein shall not apply to intent and gross negligence and to the extent that the damage incorporates injury to life, body or health. For ordinary assistants, liability is, in addition, restricted to intent.
Used items shall only be installed or delivered under exclusion of all guarantee.
For unsuitable or improper use, defective assembly or putting into operation by the Orderer or third parties, natural wear and tear, defective or negligent treatment, unsuitable means of operation, substitute materials, defective building works, chemical, electrochemical or electrical influences, no guarantee is undertaken, to the extent that they cannot be traced back to our fault.
No liability shall be accepted for any improper alterations or maintenance works carried out by the Orderer or third parties without prior consent.
The Orderer is required to give reasonable time and opportunity for the undertaking of all repairs and replacement deliveries which appear to be necessary. Should he refuse to do so, we shall be freed from liability for the defects.
Should we allow a reasonable extension of time for repair or a replacement delivery regarding a defect for which we are responsible to expire fruitlessly, the Orderer can withdraw from the Agreement. The Orderer shall also have the right of withdrawal in the event of impossibility or inability on our part to carry out a repair or provide a replacement delivery.
In the case of coating orders, a quantity of defective goods of 10% shall be taken to be agreed upon and accepted by the Orderer if nothing else has expressly been agreed upon and confirmed in our order confirmation. This shall not apply if the quantity of defective goods is based on intent and/or gross negligence and to the extent that the damage includes injury to life, body or health. For ordinary assistants, liability is, in addition, restricted to intent. For ordinary assistants, liability is, in addition, restricted to intent.
The aforementioned liability restrictions do not concern claims of the Orderer arising from product liability and arising from attributable damage to body and health.
Should a product manufactured by us not be utilised by the Orderer, his assistants or third parties in accordance with the regulations within the meaning of the Medical Products Law (for example, re-sterilisation of a product designated by us as a single-use article and delivered sterile), we shall not, in any event, be liable for such damages. Should such a product be imported by the Orderer or a third party into another country, for which we have not effected any product approval, we shall not in any event be liable for conformity of our product with the statutory provisions applicable there, or for any damages arising from non-conformity.
All claims against us, in particular damage claims and guarantee claims, shall become statute-barred within one year – to the extent that nothing else has been agreed – in so far as such a curtailment of the guarantee period is admissible.
Further claims of the Orderer against us and our assistants are excluded, in particular a claim to replacement of damages which have not occurred to the item delivered itself. The exclusion of liability contained herein shall not apply to intent and gross negligence and to the extent that the damage incorporates injury to life, body or health. For ordinary assistants, liability is, in addition, restricted to intent.
Furthermore, we shall only be liable for intent and gross negligence to the extent that the damage does not include injury to life, body or health. For ordinary assistants, liability is, in addition, restricted to intent. Liability on our part is, in addition, in accordance with the type of goods/business, restricted to the amount of the typical contractual, direct average damages foreseeable. This shall also apply in the case of slightly negligent infringements of obligation of our legal representatives or assistants. We shall not be liable in the event of slight negligence of insignificant contractual obligations.
The Orderer can withdraw from the Agreement if the entire service, prior to transfer of risk, finally becomes impossible for us. The same shall apply in the event of our incapacity. The Orderer can also withdraw from the Agreement if, in the event of ordering uniform items, the execution of part of the order is impossible, regarding the number of items, and he has a justified interest in declining a partial delivery. Should this not be the case, the Orderer can reduce the payment accordingly.
Should the impossibility occur during the delay in acceptance or through the fault of the Orderer, the latter shall remain obliged to make payment.
All other further claims by the Orderer are excluded – to the extent that this is legally admissible – in particular claims regarding conversion, termination or reduction in payment, as well as compensation for damages, of whatsoever kind, and actually only of such damages which have not occurred to the delivery item itself.
In the case of all disputes arising from this contractual relationship, if the Orderer is a trader registered in the Commercial Register, a legal person of public law or a special public fund, the Action is to be filed with the Court having jurisdiction for us. We shall also be entitled to file an Action at the Head Office of the Orderer.
The contractual relationship shall be subject to German Law. The provisions of the UN Convention shall not be applicable.


One young girl holds the fate of a city in her hands-If she fails, it spells her doom-and the end of her world.Twice in the history of the city of Amenkor, the White Fire had swept over the land. Over a thousand years ago it came from the east, covering the entire city, touching everyone, leaving them unburned-but bringing madness in its wake, a madness that only ended with the death of the ruling Mistress of the city. Five years ago the Fire came again, and Amenkor has been spiraling into ruin ever since. The city's only hope rests in the hands of a young girl, Varis, who has taught herself the art of survival and has been trained in the ways of the assassin. Venturing deep into the heart of Amenkor, Varis will face her harshest challenges and greatest opportunities. And it is here that she will either find her destiny-or meet her doom.
What is it with fantasies selling a great concept but failing to create a memorable and intriguing read? When I received an omnibus edition of the Throne of Amenkor series (this being the first book), I got really excited. If you didn't read the synopsis, go do that then come back because it sounds like if Arya from A Game of Thrones had her own novel. Which is awesome.
Not so much in practice but such is the way of the world.
The Skewed Throne simply felt. . . bland. Predictable. The entire book felt less like a book and more like the set-up for something bigger. Which, really, isn't how you want a book to go. If this were a TV show I could see this being the first episode, maybe first two.
Anyway, Varis was an interesting protagonist to follow. She starts off the book at around 14 years old and gets older as the story progresses. Much of the focus around her life is about her thieving at first which was cool and all but also extensive. She gets a lot of character development, changing from the hardened street urchin into something more. Unfortunately instead of weaving it into the story, the author focused on the character then the story almost as if they were two separate entities. Because of this, I wasn't really sure what the point was of this book, especially since the plot didn't pick up until later.
But my biggest issue with The Skewed Throne? The women. Or, I should say, lack thereof of women outside of the victim/damsel role. The Dinosaur Lords by Victor Milan was guilty of this too, as though the author can't have more than one strong female character in a book. Whether that's to make that one character stand out or just how they view the world, I can't say, but I wasn't a fan. If you want to see it done well, I highly recommend Brian Staveley's Skullsworn.
Honestly, I don't have much more to say about this one. I'll attempt the sequel as I liked Varis as a character and am curious where she'll go next but at this point she's the only reason for me to continue.


Life has a way of throwing things at you and sometimes even things you never planned for especially in the area of marriage. Being a staying at home mom, can be voluntary or it can be thrust on you but either way, when you find yourself there, either temporarily or for the long haul, you will have to decide to make it work.
How can staying at home work in this day and time?
If you consider the career milestones, social dexterity, and entrepreneurial escapades your mates or at least women are making in the society and world at large, it may just make you feel insignificant and look like you are not doing much. But you are. There are seasons in life, some are busy, some are quiet. Just recognize which you are in.
First things first, you need to be ready emotionally – so you will be ready to give answers to numerous questioning coming your way.
Make your home a priority – husband and children. Afterall, that's why you're home.
Have a plan for cash inflow( business, online blogging) learn valuable skills (cooking, tailoring, language and speech, home making etc.) and see value in what you are offering to your family. If you don't look down on yourself, no one will. So, keep your head up high and invest in your family.
Benefits of being a stay-at-home mom includes bonding with children, ability to easily recognize warning signals of abuse, time to do homework and assignments, ability to support and manage the home more effectively, sufficient time for personal developments, opportunity to learn skills and vocation relevant to you.
On the whole, remember the choice to stay at home or to be on the move, is yours but it can be rewarding if you put the period in perspective not just looking at what the society demands.
It also important you check to see what your family uniquely needs. Stay-at-home mode will not work for every woman just like being on the move will also not work for every woman. The key is to discover your calling and season, stick to it having your family's best interest at heart.
Blessing Onwuamah is a Mom, Freelance Writer and Contributing Writer for www.strivingnigerianmom.com and www.deardaughterofgod.com.
If you are a stay-at-home mom and you have any questions for her, kindly send her an email at strivingnigerianmom@gmail.com.
Very relevant article. Love it. My favourite line……If you don't look down on yourself, no one will. So, keep your head up high and invest in your family.
Lovely post. I needed to read this right now. Thanks for sharing.
I remember when I stayed home full time as well because of the kids.
Sometimes, I may have felt like the world was passing me by, but in that period, I learnt so much. I developed myself in whatever ways I could find. So that when the time came to go back to work, I didn't feel like there was a big gap.
Even though I am back at work now, my job still leaves me room for my kids. And well, my time at home wasn't wasted either, I have two blogs to show for that period.
I'm thankful to God for the inspiration! Thank you Mojisola, Fashionandstylepolice, and Seye. We all need to remember that every season has its beauty and its burden, but its the perspective that counts! God bless us all!
So does this work for stay at home fathers also? I do not have any children, but I was curious if this would apply to those fathers who have either elected to stay at home or if they work from home?
I have actually noticed that we have more stay at home moms than dads and most dads who choose to stay home or work from home are not usually viewed in the same light as the women.
Or maybe it's the way they carry themselves that makes the difference. I doubt if there are many men who would spend all their stay at home time washing and scrubbing and really doing every single thing a woman would do.
You may find that in a number of situations the woman will still come home from work to clean up the mess.
I am not a man though and so I can only speak so much. If we have any man who is experienced in this regard, we would love to hear from them.
Thanks for enriching the discussion.
Thanks for raising interesting discussions!
Thank you TJGM for your question. I do agree with Seye because, its really not the same even if the man works from home. He could just be in his man-cave all day working on his system/paperwork/equipments and really not do any house chores, but he is home. A woman really cannot afford to do that even though she works at home. Chores, school runs, watching the children and meal preparations must go on side by side with her work.


text:
HomeinventionINVENTION: Gigantic Telescope Allows Distant Exploration
INVENTION: Gigantic Telescope Allows Distant Exploration
Fraunt Raiz November 10, 2015
Imagine looking into space using this Telescope. The size of this is only put in perspective when noticing the scale of the car sparked around the perimeter. With a gigantic 39-meter aperture, this creation is now in development in Chile's Atacama Desert after receiving approval two years ago. The Telescope is expected to take 10 years to build and cost in the region of €1 billion to complete.
By 2024, the Telescope will become operational, with the remaining components being added from then on. Elements of the main mirror and optics system which reduce blurring of the planet's atmosphere will be brought in during phase 2. The Telescope is extremely powerful, with pinpoint accuracies when exploring nearby galaxies, stars and anything else which floats around in space.
At least three observatories are expected to pop up during the coming years. The Giant Magellan Telescope is expected to be up and running by 2021, while The Thirty Meter Telescope has expectations of a 2022 release near Hawaii's Mauna Kea volcano's summit.

redpajama_set_name: RedPajamaCommonCrawl


As part of Project Watershed the Waikato catchment was divided into six Management Zones (later reduced to five by amalgamation of the two Waipa zones). A liaison subcommittee was established in each zone. In the Upper Waikato zone a second committee was established in the Whakamaru area to ensure adequate representation (see map 3).
In the Waipa catchment Council formed the Upper Waipa and the Middle Waipa liaison subcommittees.
The two Waipa subcommittees met independently throughout the informal consultation process until a combined meeting was held in December 2001. The consultation process has resulted in discussion in December 2001 and January 2002 between zone subcommittees and Environment Waikato over the equity implications of initiating two separate Waipa zone differentials, given the downstream benefits of works in the Upper Waipa zone.
It has been decided that combining the Upper and Middle Waipa zones into a single Waipa zone for zone rating and management purposes will better reflect both the local and wider community benefits expected from work proposals, and more fairly distribute benefits presently attributed to that area above Otorohanga to the balance of the Waipa catchment.
A summary of the major outcomes of liaison subcommittee deliberations is included in each of the management zone discussions below.
Community meetings were also held in each zone where significant issues existed or where extensive works were proposed. Across the catchment presentations were given and discussions held with agencies, interest groups and communities. Participants included district councils, Department of Conservation, Maori trust boards, major river users, Federated Farmers, Rotary and Lions clubs, farmers, hapu, care groups and local residents.
Presented to liaison subcommittees to assist them in making their recommendations to Council.
By technical staff at Environment Waikato in adjusting works and costing proposals for the project.
Environment Waikato acknowledges the valuable feedback that has been received through these processes. It has had a substantial bearing on the development of Draft Funding Policy for Project Watershed.
A summary of the formal consultation process and results of Council's deliberations is contained in Appendix 6 of this document.


Emily Fletcher is the founder of Ziva, the creator of The Ziva Technique, and regarded as the leading expert in meditation for high performance. The New York Times, The Today Show, Vogue and ABC News have all featured her work. She's been named one of the top 100 women in wellness, has taught 15,000 students and has spoken on meditation for performance at Google, Harvard Business School, Summit Series, Viacom & Wanderlust. Ziva graduates include Oscar, Grammy, Emmy and Tony award winners, as well as NBA players, CEOs, busy parents and entrepreneurs.
Emily Fletcher found out she was having a miscarriage on her way to teach a meditation retreat. Or so she thought. As it turned out, when she had an ultrasound, the baby had a heartbeat. But at the three-month mark, she was told — again — that she had miscarried. This time, it was true. It closed one chapter of Emily and her husband's up-and-down journey with fertility, but it wasn't the end by a long shot. On today's episode, Emily and I share a lot of laughs as we talk about the non-negotiable role that meditation plays in her life, how she revealed the news of her second pregnancy to her husband with an inside joke, and why she's open about her miscarriage story.
Follow Emily on Instagram, visit her website, or find her book on Amazon.


And he did. I think most of us can recognize our own lives in his art. Munch is universal, because he shows us who we can be – on the large canvas between love and angst.
Munch wasn't merely a genius painter – he was also a bold and innovative printmaker. I am very pleased to see British Museum showing Munch's graphic works in such a grand manner.
The largest ever loan of Edvard Munch's prints to an institution would not have been possible without the excellent cooperation between British Museum and the Munch Museum. The cultural relations between our two countries have always been very strong. We are encouraged to see an increased awareness about Norwegian artists and Norwegian art history in the United Kingdom.
As this exhibition shows, the world of printmaking may be a room for artistic experimentation and testing – it is, indeed intriguing and many-faceted.
I am delighted and proud to declare the exhibition "Munch: Love and Angst" open!


text:
Enrico Paribeni (geboren am 4. September 1911 in Rom; gestorben am 4. Oktober 1993 in San Casciano in Val di Pesa) war ein italienischer Klassischer Archäologe.

Enrico Paribeni, Sohn des Archäologen Roberto Paribeni (1876–1956) und dessen Frau Francesca Cicconetti, erhielt eine sorgfältige Erziehung, die ihn zu einem herausragenden Zeichner und guten Pianisten machte. Bereits früh hatte er in seinem akademisch geprägten Elternhaus Gelegenheit, vielfältige Kontakte zu italienischen und ausländischen Wissenschaftlern zu knüpfen.

Nach dem Besuch des Istituto Massimiliano Massimo, einer jesuitischen Schuleinrichtung in Rom, studierte er an der Universität La Sapienza bei dem Althistoriker Gaetano De Sanctis, dem Kunsthistoriker Pietro Toesca und den Archäologen Giulio Emanuele Rizzo und Giulio Quirino Giglioli, bei dem er 1932 mit der  Laurea abschloss. Seine Ausbildung setzte er von 1932 bis 1934 an der Scuola Archeologica Italiana di Atene fort und nahm in dieser Zeit unter anderem an der Ausgrabung von Poliochni teil. Für seine weitere Entwicklung prägend war in Athen die Begegnung mit Alessandro Della Seta, der seit 1919 die Scuola Archeologica di Atene leitete, eine zutiefst humane Persönlichkeit besaß und sich der griechischen Antike mit herausragender Intuition und  profunder philologischer Kenntnis widmete.

Im Winter 1934/35 nahm Paribeni als Assistent von Evaristo Breccia an der Ausgrabung von El-Hibe in Ägypten teil und publizierte den Vorbericht zu den Ausgrabungsergebnissen. Mit einem Stipendium des Istituto storico-archeologico di Rodi kam er 1936 nach Rhodos, um die lokale antike Keramikproduktion zu untersuchen. In dieser Zeit begann er, seine Forschungen und seine wissenschaftlichen Interessen ganz auf die griechische Antike zu konzentrieren. Damit stellte er sich in bewussten Gegensatz nicht nur zu den Neigungen seines Vaters, sondern vor allem auch der staatlich zelebrierten Römerverehrung des italienischen Faschismus. Intensiv beschäftigte sich Paribeni mit Beazleys Attische Vasenmaler des rotfigurigen Stils, mit Langlotz' Frühgriechische Bildhauerschulen und den Necrocorinthia des wenig älteren Humfry Payne.

Der Militärdienst führte Paribeni Anfang 1937 als Inspektor der Altertumsverwaltung in die italienische Kolonie Cyrenaica. Nach erfolgreicher Bewerbung erhielt er noch 1937 die Inspektorenstelle der Soprintendenz von Florenz, die er jedoch erst 1938 antrat. In Florenz kam er mit Ranuccio Bianchi Bandinelli in Kontakt und eine von wechselseitiger Wertschätzung geprägte Beziehung begann. Der Stelle in Florenz folgte 1939 die Inspektorenstelle bei der Soprintendenz von Rom. Im Jahr 1941 wurde Paribeni zum Oberkommando der italienischen Streitkräfte in Griechenland abgestellt und diente bei der italienischen Gesandtschaft in Athen. Weil er sich weigerte, unter der Repubblica Sociale Italiana zu dienen, wurde er 1943 interniert.

Vor der Deportation gerettet, trat er im August 1944 wieder seine Stelle bei der Soprintendenz in Rom an. Von 1953 bis 1955 war er Direktor des Museo Nazionale Romano, 1955 übernahm er die Soprintendenz für Forum Romanum und Palatin, die er bis 1964 innehatte.
Seine Berufung auf einen Lehrstuhl in Italien wurde lange hintertrieben, bis Bianchi Bandinelli im Jahr 1964 die Philosophische Fakultät der Universität Florenz von Eignung und Vorzügen Paribenis überzeugen konnte. Paribeni wurde auf den Lehrstuhl für Archäologie und Kunstgeschichte der griechischen und römischen Antike berufen und lehrte dort bis 1981.

Bereits während seiner Zeit in Rom begann Paribeni, sich systematisch den griechischen Originalen und ihren Kopien in Rom zuzuwenden, und auch der für ein römisches Publikum produzierten neoattischen Kunst galt sein Interesse. Frucht seiner Zeit in der Cyreanica war darüber hinaus der 1959 erschienene Catalogo delle sculture di Cirene. Diese Forschungen dehnte er auf Hinterlassenschaft griechischen Kunstschaffens in ganz Italien aus und schloss Großgriechenland und Sizilien ein. Schließlich wandte er sich auch den Beziehungen griechischer und etruskischer Kunst und Kultur zu.

Dank seiner ausgesprochenen Expertise für griechische Skulptur archaischer und klassischer Zeit sowie für die gleichzeitige griechische Keramik war er ein unermüdlicher Beiträger zur Enciclopedia universale dell'arte von 1958 bis 1963 und der von Bianchi Bandinelli betreuten Enciclopedia dell'Arte Antica, Classica e Orientale von 1958 bis 1970, für die er über 500 Artikel, davon rund 300 zur attischen Keramik, lieferte.

Schriften (Auswahl)
Umfassendes Verzeichnis der Schriften Enrico Paribenis: Anna Maria Esposito Esposito: Bibliografia. In: Gabriella Capecchi, Anna Maria Esposito, Maria Grazia Marzi, Vincenzo Saladino (Hrsg.): Scritti di Enrico Paribeni. Viella, Rom 1985, S. IX–XIII.
 Museo Nazionale Romano. Sculture greche del V secolo. Originali e repliche. Libreria dello Stato, Rom 1953.
 Catalogo delle sculture di Cirene. Sculture e rilievi di carattere religioso. L'Erma di Bretschneider, Rom 1959.
 Catalogo dei marmi antichi del palazzo Rondinini di Roma. In: Luigi Salerno (Hrsg.): Palazzo Rondinini. Banca Nazionale dell'Agricoltura, Rom 1964.
 Corpus Vasorum Antiquorum. Italia, Fasc. 51: Milano, Collezzione "H.A." Fasc. 2. "L'Erma" di Bretschneider, Rom 1972.
 Corpus Vasorum Antiquorum. Italia, Fasc. 57: Fiesole, Collezione Costantini. Fasc. 1. "L'Erma" di Bretschneider, Rom 1980.
 Scritti di Enrico Paribeni. Herausgegeben von Gabriella Capecchi, Anna Maria Esposito, Maria Grazia Marzi, Vincenzo Saladino. Viella, Rom 1985,

Literatur
 Domenico Musti: Paribeni, Enrico. In: Enciclopedia Italiana. Appendix 5. Istituto della Enciclopedia Italiana, Rom 1994.
 Gabriella Capecchi, Orazio Paoletti, Carlotta Cianferoni, Anna Maria Esposito, Antonella Romualdi (Hrsg.): In memoria di Enrico Paribeni. Bretschneider, Rom 1998.
 Gabriella Capecchi: Paribeni, Enrico. In: Dizionario Biografico degli Italiani. Band 81. Istituto della Enciclopedia Italiana, Rom 2014.

Klassischer Archäologe
Forscher (Antike Vasenmalerei)
Hochschullehrer (Universität Florenz)
Italiener
Geboren 1911
Gestorben 1993
Mann

redpajama_set_name: RedPajamaWikipedia