Divinely attacked in the nicest possible way

It's been a few minutes since 'Road of Resistance'. The band has left the stage and we're left in darkness and silence. I'm not familiar with 'live' concert protocol, so I'm running some possibilities in my head. Was it supposed to be a 12 song set, and now they're setting up for an encore? Or could there have been a technical issue, but will be resolved quickly enough so there's no point announcing it? Or could the band need a little break to revive before finishing strong? Or did someone get hurt and they're assessing the damage?

Anyway, the band re-enters to perform 'Divine Attack', so I guess problem solved. The pace of this song feels like we're in a cooldown phase, given the choreo has slowed down. Although there's a definite metal foundation, the song is less frenetic, opening up some space to bring the focus back to SU's belting vocals.

According to these translated lyrics, the song inspires us to fight on against whatever holds us back or down, even though our backs are against the wall, as we push together towards the open road. That's great! But the English lyrics I hear in the chorus are

The time has come, stand up...

Time to go your way...

Yes, m'am, I take the hint. It was a really lovely evening, and you've been a very entertaining host. Thanks for having me over at your party! It was absolutely something to write home about!

Piece de resistance

'Road of Resistance' is the song I've been most anticipating and dreading at the same time. Placed 12th on the KL setlist, this song packs such an inspirational quality. From the instrumentals, to the vocals, to the choreo, to the set, the lighting, the pyrotechnics, to the audience participation, these 8 plus minutes takes theatricality to another level! First of all, I doubt any theatre company has ever played to a 'live' audience of 20000 in one sitting. Second, the entire crowd is completely in sync with the performance, and right on cue with their parts in the the singing and movement. What it must have been like to be in the crowd during this production!

It begins with a riff that will stick in the head for a while. The girls are absolutely still, faces serious, two adjectives we would hardly use to describe this band. Each bearing a flag across their shoulders, they march with great resolve to centrestage and halt. Without saying a word, SU authoritatively parts the crowd with a simple but firm gesture, creating a giant mosh pit. What an epic build up of anticipation as we count the seconds to the imminent wall of death.

1234! and all heck breaks loose. The girls mount their steeds and charge full tilt across the landscape, kicking off yet another electrifyingly energetic piece of choreography. At this point we can pick out a subtle difference between YUI and MOA's approaches. YUI is fully immersed in her performance. At 1:56 YUI's expression looks like she's really giving her heart away and she keeps this attitude throughout. At 2:15 MOA is having the time of her life doing what she most loves to do: sing, dance, entertain her audience. It's nice to see that despite their different personalities, they still sync so well together.

One thing that sticks out for me is how freely they use the word, "forever". To sing of forever at this young age shows a lot of youthful idealism and naivete. It makes me sad because YUI will eventually leave the band, and one of the guitarists will lose his life in an accident within the next few years. After these events, the band is no longer so casual with their use of "forever".

Anyway, just before they get to the audience participation bit, there's an instrumental bridge. The guitar and drums set a blistering pace, then impossibly accelerate even further before dropping back down. But the crowd has already been so excited that they gladly fill in the void when SU invites them to sing the "woah-oh-oh-oh" response, and we get this 20000-strong choir valiantly struggling to keep up with SU's higher notes. She lets them go acapella for a few bars before graciously taking back control and ending the song with a literal bang!

And the moment I've been dreading arrives. With a chorus of "see you" the show comes to a close. At least, it does in the video. Not in KL. Here, without a word, the girls exit stage right, and we're left in darkness and silence. We're not sure what's happening, but since there was no "thank you" or "see you" signal of dismissal, perhaps we're not done yet...?

Gimme BABYMETAL

I've responded once already to 'Gimme Chocolate', the song and video that launched BABYMETAL onto the world stage. So instead of featuring the official MV again, here's another fancam shot on location at Zepp, KL on their 2023 world tour.

'Gimme Chocolate' was indeed my very first encounter with the band. It was years ago, but in all places, a shopping mall in Bangkok, while I was on vacation. A song with a beat much heavier than all the other songs playing on the PA system made me perk up and pay attention. Then children's voices piped up -- in Japanese, and I was in Thailand -- and they kept repeating one English word that I could recognize: 'chocolet-to'. I remember thinking it could have been some weird commercial for chocolate, but the music went on longer than any commercial should have. Intrigued, I was determined to research this band and find out more about this weirdness once I got back home. But the Internet being what it was back then, and me possessing the attention span of a goldfish, I completely forgot about it.

The second time I encountered BABYMETAL was when they took their first tour to the USA, and they appeared on The Late Show with Stephen Colbert to publicize their new album. That's when my memory clicked back, and I could now connect this distant memory of a song with its performers. So I looked them up on YouTube, curious to find out what they were like back in Japan. I saw the Gimme Choco video, and I dimly remember watching 'Headbanger' as well. My brain instantly shut down due to sensory overload. Also, the girls were too young to be making this kind of music. It felt so wrong. Somebody behind the scenes had to be exploiting these poor kids for profit, and I really didn't want to give them any more of my attention.

I guess it was the third time, encountering them on The First Take that I realized how talented SU and MOA were. If it had been just a quick cash grab like I thought back then, they wouldn't have continued making music this long, and they wouldn't have evolved their music to grow up along with them. And so began my delving into the Foxhole, perhaps hoping that their art could help inspire something of my own.

Spicy Asian fruit salad

The papaya is just a humble, common Asian fruit. To most of us, it's a sweet dessert fruit, cut to bite-sized portions and served chilled. But in Thailand, the pre-ripened fruit is mercilessly shredded and served with cut chillies as a sour-sweet, spicy appetizer that explodes in the mouth with an overwhelming mix of flavours. That's how it is with 'Pa Pa Ya!!', where even the song title is shredded!!

The dance beat hits right from the get-go. Everyone is jumping and amplifying the rhythmic pa pa ya vocalizations provided by guest collaborator, F. Hero, a Thai rapper of some renown. The verse comes in, catchy as heck. The pre-chorus builds anticipation, then whack! The chorus smashes in with even more energy, and we all go nuts. Very simple lyrics and a predictable composition makes it easy for the crowd to know when to respond with a "hey!" a "yo!" a "pa pa... ya!" and a towel (or official merch bandana) twirl.

Just when things get too predictable, F Hero shows up, spittin' a hard hitting rap in Thai-English, though on their world tour concerts it's a recording. His harsh, staccato flow contrasts against SU's melodic lines. Each brings their own distinctive flavour to the table, but both complement each other so well in this one delectable, exciting, and fun dish of a song.

The choreography borrows from traditional Thai dance, though not as heavily as it does from traditional Indian dance in 'Shanti Shanti Shanti'. There's a more contemporary feel to these movements as the traditional ones are blended in with F. Hero's Molam sub-culture.

BABYMETAL's positive vibe continues through this song, but they politely let F. Hero deliver the main lines:

Knock, knock, knock, struggling

Pound our lives with some happiness and sadness

Papaya needs to be pound[ed] hard

So it can be yummy, crispy and delicious

Translated lyrics from here.

I appreciate SU making the effort to roll her 'R's every time she sings "brrring it on, brrring it" in the pre-chorus. The 'R' sound is absent in most long-established Asian languages, so it has to be learned and practiced consciously to be pronounced. Props to her for striving to respect the languages she uses to engage her internationally diverse audience.

It's hard to believe we're all jumping, sweating, and yelling ourselves hoarse in a cardio workout of roughly 4 minutes to a song about fruit salad. Thanks, ladies!

The fourth member of the band

Although there is an official MV for 'Distortion', the ninth song in the KL setlist, I've chosen to feature footage from another fancam on site. Again, I hope they don't mind.

What we see is a view from the audience's perspective of what it's like being in the crowd at a BABYMETAL concert. This song, in particular, seems to invite the audience to join in with simple repetitive English phrases, and a catchy 'Wo-o-o-o-o-o-oh!', while we respectfully leave the Japanese words to SU.

It doesn't matter how badly we mangle our parts in the song, we're all creating this shared experience together, and it's part of the fun. It's especially awesome that these performers encourage the crowd to sing along, yet they still deliver a bangin' show without getting distracted or thrown off by our awful accompaniment.

It's this feeling like they treat us collectively as the fourth member of the band that makes their 'live' performances so special. It's possibly the reason that despite my miscreant tendencies, I had to buy a ticket to the show without hesitation. I wasn't going to be there just to coldly audit the show, I was going to be a part of it.

This monochrome firework

I started this BABYMETAL journey with 'Monochrome' on The First Take. I'm just a whatever's-on-the-radio's-fine-with-me mainstream guy, so I have no alignment to any musical preferences at all. While I did listen to Linkin Park (which is sort of metal) for a while back in the day, I was no fan of the genre as a whole. But when I stumbled on BABYMETAL performing on piano, I was intrigued. What would a metal song sound like without the metal? The performance SU and MOA presented was beautifully melodic, passionately, and sincerely delivered with love and tenderness -- so uncharacteristic of my stereotypical conception of metal that I got drawn in right away. If this is what metal can be, I want more!

Immediately, I searched for and found the official lyric video. Certainly, the instrumentation was heavy, as I'd expected, but the guitar produced yet another beautiful melody of its own, leading in to SU's main vocals and MOA's supporting vocals that hit like hammer on anvil, respectively, with the drummer putting out rhythms at a speed I'd never heard before. I didn't see any choreography since it was a lyric video, but when I discovered more of their music, the dance was yet another layer on a package that was both thoughtfully composed, and movingly heartfelt. And I'm a sucker for theatrical performances with high production values. And poetic lyrics that make you think. This band ticks all the right boxes for me, so I'll be stuck in this foxhole for quite a while yet.

Anyway, the featured video (above) is not the official lyric one, but a fan edit that was clearly painstakingly put together to integrate the official video with the band's 'live' performance, as I would have experienced in KL, although the size of the audience would have been a tiny fraction of what we see here. The girls here are dressed in their pre-world tour 2023 outfits, but if you go back to look at their current concert attire (which I saw them wear for the first time on The First Take singing 'The One -- Unfinished ver.'), they're still wearing all-black, but with plastic chromatic frills that reflect light in a spectrum of multi-colours. It's a clever way to brighten up an otherwise drab monochrome dress with a costume feature that creates dynamic rainbow colours with every movement. I believe this song is the very inspiration behind this unique design choice.

'Monochrome' appears on the KL tour setlist right in the middle of the repertoire, making it the feature song of the concert. For the special connection I have with this song, oddly enough in its non-metal form, it's definitely this fanboy's favourite.

BxMxC (the x's are silent)

We're now smack in the middle of the KL setlist, arguably where the most fun songs in the repertoire are. The energy skyrockets with fan-favourite 'BxMxC', a metal hip-hop rap battle. Pardon me if I leave my brain out of this one, and just jump with the beat, shouting along to the 'B! M! C!' chant, since there's no way I can match SU's spittin', even if I knew Japanese.

I imagine a scenario in which SU is having a heated debate with her Other, but she is monopolizing all the airtime, while the Other can't get a word in edgeways. Her upward inflections at the end of every line in the pre-chorus suggests that she ain't done talking yet, so just shut up and listen, yo! The choreo is aggressive, featuring lots of restrained kicks and sweeping punches. It's clear they've conquered and assimilated hip-hop, with SU throwin' down some acapella bars in the final verse for good measure.

The video I chose to feature above is their performance for TV broadcast on NHK. I feel that the official MV contains an unnecessary storytelling element, and that their 'live' shows are much better at showcasing their newer music. This video also features a short interview with SU and MOA, so I thought I'd let the ladies speak a bit, and introduce themselves for a change.

The psychological truth of 'Mirror Mirror'

We're now comfortably in the middle section of the KL set. Starting with 'Believing', the songs now come from their latest album, 'The Other One', which dropped in March this year. These new songs show a much more mature side to the band. Gone is the child-like playfulness of their earlier music and choreography. What remains is the commitment to hard-driving metal which is core to their identity, while the vocal line remains beautifully lyrical and melodic. The tunefulness of the vocals is catchy and tempting to sing, or at least hum along to, like as if we could keep up with SU-METAL.

'Mirror Mirror' is a weird combination of familiar references from Disney's version of 'Snow White' and Shakespeare's 'Macbeth'. SU's line references the wicked queen as she indulges her vanity while looking into the mirror. MOA replies with the chant of the 'weird sisters' before they show Macbeth the illusory vision of his ascension to royalty, motivating his descent into serial murder just to maintain a brief, heirless, and ultimately pointless rule.

The point is that the mirror lies to us. Need I say that the mirror could also be social media that we allow to dictate our identity? Focused on our mirror image, we are stuck where we are, this illusory superlative sense of self, being either the 'fairest', or the 'worst'. Instead, stop focusing on yourself, and turn your back to the mirror. Then you'll see life, and navigate through life as it really is. Wow. That piece of wisdom alone has saved me 10 to 20 years' of therapy down the road!

Going back to the choreography, it's clear that the band is much more confident that their music does indeed transcend borders, regardless of language barriers. They are no longer bound to literal storytelling in their movements. They are not above doing it when performing their older songs, but it's not who they are any more. Their choreo has evolved to be more aesthetically appealing, hence the synchronicity and overall symmetry of movement, generally suggesting the constantly shifting patterns of a kaleidoscope, with every nuance of gesture deliberate and rehearsed to perfection.

Letting the music tell its own story, the dance has become an additional instrument in the band, providing notes and rhythms for the eye, enhancing what the ear already hears. The dance now contributes to the music instead of trying to talk over it, like it used to. While many of us miss the controlled chain explosions of tiny chaos that early BABYMETAL used to be about, they have allowed for the progression of maturity, and instead of fighting change, the band has evolved with natural grace. Taking their own advice, this band isn't stuck looking at itself in the mirror.

Seeking reassurance in 'Believing'

Doesn't seem to be an official video for 'Believing', so I've linked fancam footage (hope they don't mind) of the performance I was at in KL. I'm standing slightly left and back of where this cam is, FYI.

The evening started strong, and now, we're pacing. 'Believing' is a lyrical number with complex rhythms that give SU's vocals a chance to stretch and soar, while MOA and MOMO provide supporting harmonies which we can now hear and appreciate. This one is for the ears to savour, so the lighting and colours on the Jumbotron/cyclorama are more muted, while the choreography has slowed down a notch. Focus. Listen.

The verses are electronically enhanced, though I'm not sure 'enhanced' is the right vocab. Rather, SU's voice is suppressed with an echo-y, reverb-y effect. The individual words are delivered more mechanically than normal speech. Perhaps the verses represent internal monologues, the subject being 'I', who does not want to be 'confused' and 'afraid anymore'. The chorus restores SU's natural voice as she is now consciously engaging her Other, the one who, like the seasons has changed and is 'not the same' anymore. And as such, 'we are not the same' either. So when she says, 'believing you', she is seeking some reassurance of stability and consistency despite these changes.

Perhaps this song is meant to reassure us that despite the changes the band has undergone in terms of composition, style, aesthetic, and obviously age, they're still the same BABYMETAL that we remember from 13 years ago.

The lyrics of this song are entirely in English, so I hope nothing's been lost in translation.

In the meantime, is SU actually singing 'live'? I am pretty reassured that she is. At the end of this rendition, the mic picks up an uncharacteristic vibrato in SU's usually clean, spot-on vocals. It's this tiny imperfection that proves that what we are getting is the real deal.

Mesmerizing masterpiece

Iine was fan service, reassuring us that the band they used to be over 10 years ago is still more or less the band performing for us today, although MOMO has since officially replaced* YUI. The remaining songs in this KL set list feature their more grown up aesthetic, starting with 'Shanti Shanti Shanti' in which BABYMETAL goes Bollywood.

Right from the beginning, the melody and rhythm are identifiable as classical Indian. SU's vocals kick in, singing of love (or the feeling of being in love?) from the perspective of concepts from Hindu philosophy, according to these translated lyrics. The way SU vocalizes certain inflections without breaking into an accent suggests she's had some training in this type of traditional singing as well.

The dance is also inspired from classical Indian dance, and perhaps more than inspired, they have probably received some very professional training in executing the movements just right. Just look at the fine detail, like finger placement to make specific hand shapes, and the intricate footwork. It takes a lot of study and practice to get that confident and precise. Still, I've watched clips of these girls at dance practice, and they learn incredibly fast, like music is hard-coded in their DNA.

This performance isn't just a tip of the hat to Indian culture. It shows a deep appreciation for a culture they took effort to understand, and repay with a tribute of a respectful, beautiful piece of art done in their own unique style. And a mesmerizing masterpiece it is too.

*Disclaimer: That's not MOMO in the video, though. YUI had a rotation of replacements before one was finally made permanent.

Iine -- how many songs can we squeeze into one?

Iine was the third song on the KL playlist. It is both a throwback to the band's earliest days, and also to immediately bring the party to us as soon as the intros are out of the way. It's not canon, but I like to think this dance club is where the girls emerged out of the pit in 'Doki Doki Morning', explaining their difficulty waking up for school. They are, after all wearing the same clothes from the rave the night before.

Early BABYMETAL -- free from constraints of expectation -- experimented like crazy with a variety of sound mixes, styles, and instrumentation. Crude, compared to the band's current genre-blending sophistication, Iine mixes specific genres sequentially, beginning with a manic electronica rave, transitioning to 80's hip hop, then reminding us that death metal is still at the core of its music, and back to the rave party we started with. It's like listening to several different songs one after another, though it's really just one song. That's one way to get value for money, I guess.

More importantly, this performance shows how versatile the girls and the band are in owning each genre in terms of vocal quality, body language, and choreography (behind the scenes too, with camera work, and lighting) like they actually belong. Already we see full and total commitment to their craft even in these early stages. I can only imagine how much work they had put in to develop this level of confidence and stage presence at this young age.

And can I say that, normally, kids irritate the heck out of me? Playing and pretending are what they do, and they do it so badly! I'm like ewww... get them away from me! Not these kids. They aren't playing. They are absolutely respectable artists in their field and this, to me, is what makes them truly adorable. This is also why I don't and never will have kids of my own. My standards are too high.

Megitsune: BABYMETAL is Borg

For want of anything better to write about, I'll be running through the BABYMETAL setlist as performed 'live' @ZEPP KL, 4 June 2023. I already reviewed the opening number, 'Death' in an earlier post, so I'll skip it and go into 'Megitsune', which is an apt follow up.

Where 'Death' is a statement of identity for the band, and its members, 'Megitsune' details its purpose, like its corporate statement.

The song pays homage to the trickster fox of Japanese mythology, whose totem the band has adopted. Behind the fox mask, nothing is as it appears. The mask is the stage on which the girls and the band perform in front of their audience. The band dresses as spooks, possibly ancestral spirits, and as the Kami band, they are almost gods of their craft -- although in this MV, the band is very enthusiastically played by actors wielding traditional Japanese musical instruments which obviously could not make the metal backing music we are hearing. The presence of spirits in this Japanese house(?) brings a spooky vibe, but YUI and MOA are clearly having so much fun in this haunted house, like it's Halloween. Meanwhile, SU, who is older, is pensively preparing for her transition into womanhood, which is yet another mask protecting her private self from her public facade. Even the microphone SU holds is a mask hiding another surprise.

So what exactly are we looking at in this MV? Well, it's a metal band wearing an idol-pop face. Or is it the other way around? The integration is so tight, we can't tell. It's metal, but the band will assimilate any genre it can wrap its musicality around. Here, it's incorporated 'Sakura', a popular Japanese folk song, and metallized it with repurposed lyrics. The band will go on to assimilate music from many other cultures worldwide in their later tracks, giving the band constantly fresh material, and an unpredictable repertoire of things that should not go together, but somehow they do, and you'll love it! BABYMETAL is Borg at their most delightful. Resistance is futile!

BABYMETAL is itself an impenetrable mask as the girls are only seen in public in their METAL (and their earlier SG) personas. Their private lives are intensely private, which is as it should be.

Jumping with them at the concert, yelling sore together with the crowd was something I never thought I'd enjoy up to a couple of months ago, but

Check-it-out BABYMETAL. I can have a bit of BABYMETAL, can’t I?

But my dignity worries me a bit these days

However, BABYMETAL. I can have a bit of BABYMETAL, can’t I?

Such guilty pleasure. 

Hearing protection

Going to a metal concert at my age means taking safety precautions. If I'm voluntarily getting myself blasted with heavy duty sonic waves, I'm going to be protecting my ears. I found this set of Alpine earplugs online, quite reasonably priced, and shipped over within 8-10 days via Lazada.

The plugs themselves are very soft, light silicone. They sit comfortably in the ears like there's nothing there. The magic is in the three sets of filters graded bronze, silver and gold, in increasing order of decibel reduction. The gold filters can be seen inserted into the earplugs, which I opted for, while the remaining two sets can be seen as the pairs of tiny white and silver coloured circles nested within the carry case.

The entire set comes with an extra earplug, a lanyard (stuffed in the mesh pocket), and a vial of cleaning fluid for after.

How did it sound? The music from the performance was perfectly clear, even with the most conservative filters in place, but probably because I was standing right in front where the speakers were. Perhaps further back in the stands a lower grade filter would have sufficed. Oddly, it was the crowd that sounded muffled, and when we engaged in audience participation, it sounded like I was the loudest voice in the venue. 

Awesome concert, no ringing in the ears afterwards. A highly satisfactory purchase.

BABYMETAL World Tour @ Zepp KL 2023

I was there. 'Live'. In person. VIP section. Weird, as the people who paid the most got to stand right in front of the stage where, in Shakespeare's time, the poorest people would have been standing. And the VIPs then would have been comfortably seated at the back, where today, the cheapest tickets are.

Unfortunately, this was the best shot I could get of the three in one frame. While SU and MOA are relatively clear, MOMO is blurred out due to movement. Photographs are literally shots in the dark, when lots of factors have to precisely align: Lighting, moments of stillness (which are far and few as they move around constantly without any signs of fatigue), and no random 'fox signs' or other mobile phones obstructing the view.

MOMO (Edit: nope, that's MOA. I didn't notice the dimples earlier) at least gets one good shot here, and probably my best one for the night. And what a night! Well worth the 6 hour bus ride up north, well worth the 90 minutes I spent on my feet waiting for the show to start, well worth cramming shoulder-to-shoulder in a crowd of 2000+ other BM fans (a.k.a. The One) when standing so close to people actually makes me uncomfortable.

The show comprised 14 songs, altogether lasting about an hour and a half. Each song was performed exactly the way it was always performed in their official and unofficial 'live' shows on YouTube, so perfectly coordinated, rehearsed, practiced, and polished. The only difference being that I. Was. There.

I even survived a couple of impromptu moshes. My research into metal concerts indicated that waivers had to be signed if I wanted to participate in a mosh pit, but no documents had been presented to me for my autograph. Yet, I knew that where I was standing was prime location for a wall of death, but as the crowd was well behaved, I thought nothing of staying where I was. But when 'Gimme Chocolate' came on, that's when the pushing and shoving began, without warning. So I leaned into it, nearly getting knocked off my feet a couple of times, but leaning on other people kept me upright as I carefully edged my way out of the pit. It may not have been my intention to get involved -- considering my age -- but I got what I paid for and consider surviving the experience a bonus. So I knew well enough to stay at the periphery during 'Road of Resistance' and the closing number, 'IDZ' during which moshing was expected.

I really admire these three women who brought so much life, talent, energy and joy to this small KL performance, when they've been performing almost every other night in a different city each time around Europe and Asia, and they have yet to start on their US leg before returning to Europe to close out the year. Just look at their tour schedule for 2023 alone!

The souvenirs I'm bringing home include a lanyard with VIP pass, an official promo poster, and an official bandana used for audience participation during 'Pa Pa Ya!' which I believe is the most fun song in the entire repertoire.

Finally, I can't believe I saw BABYMETAL in person. Yes, anyone can see them in person as long as they have a ticket. What I mean is that I found something that I really wanted to do, and I didn't let my laziness, inertia, excuses, apprehensions, and doubts stop me from planning out this little trip and seeing it through to the end. Not often I can say this to myself, but 'mission accomplished'!

My own Headbanger

My hair in a Kcuts utilitarian style

I lament that what I have left on top will soon disappear fruitlessly

Clutching my cheap bus ticket in my hand

I head north, north

Where I hope to find a good spot close to the front of the stage...

This special night of my mid-fifties.

Leg day

A healthy staff Wednesday with a contingent of colleagues taking a morning walk starting from campus and making the return loop at Potong Pasir, with a brief stop for a hot drink at the kopitiam opposite the Hindu temple on Meyappar Chettiar Rd.

The highlight for me was this stretch of park connector following the bank of the Kallang River. Such lush greenery supporting local wildlife. There were tortoises and fish in the water, and someone mentioned a monitor lizard, though I didn't see it.

While the kids take a day off from work just before the summer hols fully kick in, it's nice for us staff to take a little break for ourselves too, just before grading madness begins again.

One in a million

This is the tree I planted with colleague Win. Some of us staff joined the Outdoor Activities kids in this tree-planting exercise, organised by NParks under the OneMillionTrees movement.

It was a good day for planting trees. Overcast with a distant possibility of thunderstorm, but the weather remained dry and cool throughout. Still, wielding a changkul and fully putting our backs into digging a hole deep and wide enough to support a sapling taller than myself got us in a sweat real quick.

Since the nation started this project in 2020, we're by now just over the halfway mark with the number of new trees planted islandwide. And this one is mine. And Win's. It's location is directly in front of the letter 'Q' of the name of the building in the background, TechQuest.

The tree itself is of the genus Lagerstromia floribunda Jack, and though it's listed as a myrtle, the flowers are reminiscent of the Japanese cherry blossom. So, according to the NParks lady, it's a local version of the sakura. Ok, that makes me happy since I've temporarily gone Japanophile, digging deeper and deeper into the BM foxhole.

Diablo VI Server Slam, as played on a 7 year old PC

Spent the weekend alternating between grading assignments and participating in Blizzard's Diablo VI Server Slam preview event. This event is a try-before-you-buy sample of Diablo VI (releasing June 6), and was open to everyone, no purchase required.

There were two similar free events earlier this year to stress test the system as we approach commercial release. I missed out on the first event but participated in the second, and discovered the game was practically unplayable on my PC, which I haven't upgraded in the last 7 years. I kept getting logged out, if the game didn't freeze, requiring a CTRL-ALT-DEL call for the Task Manager. Even with the graphics turned to minimum quality, the instances I could play were juddery, shuddery, experiences, and I was resigned to shop for a brand new PC with all the latest bells and whistles. I wasn't looking forward to shelling out for that kind of expense, but it didn't seem like I had a choice, since like an idiot, I buy-ed before I tried. Hey, I loved Diablo III, and wasted many hours dungeon crawling with it, while waiting 11 years for D4 to arrive.

This final Beta test before release, I was expecting more of the same glitchy nonsense since I hadn't got round to PC shopping yet. But this time, the difference was like day and night. Minimal waiting to get logged in, incredibly short wait time to load into a game, the cut-scenes played smoothly, and the game ran on my 7 year-old PC perfectly well -- granted with the graphics again tuned down to minimum, and yet, it still looked fantastic. And I was finally able to co-op with other players to take down the 'world boss', the ultimate objective of this preview experience for a sweet cosmetic reward I can display on my horse when I get to play the game for real.

It's a steep learning curve, especially since D3 offered a much simpler equipment and fighting system. D4 is deeply complex in comparison, requiring more strategising and optimizing than I want my filthy casual brain to engage in, but if D5 takes another decade to arrive, I have all the time in the world to learn. Regardless, any small upgrade I can build into my character makes combat so much more satisfying, with hoards of monsters blowing up everywhere under my ever-increasing might.

It's a simple reward cycle: kill monsters and level up with experience, or get lucky with an item drop that increases your power level sufficient to take on tougher monsters that offer even better item drops to take on even tougher monsters. Plus a crafting and a multi-layered ability upgrade mechanic that allows us to continuously tinker for even better performance. But knowing me, I'll just look at what the experts on YouTube are building and try to keep up.

But the best takeaway for me from D4 Server Slam is I'm not buying a new PC! My bank account breathes a sigh of relief.

GotG Vol 3: Parent terrible

In Vol 3, the Guardians are finally free of Mommy and Daddy issues. But without our parents' guidance, who are we? The Guardians, individually and collectively discover that they have to find out on their own.

This adventure mainly focuses on Rocket's (Bradley Cooper) backstory. Making a statement against the cruelty of animal testing, this movie takes us into the labs of the High Evolutionary (Chukwudi Iwuji), a being who believes his manifest destiny is to evolve all life to its maximum potential, making him the ultimate out-of-control control freak of a parent who is constantly dissatisfied with the monsters he makes out of his 'children'.

In his experiments on Rocket, which Nebula (Karen Gillan) describes as 'worse that what Thanos did' to her, the High Evolutionary creates some true horrors, including some who eventually become Rocket's friends whom he had to tragically leave behind to escape HE's intended fate for 'Batch 89'. All this exposition is told in flashback, as having sustained a life-threatening injury when Adam Warlock (Will Poulter) attacks Knowhere early in the movie, Rocket's life literally flashes before our eyes.

The Guardians spring into action to save the life of their friend, which means having to infiltrate HE's base of operations to obtain Rocket's tech specs without which any attempt to operate on him would prove immediately fatal. Of course, parent terrible HE takes not too kindly with corporate espionage on his most prize creation, Rocket, and enacts his own counter-plan to retrieve what he considers to be stolen property.

Hope that recap wasn't too spoiler-y. In between, as always, are glorious action sequences punctuated with internal squabbling among the Guardians, including a massive hallway set-piece that sets the bar way up high if you like Netflix's 'Daredevil' hallway punch-ups. I'll need to watch it again to see if it was all done in a single take, but if it was... wow!

Amidst the fighting and the relentlessly escalating crisis that they face, some Guardians really come into their own, while others feel the need to go find themselves, or reforge long-lost connections of their own. As parents, we really should learn to let go and let the children develop into their own beings, rather than force them into some predetermined blueprint of perfection, which will ultimately disappoint you, and screw them up for life. Either that, or die.

Anyway, the Guardians group, as put together by Director, James Gunn, go their separate ways, ending the three-story arc that turned a bunch of largely unknown Marvel properties into some of its best-loved characters today.

Unexpected act of mercy

Early BABYMETAL songs tell stories that are easy to follow, even if you didn't know the language. In 'Karate', three imposing death's head figures square off against our three METAL protagonists, although there is only one male aggressor who engages them in battle. In a back-and-forth contest, he lands a powerful blow, knocking the three girls down. Big sister, SU, struggles back to her feet and helps MOA and YUI up. Together, they gather their strength for one last strike. However, the antagonist who downed them has disappeared. SU's sonic blast hits the three masked figures, breaking their masks to reveal... themselves. It's quite true that we are often our own worst enemies. Having defeated their fearful, rageful, aggressive parts of their personalities, the girls are finally at peace. Easy story.

My first thoughts on watching this video was that all this Karate fighting seems to be at odds with one of the band's definitive messages of 'ijime, dame, zettai' (commonly abbreviated as IDZ) or 'no more bullying forever' and is one of the tracks in their self-titled debut album. I guess I was thinking 'Karate Kid' initially. But this fight is more of an inner struggle to defeat the worst parts of ourselves that keep us down and out, rather than directing violence against another person.

SU and YUI demonstrate strength in breaking things, but my favourite sequence is when MOA uses her heightened senses to pluck an insect in mid-flight out of the air. It had disturbed her meditation, and having caught it, she could have crushed it out of existence so that it would never bother her again. Instead, she gently releases it in an unexpected act of mercy, letting it rejoin its companions and go on its way. Her celebration of and respect for life no matter how seemingly insignificant packs the strongest gut punch. It truly embodies the spirit of IDZ, and watching it greatly uplifted my spirits.

With BABYMETAL, the positive emotional payoff is refreshingly different, in comparison to the cathartic release of angst and rage when listening to, say, Linkin Park, which I did listen to quite a bit back in the day. I'm all for it.