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_\\__T_A_T_I_C___L_I_N_E_____________________________________ February, 2000
\\//__ Monthly Music E-Zine __________________________________ 90 Subscribers

  Table Of Contents
           Message From the Editor
           Letters From Our Readers
           In Tune -- Simak Wordmacro's "Healing Winds"
           The Zen of Tracking -- Drawing on the Right Side of the Brain
           Screen Lit Vertigo -- Mind Control by Bad Karma (party-version)
           Call to Keyboards -- As the Scene Turns
           Interview with Virago / Level-D^Nostalgia
           Proposal -- Static Line Expands

  Message From the Editor
     Got yourselves a fairly full issue this month.  Not only do we have a
  full stack of regular columns, but we got ourselves a special interview
  with Virago, a pretty well known graphician.  I also provide you with a
  little insight about the future of Static Line (which explains why there
  is an interview with a graphician this month).

     As always, i'm looking for columnists.  If you choose not to read the
  feature titled "Proposal," I got the short version.  If you could write
  a column about any form of electronic entertainment, please let me know.
  Specifically, i'd like more demo related writers, more GFX and 3D
  rendering related writers.

     The website will be updated a day late this month.  As I write this,
  is almost 12:30am, and I still have to wake up in 5 hours to get to
  work.  Those of you lucky enough to be on our listserv will get delivery
  on time.  For those of you who aren't, I appologize that it was
  published late.

     Until next month...


  Letters From Our Readers
  -=- Letter from  Keskitalo-=-

  A good issue, though I'm not the greatest fan of "the best of xxxxx" -
  thing it's probably very useful. Remains to be seen for my part actually..
  Virt's article was wwerry gooood too.

  What Smash said in the letters from the readers was very very important
  I think. It really doesn't matter to worry about how are the people going
  to see what we are doing if we aren't doing anything worth to show.

  Not that I meant "we" (demoscene) weren't doing anything, it is just
  good to be reminded what really matters here. We do not have any
  responsibilities for popularity or making profit - not everyhting
  in this world should be "commercial" or as succesfull as possible
  (help me here.. you know what I mean), although too many people
  believe everything should be, without really giving a thought.

  Another matter (or is it really?), I've been doing a little "voluntary
  work" for a big BBS system here in Finland with a recognizable tracker
  "population" in residency, throwing around a little feedback on what
  comes to the file areas.. much influenced and inspired by "In Tune" I
  suppose. :-) And I find it strange not many other people are doing it
  too. It's rather easy actually, for me, I shell my player (FT2 or IT)
  and write into a text file what comes to mind while listening to the
  song (occassionally checking out some patterns or other more technical
  stuff on the module if there's some nice trick or techinque to compliment
  for, or a failure to give a little instruction, in my capablity) and then
  send it to the BBS. Not really a big thing, althought a little bit of
  will and minding is in order to actually realize this.

  When I get feedback (on my feedback), it's positive. The writing has been
  received (that's btw very nice to know as a writer). Even a little
  (sensible) feedback is good and feels nice, I know that by myself.

  So the strange part comes here: often when, for instance I get a
  'return favor' (comments on my modules for comments on theirs) there's
  that  old little disclaimer saying "well, this isn't any real critics,

  Are we a little scared of writing there?

  Try it! I for myself don't think someone couldn't do it much better than
  me (Coplan for instance <g>) but that doesn't really matter. Coplan can't
  review all the songs. And that little commentary, ideas and help is damn
  important or atleast very much in order. All the commentary I've been
  given, when been given that is, always give a sort of 'second opinion' and
  give me ideas I otherwisely wouldn't have thought of - and that's, for me
  atleast, a real resource.

  erm, that's it. Not that it was proper but..

                --Keskitalo / tempo.pkbrp (formerly known as Puolikuu)

  -=> Reply from Coplan:
     For those of you who don't have access to my mailbox (which is everyone
  --  so I guess this applies to everyone), Keskitalo and I came up with an
  outline that will allow you all to take the opportunity to offer your
  constructive criticism about current songs.  Read "Proposal" for more

     Anyhow, thanks, as always, Keskitalo for writing us.  It's always good
  to hear from you, and everyone who sends us mail.


  In Tune
    Simak Wordmacro's "Healing Winds"
  By:  Coplan and Setec
  -=- Introduction -=-
  Well, Setec is out on a little skiing trip.  I wish I was with him.
  But, since i'm not, i'll be flying In Tune solo this month.  That's too
  bad, because this is a special review -- at least it is for me.

  Simak Wordmacro (currently a member of Chaos Theory), who I always knew
  simply as Wordmacro, is a former  student of mine.  He came to the scene
  a couple of years ago (how long  has it been), and somehow we met up.
  He has always had a lot of talent  as a music writer -- but his skills
  with tracking needed some work.   Well, I helped him get started in the
  scene -- and then I sat back.  I  am quite amazed to hear how much he
  has improved over time, but you'll  see.

  I bring you Simak Wordmacro's

  -=- Coplan -=-
  First, let me start off with the samples.  Many of the samples in this
  song were created by Wordmacro.  Anything with "[me]" next to it are
  his, obviously.  These samples are clean, conceise and down right well
  done.  I have two sound cards now:  A Gravis Ultrasound (as always), and
  my new Sound Blaster Live Platnium Pro.  Needless to say, if I play a
  song without filters on the Sound Blaster, you'll notice bad samples
  quickly.  The Gravis does a good job of hiding faults.  This was an eye
  opener for me (the Sound Blaster anyhow) and I'm going to start making a
  big deal about samples from now on.

  Samples that I must point out as being both of good quality, and a
  reasonable amount of originality:  Tambura, all of the Flutes, and the
  Jazzy Drum.  You'll see how he uses the Jazzy Drum sample to his benefit
  in this song -- but it wouldn't be wise to use this sample when you want
  some crisp percussion.

  Now, on to the song.  From the introduction, you don't learn anything
  about the song.  That is not to say that it's a bad thing.  I expected
  some sort of middle eastern peice the first time I heard it (even after
  the first signs of percussion kicked in).  Now, about that percussion at
  the beginning -- this is the best place to see how he uses that cool
  Jazzy Drum sample.  Listen quickly, because it doesn't last too long.
  The full blown percussion and the exceptional base line come in next.

  The base line is something else that I need to point out in this song.
  It isn't so passive as many people write music.  A lot of people write
  music with base guitars simply because they are expected.  The base
  tends to become something that adds nothing more than depth and
  thickness to a song.  However, in this song, the base tends to become
  part of the song.  It changes, it is dynamic.  At times, it can even be
  as important to the melody as the lead instruments.  When IT is mellow,
  the song becomes mellow (well, more mellow than the song already is).

  In order 18, we come to my first peeve of the song.  At the very end of
  the order -- we have a few short drum rolls of sorts.  Where'd that drum
  come from?  It has a higher pitch than any drum elsewhere in the song?
  Having the snare of a pitch like that sounds somewhat fake when placed
  in a retrigger function.  When you retrigger, expect the appearance of a
  higher pitch anyhow...keep it normal.

  So, how about those dynamics?  We got ourselves a simple tune here.  But
  it's catchy.  And it is a harmonic pleasure?  Why is that?  Well, if you
  read Dilvish's Zen of Tracking a few months ago, you'd be able to
  understand why.  Simplicity, simplicity simplicity.  I'll say it again:
  Simplicity.  Getting any ideas here?  Notice that the lead instrument
  tends to be very simple in what it plays.  It doesn't try to dazzle us
  with fancy riffs, it doesn't even attempt to be complex.  Good, its
  better that way.  You'll also notice that all the short notes and the
  riffs with any bit of complexity are in the background -- like that 80's
  Organ that pops in every once in a while.  That isn't such a unique
  style, but it's a time tested antic.  Your songs will most likely sound
  better if the lead is simpler than the background.

  Now the closing.  I am impressed on one level.  That is a rather smooth
  tempo change that allows us to shift into a much dimmer movement of the
  song.  Kudos.  BUT, everything after the tempo change doesn't align very
  well with the rest of the song.  It didn't ruin the song, mind you, but
  it didn't truly add anything to it either.  That begs the question about
  its existance.  But, in Wordmacro's defense, it is nice, and it is an
  efficient closer.

  As a whole, I am rather proud of Wordmacro's accomplishments over the
  years.  I am happy that he can create a song such as this with so many
  movements, and so many dynamic transitions.  I am impressed that a song
  like this is so complete and styled.  I guess the tracking skill isn't a
  limitation anymore.


  Song Information:
     Title:  Healing Winds
     Author:  Simak Wordmacro
     Filename (zipped/unzipped): / (IT 2.14)
     File Size (zipped/unzipped):  423 kb / 938 kb

     "In Tune" is a regular column dedicated to the review of original and
  singular works by fellow trackers.  It is to be used as a tool to expand
  your listening and writing horizons, but should not be used as a general
  rating system.  Coplan's and Setec's opinions are not the opinions of
  the Static Line Staff.

     If you have heard a song you would like to recommend (either your own,
  or another person's), We can be contacted through e-mail useing the
  addresses found in the closing notes.  Please do not send files attached
  to e-mail without first contacting us.  Thank you!

  The Zen of Tracking
     Drawing on the Right Side of the Brain
  By:  Dilvish
     A friend of mine recently leant me a book called "Drawing on the
  Right Side of the Brain," by Betty Edwards (thanks, Julia!).  After
  reading through it, and concentrating on some of the exercises, I
  noticed something that struck me.  The exercises are intended to shift
  the brain from the "L-Mode" (sequential, language, problem solving
  skills) to the "R-Mode" (spacial, non-sequential, multi-dimensional
  skills).  While practicing the exercises, I noticed that the shift I
  experienced is identical to the first step into crossing over into the
  spiritual realm that I am so fond of discussing in this column.  This
  may be a key to willfully entering the spiritual realm any time you
  desire it... something I myself have never been able to achieve, no
  matter how many times I find myself there by accident, or through more
  extreem measures such as fasting, fervent prayer, and deep meditation
  (all of which take hours, or even days to achieve the goal).

     I'm not particularly fond of the writing style used in the book, or
  the amount of writing it takes the author to get down to the point, but
  I recommend learning the differences between right and left brain
  functions, and learning how to activate the right side of the brain
  willfully.  It's very important to heighten this mostly dormant side of
  your cognitave abilities in order to more fully understand yourself, and
  the environment you live in.

     After learning a few good exercises that help in awakening the more
  creative half, you will be considerably closer to the mode of thought in
  which everything just seems to fall into place, and make perfect sense.
  The book describes a shift in which you turn off your left brain
  functions in order to let your right brain take over.  I agree that
  while you are learning and becoming more familiar with the right side of
  your brain, it is very important that the left does not try to interfere
  - but in order to reach farther, it's important that you opperate on
  more than half a brain!

     While in a purely right brain state, language becomes difficult, or
  even impossible to grasp.  Time and sequential data seem to fade away,
  and you have a heightened awareness of space, contrast, form, balance,
  and proportion (even as it relates to music.) Often, this mode of
  thought is not "compatible" with the more sequence oriented left brain
  functions - IF you allow one half or the other to dominate.

     What all the scientists and art teachers are missing here is that it
  is possible to achieve a near balance - a state not unlike riding a
  bicicle, where the weight shifts back and forth between right and left,
  opposing each other, but opposing in harmony that allows you to stay
  focused on the task (or tasks) at hand.

     With only the left side of your brain functioning, you understand
  wave physics: frequency, amplitude, waveshape disturbance, etc, but you
  totally miss the "groove".  The part that makes all of that translate
  into art.

     With only the right side of your brain functioning, you get all of
  the groove, you understand that the emotion you put into playing can be
  heard in your music... hitting the keys harder makes the energy in the
  song jump, but you may be missing out on subtle touches that could be
  added by knowlege of how to introduce sideband frequencies that might
  produce interesting effects, or complex polyrhythms, and synchopation
  that require and understanding of the mathematics involved.

     Once you find this balance, and begin to follow it in musical
  execises, composition, and performance, after a while, you may begin to
  percieve something further - a state of conciousness even deeper than
  L-Mode, or R-Mode, or even "Whole-Mode".  This is the state I call the
  "Spirit-Mode".  In this state, you are aware of time, yet somehow not
  subject to it - aware of the people, the spaces, the music, and the
  physics all around you, yet not a part of it.  In this state, you are
  capable of almost super-human feats.

     Reaching this state requires a *lot* of practice, a *lot* of
  discipline, and a *lot* of patience, but when you reach it, you will be
  more at peace with yourself, who you are, what you are, and what your
  purpose is - and all of that translates into some truly fantastic music,
  fantastic performances, fantastic morals, and a far greater sense of
  self-worth, and respect for others.

     Here then, is an assignment.  Begin to explore R-Mode. Check out
  "Drawing on the Right Side of the Brain", or something similar - make
  sure that it has exercises designed to awaken your dormant right side,
  and then practice the exercises.  Familiarize yourself with them
  thoroughly.  This process should take about 2 months.  I'll be back
  next month to give you another assignment.

             - Dilvish

  P.S.  Dilvish never gives an assignment that he won't complete himself.
  When he gives advice, he follows it.  Right now there are papers
  scattered all over his desk with sketches, puzzles, and drawings from
  the exercises.  Ask your Uni profesors if they do their own homework!

  Screen Lit Vertigo
     Mind Control by Bad Karma (party version)
  By:  Seven
  Found at
  2nd place at Elevator 2000

  System requirements:
     2 MB HD, VESA 2. No info-file, and I'm not in the mood for guessing.

  Test Machine: PII 350 64MB SB16, Win98 in dos-mode (BOOTGUI = 0)
  DOS: works with a DPMI-manager, like "Dos4gw mind.exe"
  Win: Works fine.

  The demo:
     Last year at Proxy'99, Bad Karma placed first with Millenium Fever, a
  very simple demo (code-wise), but with nice design and feelings. With
  Mind Control, they show they have improved since then: 32-bit effects
  like radial blur, saturate-added firework particles, texts that appear
  with X/Y fades... So they're now on the "normal" level :) Ok, the
  blurred rotozoom on particle-ized pictures is something original, but
  the best thing of the demo is still the story and design. The full title
  is "An essay on mental health: Frankenstein government communist
  control", and the demo is stuffed with pictures of UFOs, aliens,
  dictators, voice-samples like "go for a head-shot, they might be wearing
  bullet-proof vests" or texts like "they always come at night so I can't
  sleep". Apparently made by paranoid X-files-fans, but also with some
  humor, like the greetings under the label "Hello you worldwide computer
  god parroting puppet gangster slaves" :) There's also a lot of nonsense
  flashing at the bottom of the screen at subliminal speed, but I get a
  headache when trying to read it. The pictures are mostly photos, with
  the exception of the alien head (and maybe that dictator is pixeled
  too). Anyway, the images serve the story, there's never a 10-second
  break of the "admire my hand-drawn hi-color picture"-type, as that
  simply doesn't fit in here.

     The music is the reason why I don't re-watch this often. It's 100 %
  drums, bass, beeps and shrieks, while I prefer a soundtrack with at
  least a tiny bit of melody. Granted, it fit's the demo well and all
  effects are perfectly synced to the beats, and there is some variation
  (a slower and more quiet tune during the brainwave-part, f.e.), but it's
  just not my style.

     Mind Control certainly deserved the second place, it has OK code and
  very good "real" design, in a time when design is almost synonym for
  high-res anti-aliased lines :) The music is the weakest part, and also
  the color scheme is a bit too monotonic for my taste (why use hi-color
  if 3/4th of the effects are gray?). But overall it's a nice demo, so
  check it out!


  Call to Keyboards
    As the Scene Turns
  By: Coplan
  -=- Introduction -=-
     Ok, I'll admit that this month is more of a rant than a debate.
  However, I think that many of you will have quite a bit to reply after
  you hear me out.

  -=- New Topic:  As the Scene Turns -=-
     As I look at my own group as of late, I can't help but to feel as
  though I'm a man lost in the desert.  Me, the tracker and the desert
  an unknown place -- the new scene.  So, I got all sorts of depressed
  for a little while, but then it hit me:  This isn't the scene I knew,
  or grew up with.

     So...what's out there?  What do we hold in our future?  Guess what
  folks!  The scene is mutating.  No one is controlling it, no one has any
  way to stop it -- but its ever changing, and we can't help it.  To
  survive, we have to go along with it.

     Groups?  Since Hornet folded, and since space is limited on any other
  server, we resort to groups for comfort.  Do they help?  No.
  Essentially, the group gets nothing out of a given member anymore.  A
  group is purely a place to release with.  Store my files please!

     Interaction?  #trax hasn't been the same for quite some time.  Do we
  need interaction?  Yes.  Does it need to be music related?  Apparently
  not anymore.  You got people jumpin in #trax asking about favorite
  movies, and games.  I don't know how many times I've been asked to jump
  in Quakeworld from #trax.

     "Where are they going without even knowing the way?"
  I'll admit, I don't know what the scene has in store for us.  But I'm
  done moping around.  I'm done trying to make excuses.  The scene isn't
  what is used to be.  Either play along, or get out.  I'm going to play

     Shameless Plug:  Static Line is going to be my main focus in the scene
  anymore.  I'm still going to write music, and I'm still going to release
  with Immortal Coil, don't worry about that.  I'm sure everyone's
  precious groups are still going to be around.  But groups don't work
  like they used to -- you can't depend on them for feedback and
  information like you used to.  Call them depots -- because they aren't
  social places anymore.  You shouldn't expect that from them.  You want
  information?  Read things like Static Line, or Demojournel, or United
  Trackers, or so on.  You want music?  You gotta find it yourself.  It
  has been a long while since anyone has recommended that I listen to a
  given tune (and I'm a critic, you think people would).  You want to know
  what's wrong with your tune?  Be direct...ask someone.  No one is going
  to offer you favors if you don't ask -- especially in the scene.

     It's not a party anymore folks.  It's a whole bunch of singles running
  around the 'net.  Wake up!  One person isn't going to make a
  change...not even one group.  The scene is a big boulder sliding down a
  cliff.  You end up destroying yourself trying to stop it.

     You're opinions here, please.


  Interview with Virago / Level-D^Nostalgia
     Getting Deep Into the Psyche of a Famous Scene Graphician
  By:  kozmik
  Interviewed 21/01/00 by kozmik in #pixel on

  <kozmik>  How long have you been in the scene?
  <VIRAGO>  Too long :))))
  <kozmik>  About...And how old are you know?
  <VIRAGO>  Err...Gee...It's starting to look like an interview...(Short
            one though :))) ...Anyways... 23 :)
  <kozmik>  And you do gfx right, what year did you submit your first compo
  <VIRAGO>  Err.. 98 ..
  <kozmik>  What would you say your style is (does it compare to any earlier
            styles), if not have you been at least influenced, and if so by
  <VIRAGO>  Oh shit :).. now it's getting difficult ;))
  <VIRAGO>  I have no specific style, but I like pictures that look painted
            (on canvas) or pixeled, and not too realistic (take a picture if
            you want realistic things ;))...And I like stuff from Rembrandt,
            Michelangelo etc... Not influenced by scene gfxians...
  <kozmik>  So would you say you are first a graphist and then a scener,
            unlike maybe most gfx artists in the scene who grew up with
            deluxe paint for example?
  <VIRAGO>  I started drawing on paper (like a lot of scene gfxians), and
            had some studies in drawing/oilpainting/calligraphy...But I
            started pixeling on C64 as soon as I learned English and
            understood the program :)
  <kozmik>  Why do you think that even though you started with limited
            capacities (inherent to the C64), you grew up to have a
            "painter" style instead of designer style (like most oldschool
  <VIRAGO>  Probably because I kept on drawing and painting on canvas more
            then I pixeled on C64, I just enjoyed it a lot more then
            pixeling (pixeling with a joystick is not something I'd
            recommend :))
  <VIRAGO>  (...) That's why I don't enter compo's that often :)
  <VIRAGO>  Because it's all scanning & smudging... I entered once long ago.
  <kozmik>  What compo entry was that, which party, which year, what result,
            and where you happily surprised about the result or not?
  <VIRAGO>  Compo entry was called "don't let the world turn grey" (I
            think), party was bizarre 98, year was 98, result was first, and
            I was rather surprised, since Acryl was in that compo as well...
            but that was the only known gfxian as well (7 entries in total or
            something like that).
  <kozmik>  What do you think about the "naked woman" issue in GFX democomps
            (you do like Danny, right?)
  <VIRAGO>  Danny is a good friend of mine, but I don't like drawing naked
            women myself, never did it, never will do it either...But
            Danny's pictures just look good (and I know they're not scans,
            I've seen him at work :)) just not my style.
  <kozmik>  Do you see sceners are outcasts or people who stand out
            (alluding to your favourite movie "Braveheart" :)?
  <VIRAGO>  You've read my ojuice entry I guess? :)))...No...Sceners are not
            outcasts...Well...Maybe a bit in a way, because they're working
            on  pretty new things, digital art etc...I guess they stand out
            in a way, doing some great stuff, but not outcasts... :)
  <kozmik>  Btw... download pixel winner of Bizarre98 at:
  <VIRAGO>  Ah...You found it?...Cool :)
  <kozmik>  But regardless whether you submit an entry or not, you like to
            attend demoparties (9 listed). What do you get from it?
  <VIRAGO>  I go there to meet people and friends...Not to enter a compo or
            to win anything...
  <kozmik>  Can you tell me about Level-D and it's main driving forces
            (ideals etc...)?
  <VIRAGO>  Eell...Level-D is a musicgroup, doing new age/ambient/chill and
            those kinda styles...We don't really have any driving forces, we
            just wanted to be a different group that the rest of the music
            groups.. all people in Level-D are good friends however, and I
            met quite a lot of them in real life as well now...We don't have
            a dictatorship or anything, just a bunch of friends releasing
            something now and then :) (nice line :))
  <kozmik>  What's your view on the money getting to the scene (like
            Audiophonik to which 2 of Level-D artits participated to), do
            you see that coming for graphists too some day?
  <VIRAGO>  I have no problem if (ex-)sceners want to make a job out of their
            hobby, nothing wrong with that...A lot of scene gfxians work for
            games companies etc...
  <kozmik>  Rob Winter is also Manager Director of Level-D records, do you
            ever disagree on the paths to take and if so what would be your
            advice to other groups about group management?
  <VIRAGO>  I never had any problems with Rob or Johanne for that matter...
            Sometimes our opinions about things are different, but that's
            normal, and we always work it out without fights...A group based on
            friendship is a good thing, we never even kicked someone out of
            Level-D :) That's impossible.. our members live all over the
            world ;)
  <kozmik>  So friendship always comes first. Was/is it like that in
            Nostalgia also?
  <VIRAGO>  All people in nostalgia were good friends of mine when I joined
            them yes...Worked on some projects with them before...
  <kozmik>  Is keeping the planet "clean" one of your prerogatives (just saw
            your Biz98 entry...)?
  <VIRAGO>  Yep...I love nature...And Jenny ;)
  <kozmik>  What is the most hurting thing somebody portraying himself from
            the scene has ever told you (without mentionning his/her name)?
  <VIRAGO>  Stealing something and releasing it under his/her own name I
  <kozmik>  What does "Level-D" mean? Where did you get the idea of such
            name for your demogroup?
  <VIRAGO>  Ehm...Well...Level-d isn't a demogroup, and I didn't come up
            with the name...However, someone told me it comes from X-files,
            where there's supposedly a "level-d" which is the level where
            all alien experiments are done etc...
  <kozmik>  If Someone wanted to make friends with you at a demoparty, what
            would be 1)the worst and 2)best sentence to say to you?
  <VIRAGO>  The best : "hi", the worst "you rule" :) Of course, nobody would
            say "you rule" to me anyways ;))) Rephrase : nobody would say
            "you rule" to me and mean it anyways ;)))
            (note:Danny_TBL then screams Virago YOU RULLLEEEEEEEEEEE friend!)
  <kozmik>  About Fix-ups (pre-arranged results at demoparties), are they a
            myth, are you aware of any, and if so which demoparty which year?
  <VIRAGO>  I don't think there are pre-arranged results, but there
            definately is bad compo organising...Stupid preselections, and
            people voting who didn't even see/hear the productions...Big
            names win, even if their entry sucks.
  <kozmik>  Most demoparties ORG ask you to give up your rights/copyrights
            so they can distribute the party entries. Where do you draw the
            line as giving up these rights? And do you have a better/more
            fair idea on how the ORGS ought to handle such rights?
  <VIRAGO>  They can do whatever they want with the entries, as long as they
            don't sell them I guess. and there is no better/more fair way to
            do it, without going to official copyright organisations, and
            basically they don't care much about digital art (yet)...
  <kozmik>  Are you aware of digital signatures for graphists? Does it work
            well (and if so what is the best program for you)?
  <VIRAGO>  It doesn't really work well, and scene gfx are often copies from
            beaty magazines or something, so it's hard to put your own
            copyrights on those, even in you've redrawn the picture, or
            perhaps only parts of it...Copyrights is a delicate matter, and
            actually needs some studying to fully understand it.
  <kozmik>  Occasionaly on IRC you might run into a person who disagrees
            with you and might start typing things like "F* you gay
            asshole!" - To your knowledge what is the average age of
            sceners in 2000?
  <VIRAGO>  The average age is different per country I think.. in Holland
            for example the average age is pretty low, yet in France it's
            somewhat higher.. so it's hard to give an average age...For Dutch
            standards I'm an old scener, and i'm only 23, so :)
  <kozmik>  What are the best graphic ressource you know of
            (tutorials/examples/help etc...)?
  <VIRAGO>  I don't know...I sometimes look at gfxzone, but mostly I like
            watching at real, painted art... possibly I'm old fashioned or
            something...I also don't really like the designs of the demo
            "moral hard candy" for example... I like details, yet not overly
            detailed and too realistic...But gfxzone and some friends (Danny,
            Made, Assa, 3daddict, etc...) are my 'resources'...
  <kozmik>  If you could go back in time, what would you like to change
            regarding your work/involvement in the demoscene (as advice for
  <VIRAGO>  I would probably have choosen a 100% graphical education instead
            of car mechanics and basic computer informatics :)
  <kozmik>  If you had one single advice to give to 1) 2d-program authors,
            and 2) 3d-program authors, what would these be?
  <VIRAGO>  To 2d program authors I have no comments, I've been using
            photoshop for a loooooong time, and it's just great, and gfx2 is
            great for pixel work...And 3d program authors...Well...Get rid of
            the damn bugs! (especially kinetix) :)
  <kozmik>  If you had to choose between spending your life in the moutains
            or on the seaside, which would it be?
  <VIRAGO>  Oh...Easy choice, mountains, definately!
  <kozmik>  What are your plans for the future (as far as your demoscene art
            involvement goes)?
  <VIRAGO>  Well...I'm moving to Norway pretty soon, after that I'll probably
            need some time to get settled there, but I'm just gonna continue
            scene work until i don't enjoy it anymore, or have no time for it
            anymore (but i always manage to find some time, so :)) I'll
            probably be around for quite a while longer.
  <kozmik>  When you draw on computer and you know you are on to something
            worth pursuing because the results on the screen already please
            you do you get excited like a rush and if so what state of mind
            do you switch into?
  <VIRAGO>  Well...All my gfx start out on paper (except for webdesigns and
            3d work)...Then I scan the paper sketch, and ask some opinions...
            If people like it, I'll continue...I don't like to/can't judge my
            own work.
  <kozmik>  Do you sometimes work so long on a graphic that you actually get
            fed up with it, and if so, do you have any remedy to that (as
            help to other graphic artists) - what is the SHORTEST and LONGEST
            period you have worked on an entry?
  <VIRAGO>  I have it all the time, and my remedy is to just let it rest for
            a while and start a new picture...I draw very slow, mainly
            because I like details, and that painting like style, which is
            hard to draw with a mouse (no, I don't have a wacom tablet or
            anything, just a simple mouse :))...Shortest period I've spent
            on a picture is 30 minutes (30 minute compo at #pixel), longest
            time about 150-175 hours over a period of 8 years, (started as
  <kozmik>  Who has really helped you (who do you wish to thank)?
  <VIRAGO>  Depending on with what they helped me with, I'd like to thank
            Danny and Made a lot, Orion, Slackjaw and Nogsf for helping out
            with Level-D really well, everyone in Level-D of course, Lluvia,
            Dr.yes, Flan, Ps, Shodan, Sparcus, Therew, Jal, Druid, ehm...
            Louie, Lowlife, gfxtwins, and all other scene-friends I've ever
            met...And of course the sweetest girl I know, Jenny (non-scene)
            for inspiration with her poems :)
  <kozmik>  What do you think is your best quality (and your worst)?
  <VIRAGO>  I think i'm pretty good at organising, yet I always organise too
            much at the same time.
  <kozmik>  Finally, what do you think is the demoscene's best quality (and
            its worst)?
  <VIRAGO>  Best quality is the friendship between people from different
            ages/cultures/countries, worst quality is probably the rivalry
            between group which gets out of hand sometimes.
  <kozmik>  How can people contact you if they wish to know more about
  <VIRAGO>  By email would be the easiest way I guess :
  <kozmik>  Anything else you'd like to add?
  <VIRAGO>  nope.. :)
  <kozmik>  Ok then it's a wrap! Thank you Virago and good luck with Level-D
            and Nostalgia!

     Static Line Expands
  By:  Coplan
     First of all, I have heard rumors that there are a select few people
  that believe that Static Line is in its final year.  I garuntee you, we
  have many years to come.  So, let me just discredit those rumors right

     In fact, we are planning on expanding slightly.  Mind you, not

  First, the obvious:

  New Guest Reviews --  Keskitalo, in his letter this month, has provoked
  a rather interesting idea.  What if everyone had an opportunity to
  review a song, a demo or some software?  I'm going to take this
  opportunity to invite anyone who is willing to write a review to do so
  and forward them to me, Coplan (, and I will review
  them for possible publishing in future issues of Static Line.  Possible?
  Well, we pride ourselves on quality -- and I will make no exception
  here.  If you write a review, please take the time to be clear and
  understandable.  I will not publish non-quality articles.

  New Content Possibilities -- Up until now, I would have to say that I've
  only accepted articles dealing with demos and/or music (mostly music).
  There are other electronic hobbies out there, and I am going to start
  opening the doors to them.  These hobbies include video editing (as
  based on a computer), 3d scene rendering (useing bryce, 3ds max/vis,
  form-z, Rhino, etc), computer based animation, Computer based Graphics
  (GFX), and so on.  If you or anyone you know might be able to offer
  something towards along these lines, please contact me.

  Now, behind the scenes:

  Web Site -- for those of you that visit our website, you probably
  noticed some changes.  Thanks to SeaEye of Immortal Coil for providing
  us the graphics.  Please realize that the web page is not yet completed.
  The code needs a little refinement.  If you notice any bugs or problems,
  please contact me.

  Web Space -- in a few weeks, we may be switching to a new server.  I
  will have the new URL sent out to the listserv without delay.  I will
  also have it posted on the old web site.  I hope to make this
  transition a smooth one.

     As always, thank you for your patience and understanding.


  Editor:             Coplan / D. Travis North /
  Assistant Editor:   Subliminal / Matt Friedly /
  Web Manager:        Dilvish / Eric Hamilton /
  Columnists:         Coplan / D. Travis North /
                       Dilvish / Eric Hamilton /
                       Setec / Jesper Pederson /
                       Seven / Stefaan /
                       Virt /
  Staff Writers:      Louis Gorenfeld /
                       SiN / Ian Haskin /
  Technical Support:  Draggy / Nicolas St. Pierre /
                       Jim / Jim Nicholson /

  Static Line on the Web:

     To subscribe to the Static Line mailing list, send an e-mail message
  to "" with "subscribe static_line <your e-mail>" in
  the message text. You will then be asked to confirm your addition to the
  mailing list.  Expect a new issue during the first weekend of each

     To unsubscribe from the mailing list, send an e-mail message to
  "" with "unsubscribe static_line <your e-mail>" in
  the message text. Your subscription will then be removed.

     If you would like to contribute an article to Static Line, be aware
  that we will format your article with two spaces at the beginning and one
  space at the end of each line.  Please avoid foul language and high ascii
  characters.  Contributions should be mailed to Coplan

     See you next month!