SOUL BURNER by Matt Oberski

Sixteen weeks later…

Hey y’all! Since my last entry, we’ve driven hard into 2022, with just as much turmoil and stress as we’ve come to expect over the last two years. That’s not to say it’s been utter hell - there have been so many good things that have happened or are happening thus far, and more are sure to come! We keep our heads up! One of those wonderful things that is happening is a little thing called Soul Burner.

In short, my new friend Adam Vass, of World Champ Gaming Co., asked me to produce the art for his newest TTRPG. I was fucking stoked. I said “HELL yes”. Adam and I had met while tabling next to each other at Grand Rapids Zine Fest last year, and we quickly found out we not only dug each other’s work, but we had a ton in common as far as art and music go, as well as just a general life philosophy. And when Adam suggested we collab on a project in the future while we closed up shop, he meant it. His writing and my art have coalesced into a violent, hellish creation that spits fire and craves bloodshed. A lovely little game.

Creating the artwork for Soul Burner has been extremely fulfilling, and a good challenge. In all honesty, my illustrative abilities have never been tested like this before; I still lean on photocollage for a lot of the creatures and designs throughout, but for my vision as well as Adam’s, photos can only get us so far when we want to see wretched hellspawn in a barren landscape eager to destroy your smoldering body for the second or third time. I’ve found myself drawing more, appreciating the use of references (which may sound funny to some, but I generally try to rely on my past work for much of…my own new work), and, surprise surprise, taking my time on things! But more on my own personal growth another time.

As of now, the game is still in the crowdfunding stage, with our kickstarter campaign ending this Friday. I’m please to say it’s doing pretty well. While I won’t tell you everything included within these scorched pages, I will say this: If you’ve ever wondered what it would be like to have your soul trapped in the smoldering remains of your burned corpse, slowly building your strength back up purely out of spite, driven by thoughts of revenge, until you no longer resemble your former self (or any other living creature for that matter), destroying everything that crosses your cursed path in order to slay the one who brought this nightmarish fate upon you in the first place, Soul Burner is the perfect game for you.

The cover for Soul Burner, a tabletop role-playing game from World Champ Game Co., written by Adam Vass and illustrated by myself.

Last First Date, Or How I Never Learned to Stop Procrastinating Yet Meeting Deadlines by Matt Oberski

Hello, friends, family, friends, enemies, and strangers alike! I had meant to update this blog more often for the sake of consistency. However, it seems the goal of a monthly post has become a quarterly post, which isn’t terrible when I think about it. I talk and ramble so frequently in the outside world, how can I possibly continue the conversation online with myself every month? Maybe someday, if I have something worth telling y’all every time.

As for this post, I have big news! Throughout the last two years or so, i.e. the Pandemic Years, I’ve been thinking about other creative ventures. I’ve always had my dreams, ambitions, and schemes of starting a band, writing a book, painting again, designing clothes, branding, etc., all stored away in various files of my brain. Most hope to see the light of day but will inevitably be stored away to remain dreams. There simply isn’t enough time in the day, or in a lifetime, it seems. I won’t go into the existential dread and hopelessness for the future living through the initial terror of a worldwide pandemic and surviving throughout has caused, especially before turning 30, but in short, I’ve been thinking of the long-term for once. I’ve begun to think of how I can realize those locked-away dreams, how I can create to fulfill my own needs, and ultimately how I can make a difference, an impact in someone else’s life, while also preserving my own voice.

Long story short, while photography has always been my outlet for expression, I’ve been revisiting my dear friend, writing.

I wrote a handful of short fiction and poems in my youth, and a handful of research papers written in college which are irrelevant save for my final paper that can now be found in the Grand Valley State University’s ScholarWorks archive concerning my first major photo series, Ever Present. Writing a novel has always been in the back of my mind since high school, but has always taken a seat on a high-up shelf, with other projects and things taking precedence; I admit that this largely had to do with the terror of such a long-term project, a commitment to something so intimating requiring so much attention. Last year’s nosedive into the viral pandemic led me to take my first steps into the world of writing again. I began taking notes, creating narratives, and inventing characters and falling in love with them. At some point, I was blathering about my ideas to my partner at the time, but complaining that I didn’t know the best way to capture them. Should I write a book? A series of books? Should I make a photo series instead? Or a movie? She answered with another question, and while I don’t remember precisely how she put it, I remember it like: How do you see it play out in your head? I told her that I see it as a film in my head, with scenes, a soundtrack, dynamic shots, the whole shebang. With that, I answered my own question. They have to be filmed. Thus, before they are filmed, they must be written in a screenplay.

If I may break the fourth wall of my own blog post here, I must stop the ramble. Remember when I wrote “Long story short,…” only to continue the long story? Nice try. I must try to get better at keeping things concise. The point of all this is, I’ve completed my first screenplay. LAST FIRST DATE is a short film I wrote this month that I of course meant to have completed months ago. The logline:

A budding romance is threatened by flesh-eating party-crashers.

A gay zombie punk-rock horror romance. Everything I loved shoved into ten pages. Regardless of if anything ever comes of it, having it written and complete is another weight taken off my eternally-procrastinating mind, another dream given the gift of life. I love it.

Let me know if you’d like to check it out.

Digital Penance, and What the Hell Has Happened in the Last Six Months by Matt Oberski

DIGITAL PENANCE zine cover

DIGITAL PENANCE zine cover

YEESH. Six months, eh? I know I’ve struggled in the past to stay consistent with my blog posts, but six months, that’s a bit of a hiatus. The good news is, I wasn’t taking a nice relaxing vacation or stepping out of the darkness into the light. I was working! And that work has paid off! And I’ve got some physical work to show for it! Besides accepting a new position at my day job, sweating my ass off through a humid West Michigan summer, getting vaccinated, and slowly reemerging into post-lockdown society, I’ve continued to produce grimy, glitchy, nightmarish images. These hundreds of images have now congealed and taken form into the horror that is DIGITAL PENANCE, a body of work made in collaboration with my great friend and amazing artist, Kyle Brand.

We met through my roommate at the time a few years back, and a myriad of shitty circumstances left us working at the same warehouse in the summer of 2019. While mindlessly scrubbing away at thousands of grubby computers taken from the hands of k-12 children after leaving school for their summer break, Kyle and I talked incessantly about art and music (including a lot of Phil Collins and The Body), and found out we have most interests in common. As the leaves turned for the season and the disdain for our menial job grew by the day, we began talking about Halloween, and how we should make some spooky art to celebrate and get our misery out in some creative capacity.

One fateful day, we left work, drove to a park just outside of downtown, and did some camera tests with the setting sun and Kyle draped in a black bedsheet. Two years later, we’ve not only created a zine displaying over thirty pieces of our collective series (only a fragment of the total work we’ve produced), we’ve just celebrated the opening reception for DIGITAL PENANCE here in Grand Rapids.

DIGITAL PENANCE opening reception internet flier

DIGITAL PENANCE opening reception internet flier

Working on this series with Kyle has been more than lifechanging. Since Fall of 2019, I’ve learned to hone my skills of previsualization, I’ve executed elaborate shoots and worked with so many friends and family, whom have shared in our excitement and shown so much support that I still want to cry. I’ve taken my lifelong fling with horror and realized it’s my passion, my true fascination. This project has taught me how to look at fear and admire it as well as analyze it, and find out what really scares me. I’ve been working almost constantly on an image or photoshoot or some sort of disgusting, glitched edit for this project over two absurd, difficult years, filled with a global pandemic, protests, riots, political turmoil, death, job changes, seeing a psychic, having a mental breakdown, and so many more events my exhausted brain either forgot in the moment or buried deep never to resurface.

Yet, you wanna know what the wildest thing is? People tell me that they’ve seen myself and my art evolve and grow throughout the creation of DIGITAL PENANCE, and I agree with them! I am still anxiety ridden and try to be humble whenever given the chance, but I can’t help but admit that I have grown, and I love what Kyle and I have created! And, not only have we worked tirelessly through the mess of the last two years, we had an exhibition! In person! With physical prints, and paintings, and even a fucking confessional to admit to your sins! At The DAAC, the first gallery and show space I had ever been to in Grand Rapids when I first moved here ten years ago (despite it now being in a separate (and really rad) location)!

I would usually say forgive me for the word vomit at this point, but you haven’t heard from me in half a year, what do you expect? Besides, all these words are full of love and energy. The opening reception was almost two weeks ago, and even now my body still wants to shake and sweat from how unbelievably well it went, and how many friends and family showed up to check out the haunting visages we have created. To anyone who was able to make it, or has helped us in any capacity to make this happen, thank you so, so much. It means the fucking world to me, and I’m sure Kyle would agree. We have a closing reception the day before Halloween, another dream come true. Naturally, it will be a costume party, and naturally, I still have yet to put together a costume. Some habits die hard.

Note: At the time of this post, I have yet to create a space here to display work from DIGITAL PENANCE. For the time being, please creep on my Instagram, as it contains most of the work displayed in the exhibition as well as the zine. If you’d like to purchase a zine of your own, please comment below or contact me through my About page. <3

UNDEAD WEEKEND - A Single Frame in a Lifetime of Zombie Love by Matt Oberski

My partner was gone for a long weekend visiting her family in the Upper Peninsula last week. I took this as an opportunity to watch some of the bloodiest, goriest, goofiest movies either streaming online or sitting patiently in my physical collection. Thus, this weekend was brought to you by Blood Quantum (2019), Return of the Living Dead (1985), Prince of Darkness (1987), and Shaun of the Dead (2004). In hindsight, this was a wonderful array as far as the zombie-horror subgenre is concerned. That said, John Carpenter’s Prince of Darkness was included in some four-movie collection DVD I bought at Meijer years ago, featuring actual zombie classics such as Wes Craven’s The Serpent and the Rainbow, George A. Romero’s Land of the Dead, and Zack Snyder’s 2004 remake (and personal favorite) of Dawn of the Dead. For $10, I could not pass that up. However, after watching Carpenter’s WILD thriller of a group of scholars, professors, scientists, and a horrified priest as they study and eventually succumb to the powers of a mysterious crypt(?), an ancient evil prophesized by Jesus himself(?).

Forgive me if that’s incorrect or doesn’t do the film justice. I did really enjoy the blending of science, religion, and technology, but the movie left me unsatisfied. To cut my rant short, while it was interesting, I would not classify it as a zombie movie. A demonic possession story? Sure, why not.

The other three films were incredible in their own way. Blood Quantum, from writer/director/editor/composer Jeff Barnaby (fuck yeah) was the only zombie film to ever make me cry and leave me feeling as dead as the victims on screen; Return of the Living Dead was the bloody, punk-rock absurdity that I never knew I needed; and Shaun of the Dead is still one of, if not the best horror-comedy I’ve ever seen. After this weekend, I also caught so many references or jabs at other zombie movies in the writing that I somehow missed over the last seventeen years. Getting them now just made me love it even more.

Yes, I absolutely could talk more about my infatuation with the living dead. In fact, I absolutely will. But not just yet. You can sit a while longer before I let you ̶e̶a̶t̶ pick my brain.

There’s that mindless brain-eater I know and love &lt;3

There’s that mindless brain-eater I know and love <3

Happy Birthday, Stay Alive! by Matt Oberski

CORRECTION: Happy belated birthday! This past Wednesday March 24th, we celebrated the fifteenth birthday/anniversary of William Brent Bell’s 2006 video-game horror classic, Stay Alive. By classic, I mean it was a flop by most standards; if you listen to Metacritic or Rotten Tomatoes, its ratings range from 24% to 10% respectively. Folks of all disciplines and backgrounds love to rag on this movie, and at some level, its understandable. Listening to interviews from the writer-director Bell, the movie’s production history was doomed by Disney, who resurrected the Hollywood Pictures division from its five-year slumber to release Stay Alive as their first slasher, but only after nerfing it and cutting it up past the point of no return. Less cursing, less blood, less story. Seriously. If you watch the unrated director’s cut, the film has 15 minutes of cut footage, most of which includes two additional characters who are critical to the success of the plot and set up the climactic ending. Thanks, Disney.

If it sounds like I’m sour about the negative reception of the film and defending it more than most folks do, it’s because I unironically love this movie. I watched Stay Alive its opening week after being hyped up by its spread in an issue of Game Informer (which I’ve tried to find a copy of, August 2005 Issue 148, to no avail). As an adolescent that was consumed by video games and horror (and metalcore but that’s besides the point), that was all I’ve ever wanted. A group of young people that find and play an underground horror game only to die the same way they die in the game?! YES PLEASE.

After walking out of the theater, I told everyone I knew to watch that movie, and those that did mostly agreed with the critics cited above. Fifteen years later, I do the same thing, and luckily I have friends who are a bit more open-minded or who like “bad movies”. After scouring the internet for any scrap of confirmation bias, it seems I’m not alone, and a common thread with diehard fans is that we’re all dying for a sequel. Furthermore, as advancements are made every day in video game technology, specifically with virtual reality gaming, the atmosphere for a Stay Alive sequel grows closer and closer to a perfect storm. I’m not banking on it, but I can tell you that if another video game horror slasher comes out, bound to Stay Alive or not, I’ll be one of the first people in line.

IF YOU DIE IN THE GAME - YOU DIE FOR REAL

My take on Stay Alive’s theatrical poster image

My take on Stay Alive’s theatrical poster image

Notes on Previsualization by Matt Oberski

original sketch for untitled scene, 2019

finally captured a year later, 2020

For most of my creative work, I tend to shoot on the fly. I’ll have ideas in my head for what I’d like to capture, though they tend to resemble a buzzing swarm of wasps rather than an organized shot list. Other times, I’ll have the studio or environment around me, whatever props we’ve brought along, and the model or friends along for the ride, and try and put pieces together until something fits. I take the picture and rearrange everything to rinse and repeat.

However, for this ongoing project I’ve done largely in collaboration with my good friend Kyle Brand, I’ve tried to emphasize the planning phase, the previsualization phase, to really achieve what we’re going for. Some of these compositions, like the one above, was in my head for at least a year before we put it together. When sketching the idea out to show Kyle, I realized that the lighting and positioning of both the potential victim as well as the threat in this one-panel narrative would prove tricky. I am the kind of person that likes to do as much in-camera as possible rather than combining multiple exposures while editing.

Thus, it took planning, lighting tests, and myself and the model moving around in and out of the car while flipping the rear view mirror every which way to get the best composition. We were sitting in my house the night of the shoot waiting for the rain to fall so we could catch some specular highlights on the windshield from the droplets, which I’m thrilled we were able to get. Hours later, as the clouds finally rolled in, we sprang into action. We lit the scene, I jumped into the driver’s seat, and away we went.

Do I now sketch out all of my shots before going to the camera? Absolutely not.
Have I learned my lesson that previsualizing and planning a shoot takes a weight off my shoulders even if it requires more effort in the long run? I hope so.
If anything, the final image and how pleased I am that it turned out well taught me that I must have patience, and give my art what it needs in order to succeed. If I have a vision, it deserves to be executed to the best of my ability. To fight through the lethargy and anxiety is to fight for myself. That is my new mantra. Let’s pray I remember it.

Review: Possessor (2020) by Matt Oberski

I've always been attracted to sci-fi horror, and while we may edge ever-closer to singularity, the blurring of lives and personalities through the aid of advanced technology in Possessor isn't at all that far from the realm of possibility. I found myself fascinated throughout the film by the means of possession, and as questions arose about how it all works and how such a corporate entity can exist utilizing this sinister tech, they were answered promptly and believably. And holy shit, does Brandon Cronenberg portray the fear, dysmorphia, and thrill of it all so well. After my initial watch, I don't think there was anything I didn't love about this movie.

The casting is perfect and everyone performs with ease. Every time a character was introduced, my heart jumped in my chest. “Andrea Riseborough!” “Oh damn, that’s Jennifer Jason Leigh!” “Holy shit Sean Bean’s in this movie??” “YO that’s Tanis (Kaniehtiio Horn)!!” It was like a reunion in a nightmare, friends that I’ve known from one time or another in my life all getting together only to kill each other. With each line, their characters flesh themselves out even without our realization. The conversations between Tasya and Girder are methodical and chilling, and when Tasya takes over Colin’s consciousness, the tension is overbearing as she tries to get through the days without attracting suspicion. The sound was great as well, though I admittedly wasn’t paying too close attention on my first watch (thought I yelled in elation again when I heard Orville Peck in the soundtrack). For the blood junkies, gore and violence is packed in tight from beginning to end, but somehow remain tasteful, like a well-paced eight course meal.

Above all else, I'll be talking about the visual effects of Possessor forever. Not only are the sequences of blurring and blending of consciences stunning and a thrill to experience, but the inclusion of mirrors and obstruction of body and face in crucial scenes just amplifies everything the film is going for. Hearing cinematographer Karim Hussain in episode 387 of The Movie Crypt podcast discuss how he and Brandon created these horrifying psychedelic sequences in camera with projectors and more was inspiring as well as reassuring. It meant that the nights my friends and I spent in the studio in college messing with projections and overlays was more than bullshitting assignments! It was training!

I love glitch art, I love the fear of self and losing it through technology, and I love screaming at the screen, whether in terror or cheering on the brilliant writing. Possessor took all that and more, threw it in the blender with a bucket of blood, mixed well, and told me to drink up. I'll be coming back for seconds soon enough.

POSSESSOR_sm.jpg

Dream 1/28/2021 by Matt Oberski

I pulled up to the complex in the Creampuff. Either my mother or my sister had given the ‘98 LeSabre its nickname after we bought it for its bulbous body and sky blue paint job. It made sense at the time. The complex and the surrounding parking lot was an amalgamation (I love that word) of the church I attended until I was seventeen and the minor campus of a furniture manufacturer I interviewed for years ago. I had come for a haircut, I think.

I entered a room similar to the glass storage room at the research institute I currently work at, led by a woman who must have been my stylist. The room had a sterile look to it, with clean tile floors and stainless steel walls with no adornments or aesthetic. Two hair-washing stations were set up towards the right side of the room, one of which was currently being used by the other stylist, a woman my brain chose not to identify or describe in any particular way, and an older man being the customer seated, also nondescript. My own stylist, a middle-aged woman with the curly hair, glasses, and attire that reflected what the actress playing the roll of secretary in a modern film set in the 1960s might have been given by the costume designer, beckoned me over to her chair on the left side of the room with a tired expression on her face and without speaking. I sat down in the chair, and saw that besides that and the countertop, there was nothing else around- no scissors, no hair dryer, not even a sink. I looked up at the woman, who spoke in an even, emotionless tone, like a surgeon walking a patient through protocol.

“Before we wash your hair, we must prepare you.” As she spoke, she drew from an unseen source a pair of electrodes, each about the size of a half dollar. I sat motionless as she attached one of the small metal discs to each of my temples, as if she were preparing me for an EEG. As she did so, she began preparing other equipment that seemed to appear from nowhere, as so many things in dreams do. There was what looked to be a projector set on the upper level of a two-tiered rolling cart, hooked up to unidentifiable electronic equipment on the shelf beneath it. While the “stylist” was getting everything ready for what was clearly not any sort of haircut, I felt tears welling up in my eyes. I was held down with a mix of fear and uncertainty so strong I could not lift my arms from the chair I sat in. My heart dropped as the woman looked back at me, ready for the procedure.

She held a small white remote in her hand, and pointed it at the back wall while looking at me. The wall, about thirty feet from where we had entered the salon-turned-laboratory, was lined with old, dark wood paneling as opposed to the cold steel that surrounded us. As she clicked a button on the remote, the fluorescent lights above us darkened, and the small projector whirred to life, its warm tungsten bulb casting a small image onto the wooden panels. It was a biblical painting, quite clear and colorful despite its dark backdrop, depicting Jesus talking with a group of people, perhaps disciples. After letting me look over the projection for a few seconds, the stylist asked in her uncaring drone, “Do you recognize this as Our Lord Jesus, the Messiah?” She pointed to the Jesus figure in the painting. I looked at the painting on the wood-panel wall, and then back at the woman. Dream-me felt the crippling fear fade for a moment to give way to curiosity.

In both this world and my dream world, I had attended Catholic mass until graduating high school and moving across the state, and had gone through the sacraments of initiation, though I never ultimately saw myself as a member of the church. I remember wondering whether this question was merely a test of faith rather than a setup for insidious experiments; if that were the case, I could easily play the part of devout follower of Christ and get through whatever they had planned in this aseptic salon.

“Yes, it is,” I said with a nod. The woman said nothing, and walk a few steps over to the projector, turning it off. The overhead fluorescents were still off, though the room was not completely dark. On the panel wall, where the projection of Jesus and his followers had been, now shone a cross. It was crude but recognizable, as if someone had cut the shape of a cross into a sheet of cardboard and held it up in front of the projector’s bulb, though it was humming with life. The cross seemed to glow of its own accord, cast in a warm orange light from no visible source. The woman stepped towards it, stood against the wall a foot or two to the right of it, and placed her hands underneath the illuminated cross, palms turned upwards, as if she were to say, “Behold, a miracle! The heavenly light of the Lord, Our God, shining down from Heaven itself!” She let out a tired sigh as she turned to look at me, and my dreaming mind made sense of it all. As clear as it was that this was no miracle, though I still could not detect where the sign of the cross was being emitted from, it was standard operating procedure. The entire display was just that: a display, a song-and-dance that this old woman had done countless times before I walked in to get my hair cut. It was her job, her routine, no different than how a burnt-out career server might present a plated branzino to their table of guests that just want to engorge themselves.

I looked back at her with a blank expression, unsure of what she wanted from me now. Should I look astounded, speechless in the presence of this unexplainable holy light? Should I burst into heartfelt confession and weep for forgiveness in the name of the only Son of God? I did nothing, and sat quietly, staring at the woman. She sighed again, and turned towards the wall, placing her hands against the aged panels on either side of the cross, the wrinkles in her face now glowing with warmth from its light. She put her weight on her right foot and pushed into the wall, and a portion of it gave way. My heart sank as the woman pushed the hidden door inwards, revealing a small room illuminated with candles, another salon-style chair bolted to the floor in the center. Though I couldn’t see the entire room as the woman turned back towards me and moved closer, her eyes fixed on my own, I saw an assortment of devices and instruments beside the chair I could only assume were for a job much less innocent than styling hair, but perhaps just as transformative.

I heard something to my right and spun my head to the side to see the old man who had been quietly getting his receding hairline trimmed up across the room now making is way towards us, dressed in a priest’s vestments. I felt that deep sense of dread set in again, like a stake of ice being slowly driven into my spine. Whether my confirmation of Christ as Savior was a test or not, this procedure was only just beginning.

The priest grabbed my right forearm and the woman moved around the chair to grab my left. They proceeded to lift me up, and forced me to step forward as the wave of anxiety that had initially bound me to the chair was replaced with sheer panic. I fought back, tears now streaming down my face, twisting and pulling as the two struggled to push me the remaining twelve feet or so to the small glowing cell. I squeezed my eyes shut and opened my mouth in a silent scream as I pushed hard against the old priest. He tumbled over the projection cart as he lost his balance, and I spun with enough force that I thought my torso would lose its connection to my legs. My left arm tore free of the woman’s grip, and I took my only chance to run towards the entrance to the cold steel salon.

Though the fluorescents were still off, the candlelight behind me gave enough flickering light for me to see that where the door we had previously entered through only minutes ago was now replaced with another wall of dark wood panels, like those you’d find in an old rental home or your grandparent’s basement. There was no door in sight.

I didn’t have time for these tricks or games or whatever these people were pulling. In reality, I think this was the point where my brain had told itself, “Hey, you seem to be fucking terrified. Maybe you’re in a nightmare?”, and gave up on logic and reason. I slammed myself against the paneled wall, and pushed as I had seen the woman do, though there was no light here, no cross to be found. I did not turn to see how close behind the old couple were. I just closed my eyes and thrust my shoulder into the wall, and then again, and again, somehow sure that there was something on the other side, some means of escape, and that I just had to push hard enough to break through. After my fourth attempt, I heard the panels splinter beneath me, and give way.

I saw a dark room, a scarcely-furnished lobby, with slivers of gray daylight shining through the flimsy plastic blinds that covered the large glass windows of the door. The exit. I pried the boards of the wall away as fast as I could, not caring about the cuts and splinters they were giving me in return. I was sure that at any moment, the woman would grab me from behind, her cold eyes and void expression showing no sign of sympathy or mercy as she and the priest dragged me back to that sacrilegious room. I broke through the wall and bolted towards the door, nearly toppling over with all of my weight pushing forward. The blinds flung themselves upwards as I threw open the door, and was blinded only for a moment by the white light of the overcast day before me. I raced to the only car in the lot, the Creampuff, its light blue body shining above the cracked pavement like an oasis. I grabbed the handle and ripped the door open; the locks were broken, but I never kept anything of value inside anyway. I slammed the door shut, pulled out my keys, and started her up, only taking a second to look at myself in the rearview mirror. My eyes were wide, strained and shining with tears. The electrodes were still stuck to my temples, two silvery suction cups with wires now tangled in my hair dripping with sweat.

Then I woke up.

Madonna and Child 2, 2020

Madonna and Child 2, 2020

Meet the Flies. by Matt Oberski

Welcome. For the last four years or so, this blog has served as a place to share more personal portraits of friends, coworkers, acquaintances, and strangers taken on the days off from my day job (hence the former title, Days Off - A Blog). However, as we are fresh into the year 2021, and looking back at some of the true horrors the world had to offer in the sure-to-be-infamous 2020, I am repurposing this space for something that will not only let you peer deeper into my creative mind, but help me explore it along with you.

Writing is something I’ve always enjoyed. My early twenties were filled with reports, essays, stories, and articles with the broad range and sleepless nights only the pursuit of a liberal arts degree can give you. I would inevitably procrastinate and could be found kicking myself in my apartment at 2am, simultaneously typing and tearing at my hair in between smoke breaks in the freezing West Michigan winters. As many professional procrastinators do, I would tell myself to not fall into that hole again, to begin my next article or assignment as soon as possible, spread it out over the week or two before the due date, and be peachy keen. Of course, as we procrastinators know, it would happen with every writing project to follow. In the end, I told others that it’s how I write best: under pressure, with no options left other than write or fail. I believed it back then too.

As I near 30, there are no deadlines nor restrictions to what I care to write; for a while, I didn’t write anything at all, save for the rare Days Off post of a paragraph or two. Now, however, something is different. Now, I don’t need the flame of a failing grade and money lost under my ass to get me typing. Now, it is the words themselves who demand I put them on paper or screen. The thoughts and analyses I once had to conceive and flush out by way of coffee and nicotine now form themselves, multiplying and evolving like a horde of insects I didn’t know was there until their buzzing and breeding is deafening. Truly deafening. I find myself unable to escape the drone of fantasies and nightmares as I perform my laborious tasks of a sterilization specialist during the day. They take over my mind, my vision, forcing me into their world as I waltz through the laboratories of my day job, drifting in and out of reality like a trucker falling asleep at the wheel. As sinister as that may sound, it’s not like I am completely powerless against the flies. I just like the feeling of them carrying me away as I let the truck careen into oblivion.

Thus, we have redesigned this blog to satisfy our desires, the horde and I. The Blog of Darkness will serve as a space to realize and immortalize all the fascinating things that birth themselves in my head before they either starve and wither away or grow unsustainably as they feast on my thoughts. The writing here will include short stories, dreams and nightmares recounted, and hopefully excerpts from more longform writing projects. We plan on injecting photos and images that find themselves outside any particular body of work as well.

As I close my eyes and let my hands fall from the wheel, the horde thanks you for coming along for the ride. We’ll see where this road takes us.