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Joe Biden Failure # 18: Get Vaccinated or Else!

14 May
Card available from Amazon
Joe Biden tweet written by Kamala Harris or an intern

For the Uncensored!

There comes a time when the world is at a crisis, a plague hits, and the inability to lead a country forward is why Joe Biden, whose disastrous presidency has finally reached the yellow brick road. If Joe Biden’s failures are as numerous as his ability to fall up the stairs, it’s why the world right now can laugh at the United States and feel no guilt because of it. 

            When Joe Biden in a tweet stated “the rule is now simple: get vaccinated or wear a mask until you do. It’s that simple.” No, cocksucker, this is why nobody respects you, Joey. Another reason why the Biden aristocracy is pitting people against each other. Even though I am vaccinated, I don’t want people to get it if they don’t want to. I want people to live there life the way they want it. It turns out that democrats are now the party of extreme tyranny and America is now in the greatest peril we can ever be in. 

Glenn Greenwald laying the smack down on Biden.

            The problem of Joe Biden, who exerts his power, with no sympathy to the idea of personal choice, is the reason why democrats are dictators. If he’s taking any lessons from Maduro or Stalin, taking away people’s personal choice for health care, I have no reason to believe that Biden is capable of leading under a time of crisis. 

            If Joe Biden can pay terrorists to block our gas pipeline infrastructure (which I believe was a psy-op made against the American people by terrorists inside the country. Again just an idea, not based out of fact, but again, it’s not always possible, but you can’t rule out intuition.) we are now in a stage of laughable deceit. 

            The outcome is simple: Joe Biden doesn’t care what you think. He wants you to think and be like him. He wants us to be subservient. While I did get the vaccine, I fully support others who don’t. I’m not going to advocate for others who want to live there life how they want it. It’s because I believe that people are different and they must live there life how they want. It’s like a parent who thinks you should follow in there profession than let you have your own autonomy. If autonomy is a curse word for Democrats, it’s why they are the enemy of the people. When ridiculous statements made by a doddering cuck like Joe Biden, it’s troubling to see Joe Biden pretend that he actually can write sentences on the Internet. 

            Again, he probably still listens to LP’s and thinks of buggy cart rides in Amish country. (And no disrespect to the Amish or LP’s, but that’s just an example). Why does Joe Biden or whoever wrote the tweet, pretend that the American people care what they think. This is a national shaming, but I guess coming from Joe Biden, he must need his apple sauce fed to him on a regular basis.

            I would like it if a president can actually write words that he comes up with and preferably doesn’t have dentures. Again, the stupidity of Biden’s tweet of “rules” is what happens when doddering stewards like Biden have no place. Again, I would believe this if Biden’s brain was in the right place. But maybe this is what tyranny looks like. Doddering failures of fathers who let there sons become drug addicts and run billion dollar companies in Ukraine, is Joe Biden’s example of leadership. When Hunter Biden smokes “parmesean cheese” thinking it’s crack rocks, I have no faith in Joe Biden.

            If Obama told him “you don’t have to do this Joe” it’s the sign that Kamala Harris is actually running the country. It’s probably a good thing if Joe Biden steps down for his health and when Israel tells him to stay out of there business with the growing crisis between Gaza and Israel, this is an amazing and scary time in history. 

            What is understood is that people should have personal agency and if following a doddering steward like Biden is nothing less than preposterous. We all know that people should have the right to do and be and fuck and write and think however they want. It’s not like anyone is listening Joe. But just keep talking grandpa. It’s time for bed and your nightly apple sauce.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

https://radiopublic.com/the-real-louis-t-brunos-blog-We7LDvhttps://open.spotify.com/show/2spknKkC6Hi3YM5naV9cc9

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parler https://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day (the bulk of his work will appear on substack officially). Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available at the end of May 2021.

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Joe Biden Failure # 14: Accepting the Armenian Genocide (while bombing half the middle east)

27 Apr

            –For the Uncensored!

Like I said that I would only comment on Joe Biden when he does something wrong, there is a slight hint of irony that is not a failure. For the first time in US history we have finally accepted the Armenian Genocide, when the Turks senselessly slaughter innocent Armenians, because of nothing more than just basic insanity. While the world has accepted the Armenian Genocide, and most who study history will accept it, I suspect that we never did for a couple reasons. It’s a good thing that the US has finally accepted it, and it should have happened under President Trump, Joe Biden has no leg to stand on with this argument. While this is a win for America, and should have happened years ago, coming from Joe Biden is a failure in itself.

            Most are too young to remember the Iraq/Afghanistan war where America went to fight Osama Bin Laden and Al-Qaeda after the attacks on 9/11. What is unsurprising is that with Joe Biden accepting the Armenian Genocide, it’s like giving Charles Manson an humanitarian award for killing Sharon Tate. 

            And yes, to stick it to the Turkish government and its people are a win any day, because I like to attack countries that have done real credible genocides, not imaginary ones the radical leftists will make up from 2016-2020. 

            And Turkey still denies its existence, of course. Giving fruit to Hitler’s Holocaust in the 40’s, that resulted in more than six million dead in concentration camps, while Stalin had his own little genocide camps that went unacknowledged for years.

            The ultimatum is that Joe Biden, while doing something right, is responsible for drone striking innocent people with then President Barack Hussein Obama, as Biden was acting Vice President, and pushing for military men to serve more than two times. I remember when the movie Brothers, released in 2009, came out, with Tobey Maguire, when Obama was redeploying the troops for a second time. 

            President Donald J. Trump could not fart without the media criticizing him, so the reality is, this is a failure. A war criminal accepting the Armenian Genocide when he and his staff were responsible for more innocent civilian’s dead in Iraq and Afghanistan and Syria, which then created the illegal immigrant problem for Europe today.

            I have no problem with accepting the Armenian genocide, because only an asshole would deny the existence of the Armenian genocide. What I can say is that President Trump should have accepted it. And nobody in the middle east or Europe would have said anything against him for it.

            It’s hard to pretend why this is a failure, but coming from Joe Biden, it is. Not for the act itself, but for the very notion that the shape shifter with a thousand faces, thinks he can hide his war crimes from the past, and a man who flip flops throughout his career might lead him to deny the Armenian Genocide later on. 

            So, we’ll wait and see. 

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parler https://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day (the bulk of his work will appear on substack officially). Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available at the end of May 2021.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture #36: Cancel Culture Comes for Hip Hop Legend Xzibit

11 Apr

For the Uncensored!

Xzibit’s official response

As someone who is a major fan of Xzibit, including the show “Pimp my Ride”, responsible for hits such as “X” “Say my Name” “Mean Mugging” “Papparzi” “Bitch Please” 1 and 2, with countless albums. It’s probably no mistake why Cancel Culture is about as useless as putting a Explicit Content warning sign on your art because if you are listening to rap, you are no doubt trying to hear someone curse. With Rap it’s not just about finding some inner meaning or truth, but creating a bravado that makes you feel like an action hero/pimp at the same time. The Wu-Tang Clan have always found a way to represent the streets and talk about philosophical issues, but the West Coast capitalized on gangster “g-funk” sound with the help of Dr. Dre, and Xzibit, created some of the most authentic sounds and rap in the rap’s forty year legacy. 

            But with Xzibit (phonetically its pronounced Exhibit) there was always a bravado that had the ability to create gangster songs while being able to entertain the masses. But in a TMZ article that tried to call his weed dispensary company Napalm racist, it almost made me laugh. The upsetting thing about Cancel Culture is that it will use the word “racist” “sexist” “misogynist” when there is no meaning left behind the idea they are attacking.

            Xzibit, who is 50 years old, knows that he’s not racist. We all know that. It’s the cry baby leftists who don’t care about what freedom of expression means that art can make. Napalm is a liquid chemical used in the Vietnam war used against the Vietnamese soldiers. I think if people are mad about this, the lame stream has run out of things to attack people for. And the customers that complained, seem like people who have nothing left to complain about. 

            If Gawker represented the pinnacle of fake news, along with the lame stream media, why can’t  against entertainers (which deserves a rebirth because the lame stream worked so hard to destroy it, even if Gawker was taking there journalism to humorous standards) maybe TMZ is just a lighter version of that.

            To be clear, entertainers need to be criticized as well. I do criticize many entertainers for being woke activists that criticized Donald J. Trump. I am under the assumption that since Xzibit never really got too political during 2016-2020, it stands to reason, that by lame stream standards and fake news writers, that Xzibit’s company, Napalm is “racist.”

            I don’t share TMZ’s opinion, and I don’t take away there right to publish. I don’t wish for TMZ, or Xzibit to be censored. 

            I enjoy Xzibits music and how much he has inspired me. Art and Culture has to be allow freedom of expression for good ideas but also bad/good ideas that are told in entertaining ways. Art cannot survive without creating provocative material. Crime fiction exists at the forefront of the grime and sleeze, because like rap music, it can say things that some art can’t. It almost takes Hemingway’s macho and brief style of writing into poetic form. And by no means are rappers stupid, or unaware of what they are writing. XZIBIT also does this very well, as much as any Wu-Tang rapper can. 

TMZ is deceptive and while I don’t blame them for misinterpreting Xzibit’s intent. Whether or not Xzibit “apologize” is concerning, because if he does, then woke culture will never change. If he apologized, then that does speak volumes in the culture war. Apologies aren’t good enough for the woke mob either. 

            The point is: nothing you do will be good for anyone. Make your art, business and never apologize for it either. Just because you can be a positive part of society doesn’t mean you have to apologize for creative actions you make in art and commerce.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year. As ever, thank you so much for reading.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture # 33: The Philosophy and Reality of the Digital Industry

4 Apr

For the Uncensored!

I don’t want anyone to be confused and think I’m talking about science fiction, but story telling has always been just about the medium as it is the words being written. Some writers, like William Gibson, talk about the future in plain speak, but put it in far off future worlds, but it seems to me that the death of science fiction is not from the settings or the way characters speak. It’s not just with a form either. Writers don’t have to use a typewriter anymore, because the accessibility of computers made it easier for creative people to achieve there dreams. But I think Naked Lunch is what I think of. The film, not the book. Bill Lee, who works as a roach killer (all based on William Burroughs life) but the film diverts as Bill starts taking the bug powder as a drug. Bugs start talking to him, and he runs to a fictional place called the Interzone after he shoots his wife, Joan, in a game of William Tell. The famous line from the film is “Show them our William Tell routine.”

Trailer for Naked Lunch

            Bill Lee escapes to Tangiers, but it’s another version of Tangiers, unlike what you read in Paul Bowels The Sheltering Sky. It’s dominated by mugwamps, and a typewriter that speaks to Bill, as it is his source of creativity but also a great enemy to him.

            What this does serve is that no matter what the form of writing or the place, it always does serve a higher purpose. 

            What the digital industry offers creatives is that we don’t need to be at a publisher to help us channel our own Interzones. We have the ability to write down our thoughts, and no matter the promise of money or wealth, our words are still our own. 

            In the digital industry, words and places are sometimes incongruent with each other. You don’t need to believe in a Matrix to understand that cyberspace exists. It used to be a very scarce idea, and it felt like you were apart of a cult that knew something that the general public didn’t know. It was fresh, exciting, as you could hear and see so many people chatting and thinking alike or differently. Disagreeing and debating. Talking all at once. People who weren’t online didn’t get it. Less people were online when the Internet and the Digital Industries started, and it felt like a special community. 

            What the Matrix gave us is the digital industries, something for all to help sell there wares but also help build a stronghold in the digital industries. Amazon wasn’t even on the periphery yet. During the early 90’s you had to use dial up, and hear the modem clicking, dialing in. It was like listening to a track from the electronica band, Daft Punk. William Burroughs would never have imagined this in his wildest dreams. The Interzone and The Matrix do share some things in common. Like how one person on drugs can be in an entirely different place, while cyberspace and the digital industries allow us to go there without taking drugs. 

            Digital Industries and the tools  that helps us see cyberspace are apart of what we see, and the Digital Industry allows us to set up our wares. We use social media accounts to give ourselves validity, and we can tell people what we think and see, and where we have information to spared. No matter false or true, information is made up of sentences that give us meaning. It still is our information to spread. 

            Just because it’s wrong doesn’t mean it needs to be censored either. Digital Industries have helped a lot of independent artists become superstars, but if we aren’t allowed to say what we want, then that Matrix’s is not free, then it is controlled. 

            All the hatred and bitterness sewn online by the legacy media can be hurtful, damaging, but you can’t censor the right to be heard and in the Matrix, what would you rather be? Neo, or the machines? Maybe we’re all Bill Lee high on our own drugs, living in another time, but then, maybe being on drugs and away from online is a good thing (jk, don’t do drugs guys, but if you do, don’t get behind the wheel. Be safe when using recreational drugs). We will heal, but not from big tech telling us it’s okay. The Digital Industry will adapt, but if America heals, it won’t be help from Big Tech, at all.

            Where it will come from? Tuning out, and relaxing. Because after this, it won’t be that hard. Nothing should be harder than what America has had to go through. But in the digital nomads, if we have no where to turn to, we might not have anywhere left. But we will find a way. As Jeff Goldblum character’s, Dr. Ian Malcom said in Jurassic Park, “life finds a way.”

            The people will find a way.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

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Music/Soundtrack Review # 2: Liquid Swords

2 Apr

-For the Uncensored!

With this review, I could say in two words, it’s great, and then call it a day, but that would not explain overall what GZA’s second album “Liquid Swords” meant to me, but I was just six years old when this album came out. “Liquid Swords” released on November 7th, 1995, I didn’t really listen to the Wu-Tang Clan until Wu-Tang Forever. So, when I think about this album, the RZA and his dirty beats that were made to match GZA’s words and the way his rhymes fell on a beat and skipped rope around any MC who came around him. His original name, was “Gangsta G” but spelled “J-Z-Z-A,” on the credits for “Protect your Neck.” 

           Born in Brooklyn, New York, August 22nd, In an interview with the Guardian, he explains his inspiration thoroughly: “Writing for me really started in the 70s as a young child. I used to read a lot of nursery rhymes, and I learned a lot of those rhymes word for word. I would go to an aunt’s house, and she would let me play music, and she had The Last Poets album. At that time, albums didn’t have explicit stickers on them, so some of the songs had profanity on them, and I was moved by that. I would listen to those songs, to the flow, and I’d balance it back and forth with the nursery stuff I had. A year later I moved to Staten Island [from Brooklyn]. I had a few DJs in my neighbourhood that would play music in the streets. There was no hip-hop yet, there were just DJs that were playing disco, funk and pop music, and we would gather round, go to the parks and dance and enjoy ourselves. I would often take trips from Staten Island to the south Bronx, which is originally the first place of hip-hop. I was only around 11 years old, and sometimes RZAwould come with me. The DJs and MCs there were way more advanced than the neighbourhood I was coming from. It was just a culture that I was moved by, and I knew that was my calling.” ((https://www.theguardian.com/music/musicblog/2015/jun/19/mogwai-stuart-braithwaite-interviews-wu-tang-clan-gza-atp)

What makes GZA powerful is the lyrics he espouses on each track. On some tracks you can hear a young boy talking, and the dialogue is taken directly from the dub of “Lone Wolf and Cub.” In the most famous of his lyrics, he pontificates, 

“Fake niggas get flipped
In mic fights I swing swords and cut clowns
Shit is too swift to bite you record and write it down
I flow like the blood on a murder scene, like a syringe
On some wild out shit, to insert a fiend”

            The visuals he employs is a staple of GZA’s wordplay and he was nicknamed the Genius, by his first album, Words from the Genius. Truly, if this was the first real rhymes on GZA’s debut album, it was only a blessing because this is like reading a crime novel, as it’s being told from countless hours of perfection, as it was supposed to represent how words can create visuals. 

            The second track, “Dual of the Iron Mic” includes two of the Wu-Tang members, Masta Killa and Inspectah Deck, but the opening from GZA is almost as synonymous with the way the Wu-Tang built up there cache of lyrics, but also was the foundation of every single member to step up there game post 36 Chambers album. 

“Picture bloodbaths and elevator shafts

Like these murderous rhymes tight from genuine craft

Check the print, it’s where veterans spark the letterings

Slow moving mc’s is waitin for the editin

The liquid soluble that made up the chemistry

gaseous element, that burned down your ministry

Herbal vapors, and biblical papers

Smokin exodus, every square yard is plush

Fuck the screw-faced photo sessions facial expression

Leaves impressions, try to keep a shark nigga guessin” 

            It’s where each rhyme at the end of his sentence that the rhyme, should be a half syllable, but the way each word is meant to compliment each other at the end, without being lazy, as most rappers might do today. It’s almost a rise as the first track is meant to introduce GZA, but duel of the iron mic, with Masta Killa and Inspectah Deck, allows him to set the pace of the track.             

What the third track “Living in the World Today” does is allow you to be caught off guard by the beat. RZA was working at master levels, as he captured so much of the sound and funk that you would hear in New York City. The kind of persuasive beat making skills that would take someone twenty years to learn. According to the Wu Manual, Rza used a “Emulator SP-122” where Bring the pain “was made on that machine.” “Ensoniq EPS” and an “Ensoniq EPS-16 Plus” were also RZA’s equipment at the time. (The Wu-Tang Manual. The RZA. Berkley Publishing Group. New York. 196)

GZA’s lyrics were some of the finest at the time, as the mixture of the words covered over the grimy beats were some of the best that GZA could offer. Upon its release no one had heard anything like GZA as his lyrical proficiency made sure that each syllable was used to take up most of the bar (or lyrical line):

“My rhyme gross weight vehicle combination
Was too heavy for the Chevy’s is chased out the station

            When you look at the first two lines it’s here where you see GZA’s storytelling techniques amplified, as what would combine some very difficult word play for any other rapper, makes you see that no line is wasted. “Double-edged” at the first line would compliment the rhyme at the second line where it ends at “unleaded shit.”

“Double-edged was the guillotine that beheaded it
Gassed up, fuckin with some regular unleaded shit”

            “Gassed up” is used it’s to allow some momentary breathing room, to counter the compound sentence scheme, making it a tightrope, “fuckin with some regular unleaded shit”. You can see that with this phrase almost creates a closed in line that provides a closed in rhyme, almost layered.

            The fourth track, Gold, does provide some solid lyrical word play, as it does provide more proof that GZA is constantly thinking. GZA, as he does provide some great narrative techniques to the rhyme, as this is what makes GZA and his technique, but the most poignant rhyme that can be examined is here:

It’s mandatory that I supply all my troops with mega firearms
Big apes and spread ’em out like crops on a farm
To get cream, sometimes they repaint the scene.”

            Let’s break this down. These three lines represent how each word in the lyrics are rhymes bouncing off one another. “Mandatory” jumps onto the line “spread em out” as “mega firearms” reflects “farm” in the second line. What is best to point out is that what you see in these lines is that the syllables are interwoven, as the “cream” rhymes with “scene” closing off the first two lines that spent so much time carrying so many words with half the complexity. It’s not complex at first because GZA does this so effortlessly that you don’t really listen or study the lyrics the first time.

The fifth track is one of the most defining songs of the Liquid Swords album, and the most popular song that everyone knows. “Cold World” is to me, a track that gives GZA the lyrical credibility he deserves. I can say that on “Cold World” is where we hear Inspectah Deck’s story telling capabilities too. What doesn’t surprise me is that GZA, for someone who has accomplished so much, the track still resonates, as while the opening from Lone Wolf and Cub gives us more context to “Cold War” it provides the mindset of RZA’s influences on the track. 

While the track lyrically follows a simple pattern, the simplicity behind GZA’s lyrics prove that his “half short twice strong” way of rhyming is no different than Romantic poets who didn’t use big words in order to make there point known. He seems to repeat a closed in rhyme, as he repeats compound rhymes repeated within each line. There’s so many lines to quote, and it’s often the song most GZA fans remember. 

Around the fifth track, you start to hear what the rest of the album will turn into, as many who were just listening to it, maintain the strength of the album, is the crux of both GZA and deck’s rhyme scheme. What this track represents is the 90’s, and how grimy beats and story telling lyrics were so popular, and many could learn from GZA’s technique. 

Much of his lyrics do follow the pattern around the examples I have brought that are a bridge to what the rest of the album can sound like. Much of the first few lines from the five tracks are a story that do create a tension, and mood that can put the listener into the world of GZA’s lyrics laced with RZA’s beats that give GZA his place among the greatest lyrical MC’s that many would try to copy. 

The opening, by far, is one of the best opening bars in the entirety of Hip Hop, other than Inspectah Deck’s opening for Triumph.

It was the night before New Year’s, and all through the fuckin’ projects
Not a handgun was silent, not even a Tec
Outside as I’m stuck, by enemies who put fear
And blasted on the spot before the pigs were dere
You know hoods robbers snipers new in sight, fuck blue and white
They escape before them flash the fuckin’ lights”

            What is important is the delivery, as the openings of GZA’s bars on Liquid Swords set a precedent for Hip Hop and Rap, since its inception. Even here, we see that his words are merely just another outlook on life that no other rapper has done. It’s not stringing words along together. It’s about balance. Byron seems to be what I see most in GZA, as both GZA and Lord Byron are economical poets, both separated by time and distance, but the poetry of the two men are what make these two seem so alike, as 90’s rappers are known to place rhyme and words in the same lines. 

            With the Sixth track, labels, we hear RZA remark, “you got to read the labels.” Because if you don’t read warning labels you will die. Labels are what we see on milk cartons. But not on labels. Labels don’t tell you they are going to give you a shitty deal. If there was any possibility of that, no one would make art, but if that did happen, you have to read the contracts. Labels starts out with a signature GZA line, 

“Tommy ain’t my motherfuckin’ boy
When you fake moves on a nigga you employ
We’ll all emerge off your set, now you know God damn
I show living large niggas how to flip a def jam.”

            This song originates on GZA’s and RZA’s early career in the music industry. GZA’s first album, Words from the Genius, signed to Cold Chillin, and RZA, then performing as Prince Rakeem, Tommy Boy, were dropped after poor sales. Such is the nature of the entertainment business, but GZA crafted “Labels” as a reminder of how corrupt the industry can be. Naming famous companies that don’t care about artists and what they need to be happy and maintain a career. The song does illustrate how GZA can take lines like 

GZA is not really a punchline master, but his rhymes did reflect the thought he put into it. What is interesting is to study the rhymes, “The soft comedian rap shit ain’t the rough witty, On the reel to reel it wasn’t from a tough city, Niggas be game, thinking that they lyrical surgeons
They know they microphone’s a virgin, And if you ain’t boned a mic you couldn’t hurt a bee
That’s like going to Venus driving a mercury.”

            While this passage represents the GZA’s prowess, the rhyme is not overly impressive, since the fifth track represented a crescendo, as we are journeying through GZA’s world and what it means to be an MC in early 1990’s New York. In the early 90’s, gaining reputation is through battling and making a name for themselves. But that’s almost like sword work for a MC, and sharpening his mind and sword for rap was like learning insults, and how to form it on a beat. GZA is not really known for being a punchline master, but his rhymes do reflect the thought he put into it, that do make. What is interesting is to study the rhymes, you can see the progression of the lyrical weight attached to each line.

The seventh track, 4th Chamber, is different because this does open up with the Wu-Tang Clan members doing there best to create a mood and atmosphere, and while the Clan do an excellent job, they are merely saving the best for last when GZA arrives, The banks of G, all CREAM downs a vet Money feed good, opposites off the set” as he makes his prescience known, as his wealth represents the strength for veterans.
“It ain’t hard to see, my seeds need God-degree I got mouths to feed,” as he speaks of what his children need out of the world with knowledge for the mind, body and soul, “unnecessary beef is more cows to breed” while speaking about the enemies he may face in the world, when it comes to his experience with competition. As an aside, God, when said by the Wu-Tang Clan are represented by black men and women believing they are Gods, from the Nation of Five Percenters. Created by Clarence 13X, he narrowed down the tenants of Islam, as it broke away to help the people become righteous and use logic over emotion. 

The Eighth Track, Shadowboxin, presents a beat that is often more associated with jazz, as it’s meant to help provide a cadence for both Method man and GZA. Method man, in his earliest days, was developing his taste for the commercial medium. But GZA, as he is the smartest member of the clan, “Form like Voltron he would be the head” as it provided GZA takes his time, marinating his lyrics over RZA’s beat.

            As an aside, the beat, if you hear it, it does present how much of his style would be then later copied by other well known producers. Sampling is part of the Hip-Hop and rap producing community. The beats are not meant to go on forever, like a guitar solo would present a way to build tension with the singing. Much like Rage against the Machines guitars were almost akin to a scratching needle on a record. 

            Method Man does provide much of the template for his release, as it is rather different for Method Man. Method Man is deliberately rhyming slowly, as it’s almost like he follows the kick of the drum with the beat he’s rhyming over. But it’s GZA who does illustrate much of the clan’s origins when it comes to there background in battling MC’s “I slayed MC’s back in the rec room era” as he does provide some insight to other MC’s who don’t get it “Check these non visual niggas with tapes and a portrait” as he uses rhymes like a gun “before I use the rhyme RZA scratch off the serial.”

            It’s a track that upon hearing it repeatedly, the rhymes were perfected as much of the second half of the album is pitched to represent someone taking a shower. Like GZA’s trying to impress us because Method Man would become the face of the group for the first half of the clans career. 

            The 9th track, Killah Hills/10304, goes back to GZA’s importance as a storyteller. I would argue that without GZA’s story telling skills that carries the world of Shaolin within his rhymes, most of the clan would not have made it past there first albums. “ Restaurants on a stake-out So order the food to take out Chaos, outside a spark steakhouse” as it’s back to the grungy gritty beats Liquid Swords is remembered by. The rhymes detailing a deal gone wrong, as it’s almost from the hit men who are doing the job that a deal gone bad. “Maintain the power, I feel the deal’s gone sour Nigga missed the wedding, late a fuckin’ half hour” GZA paints a portrait that continues to detail his own sordid world of filth that from a bystander would take his crime thriller with fiction level quality. And his man who bought land from Tony Starks While he was contractin’ bricklayin jobs in city parks.” Ghostface Killah would take on the moniker of Tony Starks, as that would carry his career for 25 years.

            I’m going to skip over the tenth track as I am not interested in that track as much, as the track flexes Ghostface Killah, and the eleventh track is not my favorite, but the most important rhymes from GZA are not found on there. These two songs are not bad but do not reflect the strength of GZA’s lyrical swordplay. It’s almost like hitting tennis balls for him.

            The Twelfth Track, I Gotcha Back, is probably one of the most notable of GZA’s songs in his timeline. The first stanza of GZA’s lyrics prove that much of the criminal aspect he was building up to, is leading to the twelfth track, and the stanza is presented in full:

I was always taught my do’s and don’ts
For do’s I did, and for don’ts, I said I won’t
I’m from Brooklyn, a place where stars are born
Streets are shot up, apartment buildings are torn
And ripped up, stripped up, shacked up and backed up
From fiends, cause the bosses on the scene, they got it cracked up
Kids are slinging in my lobby
Little Steve and Bobby
Getting paid but it’s a life-threatening hobby
Yeah, they still play hide-and-seek
The fiends seek for the crack, and they hide and let the cops peep
Grown folks say they should be out on their own
Before the gangs come and blow up their mom’s home
Because they lifestyle is hectic, so fucking hectic
Blaow! Blaow! Blaow! Bullets are ejected
My lifestyle was so far from well
Could’ve wrote a book with a title “Age 12 and Going Through Hell”
Then I realized the plan
I’m trapped in a deadly video game, with just one man
So I don’t only watch my back, I watch my front
Cause it’s the niggas who front, they be pulling stunts
Back on the Ave of Lavonia and Bristol with a pistol
Sticking up Pamela and Crystal
You know your town is dangerous when you see the strangest
Kid come home from doing the bid and nothing changes
What is the meaning of CRIME (what?)
Is it Criminals Robbing Innocent Motherfuckers Everytime?
Little shorties take walks to the schoolyard
Trying to solve the puzzles to why is life so hard
Then as soon as they reached the playground, blaow!
Shots ring off and now one of them lay down
It’s so hard to escape the gunfire
I wish I could rule it out like an umpire
But it’s an everlasting game, and it never cease to exist
Only the players change, so

What we see from this paragraph is that somehow, the rhyme is like a threaded barrel in a gun. The lyrics are tight and they bounce off the next line, as the syllables prove they are providing a dance, as someone would move there hips on the dance floor, except he’s using words to produce the inflection in his voice too. 

Now, I won’t be covering the thirteenth track “B.I.B.L.E.” or “Basic Instructions Before Leaving Earth” because GZA does not appear on the track at all. I would probably discuss that alone, since it’s Killah Priests most famous track. I think the importance of GZA’s Liquid Swords still holds influential over hip hop heads, and proves that rap did indeed rely on lyrics to tell a story and engaging enough to provide multiple listens.

            What keeps me invested as rappers as poets, as Byron was to his peers, GZA’s Liquid Swords is a mashup of culture trapped within sound can take listeners on a new journey. While I only mentioned one relation between Rappers and Poets, rap, in the 90’s, is personified in how technique and voice match the way the rhymes and poems do help create genuine authentic pieces of art. 

            This is a must own for anyone who wants to investigate rap as an art form, and the WU-TANG Clan took rap to places the next generation can’t go. 

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Zach Snyder’s Next Possible Moves!

31 Mar

-For the Uncensored!

Mandatory Credit: Photo by Jim Smeal/Shutterstock (9327860fo) Zack Snyder Producers Guild Awards, Arrivals, Los Angeles, USA – 20 Jan 2018

If we’re being honest, no one really thinks about Zach Snyder and how he could really make a film that has a lot of drama in it. If Zach Snyder has time, he’s probably working on the next Justice League film for HBO Max and it seems to me like the Snyder universe might lead into Injustice: Gods Among Us. Unlike many other people, I didn’t mind Sucker Punch. It was an interesting idea, and it had the oddness of 300, met with Ken Kesey’s seminal book, One Flew over the Cookoos Nest (with a slight touch of Terry Gilliam’s Brazil). 

            As an exercise, I would always sit around pretending up a filmmakers next film, or project. Films used to fascinate me, but the way studios interfere with a filmmakers vision, censorship is a hot topic in the movie industry. The movie industry always thinks about how many seats they can fill instead of giving people a cinematic artistic experience. If people aren’t given a cinematic experience in a big budget film, then why can’t Zach Snyder give us his own vision of a dark and gritty world in DC comics, then why even go to a movie anymore?

            With Todd Phillips Joker as a major success story for a comic book movie that played to Alan Moore’s vision of the Killing Joke, but made Arthur far more relatable. But again, Zach Snyder has to overcome a lot now. If he does do a film he has to maintain an artistic sensibility. Even 300 had visual flare that can’t be matched. With movies in a death clutch in 2021, I would kill for a movie with bravado, and at least some flare.

            If there is anything that Zach Snyder should do there are a few key projects that he should take on. The first, which is known to all who listen to entertainment news, is the Fountainhead. Yes, Ayn Rands masterpiece about creativity and how man should not bend to anyones will except there own. It’s impossible to think that Zach Snyder could possibly make a complete versio of the film as much of the 700 plus page novel about creativity, architecture, and one man’s will to fight the system, is the epitome of a man fighting off studio executives in Hollywood. 

            If you think about it, all his films share that same desire of rebellion. The Spartans stand up against the Persians in 300, even if they knowingly will die in the process. Sucker Punch, the main characters are trying to escape a mental hospital, but much of the fantasy in there head is questionable, as they are battling with there insanity. Maybe Don Quixote by Cervantes should be next for Zach Snyder?

            It’s far more questionable if Zach Snyder only continues with comic book films. But there is one film that Zach Snyder could get right, where the film failed before. Max Payne. Zach Snyder now has personal experience with tragedy, and he could put much of his angst and rage into Max, while pulling back from the horror movie aspect, and focusing on the reality of Max’s struggle with losing his family. Again, the Max Payne franchise deserved a better translation than the Mark Whalberg version, but then, no studio has been able to translate a video game into a film. Last of Us is making the right movie to be a series, instead of a film. 

            Plus, Zach could use the slow motion to his advantage, and it wouldn’t be out of place. I do hope that Zach Snyder continues to make films and his vision is respected as I would my own. Yes, I did dogpile on him like the rest, but I gave it up when Autumn, his daughter, committed suicide. 

            I think that personal tragedies do help a creative person get into a darker headspace. It gives there movies more depth, and art is and always remains a therapeutic way to release your sadness, pain, and anger. 

            Considering that if Zach Snyder does anything, it might have to be specifically for HBO Max. They gave him creative freedom, and that surprise scene at the end was really amazing. It made me want to revisit Batman V Superman. I think it’s impossible to deny now that Zach Snyder deserves a crack at making a dark vision of super hero films in the way it needs to be done. 

            But again, I think if he got Darren Aronofsky to write his scripts, Snyder might have a really good direction.  

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Marvel and Shakespeare: Who would have thought?

30 Mar

-For the Uncensored!

It’s not like Marvel films haven’t been the craze for the last ten years, and while the films are not what I would watch, and aren’t as important to me, it’s interesting to find out that the same publishers who wrote the joke Star Wars Shakespeare books, are now behind this new publication. According to Marvel.com, “This September 28, all four Avengers films (Marvel Studios’ The AvengersAvengers: Age of UltronAvengers: Infinity War, and Avengers: Endgame) will be presented, by Quirk Books, as Shakespearean plays in the ultimate treasury for Marvel fans — William Shakespeare’s Avengers: The Complete Works.” (https://www.marvel.com/articles/culture-lifestyle/william-shakespeare-avengers-complete-works-mcu-quirk-books) Again, Marvel, parterning with Quirk Books, has always found a way to adapt to the culture, but even so, with much of Marvel leaning into SJW momentum and the writers they employ, I am pessimistic to think that Marvel can pull this rabbit out of there hats. 

            Marvel are probably the last people to try and blend Shakespeare into there work, but the next sentence defines the Western world. Shakespeare is the epitome of Western literature, and Marvel is smart to help kids try and get into Shakespeare, and without it, they might be able to stop the oncoming wave of censorious academics who think that Shakespeare was a “racist” and whatever buzz word that they can epitomize.

             The power of Shakespeare still is why people are weirdly attracted to the Bard, and no matter what society will try to do, no one can stop the power of William Shakespeare. I just hope they don’t get censored by some fat overweight pear shaped academic who thinks that they are being racist by basing there work on William Shakespeare. 

            I guess my ire falls on the same people who haven’t been able to produce a single good comic in over a decade. Somehow, Zach Snyder, director of 300, Watchmen, and the recently released Snyder Cut of Justice League, is now a master of cinema, but here’s to hoping that Snyder manages to make Ayn Rand’s The Fountainhead. It’s possible. But again, I have doubts over what Marvel can do anymore, but I’m hoping they don’t ruin Alien in the process.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

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Art and Culture 31: Dante Aligheri Vs. Shakespeare

29 Mar

-For the Uncensored!            

It’s always a odd debate when you pit Dante Alighieri and Shakespeare against one another. There’s always a cringe factory brewing on a legacy media site, like The Guardian, that wants to create conversation about which dead author is better. The Guardian states, “In a comment piece in Frankfurter Rundschau, Arno Wildmann wrote that even though Dante “brought the national language to great heights”, Italian schoolchildren struggled to understand the antiquated verse of his Divine Comedy, which was written in 1320.

The epic poem, which is split into three parts and traces a pilgrim’s journey through hell, purgatory and heaven, was written in the vernacular Tuscan dialect to make it accessible to the masses, instead of Latin. His choice had such a great impact on writers at the time that the Tuscan dialect formed the basis for modern Italian, hence why the poet is known as “the father of the Italian language.” (https://www.theguardian.com/books/2021/mar/29/italians-defend-dante-from-claims-he-was-light-years-behind-shakespeare)

            It’s almost a comment as to the southern writers and who really added more dialect to the southern writers oeuvre, as whether Faulkner, Flannery O Connor, and to be honest, Cormac McCarthy, who everyone thinks is a southern writer, is not by birth. He is merely a transplant to Texas. 

            Dante, according to Wildmann, “was beholden to French medieval troubadours, the poet-musicians who wrote verses on love. “One important difference tends to be overlooked,” Wlidmann wrote. “The troubadours were pop singers, of whose masterpieces only the lyrics survive; Dante aimed to achieve the same effect – without music. He always felt in competition.”

            Now considering the idea that Dante was in competition with anyone is beyond me because in the 1300’s Dante did not have Internet access. Yes, this may be an unfair point, it proves to me that anyone could make this argument if one was so willing, and if Dante was inspired by any outside influence, those influences had to be found by local distributors who allowed Dante access to read the French troubadours.

            It’s mostly about access, and not about whether Dante was in outright competition. To assert that Shakespeare was light years beyond Dante seems Wildman wants to create controversy rather than make real valid points between the two authors. 

            But between Dante and Shakespeare, it’s a debate of how two cultures see there writers as more dominant in the overall culture of writers and how they both offered different skills. Shakespeare. Shakespeare was an actor and Wildman’s reaction is like intellectual dick wagging at who is the better writer or not.

            I would argue that Dante and Shakespeare totally incomparable. Dante was a poet while Shakespeare was a bard, or playwright. It’s typical that Europeans are fighting about this, when we all know American literature is the best.  As Shakespeare said, “To thine ownself be true,” in Hamlet, and I think both writers are both great in there own respects (personally, I would say Paradise Lost by Milton is better than Dante, but that’s for another article).  This is a reminder why when trying to compare two completely different writers, in both form and style, doesn’t always make the best argument.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Music/Soundtrack Reviews # 1: Max Payne 3 by Health

28 Mar

-For the Uncensored!            

Now, there are many things to discuss when it comes to Max Payne, and as I made the case that Max Payne 3 is one of the greatest finales in all of video game history, not on a technical viewpoint, but on a musical scale too. What makes Health’s synth soundtrack of Max Payne 3, almost synonymous with the game is that every time I play it, there’s a sickening feeling I get. Not in a bad way. 

            Music for the last fifty years has always fell into the cliché of having to make scenes that fall flat emotionally work. We all have heard that type of orchestral background music that sometimes makes the film more important than it should be. You wouldn’t be remiss if you thought of every 80’s comedy that had to make the scene funnier than it should with the music acting as a scale to help make the shitty lines delivered funnier, or help create a mood that isn’t funny. Like, no one thinks of great the Weekend at Bernie’s score is to know that the hilarity of the film is won through the acting and the scenes the cast play. So, music, in that film is secondary, and the story is key.

            What Health understood about Max Payne is that the iconic theme song to Max Payne is integral to the video games series. If you didn’t hear Georgio Morodors classic synth music to Midnight Express (1978) or Scarface (1983), as the music to both films matters that you can’t separate the two. Health demonstrates the emotional beats of Rockstar’s game as they didn’t even translate the Spanish dialogue almost isolating you, and the synth sounds have to serve as a comfort to Max and the player. If Health fucked up the soundtrack, the fans, including myself, would notice it.

            When there is house music playing, you get that Max doesn’t like it, and it’s far less inviting, as it’s meant to hinder Max’s psyche. In the panama scene, in Chapter 12, he’s working security for Raul Passos, but as you wake up from a hangover, you have to shoot your way out of the boat. The music gives you that creepy feeling as even the narrator, Max, has to remember the past, questioning his line of thinking. 

            What Health accentuates is the tension, fear, and paranoia of being lost, alone, isolated, and what Max goes through is only accentuated through the synth wave sounds. There are moments when Max can play a piano, in the middle of the game, and he plays the theme song from the series. It’s pretty fun.

            But to me, all of the sound and synth create this dramatic effect where as I’m watching Max Payne 3 on YouTube, it brings back the danger and action that is embedded with the violence and story. It’s one of the only game soundtracks that is integral to Rockstar’s finale to a great game, but the synth sweetens the deal.

            I would also list Health’s synth achievement with Vangelis’s Blade Runner soundtrack, too.

            All of the soundtracks I listed, Health brings together, as much of the game’s story is meant to be a blur, as strobe of lights appear around Max, as if it’s to represent broken memories that are coming together. When the synth plays, it brings all of Max’s sins into the foreground, as he’s the doomed detective, and everyone he tries to protect dies, the synth heightens the sadness of Max’s journey through Sao Paulo’s rich parties, slums, and ultimately through the soundtrack, Max’s redemption.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Note from Louis: Thanks so much for reading my articles and being such a constant reader, and listening to my podcasts. I usually write two to three articles a day during the week, but one to two on the weekends. Also, if you haven’t already, please subscribe, Thank you so much. All help is appreciated. If you do subscribe, you can have access to top tier articles and reviews, and also grow my page to help keep stay corporations mad all day. 

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Max Payne 3: The Best Finale to a Game Trilogy, Ever.

25 Mar

-For the Uncensored!

It’s no secret that while I asserted that Last of Us, Beyond: Two Souls, and Alan Wake are reasons to replace the cinema in my Art and Culture 26th article, I would add one more game to the list that does add to the death of cinema, but also a lesson in writing that helps perfect the notion of how video games are becoming an art form for writers, as well. And Max Payne 3, is the technical achievement in writing and execution of gameplay and cinematics.

            With Max Payne 3, developed by Rockstar Vancouver (now Rockstar Toronto) and released on June 20th, 2013, we probably get one of the most depressed characters in video games, ever. Max Payne. An ex-cop who challenged the Italian Mafia, lost his family, and his love, Mona, Max seems doesn’t seem like a character that would want to play dead. Max Payne is reintroduced back into the life when he defends a woman in a bar, and his old friend, Raul Passos, helps him kill a mafia boss’s son, and when he nearly escapes from a shootout in a church, after paying respects to his family, he leaves for Latin America, as a hired hand. But the phrase he tells the mafia boss’s son, and he said, “You practice that speech in the mirror in your underwear” made me laugh, but also realize that Max just wants to relax and get drunk. But to have to relive his pain with his family still haunts Max, and he says, “Let it go. It was a long time ago. Seriously.” There’s so many lines that add so much to the visuals and how sad the story is, and proves how much video games can be well written too. The beginning where he talks to himself alone in the apartment, getting drunk, looking at his dead family, reminds you where Max is, and it’s not in a good place. Also, when says, “Say what you want about Americans, but we understand Capitalism. You buy a product and you get what you pay for. And these chumps had paid for an angry gringo without the sensibilities to know right from wrong. Here I was about to execute this poor bastard like I was a dime store angel of death and I realize they were correct. I wouldn’t know right from wrong if one was helping the poor and the other was banging my sister.” as we flash back to the beginning. It’s probably the moment when a player has to realize they are going in for a bumpy ride, and the writing sets up a game where story and voice over match with a cinematic quality.

            It’s a game that seems to be forgotten in most circles, but only to a die hard few, but the persistence of Max Payne’s legacy is in the writing. It’s the ironic nature of Max’s voice over that seems to sell the game most over much of what is confirmed in buttons and how a player can control Max. 

            It’s lines that Max says, Sa Paolo “is like Baghdad with a G-String” that keeps me laughing for days on end, but the poignant nature of the voice over, with the action that is a contender for how games can handle voice over. The sadness still pervades. When he loses the daughter of a millionaire he’s supposed to protect, you can hear the sadness of him reliving his days when he lost Mona, his love interest from Max Payne 2, and his family in the first game. 

            Tragedy seems to follow Max wherever he goes, and the way the voice over is used is why no voice over in video games has ever come close to Max Payne 3. The way he’s pushed to his limit, even shaving his head, as a sign of his short lived sobriety, makes you feel bad for Max as you guide him like Virgil through his Inferno. 

            They abandon the comic book cut scenes from the first two games as it probably was due to budget restraints. But there are lines to this day that make me laugh and still remind me the fun I had and how much writing was put into the game. When Max Payne is stopped by the cop he’s helping in Sao Paulo, he says to Max, “it’s not worth it” and he stops but the villain say, “I’ll walk,” and Max says, “Yeah with a limp” and stamps his foot into the villain’s leg, snapping it in half. 

            The bone crunch and the hilarity of the statement meet, as the game gives Max a happy ending. It makes me realize that to not address Max Payne in how writing can match up with the way you can respond to actions the character can make. It’s probably why Max Payne 3 is the calumniation of the first two games, and drives home the pain and heartbreak Max can live through, but still find redemption at the end of his journey.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Note from Louis: Thanks so much for reading my articles and being such a constant reader, and listening to my podcasts. I usually write two to three articles a day during the week, but one to two on the weekends. Also, if you haven’t already, please subscribe, donate, like my articles and comment, buy my books, leave a review. Sharing the articles and podcasts helps above all can help if you can’t donate, too. Thank you so much. All help is appreciated. If you do subscribe, you canhave access to top tier articles and reviews, and also grow my page to help keep stay corporations mad all day. 

Also available on podcast too: 

http://www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

https://radiopublic.com/the-real-louis-t-brunos-blog-We7LDvhttps://open.spotify.com/show/2spknKkC6Hi3YM5naV9cc9

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