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64 = Paper Mario 64 TTYD = Paper Mario: The Thousand Year Door SPM = Super Paper Mario SS = Paper Mario: Sticker Star PJ = Mario & Luigi: Paper Jam CS = Paper Mario: Color Splash OK = Paper Mario: The Origami KingImportant to note, Super Paper Mario involves multiple player characters capable of the same feats. If a feat is tagged SPM and involves a character other than who is listed, rest assured that the character in question is able to perform the feat in an identical fashion.
To begin I'd like to acknowledge the easiest and most common response to Paper Mario as a universe in a battleboarding context. That everything in the world is made of paper and thus all of his feats are unimpressive and inapplicable to any other universe and its materials.
This is not true.
Despite everything in Paper Mario's universe being made of paper, it always behaves as if it was what it's modelled after. Objects have weight and mass. Some paper is completely fireproof while some paper can spend all its time submerged in water, despite the fire and the water also being made of paper. Weapons designed to pierce with pointed ends pierce, despite being flat paper.
And all of this kind of goes out the window with the crossover with the Mario & Luigi RPG series, where Mario is able to interact normally with 3D objects and M&L Mario and Luigi interacting with objects from the paper universe as if they weren't made of paper, showing again how paper objects have mass.
So, even when it looks completely flat, the object made of paper does not function as if it's paper.
Later games in the series which leaned more heavily on the paper aspects introduced new rules, most principally that paper objects only function the way they're meant to if they are fully formed. Note here how the water does not even flow until it's unfolded. Seen here in the crossover, as the massive trampoline does not gain its mass until its been unfolded and placed. This continues through the series as objects are shown to be unable to function properly if they are folded up, drained of color, or had their surfaces torn up. Note however that this only applies to objects and not people or creatures (see the physiology section for more details on this). Therefor, feats and anti-feats applying to incomplete paper objects are not included.
- Though they do still have some width, paper people can easily fit through narrow spaces. 64
- A single Toad is able to fit crumpled up inside a coconut. OK
- 7 Toads fit inside a tiny compact ball. OK
- 9 Toads can be stuffed in a cabinet without issue alongside a stack of regular paper. SS
- 10 Toads were able to manuever through an air vent together. CS
- 30 Toads fit inside a suitcase. CS
- A Toad wearing a large backpack full of equipment is still able to fit in a narrow space. OK
- Paper people are able to fold and roll without too much inconvenience. 64
- There are limits to how small a paper person can make themselves. CS
- Paper people can seemingly in only some circumstances, float down long distances to negate fall damage. 64
- Paper people can injure parts of their body in debilitating ways, although fixing this is usually just a matter of flattening them out again. CS
- Paper people will often successfully hide as graphics on signs. 64
- Paper people can hide from one another by turning sideways. 64
- It takes some effort, but paper people can come back from being crumpled. SS
- Paper people can come back from being folded up, but this usually requires outside help. SS
- Paper people can fold themselves if need be. SS
- Several Toads fold themselves up tight enough to fit in Mario's pocket. PJ
- A Toad folds himself tight enough to fit through a mail slot and then unfolds himself notably quickly. CS
- Ninjis fold themselves up into throwing stars and unfold themselves fairly quickly afterwards. PJ
- A Toad suggests that it's very common for paper people to be able to fly or glide by folding into paper airplanes or kites. PJ
- Mario crumples himself to escape from bindings. PJ
- Paper people and objects can seemingly be bifurcated and reconstructed without issue. 64
- While paper people are still hurt by being cut up, they can pull themselves back together. SS
- When Bowser Jr. was cut to pieces, he seemingly remained semi-concsious and was able to be repaired using the healing properties of a hot spring. OK
- Dozens of members of Bowser's army remain conscious and aware while being cut down to just a face. OK
- Paper people are seemingly able to function normally or close to normally even when critical parts of their body are missing, such as the face of this Toad. Though this may be a function of Hole Punch's ability rather than an inherent property. OK
- All this being said, one single decisive cut from Scissors is enough to one hit kill Mario, so the survivability to piercing/cutting is not infinite. OK
- They do in fact have skeletons. OK
- Paper people are very good at describing what things look like. 64
Mario has been afflicted with a few curses that allow him to transform his body under certain situations.
- Turns into a paper airplane to glide across gaps. TTYD
- Allows Mario and his partner to turn sideways and fit through narrow spaces. TTYD
- Allows Mario to curl up into a tube and roll along the ground, through narrow spaces. TTYD
- Can roll up stairs. TTYD
- Allows Mario to fold himself into a paper boat and sail across the water. TTYD
- When standing on a Magic Circle, Mario's arms fold one thousand times to become long and elastic. Both the Magic Circle and Olivia are required to perform, however. OK
- Peels stone brickwork off of the wall.
- Knocks over a large, but half-cut tree. OK
- Smashes a cracked stone structure. OK
- Flips the massive Earth Vellumental into the air. OK
- Grabs Colored Pencils' Rainbow Roll, stopping it, and then slams his pencils into him hard enough to leave him dented and warped. OK
- Pulls back Rubber Band and lets him fly hard enough that he soars for several seconds, then hits a wall, creating a large dust cloud. OK
- Knocks down a giant ice stalactite. OK
- Throws a massive chunk of ice into the air hard enough that it shatters upon landing. OK
- Pulls down a stairwell. OK
- Shifts around large blocks that constitute a castle's wall by slamming them. OK
- Bends Stapler over backwards, breaking and destroying it. OK
- Slams the ground, creating shockwaves and shifting a large platform to help push two giant origami beings away. OK
- Wields Olivia transformed into a giant hammer to knock down the massive King Olly. OK
- Mario was gifted with the ability to flip between the second and third dimensions. SPM
- These two dimensions have difficulty interacting with each other, as well as being close to invisible to each other. However, existing in 3D will slowly drain Mario's energy, and eventually his life.
- Can take others with him during the transition. SPM
- Twists and stretches himself to function like a man-sized finger trap. PJ
- Functions like a sail for a small ship. PJ
- Folds himself up into a boomerang. PJ
- Able to be the drillbit while M&L Mario and Luigi spin fast enough to dig through dirt and smash through large rocks. PJ
- Gets stretched out to function as a trampoline, bouncing up a massive steel ball. PJ
- Respect the Partners (Paper Mario 64)
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PhysicalsBowser RT for Scaling
- Destroys brick blocks by jumping into them. 64
- Able to hurt base Bowser. 64
- With the Super Boots, can smash through a wooden barricade. 64
- With the Super Boots, can smash wooden crates. 64
- With the Super Boots, can stomp the ground hard enough to cause a nearby loose panel to flip up into the air. 64
- With the Ultra Boots, smashes the surface of a frozen lake in a few stomps. 64
- With the Ultra Boots, is able to fold in on himself to spring up much further than a regular jump. TTYD
- Able to crack the rock shell of a Stone Buzzy with a stomp, and can destroy it in three. SPM
- Turns a giant water faucet by jumping off the spiget. SS
- Helps a Toad crush four Shy Guys holding up part of a road into paint. CS
- Jumps on the short half of a seesaw hard enough to launch a Toad into the air. CS
- Jumps on several Toads hard enough to launch them into a rock wall hard enough to embed. CS
- Hits a conveyor belt hard enough to jostle it and knock out four Shy Guys. CS
- When jumping off a low building roof, lands on a seesaw hard enough to launch a Snifit through the air into a sign, knocking several objects off. OK
- Smashes a large block of indeterminate material. 64
- With the Super Hammer, can smash a large block of solid stone. 64
- With the Ultra Hammer, can smash a large block of solid metal. 64
- With the Super Hammer, is able to wind himself up to swing with even more force, destroying a massive block that he couldn't break normally. TTYD
- With the Ultra Hammer, is able to destroy massive stone blocks with a wind up swing. TTYD
- Shakes large trees. 64
- Breaks brick blocks. 64
- Hits a buried log hard enough to launch it into the air, and possibly crack it in half. 64
- Destroys Huff N. Puff's Puff Puff Machine. 64
- Smashes through a crowd of Dull Bones. TTYD
- Sends a giant Koopa shell flying back a long distance. SPM
- Knocks over a dead tree. SS
- Knocks down a section of a castle wall. SS
- Knocks down the entirety of a stone wall. SS
- Demolishes a snowball larger than himself. SS
- Splits a giant, already cracked rock. SS
- Destroys a metal prison lock. PJ
- Plays tennis with a massive chunk of rock. PJ
- Hits a spear hard enough to send it flying straight through multiple Shy Guys. PJ
- Bats around large, metal, spiked balls. PJ
- Knocks back a giant Bowser wearing thick armor. PJ
- Bats aside a Thwomp. PJ
- With help from M&L Mario and Luigi, destroys a giant, cracked, stone block with the Trio Hammer that none of them could break otherwise. PJ
- Sends a giant cactus chunk flying. PJ
- Destroys a giant cracked chunk of gemstone. PJ
- Flips over a slab of stone by hitting the ground next to it. PJ
- Just the air of the shockwave is able to flip over large objects. PJ
- Send back a titanic metal cannonball that is destroyed to bits when it hits Morton. PJ
- Knocks around giant floating platforms. PJ
- Massively dent and deform a giant cannon. PJ
- Knocks over a stretch of road that had been curled and rolled up. CS
- Jostles a stone pillar hard enough to knock a loose segment off, which is heavy enough to crash straight through a railway track. CS
- Sends Huey flying and crashing into the skybox. CS
- Knocks over a large, broken up section of stone. CS
- Bends a bent railway track back into place. CS
- Hits a push cart handle hard enough to knock it and an empty coal cart several feet forward. CS
- Destroys a giant Paper Macho soldier with a few swings, hard enough to cause it to explode into wire shards and confetti, and for the Shy Guy in its mouth to be launched into the air. OK
- Destroys a damaged piece of castle wall rubble. OK
- Jostles a stone lookout tower hard enough to knock loose a Folded Soldier Goomba at the top. OK
- Deflects Colored Pencils' rocket powered pencils that are strong enough to pierce through concrete walls and a metal elevator. OK
- Knocks over a boulder. OK
- Smashes large stone blocks. OK
- Able to destroy the Paper Macho Gooper Blooper when several Bob-ombs exploding couldn't harm it. A single Bob-omb exploding is strong enough to demolish a giant boulder. OK
- Destroys a boulders and sends the large slab of ice underneath him sliding with the effort. OK
- Destroys a pillar of ice. OK
- Mangles and deforms the massive King Olly's blades with a single swing. OK
These are usually performed with help from his partners at the time.
- Can shake a large tree by damaging the root. 64
- Destroys large, metal cannons. 64
- Destroys the Koopa Bros. large, fake, mechanical Bowser. 64
- Destroys Chain Chomps made of cracked rock. 64
- Destroys General Guy's tank. 64
- Defeats enemies that Goombella describes as "rock monsters". TTYD
- Destroys Magnus von Grapple, Lord Krump's giant metal robot. TTYD
- Destroys a ~20 foot tall Tower Pokey. SS
- Defeats and cracks open layer by layer a titanic Bowser statue seemingly made of ice. SS
- Destroys Ludwig's personal submarine. CS
- Defeats Kamek while shrunken to half his size. CS
- Bowser describes a beating from him as "feeling like he got hit by a bus. CS
- Drives a massive nail, twice as wide as he is tall, all the way into the ground in a manner of seconds. OK
- Damages and destroys Tape's giant plastic dispenser. OK
- Pushes aside a large grandfather clock. 64
- Pushes around large stone statues. 64
- Pushes aside a large rock. It's connected to another, larger rock, but Mario can't push that one, so he's clearly not pushing both. TTYD
- Opens a large stone door. SPM
- Throws a Thing at a special wall that turns them into stickers. SS
- Pushes aside a stone door heavy enough to hold back a room full of sand. SS
- Pulls a stop watch larger than himself in its entirety out of the sand with a single tug. SS
- Beats Kamek to the point of defeat/"vanishing" using nothing by flip-flops. SS
- Helps M&L Mario and Luigi shove 20 Toads through a crack in the wall. PJ
- Holds onto two ropes to serve as a sail for a small ship. PJ
- Mario is capable of "wringing out" 3D objects for their paint to turn them flat as paper, though this may just be a function of how 3D objects work in a paper world. CS
- Rolls a stone pillar segment that's heavy enough to crash straight through a railway track. CS
- Outpulls 8 Shy Guys. CS
- Reels in a 4m long Cheep Cheep and Blooper. OK
- Sends a manhole cover wider than he is tall flipping into the air by pulling on it with a specialized tool. OK
- Stops a giant falling Thwomp by grabbing a rope with one hand. OK
- Pushes back against the massive King Olly's hands attempting to crush him. In this form, King Olly was strong enough with one hand to swat the giant Origami Bowser away a distance. OK
- Doopliss in Mario's body is able to run fast enough to leave him and Vivian spinning in his wake. TTYD
- Consistently tracks fast moving shuffling blocks in a lineup. SS
- Dodges melon seeds from point blank. PJ
- Runs out from under several falling Papercrafts at the last second. PJ
- Briefly outruns a giant Bullet Bill. PJ
- Reflects cannonballs shot from a battleship's mounted guns and missiles launched by a submarine. CS
- Easily outruns a flooding torrent of paint. CS
- Dodges lightning strikes from a storm cloud. OK
- Dodges a bite from the Paper Macho Chain Chomp at the last moment from within its jaws. OK
- Dodges Scissors flying in from behind him with a backflip at the last second. OK
- Can skate on his toes to move faster for a brief moment. 64
- Able to block the Master's flurry of attacks. 64
- Able to avoid and move as fast as sound waves fired by a Boomburst. SPM
- Can react to and block a shockwave. CS
- Destroys a crate and then jumps off of it before it completely shatters. OK
- Jumps over Scissors OHK strike in a flash at the last moment. OK
- Dodges a giant hand at the last moment by turning sideways to slip through the fingers. OK
- Takes claw swipes from Bowser. 64
- Gets beat up by a Star Rod empowered Bowser to the point of getting knocked out, launched a great distance by a magical bolt of lightning, falls all the way from the upper atmosphere, and despite being knocked out for a few days, is able to recover fine. 64
- Blasted by fire to the point of being ashen and shakes it off. 64
- Is only minamally hurt being crushed by a large cabinet. 64
- Gets blasted from the explosion of dozens of Bob-ombs to the moon. TTYD
- Takes a hit that sends him flying a great distance. SPM
- Isn't harmed in the slightest taking an arena-sized explosion. SPM
- Takes being launched from the cloud layer of the Overthere high up into space and then falls back down. SPM
- Takes a charge from a Chain Chomp ramming with the force to knock down a stone wall. SS
- Gets sent tumbling back some hundred feet by an explosion of sand before slamming into a stone wall. PJ
- Gets launched above the cloud layer by a trampoline, then falls all the way back down below ground level to a subterranean cavern. PJ
- Gets hit by a massive cannonball and is sent flying back, though this seemingly knocks him out. PJ
- Is on an airship that self-destructs and floats down the ground fine. CS
- Gets hit by Draggadon's fireball that destroys the stone platform underneath him. CS
- Tanks the explosion of dozens of giant Bob-ombs that annihilates a large room full of industrial factory equipment. CS
- Walks off an elevator crash that warps the door around his landing. OK
- Gets blasted back by Bob-omb exploding hard enough to demolish a giant boulder. OK
- While sliding on a block of ice going fast enough to crash through several man-sized stalagmites and stalactites, slides off, hits a wall, and bounces off, sliding back several meters, then stands back up without issue. OK
- Gets shot out of a cannon and blasted through a chunk of earth. OK
- Able to take the explosions of Bob-ombs. 64
- Has a large rock thrown at his head. 64
- Can take hits from Tubba Blubba who's strong enough to demolish a wooden walkway. 64
- Can take hits from the Master that launch him high into the air. 64
- Can take the stage falling on him. TTYD
- Can take stomps from Magnus von Grapple whose stomps are strong enough to shake the entire stage. TTYD
- Can take getting crushed under the weight of hundreds of X-Nauts. TTYD
- Can take being pelted by members of the audience being fired from a cannon. TTYD
- Can take from Doopliss transformed into Bobbery. TTYD
- Can take lightning strikes from the Shadow Queen which had previously vaporized an injured Grodus. TTYD
- Can take being crushed under a giant Bowser statue. TTYD
- Can tank being hammer thrown hard enough to bounce around the room multiple times. SPM
- Can take hits from Megashiny Gooper Blooper who's strong enough to hurl away half of a sailing ship, and probably broke it in the first place. SS
- Can take stomps from a titanic ice statue. SS
- Can take having a giant stone Whomp body splash onto him. SS
- Can take hits from the Royal Sticker empowered Bowser, who just previously had punched through a stone platform. SS
- Can have large boulders fall down onto his head hard enough to break. SS
- Can take being crushed under a giant chunk of rock. PJ
- Can take having a large spiked metal ball fall on his head. PJ
- Can take hits from Morton Koopa who's strong enough to crash through several walls and destroy a stone walkway. CS
- Can take hits from the Earth Vellumental whose weakest attack could gouge out a cave wall. OK
- Can take hits from Colored Pencils' rocket powered colored pencils which are strong enough to pierce through concrete walls and a metal elevator. OK
- Can take hits from Folded Soldier Sidesteppers which are strong enough to charge through a cave wall. OK
- Can take hits from the Mega Paper Macho Pokey, which is strong enough to launch Mario's Boot Car into the air. OK
- Fights while balancing on a ski lift wire. SS
- Floats in, gets behind an enemy, and then blinds them by draping across their eyes. PJ
- Can communicate without issue. 64
- Sneaks away from being dogpiled by dozens of X-Nauts. TTYD
- Can survive and quickly break out of being flash frozen. SPM
- Answers trivia questions while playing man-sized whack-a-mole in a room full of poison gas. SS
- Able to fight while wading in poisonous water. SS
- Can gain extra height on a jump by paddling in the air. PJ
- Dries Luigi's tears by means that can only be explained supernaturally. PJ
- Not completely helpless against wind. PJ
- Walks along a spider-web thread. PJ
- Collects a coin the size of a large house. CS
- Has deep pockets. OK
- Has a good stage act. CS
Hindsight is 2020: #32 - Domino
Listen to it here!
Well everyone, we’ve had a good run talking about things like love, loss, and grand fantastical tales, but now I think it’s time to finally get political.
If you’re anything like me, you may have read that sentence and felt yourself overcome with dread. “No, no, you’ve got a good thing going here! Why would you throw it all away? Why would you risk saying something that would make me not like you?” Such is the realm of political discussion. While in modern times we like to think we have a monopoly on divisiveness, the truth is politics have always divided, tapping into that instinctive tribalism that none of us quite care to admit still drives a solid portion of our unconscious thinking. It’s us vs. them, all the time, for all of time.
But you needn’t fear, because this isn’t actually a political post or even a post about politics, per se. If anything, I like to think this series is a nice refuge from the inundation of political noise I’m sure we all experience on a near-daily basis, whether we’d like to or not, and I’ve no intention of jeopardizing that. Instead, I simply wanted to make the point that politics and music are pretty strange bedfellows.
Music is often referred to as the “universal language,” given that it can be absorbed, understood, and created by any culture on Earth (and, perhaps, beyond!). Mathematics also make this claim, and that makes sense: music is essentially just applied math and physics when you break it all down. But anyway, my point is that music is a uniting force. Politics, on the other hand, are a dividing force. That the two would mingle is inevitable, but that mingling has a strange effect.
Have you ever heard a song you really liked, and then you read (or finally heard and registered) the lyrics only to find that they were in such opposition to something you believed in that you sort of had to throw the whole thing out? I won’t give examples here, but I trust you see where I’m going with this. When you take a political stance with your music, you are potentially alienating a subset of your fans. And you might think, “This message is important, and if they’re alienated by it then I didn’t want them as fans anyway,” and that’s fair, but it is a reality that the one thing that unites your fans across all their disparate backgrounds - the music - is now dividing them once again.
The other pitfall of politically driven music is that taking a political lyrical bent almost always sacrifices the ability of your music to be timeless. In fact, the more specific your political position (“I’m against X regime in Z country and I want everyone to know it!”), the less your song will mean after that position is no longer relevant. It’ll be an interesting historical footnote, a trinket plopped into the time capsule for that moment and place, but it will struggle to reach anyone once that moment and place aren’t in the forefront of the listeners’ minds, which is to say, for the rest of human existence.
Why in the world am I spending so much time talking about the potholes to be found on the road of political music? Well, two reasons. For one, Genesis made it through the first 81% of their album discography before getting anything more than tangentially political (“Dancing with the Moonlit Knight” and “Man on the Corner” are both social commentaries but neither is precisely political) and now that I’m through a similar portion of their discography in this exercise, it felt oddly appropriate. But mainly it’s because those potholes are ones that Genesis in their two political forays on Invisible Touch - “Land of Confusion” and “Domino” - managed to deftly avoid.
Tony: Because Invisible Touch produced so many hit singles it’s slightly strange for me: my favorite track on the album, for example, is probably “Domino”, which was not a single. I thought the album showed a real confidence, and as a writer I’m very pleased with that: lots of good songs, well done. It is a simpler album, which is maybe why I particularly like “Domino” - which is more complicated, and less well-known. If “Land of Confusion” was Mike’s anti-war moment then “Domino” was mine - and I always take a lot longer to say things. 1Me too, Tony. Me too.
Anyway, what both of these songs do really well is this: they avoid specificity. In both cases the lyrics are clearly identifiable as political messages, but also painted with such a broad brush that they could describe nearly any political situation of any era. In some ways this might boil them down to simple, low-impact statements like “violence bad,” but so much of what makes music powerful comes from the listener rather than the artist. With a relatively blank canvas like this, we can apply these concepts to our own time, and our own experiences, whenever and whatever they may be. It’s that timeless quality all over again. Now, “Land of Confusion” threw a lot of that out the window with its music video - more on that in a future post - but “Domino” was never going to show up on MTV so it didn't have that problem, either.
Tony: Well to me it’s a very important track, “Domino”. It’s more meaty perhaps than the others [on the album], in a way. The lyrics [are] mine. I was trying to get across a political kind of message...Politicians don’t sometimes think through what they’ve started off. They do something, and the fact that all these people are going to be, you know...husbands are going to be killed, and all the unexpected consequences that occur when you start something off. And people tend to think very sort of blinkered about a thing; they think, “We’ve gotta get rid of this guy, we’ve gotta do that,” and of course everything else happens. And that’s what the song was all about, really. 2Given the time and circumstances, it's easy to assume the title of the song came from the fear of the rapid spread of communist regimes that so consumed US foreign policy during the Cold War, but even there Tony had something much broader in mind.
Tony: The idea I had in mind was not the communist Domino Effect, but those huge Japanese domino patterns: one falls over, and there’s nothing you can do to stop it. Sometimes with these politicians I don’t think they really know what it is they have set in motion, and that’s what worries me. 1Musically, what “Domino” excels at is communicating this uncertainty and tension. The perspective of the lyrics during the “In the Glow of the Night” half of the song is actually very personal. It’s a first-person account of someone who doesn’t know whether tomorrow is coming. You feel that right from the get-go. The opening keyboard line bleeds anxiety, and is accompanied with a drum machine that punches strange rhythms at odd intervals, sounding a bit like muted gunfire: shootings happening a couple blocks away. It’s such a sparse sound, putting you into a cold room in the middle of the night, trying to make yourself small, hoping those sounds outside don’t get louder than the pounding of your heart.
And then, of course, the music kicks into gear with big, violent chord hits that are anything but melodic. You wince from their impact: “that could’ve been me.” When the bass hops in and we’re in a chorus proper, it’s something of an exhale. Those terrifying sounds outside have stopped...for now, anyway. Am I still here? Are you still here? Are my friends still here? Our home? It’s damage assessment, picking up the pieces. And then another verse, another violent outburst, and another examination of the dust on the floor in the aftermath. Your mind can’t process the enormity of what’s happening all around you, so as a defense mechanism it hones in on the details. Sheets of double glazing...foreign city sirens...nylon sheets and blankets...these descriptors don’t actually matter, except as a distraction so you don’t have to think about the bigger picture stuff that would stop your breath. This is a political song, but it’s not actually saying anything political at all. It’s just forcing you, as the listener, into a night in this person’s shoes, and once you’re there you realize, “This is horrifying.”
Mike: Tony never did understand how to make words flow. His words are the reason why he’ll never write a hit single, although sometimes you have to admire his bravery: he’s the only person who could ever get away with writing a lyric about double glazing and nylon sheets and have Phil make it work. 3Now, perhaps because nearly eleven minutes of straight nightmare is a bit much to ask of any listener, the song switches perspectives halfway through. Now called “The Last Domino”, this second half puts us back into our own shoes, albeit with a transitional section in between. You get this pulsing guitar riff, chords of swelling darkness...honestly this connecting section of music could be the soundtrack to a boss battle in Doom and I wouldn’t question it. Phil is wailing about children playing with boats in a literal river of blood, for crying out loud. It’s energetic, it’s entrancing, it’s sickening. It’s the camera panning outside of that small household so we can see what’s happening in those violent streets themselves. It’s making us witness the destruction before panning back over that same cold house. A musical motif recalling the poor soul trapped within, and then the camera zooms out to reveal the whole scene is transpiring on a television set.
Tony: The second half of the song took a much more detached viewpoint about our attitude to seeing war or bloodshed on television, the awful fascination. 1This is us, now. We’re watching our news programs, and our violent shows and films, and though we decry it on the outside, we can’t quite look away. We’re almost reveling in what’s happening, eating it up as must-see TV. And here’s the dark truth at the heart of politics in a more-or-less democratic society: we are responsible. The politicians may be the ones making these decisions, but they’re only there because we put them there. We may claim to hate the results of those decisions, but here we are eagerly ingesting all the horrible fruits of those labors every chance we get. This is a political song, but we are ultimately the ones causing the problems. We have to look inward before we can look outward if we’re ever going to solve this.
“Do you know what you have done? Do you see what you’ve begun?” These lines are meant for us at least as much as any nameless politician. And that is how you make a political song a timeless one. Because if there’s one thing thousands of years of human history have taught us, it’s that human nature doesn’t change.
Let’s hear it from the band!
Tony: Mike just played a guitar riff and...if Mike’s fairly static on quite a simple little riff, then it gives me a chance to play any chord I like. And I like that. And I just sort of played every chord that would fit over that riff, I think; put them in a certain kind of order and you get a certain kind of result. The second half - the two halves were not the same song originally - developed more out of a jam which we called “Hawkwind” because it reminded us of an English group who used to do a lot of kind of psychedelic jams. Just keeping a sort of thing going in the bass...going all the way through it, and then just making funny noises on the top. You know, an excuse to use certain of those almost Hammer horror film chord sequences that I always liked very much. Not so much dramatic as melodramatic...I think right from the word go Genesis always quite liked putting soft bits next to loud bits because...louder bits sound louder against a soft bit. I mean, it’s a simple technique but it seems to work quite well. 4I would be remiss if I didn’t follow the band’s lead here and say something about “Domino” as a live staple. Live songs tend to fall into one of three buckets. Bucket A is where the song just doesn’t work at all live, and the studio version is the best way to hear the track. Any song that was never played live falls into this bucket by default, but some other pieces can show up here as well. Bucket B is songs that are transformed live into something different altogether; songs like “The Waiting Room” or “Throwing It All Away” are good examples of this second category. And then you have Bucket C, full of songs that are functionally the same as their studio counterparts, but that simply come alive much more on stage.
Mike: This time, on this album, I think I got very conscious of what was going on [with] the public perception of us. Because MTV was in full swing now, we were having hit singles and videos and doing well, [and] I think the profile you get with a hit single was so huge it dwarfed everything else. So I think people forget there were long songs on this album like “Domino”. There’s always this thing about “You were a progressive band with long songs and then you ended up doing shorter songs”...we didn’t ever really stop doing the long songs. They were just dwarfed perception-wise by the power of television, really. And funnily enough, when you see us live, that balance is so different. I mean, I think when you see us live, the long songs are probably as big a part of the audience’s enjoyment as the short songs. And the balance is very much half and half. So I think in a way, songs like “Domino” get rather forgotten until we go on stage. 2
Tony: It was a nice, big, long song, gave you an opportunity to have a bit of fun both lyrically and musically. And also it’s very strong, the end section’s a very strong bit. You’ve got a strong guitar riff, and it works...Classic stage song ever since, I think. In a funny way, from a stage point of view it’s one of the best songs off the album, because it gives you more room to breathe. The longer songs tend to work better on stage, I think. 2
Phil: There was a moment with “Domino” during the  New York rehearsals when we started the song and I didn’t know what to sing. I couldn’t remember anything. We put the CD on, I listened to it and I thought, “I’ll never be able to remember this,” but suddenly it came back, and this time it was much more fluent. I was even fine with the famous “double glazing” and “nylon sheets and blankets” lyrics I’d had problems with before. They’re not the kind of lyrics that I would write, but I realized, “I can find it, I can see it now, I can do it.” And that was a pleasant surprise. 1
“Domino” is not only firmly in that Bucket C category, but also stands out to me as one that somehow got better every single tour to the point where the most recent version is actually the best. And it’s not just Phil’s pre-concert audience engagement; silly fun that it is, it actually distracts a little from the core power of the song’s message. But between the lights, the energy of the musicians, the electricity of the crowd, it just thrives live and gets better with age. Here it is on the Invisible Touch Tour. Note in particular Chester’s big drum fill near the end, right before the “In silence and darkness” line. That wasn’t there on the studio version, and it’s a solid addition. Here it is on the We Can’t Dance Tour. Check out the way the lighting and screens really supercharge the performance, with flashes of turning spotlights in the violent hits and Phil basically teleporting into a space vortex.
Tony: Some of that stuff is very easy to do and looks VERY effective because people had never seen it before. In that situation I felt we could get away with some very simple ideas; the most obvious one being the "2001" effect and I thought, “Why not?” It is a very simple thing to do; it is all computer generated, and the lines come towards you and you get the effect of traveling into a thing. I had always thought that effect would look great in “Domino”...and then there was the idea of sticking Phil up in the middle of it and suddenly he was where you weren't expecting him and it worked. 5What’s that? The Calling All Stations Tour? Still counts! Sure, the screens are gone because the whole endeavor was a little bit scaled back, and sure, Ray at times sounds a little too happy just to be there instead of properly emoting the song, but advancements in instrument technology make the music the best it had ever sounded on the piece up until this point. The bass in particular sounds great, Tony’s got creepier wailing noises, Nir does some fancy cymbal rolls, and he’s also got a fantastic electronic drum sound that transforms the fills in the middle of the piece into something really powerful. While not part of the concert experience, there’s also a cool edit here on the video that makes the song’s transition look like TV static jumping from channel to violent channel. I also rather like Ray getting out of the way at the end and allowing the music to stand on its own; it works surprisingly well.
Finally, here is the Turn It On Again Tour, where the improved instrument sound quality is retained from the CAS shows, but now Chester’s back, Phil’s back, and the screens are back and bigger than ever. This time they’re sort of shaped like an eye and that vortex in the middle of the song uses a full circular tunnel effect instead of the two-dimensional stuff, and is that Phil’s disembodied head in the middle? Crazy stuff. What’s more, this is from the Rome show, but when they came to the States later that year, it sounded even better. I’d upload the audio if I felt like it wouldn’t be a copyright violation, but remember that drum fill of Chester’s I mentioned back on the Invisible Touch Tour? Stateside it had that great electronic drum sound of Nir’s tacked on and, at least at the concert I attended, it was played absolutely perfectly. What had been a ho-hum moment on record evolved and became the highlight of the song for me. It’s that good.
So here’s to hoping the best version of this one is the next in line.
1. Genesis: Chapter & Verse
2. 2007 Box Set
3. Mike Rutherford - The Living Years
4. The Way We Walk DVD, 1992
5. The Waiting Room, 1994