" What you can't see can definitely kill you! " PLAY Magazine n26 - February, 2004.
occasionally subtle
Stranger Things
noise dept.

tannertan36
Cosimo Galluzzi
styofa doing anything
Misplaced Lens Cap
d e v o n

JBB: An Artblog!
Aqua Utopia|海の底で記憶を紡ぐ

祝日 / Permanent Vacation
Monterey Bay Aquarium
dirt enthusiast
todays bird
trying on a metaphor

Kaledo Art
"I'm Dorothy Gale from Kansas"

will byers stan first human second

JVL
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@mendelpalace
" What you can't see can definitely kill you! " PLAY Magazine n26 - February, 2004.

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" Psygnosis' Leeds studio delivers the fastest PlayStation racer of all time! " Gamer's Republic Magazine n18 - November, 1999.
So this is a font that was designed by someone at The Designer's Republic, though I don't know who, or what it was originally called. I think it was originally designed in 1993 for Pop Will Eat Itself, but it was also used in the game WipEout in 1995 and probably some other things.
It's an early example of what would later be labelled "the Y2K aesthetic", though it's really a continuation of 1970s and 1980s sci-fi aesthetics.
You can download a version of it from the Pop Will Eat Itself website. This one is called Amalgamation, after the compilation album, but that's probably not the original name.
In the book WipEout Futurism: The Graphic Archives, the font is called "Anti-Gravity Racing League Official Custom Typeface". In the game itself, the font is too low-resolution to make out the satirical ® symbols.
The Boxes of Hock Wah Yeo Book (2021)
MOTHER Skate Deck & “Street of MOTHER” Merch Event Ad (JP)

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Jet Set Radio Future release party at HARLEM Sibuya
Trip Machine NM - The air was cool that day (Trip Machine Stage 1 - Decline of the City)
Another bit of Trip Machine music- this time, corresponding to the rough "level" seen in The Quiet City of Splatsville. Though much like Sparking before it, were Trip Machine some sort of playable "hero mode", the actual level would be a lot longer than what the story covers. I am at least confident in the general 'setting' of the level though- all the inbetween streets, cutaways, and courtyards between the buildings, a bit like the actual Splatsville hub in the game. Just, y'know, early in the morning, unusually cold for the time of year, and with Robots.
In terms of the actual music itself, it's On Brand for the project; very Early 2000s Videogame (more in the 'techno' direction this time though), a mix of wholly original compositional elements and cut-up + edited sample pack loops both for style accuracy and for the metatextual fittingness of the 'in-universe' musician- a being who is a mix of flesh and machine, soul and program- to reconstruct music from disparate parts. Which is something I hadn't really thought about until working on this specific piece, but I like that extra dimension it adds to the music. The formatting of the title is deliberate, for "mood". I'm particularly pleased with how the chopped up (and layered) breakbeats came out + all the pitchbending/modwheel dynamics going on with the chords, bass, and extra melody in that final section before the outro/loop-link.
Noah
Storyboards from the anime film Patlabor 2.

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5 Song Tag Game
@sun-on-the-ceiling invited me to participate. So here are 5 (plus 1) songs I've been listening to a lot/have just generally been interested in lately.
Anyone who wants to participate, feel free. But I'll specifically tag:
@stick-arms @omercifulheaves @cat-mermaid @transistor-rhythm-909 @romdocitizen @sparkylurkdragon @orchidblack @firagasoap @combustibabe @castleinthemist @thirtytwoelvismovies
Mina the Hollower (2026) by Yacht Club Games

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For Sci-Fi Cutaway Saturday: Davis Meltzer's depiction of an underwater base.
Concept art for the original Quake, shared by Adrian Carmack for the game's 30th anniversary.