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Reading through Phonogram: The Immaterial Girl reminded me, as every read-through of a Phonogram volume does, of how music relates to my creative process. Not the focus on pop that Gillen and McKelvie bring to their projects, but I have a hard time writing without something in my ears, if only to drown out the noise of a cat annoyed that he can't have my seat.

I was also reminded about the playlist I created as I was writing the Werewolf: The Forsaken development blogs, which was three-quarters classic Werewolf music, one quarter shit I'd been listening to a lot at the time that was thematic with hindsight. Travis was good enough to compile them on Spotify, for anyone who wants a laugh at my terrible taste.

I said it then and I'll say it again: I'm in charge of two Werewolf game lines. One has Of Wolf and Man and Killing In the Name as it's signatures. This is the other one, running on Howl and Hungry Like the Wolf. Those are pretty much guaranteed to get you different experiences, even if that's the only point of dissonance you know.

With a couple of things on the back burner now, I need to feel out their musical landscape. Upon which I'm drawing a blank, as I've been listening to the general 300-some long "songs to distract you from your idiot coworker" playlist for too long. Three track character headspace, five for each arc should do. Another goal to work towards

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