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Killer Idea: The Magician

I posted an idea for a character last night but deleted the post to re-work it after some constructive criticism that made me realize some of his abilities were too powerful. Here is my reworked version :)
The Magician
Name
Sebastian Collier
Backstory
Born in 20th century England, Sebastian grew up without many friends or a caring family. Being that his family didn’t care much for his safety, he often spent his days wondering the streets and observing the spectacles within his local town. One day, he met a local magician and became enamored with his tricks.
Sebastian and this street magician went on to hold a close bond, with the magician teaching him everything he knew. Over the years, Sebastian would go on to surpass the talents of his mentor and started to perform tricks that blew the minds of all his spectators and even his aforementioned mentor.
As time passed, Sebastian became incoherently obsessed with his craft. He would wonder the streets of England babbling words that seemed as if he was speaking in tongues. Wanting to take his magic to the next level, he started studying the dark arts. Soon, he became lost in the world of dark magic. Constantly hearing whispers from a mysterious entity, Sebastian brutally murdered and sacrificed his mentor in the middle of the street where they first met.
As onlookers observed this tragedy, unable to comprehend the severity of what he was about to do, Sebastian would pull off the greatest trick of all time: Suddenly bursting into flames, Sebastian made himself disappear from the Earthly plane, ending up in the Entity’s realm, doomed to serve it for the rest of his eternal existence.
Appearance
The Magician is well dressed, wearing a suit and tie with a top hat. His face is burnt from the fiery accident that sent him to this realm. He wields what appears to have once been a magic wand, but has now been bloodied and sharpened to a fine point.
Power
The Magician is a master of illusion. When every match starts, he will make 3 extra generators spawn across the map. These 3 generators are simply illusions, but seem real to the survivors. Once the illusion generators are repaired to 10%, they will magically vanish, all progress being for nothing. Upon the vanishing of an illusion generator, the killer will get a visual warning as if you failed a skill check. Once 3 normal generators are repaired, all illusion generators simultaneously vanish.
Perks
Poof, gone!
When a survivor is hooked, the survivor and the hook both disappear from the screen for 5/10/15 seconds. Their aura is still present on screen, but they can not be unhooked until they physically re-appear. (Note that it takes 60 seconds to reach the end of both states on the hook, so it still leaves plenty of time for a rescue before you go into struggle and/or die.)
Pick a card
The killer becomes obsessed with one survivor. For every hit on his obsession, he gains 1 token. For every 3 tokens the Magician collects, a random “status effect card” will be selected. All survivors in the lobby will be assigned a status effect for 60 seconds, collectively overcome with one of the following: Blindness, Broken, Exhausted, Exposed, Hindered.
Magic wand of destruction
The killer is just as adept at making pallets disappear as he is with any other object. After being stunned by a pallet, all other pallets on the map will be un-usable for 10/15/25 seconds.
Add Ons
Magical Vision
The 3 illusion generators are marked on your map so that you can tell them apart from the normal generators.
The Dark Voice
When survivors begin working on illusion generators, the entity gives you an audial warning. However, the audial warning isn’t tied to any specific generator.
Master of Illusion
All totems are invisible unless within a 5m range.
Mori
The survivor is stood up by The Magician. He waves his wand and disappears. He then re-appears behind the survivor, stabbing them repeatedly with the sharpened wand. The survivor’s body falls to the ground as the killer removes his top hat and takes a bow.
submitted by DeificWhiteBoy to deadbydaylight

Album of the Year 2019 #25: 100 gecs - 1000 gecs

Album of the Year 2019 #25: 100 gecs - 1000 gecs
Merry Christmas everyone and welcome back to Album of the Year 2019, the yearly series where the users of indieheads talk their favorite albums of 2019. Up today, snidelaughter talks one of the year's most fun, yet most divisive albums, 100 gecs' 1000 gecs.
Artist: 100 gecs
Album: 1000 gecs
https://preview.redd.it/wcjlh5wkbt641.jpg?width=1200&format=pjpg&auto=webp&s=6a4364fa4e15d6d0e71d7caa42ee90e9ae157bef
Listen:
YouTube
Spotify
Apple Music
Bandcamp
Background
100 gecs is a music duo consisting of producers and vocalists Dylan Brady, 26, and Laura Les, 25. Having met at a house party in 2012 (Editor's Note: In St. Louis! That's basically where I'm from!), the two eventually start collaborating under the moniker of 100 gecs in the winter of 2015, with that collaborative effort eventually turning into their self-titled EP in July 2016. Following that, the duo fell out of touch with each other due to a lack of time, with Les going on to produce under the name Onso1, and Brady collaborating on tracks with The Neighbourhood, Lil Aaron, and Charli XCX. However, the two would later collaborate on a DJ set for the second annual Minecraft Fire Festival in January 2019, rekindling the 100 gecs flame and resulting in the conception of 1000 gecs.
Yes, this album wouldn’t exist without Minecraft. Merry Gecsmas!
Review by snidelaughter
100 gecs is a music act spearheaded by the tail-end millennial producer-vocalists Dylan Brady and Laura Les, two twenty-somethings who have both of whose vocal deliveries throughout the album are nearly impossible to differentiate from one another due to heavily stylized pitch correction present throughout the project, adding a consistency necessary not only to the album, but to the act as a whole. This stylization not only on the vocals, but also the lyricism and production throughout, helps the act present themself as one cohesive mind throughout the album instead of being inconsistent in what emotion the act attempts to convey to the listener. This is necessary for an album like 1000 gecs, where the lyrical ideas presented vary from assaulting and robbing a jockey out of anger for the vocalist betting on a losing horse at a racing derby (“stupid horse”), to the anxiety of developing romantic feelings for a friend being addressed through the personalization of that friend’s ringtone (“ringtone”).
This collage of genres and lyrical motifs feels like a sonic Generation Z equivalent of a Jackson Pollock painting in the sense of delivering a combination of seemingly unrelated music concepts and combining these ideas into splashes of brilliance displayed under a veneer of self-aware absurdity. “Hey little piss baby, you think you’re so fucking cool?” exclaims Laura Les on the album’s second track, “money machine,” where she goes on to boast about her and her crew’s, as she calls them, “big trucks.” This is juxtaposed with Dylan Brady’s verse where he becomes worried about what’s going on with his friend, showing a genuine insecurity underneath a braggadocious sneer.
This sincerity masked underneath a wave of absurdity is what makes several songs on this album stand out as relatable venting platforms in addition to an audial rollercoaster. In the bridge of the aforementioned “stupid horse,” Brady intertwines the concept of betting on losing horses to millennial and Gen Z angst through financial anxiety. “Racing horses at the derby / why am I never getting lucky? / I never have any money,” Brady laments as he turns a specific, peculiar scenario — beating up a losing horse jockey because they were riding on the horse you bet on — into a relatable, meaningful sentiment shared by many. While other artists have channeled gambling into themes of loss, none made gambling away your money feel as earnestly relatable as 100 gecs does on a song about falling off of a horse after robbing the jockey who was riding on it.
This level of songwriting, to take a concept so seemingly vapid and turn it into something meaningful and tragic, is rare in an artist, much less two zoomers who seem energetic enough that it would be valid to assume they were either tripping on acid while writing this song, or sniffing coke while producing it. This relatable ingenuity can be found throughout the album, but it’s most prominent on the oddly sincere “xXXi_wud_nvrstøp_ÜXXx”. Interlaced between the post-dubstep distorted bass synths and melodic interpolation of Soulja Boy’s “Kiss Me Thru the Phone” — yes, that “Kiss Me Thru the Phone” — is a nonstop barrage of assurance from Les. “Baby, you know that I got ya / I could never stop you / I would never stop you,” Les lovingly pleads to her significant other with autotuned vocals and an earnest that would make Owl City hesitate. The song transitions to a repetition of the word “baby” as the synths pan in a manner reminiscent to the feeling of heavenly ascension one gets when they’re with the one they love.
If that seems absurd to you, this pales in comparison to the audacity of the experimentation found in the sonic climax of the album, “gecgecgec”. The entire track feels like a fever dream that’s effectively a smorgasbord of genres and distorted synths, as if the song is separated by suites akin to classical music pieces. At one point, the song transitions from distorted bass synths to classical strings to individual notes played by a xylophone within the span of ten seconds, and while this description sounds jarring and unpleasant, the instrumentation feels fluid and natural. Midway through the song, “gecgecgec” is repeated by an automated voice machine at one point as violin synths abruptly start and end repeatedly within the span of fifteen seconds, and that’s just one example of the sudden, almost jarring shifts in tone throughout the song that fully symbolize the experimental nature as well as the potential of a group like 100 gecs.
The musical concepts throughout the album feel like an amalgamation of pop music throughout the 2000’s as well as the advent of the 2010’s, from the sing-songy braggadocious-yet-nonsensical rapping present on “money machine” harkening back to ringtone-rap era acts like 3OH!3 and Soulja Boy, to the use of trumpets and guitar riffs on “stupid horse” being reminiscent of the in-your-face millennial arrogance and angst of ska bands like Less Than Jake and The Arrogant Sons of Bitches, to the use of pseudo-dubstep bass drops on “800db cloud” being inspired by the swagger of early-2010’s EDM producers like Skrillex and Rustie. While the album wears its influences on its sleeve, this does not make it unoriginal; in actuality, the melting-pot of genres make 1000 gecs one of the most innovative albums of the year, if not of the decade, and reflects a period of time where society is rapidly growing inter-connected through the power of the internet.
However, an album being quality does not make an album the best of its year, and innovation does not necessarily imply greatness⁠ — one also has to address what makes an album worthy of being called “album of the year,” or why an album like this is so impactful in the year it was released. So, what makes 1000 gecs a relevant album in addition to being wildly inventive as well as solidly crafted?
The aforementioned amalgamation of genres being turned on its head to create a new musical mythos is what makes an album like this “album of the year”: its ability to form a base around older styles of music and transform them into bold, new identities is the specific quality that makes 1000 gecs stand out in a wave of well-crafted albums released this year. To be able to destroy previous conventions and redefine art into something representative of who you are is emblematic of identity in 2019. While tropes of past art forms are present within the album — the absurdity of songs like “stupid horse” harkens back to the themes of dadaism within post-World War I art — they’re coated under highly stylized pitch-corrected vocals and quirky production choices that go out of lockstep with what consumers are accustomed to in any and all of the genres it adorns on its mission to laugh with, and sometimes at, the listener.
Even the album’s absurdity is relevant to life in 2019, as a lot of news seems stranger than fiction to most people living in today’s age. Dadaistic pieces of art were made in response to the pessimistic state of affairs during and after the first World War, and an argument should be made that 1000 gecs is a response to much of the absurdity that’s happening in 2019 in regards to politics as well as an abrupt shift in the tone of pop culture. One could even go as far as to say that the absurdity presented on the album is a rejection of norms established by previous generations, much like the genres 100 gecs takes and manipulates to create something made for a generation resentful of people responsible for disasters like climate change and the hoarding of the vast majority of the world’s wealth by a few rich people.
It is entirely understandable that this album might not be accessible to people not accustomed to the generation Z-flavored cultural tropes found within the lyrics and composition of the album, and that is completely understandable, but it is also valid to assume that this album was not made for them in mind, and that is okay. Movies like Moonlight were made to be consumed by specific demographics, but that does not make them bad movies by any stretch of the term, just not as accessible as art made for wider audiences. Like the aggressive nature within the music of an act like Death Grips, the abrasive production choices add to the charm of 100 gecs, and create a sound that is unlike anything that has come before it.
1000 gecs is not the album of the year because it is the best album to come out this year — it is the album of the year because it is the album that represents the year it was released in the best. 1000 gecs being a quality album is just a bonus. This album is not the only musical project made this year that was made to destroy previous conventions, but it is almost certainly the boldest statement in a year filled with zany songs and zanier personalities.
Favorite Lyrics
Something's gotta work this time
It’s my way of trying to let you know
I’ve got a little thing for you
I’ve got a little crush or somethin'
Maybe I’m just drunk as fuck
I customize my ringtone
But it’s always you
It’s always you
It’s always you
It’s always you
It’s always you
  • ringtone
Hey, you lil' piss baby
You think you're so fucking cool? Huh?
You think you're so fucking tough?
You talk a lotta big game for someone with such a small truck
  • money machine
Giving my heart for you to take
We could go and drive and leave this place
Getting my strength from your embrace
Baby, let's go all the way
  • xXXi_wud_nvrstøp_ÜXXx
Talking Points
  • What other musical inspirations do you think 100 gecs should utilize for future projects?
  • From the inception of the album stemming from a Minecraft EDM festival, to the existential topics presented on the album, do you think this is the first “gen Z” album? If not, why so?
  • How do you think 100 gecs will evolve musically from here?
  • Does “stupid horse” qualify as ska? Be honest.
  • Why do you feel this album is so divisive?
Thank you to snidelaughter for their great write-up! Come back tomorrow as simonthedlgger is scheduled to talk Men I Trust's long-anticipated and massive Oncle Jazz. In the meantime, discuss today's album and its write-up in the album below! Happy Holidays everyone <3
submitted by indieheadsAOTY2019 to indieheads

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