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C o p y r i g h t I n t e l l e c t L t d 2 0 1 8 N o t f o r d i s t r i b u t i o n mms 4 (1) pp. 00-00 Intellect Limited 2018 metal music studies Volume 4 Number 1 ABSTRACTThis article intends to dissect black metal's interestingly twisted relationship with decay. A deep study encompassing symbols of atrophy, with the eventual intention of observing and analysing them through a kaleidoscope of philosophical thought, influenced by, amongst others, the musings of Bataille, Kant and Nietzsche. Issues appearing in both the real and the metaphorical will be placed under inspection, and a suitably blackened light will be shone towards the extent of how black metal exists and thrives in the organic collapse of matter and sound. There will be discussions on how black metal has itself become attuned to decay and how the two processes feed off each other, exist in harmonic conjunction and on rare occasions, oppose the other's being. How black metal has metastasized with atrophy. Here we shall see two forces inexplicably intertwined, the numerous links given exposure and attempted understanding in the realm of black metal theory.Walking through genocidal remnants With a hate-fuelled heart Stabbing even at the tears of withering corpses, Will there even be a word known as death anymore, When left is nothing to kill? 1 1. Xasthur (2004). KEYWORDS black metal decay atrophy subculture entropy metal Decay as a black metal symbolC o p y r i g h t I n t e l l e c t L t d 2 0 1 8 N o t f o r d i s t r i b u t i o n Kevin Hoffin 2 metal music studies 7. Celestia (2008).

The importance of personal sovereignty in black metal cannot be overstated. After all, we are the ‘wolves amongst sheep’. Presented here are the results of a documentary analysis (consisting of subcultural output and various studies) research project intended to analyse the wolf imagery in black metal wherever it may appear and regurgitate and reform these depictions in terms of their representations of personal sovereignty. For those who embrace the lycanthropic and colour their interactions with the world around them with hues of such dark, lupine tenets, this project will peruse these values through the philosophical kaleidoscopes. It will posit, hopefully convincingly, that the black metal subculture is rife with complications and contradictions – a paradoxical slant into a personal sovereignty that can never be attained, remaining frustratingly out of reach.

Video games have become a multi-billion-pound industry, now generating more income than any Hollywood blockbuster (Malim, 2018;Mitic, 2019). Since the early 1990s, the sale of video games has risen dramatically, and thus, as Jones (2008, p. 1) states 'games are arguably the most influential form of popular expression and entertainment in today's broader culture'. As Hayward (2012) denotes, virtual spaces have an increasing presence within our lived reality. Thus criminology needs to give attention to video games in order for us to fully conceptualise the world we now exist within and the inherent

When we began this project, we wanted to challenge the lack of nuance in both academic and media discussions around forms of deviance and video games. The book's opening chapters sought to explain, at times quite bluntly, the inadequacies of traditional sociological theory that has usually been used to investigate the subject area. The chapters proceeding this then aimed to put forth arguments, from various academics of differing theoretical positionality, on the realities of deviancy in video games, hopefully raising questions which will stimulate further discussion upon the subject. As detailed within the opening, the editors aimed, at least for their sections, to draw upon the emerging deviant leisure perspective