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theetherealbloom · 1 year

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UNEVEN ODDS — CH. 2

Chapter Two: Roll Up Your Sleeves

Summary: The Reader is dragged into the Last of Us universe and has no choice but to watch the events unfold or will she be able to change what was already written?

Paring: Joel Miller x Fem!Reader

Warnings: Age-gap Romance, Violence, Angst, Fluff, Guns, PTSD, Depression, Anxiety, Swearing, Reader wants to sacrifice herself, Zombies, eventual SMUT, MY SCIENCE IS WONKY, probable plot holes, rusty writing

Word Count: 4.8k

A/N: Holy shit there are so many of you sjdfhgsk AHHHH thank you so much for all the notes and comments, I appreciate it! Here’s a little bit of info for you to understand a little bit of my thought process. In my outline, the reader is an Enneagram Type 9: The Peacekeeper. (This helps me add a little bit of depth to you so I don’t feel entirely lost when writing) if she seems “passive” or “complacent” it’s cause she wants everything to go smoothly and be without conflict. I’d like to believe there’s a little part of us that prefer to avoid tension, due to the fear of loss and separation from the people or things you love. I’ll go a little bit more in-depth about this in the story as it progresses. Hope you enjoy!

Song: evermore (feat. bon iver) by Taylor Swift

Previous Chapter -> Next Chapter | Series Masterlist

TLOU WORLD – 2023

BOSTON - NOON

You walk along the ruins of a long-abandoned Boston with an overpowering sense of dread. It feels like the build-up of a song in which you know the tune, the lyrics, and the beat. Strings of violins, drums, and bells ring and thump in your mind, unwanted and uncaring of how you feel. This curse of knowledge you never asked for but which you carry follows you as the four of you approach the Bostonian Museum. Creeper vines and Cordyceps grow on the sides of the building, marked by conspicuous veins and all-consuming every red brick of this once-beautiful structure.

The four of you stand outside the entrance of the museum. Cordyceps consume every part of the foundation, Ellie tilts her head to look up at it appalled, “You’ve got to be fucking kidding me.” You stand next to Joe, using your hand to rub your right eye, and mumble, “Shit.”

“Well, there’s a way across from the top floor,” Tess says while moving to place her hands in the pockets of her pants. Ellie sarcastically replies, “Well, then I guess it’s fine.” Tess reassures her by adding, “We use to take it all the time.”

Ellie answers, “Okay.” Joel leaves your side and approaches a dry vein of the Cordyceps, removing the rifle he stole from the FEDRA guard, he crouches and touches a part of it to check if it was still active. He swings downward, hits the vein with the butt of the gun, and a puff of dust releases from the dead fungi, he stands to walk over to Tess, “It’s bone dry. It could mean they’re all finally dead in there.”

Tess nods, then they both kneel to prepare their flashlights and weapons, just in case. You and Ellie watch them both rummage through their backpacks, “Oh, man,” the kid mutters.

Joel whips out a flashlight and waves it at Ellie, “Marlene pack you one of these or just sandwiches?” She removes her backpack, “Yeah,” and pulls out her flashlight. Joel looks to you, “Catch, hummin’ bird.” That was the only warning he gave you before tossing you the flashlight, “Luckily, I have a spare.”

You’re short of breath as you hear the nickname he gave you. Miraculously, caught it with both hands, and without even thinking you wink, “Thanks, cowboy.” Thankfully, no one says anything about your quip directed at him.

“Okay, so… more ground rules.” Tess announces and turns to Ellie, “We’re gonna go slowly. If we come up against anything you get behind us and you stay there, okay?” The young girl nods and wears her backpack, “Yes.” Tess brings out her handgun and flashlight, positioning her hands in a way that she can use both. Ellie glances at the gun she’s holding, “I have a spare hand.”

Joel is unamused by what she is insinuating, dryly replies, “Congratulations.” He walks forward with determination, he pokes his head through the door to do an initial check before turning around to nod at the three of you to signal it’s clear. Reluctantly, you follow them inside, your mind has kicked into overdrive, trying to figure out a way to get past this with zero casualties. If you sacrifice yourself, would that change the ending? Would it buy Tess a little more time? This might be your grand attempt to do something right and kind without assurance, without the promise of an afterlife.

Flashlights dance and shine around the walls of the abandoned museum, you watch your step and try to calm the beating of your heart as you look at the artifacts left behind. You navigate through the hallways and come across a corpse of an infected deceased. Joel shines his flashlight on the fungi, “Yeah, cooked.” Tess exhales, “Finally, some fucking luck.” Ellie steps a little closer to investigate the remains of what was once human, Joel continues, “I guess we should’ve gone this way in the first place.”

You were so caught up in trying to ground yourself in the reality of all of this, that this is actually happening, that you forgot to at least warn them about the Clickers they were about to face in a couple of moments. Just as Ellie was about to turn a corner, you whisper loudly to her, “Ellie wait!”

Too fucking late. “Oh shit,” Ellie exclaims with wide eyes, and Joel makes a move to inspect what she found. A dead bruised, bloodied, young man slouched against the corner. Ellie’s eyes were full of shock, “What the fuck did that?”

Joel and Tess look at each other knowingly, and you finally decide to speak up, for her and theirs, “Whatever you’re about to say or hope for, don’t bother.” The three of them turn to look at you and you decide to continue in an audible whisper, “I wasn’t sure if I could or should warn you, but we need to stay quiet from now on.” You gather your courage to look directly at Joel with an unwavering stare, “It’s exactly what you suspect it is.”

“Are you saying an infected did that?” Ellie whispers to the three adults, and she resumes, “Because I’ve been attacked by one and it wasn’t like that.” Joel looks at you and he can see the way your face twists, your lips curled downwards, and your eyes show your remorse and guilt, he whispers to everyone, “Okay, from this point forward we are silent. Not quiet. Silent.” Ellie looks at him concerned and confused, “What?” But Joel shakes his head, “No. No questions. Just do it.”

This is it. You think to yourself as you will your feet to move, continuing, you follow Joel and Ellie up the stairs with Tess trailing behind. You remember when you could cover your eyes to the scary moments of the show, you could press pause, or fast forward, not needing to witness and feel the distress and panic.

The quiet creak of each floorboard of the steps as your boots land on the rotting wood, it groans all of your weight and dust falls from the ceiling. You all stop silently, waiting for any indication of an infected discovering that all of you were in the museum. After a moment, Joel looks back at you, a silent way of asking if it’s okay, you throw him a bone and give him a tiny spoiler, then you nod at him. And all four of you continue up the stairs.

As you make the first landing of the steps, you shine your flashlight to meet a horrifying view. Multiple corpses of people who were infected with Cordyceps lay on the wooden floors. It’s unspeakable and all-consuming, the silence overwhelms your system, there is a sudden tightness in your chest, and feel a part of your mask slip, your eyes shift and move to look at the pile of bodies. Organs and parts that were once human, were scooped out and transformed into fungi.

Your mouth opens silently, quivering as you do, and you lightly shake your head. Joel steps over the rotting fungi, just as you were about to grab Ellie and warn her about what she couldn’t see, you were too late. Again. A satisfying crunch could be heard throughout the building and you squeeze your eyes shut in fear for a moment then you reopen them. Joel whips around to look at Ellie with annoyance, the kid gives him an apologetic look.

Thankfully, you managed to make it up the steps with no more issues. Joel slowly opens the door to Independence Hall, and the wood gives a quiet creak. He quickly scans the area before deciding to nod at all of you, telling you it’s clear.

With your foresight and knowledge of events that had already happened in your time, you decide to act accordingly and give a hard shove to both Tess and Ellie inside the Hall and quickly follow after, gravity takes place and parts of the museum collapse, pieces of wood and cement block the doors. You were trapped.

Tess and Ellie push themselves off the ground, but you take a little longer to get up. You scraped your arms and hands, and the pain in your head came back. Joel quickly and quietly helps Ellie up then realizes you haven’t moved yet. He immediately makes his way to you, lightly shaking you to get up, you blink back the blurry black spots that are forming in your eyes and stand up with his help, both of his hands on the underside of your forearms.

You squint and slowly look up at him, and for what felt like a second, you see the worry that lines his face. Concern and need to protect you, even though you’re just a stranger. The moment doesn’t last long, you hear the familiar sound of screeching in the room adjacent to you. Flashlights shine in the direction of the noise and you hold your breath as all of you walk backward, keeping your eyes on the monster that emerges from the shadows. The twitchy movements are followed by the croaky noises of the infected, it tries to navigate, searching for its next prey. And on queue, the other Clicker screeches, indicating that there are two of them. This is no longer a museum, it’s a fucking horror house and all of you are in for the worst experience of your life.

You are now surrounded by predators, and prey, playing a twisted game of hide and seek. You press your back against the glass of the cabinet, Tess to your right, Ellie to your left, and Joel being the farthest left. He gestures to his eyes and ears, quietly mouthing, “They can’t see, but they can hear.”

The creature groans and croaks, clicking sounds from its throat. It’s right behind the glass, your eyes drift to the monster and see its jerky movements. You bring your eyes to look at Joel, he lifts his pointer finger to his lips, indicating to be incredibly still and silent. Fear is the darkness and the unknown, a hard-to-shake feeling, it overstays its welcome and leaves you panting.

Tess watches the monster make its way around the corner, limping and shaky. Ellie closes her eyes to try and control her breathing, and you get yourself ready for the fight you never wished for. ‘Why is it always so fucking dark?’ You wonder inside your head, The Clicker comes into view, and you hear an audible gasp come from Ellie. Shit.

The creature turns in your direction at full tilt, mouth wide open with its yellowing teeth, and gives the loudest high-pitch screech. Joel sprays bullets into the Clickers’ chest, but it fights back, he looks in your direction and yells out, “Run!”

The second clicker begins to sprint toward you and Tess shoots at it but the bullet misses. Tess grabs Ellie by the arm and drags her away, while you run with them. The four of you get separated, Tess trips and so do you and Ellie, she yells out to tell her, “Run… Run!”

Ellie crawls her under a table and finds her way out, while the Clicker runs after Tess. You are now at a crossroads, Joel is running at the other end of the exhibit while Tess heads in the opposite direction. You swiftly make a split-second decision and duck, right behind Ellie under the table, however, you do not crawl away, instead, you wait for the Clicker to run by you and quietly get up to follow after Tess. This is your chance to make things right, to ensure she doesn’t get bitten. Will this cost you your life?

You grab an ax hanging from the wall and run to the other side of the room, you hold it with both hands and feel the sweat coating your skin. You turn a corner and see Tess pinned up against the wall, the creature feasting on her neck, your heart drops to the bottom of your stomach, and you let out a scream, “No!”

The creature quickly turns and shrieks at you, angry for interrupting its meal, now it begins sprinting towards you, and the adrenaline pumps into your bloodstream and system. The anger starts to flare in your chest, the silence grows louder along with the ringing in your ears. You stand unwavering and with the courage that has been asleep for so long, it awakens at the right time.

Aiming directly at its head, you throw the axe with everything you have. It lands on a portion of its mushroom-infected face. Yet, it only slows the creature down a second, screaming and swinging its long mutated arms, and tries to locate you, but, it hears the commotion in the other room, loud pops of a revolver can be heard and you assume it’s Joel killing the other Clicker.

The abomination of what once was human turns and screeches at Joel and Ellie, it scampers towards them and you feel the pulse in your veins like a fighter, you fight the fear and let the rush take over, you sharply glance at the handgun Tess had dropped during the chaos and without hesitation, you pick it up and pray it still has some bullets in the chamber.

This was a skill you wished you never had to use. All those days in the range were just a precaution, the world is not kind to women, and you learned to protect yourself just in case. It meant only using a gun when you or the people you loved were in danger.

Using one hand, you swiftly remove the safety with your thumb, aim, and shoot at the head of the Clicker. With three loud pops and then a fourth one for good measure, the monster falls to its knees and on the ground.

Dead.

Blood oozes from the infected’s head, and you stand there watching the crimson splatter grow larger. Tess appears from the archway and takes in the vision before her. You turn to aim the gun at her, your fight instincts kick in, still high from the adrenaline, and you stand there breathing heavily.

Joel yells out your name. You blink once, then twice. A beat passes, and you don’t register Joel approaching you in a calm slow manner, his arm stretched out with his palm facing you, treating you as if you were a frightened animal, now he places his hand on top of yours, a touch so gentle you barely register it. Carefully and steadily he takes away the gun in your hand and turns the safety on before handing it to Tess, which she slowly takes, while you let it happen.

Your vision is blurry and tries to swallow away your guilt. You were too late. You couldn’t save her. Joel says your name again, he’s in front of you now, his frame covering and protecting Tess, but he has replaced the gun you once held, with his hand. Ellie watches the events unfold from the side, not wanting to create any more noise or movement. He squeezes your hand and whispers, “It’s okay… It’s okay.”

It’s not, but his voice brings you back anyway. You look to Tess, your eyes full of sorrow, and your voice quivers as you speak, “I’m sorry. I’m so sorry.” Tess nods knowingly, she swallows her pride and sadness to say, “It’s okay. You tried… um, thank you.”

Her words completely snap out of your trance, and you see the world a little clearer now. You nod back at her, then bring your eyes to Joel, who is still holding your hand. His eyes dance around, observing and taking note of every detail of your face. You’re the first to break the staring contest, realizing that Tess doesn’t have a lot of time. You step back away from him, dropping his hand, “We should get going.”

Joel turns to Tess, “You all right?” She nods, “Twisted ankle, but yeah.” She limps over to Ellie, “You all right?”

“Well, I didn’t shit my pants, so…” Ellie says and pulls up the sleeve of her jacket to reveal a bite from the infected. “You fucking kidding me?” she exclaims and turns to look at Joel, “I mean if it was going to happen to one of us.”

Tess stays silent at that, glancing at you to keep your mouth shut. You give a discreet nod in response, Tess calls out to Joel, “Hey. Let’s get the fuck out of here.”

Joel pushes the window up and opens, stepping out onto the roof, Ellie follows and you do too, leaving Tess for last, who plops down to rest her ankle, “Fuck.”Joel kneels and opens his pack to give Ellie a bandage, “Put this around your arm.” She takes it and says, “Thanks.” You watch as Ellie makes her way to a wooden plank, makeshift bridge, “Over there?” Joel glances over while continuing to fuss over Tess, “Yeah, I know it looks scary.”

“That was scary. This is wood.” Ellie states and proceeds to walk across the wood plank to get to the other building’s roof. Joel watches in disbelief and hollers, “Just wait there. Give us a minute.” He turns to look at you, “Can you go make sure she’s…” You only nod, knowing that Joel and Tess need to talk, you look at the wood plank they call a bridge and mumble to yourself, “If the way I die is falling from a high place, so be it.”

You walk across with no problem and catch up to Ellie, “Hey,” you say as you stand by her and take in the view. “What happened to you back there?” Ellie asks, the wind blowing strands of hair away from her face. You huff, “I don’t know. The adrenaline took over, I guess.”

You both stand in silence now, then you can hear the heavy footsteps of Joel walking up to the right of Ellie, she merely glances at him and then turns back to see the State House in the distance, glittering under the sunlight. “Is it everything you hoped for?” Joel asks her, Ellie blinks but answers him, “Jury’s still out. But, man you can’t deny that view.”

You hear Tess approaching from behind, eager to keep moving, “Come on, let’s get there before it’s dark.” She turns and then climbs a ladder down, letting out a groan of pain no one question or brings up. Joel nods at Ellie to follow Tess which he does, you look at Joel as Ellie climbs down. And you held his gaze for a moment, then look to his broken watch, before climbing down after the young kid.

Leaves crunch with every step you take, Tess lightly limping ahead, she turns to look at you, and you could only stare back. Tess looks straight ahead once more, and you can’t help but wonder about the violence of the dog days and what could get you through this. You see the State House from a distance, a hauntingly beautiful sight, creeper vines growing on the pillars and sides of the edifice.

The group decides to hide behind an abandoned car near the state house, and immediately could tell that something was very wrong, “Where the fuck are they?” Tess harshly states, Joel, shakes his head and decides to go check the truck parked outside by the steps of the ruined State House.

Joel walks over cautiously to the door of the truck, he swings it open to aim his rifle at it, only for the seats to be empty. Joel sees the blood splattered on the sides of the door, and turns to mouth at you all, “Stay back.” He rounds the side of the truck and notices a recently deceased, he continues to the back of the truck, swinging the giant blue metal doors, to confront no one.

You follow Ellie and Tess as she demands, “Joel, what the fuck is going on?” Joel shakes his head, “I don’t know.”

No longer wanting to play along, you look down to see a trail of blood up the steps and into the State House, you hear someone call your name, but say nothing as you walk up to the doors of the building. You push your way through, briskly walking to the center of the structure, and you take a good look at the multiple dead people scattered on the ground. You shake your head and close your eyes, “Fuck.”

You hear the three come in after you and they notice immediately what happened, Tess goes into a panic, “Okay. I mean there’s gotta be a fucking radio or something, right?” She proceeds to open the kit boxes that contain nothing but supplies, searching for anything that could help them win.

“Who killed them? FEDRA?” Ellie asks, and you reply, “No,” you nod to the man on the ground, Joel rolls him over with his boot and you continue, “One of them got bit. The healthy ones fought the sick ones. Everyone lost.”

Joel’s nostrils flared as he stared at you, “You knew? You knew and didn’t even bother to warn us that this was all for nothin’?” You raised your chin, “They were already dead hours before we got here.” His jaw clenched while you stood, fists clenched by your sides, and rolled your shoulders back, glaring at Joel.

Joel calls out to Tess, “Tess, what are you doing?” She ignores him and approaches Ellie, “Where did Marlene say that she was taking you?” Ellie responds unsure, “Uh, I don’t know. Just west.”

“Just west. Fuck. okay. Well, I mean, one of them’s gotta have a map on them, right?” Tess then goes to search one of the deceased Firefly’s pockets, “Joel, can you help me?”

“No.” He fumed, “Tess, it’s over. We are going home.”

“That’s not my fucking home!”

You let the exchange happen, while you move to one of the kits to retrieve a handgun, some ammo, and a small first-aid kit, and steal a backpack sitting on top of the chairs to shove all your supplies inside. Then, you hear Tess say the words you knew would happen, “I’m staying. I mean, our luck had to run out sooner or later.”

“Fuck.” Ellie whispers, “She’s infected.”

Tess sighs, and Joel’s eyes hardened and narrowed into slits, “Show me.” She takes a step forward and whispers his name, only for him to take a step back. Tess then steps back, anguish splashes across her face, then pulls the collar of her shirt and jacket, to reveal the growing infection on her neck, “Oops, right? And don’t bother taking it against her,” Tess gestures to you, “She did everything she could to save me, but I guess fate had already cut my string.”

Joel takes in a breath of disbelief while Tess looks to Ellie, “Take your bandage off.” Which she does to reveal no evidence of infection, just a new scar on her forearm to add to her collection. Tess makes her way to Ellie and holds her arm, “Look. Joel? This is real.” She drags Ellie closer to him, “Joel, she’s fucking real.” Her grip suddenly becomes twitchy and she wills her hand to stop shaking and hides it behind her back, she stares directly into the eyes of whom she once loved, “I need you to get her to Bill and Frank’s.”

Joel is shaking his head as he replies, “No.” But Tess continues to speak, “They’ll take her off your hands. They’ll handle it from here.”

“No… I can’t. They won’t take her. They’re not gonna take her.” He says and you watch each part you knew to unfold, Tess whispers to him, “They will because you’ll convince them. Yes, you will. I never ask you for anything. Not to feel the way I felt…”

“No.” He stubbornly states, but Tess lets the tears stream down her face and exclaims, “Now, you shut the fuck up because I don’t have time.”

He grants her request and listens, “This is your chance. You get her there. You keep her alive and you set everything right. All the shit we did.” Joel shakes his head as Tess begs, “Please say yes, Joel. Please.”

Despite the somber mood, a screech from one of the corpses has come to life and taken its revenge on the living, Ellie screams out, “Oh, fuck!” But your reaction time is faster this time, and you no longer hesitate as you walk towards the parasite, remove the safety of the gun and shoot it point blank in the head. Joel comes up behind you, and takes notice of what you’re staring at, the Cordyceps patch has awakened the rest of the infected and you hear the croaks and shrieks from outside of the State House.

Joel runs up to one of the doors to check how many are on the way, he shuts the door and locks it after making out the horde approaching. “How many?” Tess asks, Joel walks past her, “All of ‘em. Maybe a minute.”

Tess takes one of the rifles off of the floor and uses the butt of the gun to remove the lid on the fuel barrels. She pushes it to the floor, and the clear yellow liquid pours out of it and coats the floor. You help and do the same to the other barrel, knowing how this will end for Tess. “What are you doing?” Ellie asks, watching you and Tess scatter grenades on the ground, “Making sure they don’t follow you.”

Tess then approaches Joel, breathless and shaking, “Joel. Save who you can save.”

He clenches his jaw and his nostrils flared, angry, confused, upset, everyone he ever loved leaves or dies. He stares at her, soaking in her image as much as he can, and then he makes his decision. He quickly grabs Ellie by the arm and drags her away, her protests can be heard as it fades away around the corner, she punches his arm to try and break loose but he’s much stronger, “No! We’re not leaving her! Get off me, you fucker!”

Tess says your name and you turn to face her, “You weren’t lying? About the whole different universe thing?” You can only shake your head in response, hoping she can see your heart breaking into pieces.

Tess hums and gives you a small smile, “Take care of them for me, please? Especially Joel. Stubborn as a mule but you’ll learn to love him, just like I did.” You decide to grant the woman her dying wish, you nod and whisper, “Goodbye, Tess.”

You turn to run and didn’t look back, pushing out of the wooden doors, while tears stream down your face slightly obscuring your vision. But you manage to catch up with Joel and Ellie, as you did, the blast from the State House is sudden and loud. The smell of burning kerosine fills the air and you turn to look back at the raging fire, Joel turns and points his rifle at the area, ready to shoot just in case, only to hear screeching and the infected burning on the steps of the building.

You stare and one-half of your senses silently wish Tess would walk out, but you can no longer rewind, she’s gone. Ellie pants, trying to catch her breath, tears rimming her eyes and Joel lowers his rifle to turn away from the roaring flames. You and Ellie turn to watch his lone silhouette walk away from you both.

A/N: WELL that’s the end of Episode 2! Lowkey was fighting invisible demons to get this chapter edited and out bcs I wanted to improve on describing movement, anger, sorrow, etc. IT WAS EXTREMELY DIFFICULT T^T but I hope I didn’t disappoint ya’ll <3 ALSO YEP MHM TAGLIST! Send me an ask so I can add ya! It’ll stay open for a tiny period of time so send away :D

I’m proud of you for doing the right thing by trying to save Tess! Even though we all know you secretly admire Joel and would have chased after him to ensure his safety with Ellie. hehehehehe

Yes, the reader only knows everything up to Episode 3, meaning she has no clue about the rest of the show! She knows (most) parts of the video game but alas we know Television series like to change things so she’s lowkey fucked lol

I LIVE FOR YOUR COMMENTS ya’ll crack me up and have the best reactions. Thank you for your support and love. I’ll try and get the next chapter out soon!

-Grace

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bestgameostcrownduel · 4 months

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Round 1, Side A: Final Fantasy XIV: Shadowbringers (2019) vs Kingdom Hearts 3 (2019)

FFXIV | Kingdom Hearts

Campaigns under the cut!

Campaign for FFXIV:

oh my god where do I start. Final Fantasy XIV (FFXIV) is an MMORPG that's been going on 2013, or 2010 if you count the trainwreck that the current FFXIV replaced (the 2010 version's music was composed mainly by Uematsu, 2013 onwards is mostly Soken). Thus its OST is FUCKING HUGE and spans a whole lot of genres. If you like any kind of music at all you can probably find at least one track that speaks to you in this game. FFXIV has a category of incredibly difficult fights called Ultimate, comprised of multiple short phases that each have their own music. Because of the nature of how Ultimates are structured, they're the only fights in FFXIV where the music can actually be timed to the mechanics. If you're not afraid of story spoilers, look up any ultimate's BGM and you can see how cool this effect is. (I can't listen to Under the Weight without also hearing the sound of every mechanic and tankbuster.) (My personal favorite ultimate, music-wise, is The Epic of Alexander. Back when I was progging the fight I used to fall asleep listening to the BGM.) To The Edge is so so special to everyone who loves FFXIV. It's the theme of a boss in Shadowbringers; I can't give details without also giving major spoilers, but I will say that the story and this song deal with the themes of death and loss. If you look up the lyrics, which aren't too spoilery without context, you'll get what I mean. What makes this extra emotional is that FFXIV's main composer, Soken, was in the hospital fighting cancer when he composed this song. (To be clear: he kept working because it provided him with a desperately needed sense of normalcy, not because he needed to.) No one on the dev team knew aside from Yoshi P, FFXIV's producer + director as well as Soken's personal friend; the rest of the team found out the same time the fans did, months after the fact when Soken was in full remission, at the 2021 FFXIV Fan Festival (FanFest). To The Edge was already widely beloved prior to this because it's an incredible banger tied to an incredible story moment, but knowing what was going on behind the scenes during its composition, in addition to the story and song's own themes surrounding death, turns it into a piece that no one can listen to without getting wildly emotional about it. At the same FanFest, before Soken announced that he fought cancer and won, he performed this live: https://youtu.be/aBt4zT_PBmw?si=SgzTV9BvINfA0b-U Absolute king shit. With Hearts Aligned is also so so so special to me because it's the song that plays in the 'victory lap' second phase against the final boss that caps off a nine year long story arc. It features a leitmotif from The Maker's Ruin, a song from 2013, that represents the player and is often used when we overcome seemingly insurmountable odds. There are no words that can describe the sheer fucking emotion of fighting the final boss of a nine year long story arc while listening to the leitmotif that represents YOU, a leitmotif that you first heard however many weeks or months or years ago when you first started playing this game. The ultimate triumph, and the ultimate song of hope. Also if you like leitmotifs, FFXIV has /so many leitmotifs/. Have a spreadsheet of them: https://x.com/EENlX/status/1686043012353396736?s=20 Also also, Alex Moukala on youtube does more in-depth analysis of some of the best tracks in FFXIV! Great videos, I highly recommend checking them out.

I would put the entire game's soundtrack if I could but there's a LOT. The album I listed is for the "postgame" of Shadowbringers. Of particular note is the song "To The Edge" which was written while the composer, Masayoshi Soken, was battling with cancer.

Campaign for KH3:

yoko shimomura, the GODDESS, the LEGEND, her composing skills never fail to amaze! kh music is so so goodddddd

I’m not good with propagandizing but the OST for this series is so good. For KH3, I love so much of the soundtrack. The Disney worlds have some great tracks, but the endgame and dlc has almost nothing but bangers.

#polls #round 1 #side a #best game ost crown duel #final fantasy xiv #final fantasy 14 #ffxiv #ff14 #ffxiv shadowbringers #kingdom hearts #kingdom hearts 3 #kh3 #shadowbringers

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jgroffdaily · 9 months

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Excerpts from the article (which appeared online as cast and crew were traveling to their first rehearsal today):

On a chilly day in early February, Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez are huddled on a couch in a photo studio in Queens. Not three weeks after Merrily We Roll Along ended its off-Broadway run at the New York Theatre Workshop, gathering again for a photo shoot has made all of the actors cry. (An amused publicist thinks it was the sight of their old costumes, by Soutra Gilmour, that set everyone off.) “It’s just really settling in that we’re taking this to Broadway,” offers Mendez, a Tony winner for Jack O’Brien’s 2018 revival of Carousel. “It’s a big dream for us to get to shepherd this piece, which means so much to so many people, and yet has never gotten its proper due.”

“To hear the overture on Broadway…?” Groff adds. “I’m gonna die.”

In the Broadway production, which begins previews this September at the Hudson Theatre, Groff stars as Frank, in turns slickly handsome, roiled with conflict, and sparky as a golden retriever; Radcliffe as an endearingly neurotic Charley; and Mendez as Mary, whose wide smile conceals great depths of longing (namely, for Frank).

For Groff, doing Merrily felt fated. “I had just reached this point in my life where I was really looking back and reflecting on relationships that I suddenly realized were almost two decades old,” he explains. He later learned that Radcliffe and Mendez had done their own “first big New York shows” (revivals of Equus and Grease, respectively) at around the same time. This was no small thing, as they approached a story as concerned with the vicissitudes of a career in the performing arts as anything else.

“The people that start young and then stay in it well into adulthood tend to love it,” Radcliffe says. “They tend to be doing it because there is something in their bones that makes them want to do this. And I think we all have that.” Adds Mendez, “There’s an unspoken-ness between us. There’s a lot of trust, and a lot of teamwork.” (When I ask Friedman about her stars’ touching natural chemistry, she tells me that in Merrily, Sondheim has “written love songs. He’s written about losing love, wanting love, missing love, despair, all the things, but it’s all around love.” So, in the year that she spent building her New York cast, “I looked for loving people.”)

For all intents and purposes, the Broadway revival is the same show that ran at the New York Theatre Workshop. Not only do both productions share the same actors—including Katie Rose Clarke as Frank’s estranged first wife, Beth; Hamilton alumna Krystal Joy Brown as his glamorous second wife, Gussie; and Reg Rogers as Joe, the producer behind the first hit show that Frank and Charley write together—but the same creative and production team, too. “We had a big break between the New York Theatre Workshop and going to Broadway, and every single person has come with it. They all took other jobs in order to be able to do this job,” Friedman says. “It just cast a spell over us all.”

As they move into the Hudson—which Friedman selected for its intimate-feeling scale (of Broadway’s 41 active theaters, it’s one of only nine that seats under 1,000 people)—she is keen to protect that enchantment. “I am absolutely determined not to do anything different,” Friedman says. “The piece is the piece; it speaks for itself. And as long as we keep the integrity of that and the joy and the warmth and the love and the storytelling—it should sing.” This has more or less been her line from the beginning. “One of the things that Maria has said from day one is, ‘I have not changed a lyric of this show or a word of the script. I am doing this show as written,’ ” Groff says. “It’s not like she’s doing a take on Merrily. She really believes in the piece itself without adding any sort of flashy concept.”

Then as now, her deepest regret is that Sondheim is not alive to see the production, but she knows that he would have delighted in Merrily’s return to Broadway. Her only hope is that after all these years, audiences are ready to receive it. “It’s a profound piece,” Friedman says. “If it gets you, it stays with you and makes you ask questions. And if it doesn’t get you, it’s got some great tunes.”

PIANO MAN

Groff wears a Gucci jacket. Pants from The Row. Grooming, Amy Komorowski.

In this story: hair, Ilker Akyol; makeup, Francelle Daly for Love+Craft+Beauty. Produced by The Canvas Agency. Set Design: Viki Rutsch.

#jonathan groff #daniel radcliffe #lindsay mendez #merrily we roll along #vogue #merrily promo

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sirwow · 1 month

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Hello once more rhythm doctor tumblr. Short rant this time around but I was analyzing Hailey and Logan more and MAN. Logan gets flack a lot but I have a few not so kind words to say about Hailey (this is all light hearted by the way but anyways-)

Logan frankly gets shit on for his nervous pathetic little white boy behavior (which is fair, he is) but Hailey is not helping the situation. Post 1-2, mid 3-1n and the whole of act 4 she has ditched on Logan. The first two she ditched on him mid confession attempt! She can’t complain about him not confessing with how aloof she is about him and it’s even worse when you realize the next thing.

Why doesn’t Hailey just confess herself? Girl you’ve got feelings and if you feel so mixed about what signals Logan is sending then just ask the dude! 4-4 is a bit of a sore spot on this because instead of telling him how she felt she sent a song to him that has lyrics about love 😭 why she so passive aggressive,,,

Lastly she’s just kinda a mean girl at times. Like she may love Logan for his nerdy personality and shenanigans but pokes fun at him a lot. Calling him a manga reader (/neg light) shut in during the pre-act 5 dialogue, talking behind his back about him being unclear (girl your hypocrisy), and even some cut content of post 1-Xn of her questioning him if he’s scared of the dark.

Now despite all this no I don’t hate her, I quite enjoy Hailey really, more it’s a issue of her side never being addressed while everyone (but janitor which is joint blame) points to Logan. This does suck boowomp but I think as things stand right now it gives great space for people to go more in-depth with Loghail n potential for future chapters.

Also some clarifications- Hailey is still a child so that excuses some things slightly like being mean (because that’s what 13-15yr olds do). Also the song thing is kinda also on Cole for suggesting it. I know you love music man but you are no better at romance. Her ditching and not confessing is all on her tho.

#rhythm doctor #rhythm doctor writing #rhythm doctor hailey #loghail

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yougetsu · 4 months

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The Fool Card

I wanted to write about this a few days ago but just had free time recently and as Hisashi confirmed it, it's better to do it now.

We already know that The Fool represents new beginning, infinite possibilities, and freedom from being bound by any boundaries. But I'd like to delve deeper into the meaning.

I'd like to clarify, I'm not an expert... I just enjoy reading about the Fool's journey from a psychological perspective and how useful tarot could be as a tool for personal growth.

Number 0 represents infinite potentiality, from which realities, life, actions, ideas emerge. This means that all things are possible because no defined form has been assumed yet. Zero also means emptiness of fears and hopes, The Fool does not wait or plan anything because he reacts instantly according to the situation he faces. This card is also connected to cards of difficult passage, like the Moon and Death, which in tough paths urges The Fool on despite his fears.

The Fool is linked to true innocence (openness to life) by trying to remain in a state of freedom and joy, which also involves being spontaneous, honest and loving naturally without judgment. This card tries to remind us that life is an uncontrollable force, a constant dance of experiences, nothing can be calculated.

We don't know further details about Imai's perspective in this area, but I do see that he embodies some characteristics of The Fool in his artistry and in his words when it comes to facing challenges.

You can read more about it in the book Seventy-Eight Degrees of Wisdom by Rachel Pollack.

...

I'd like to talk about The Fool (愚者/gusha) in "Mudai". Again, we'll never know what the lyrics are about with certainty. However, the surrealism and metaphors in the song catch my attention and I like to look at it from a somewhat metaphysical perspective, specially in the last lines where "gusha" is mentioned.

The Fool represents someone who is about to start a journey, visually we can see that he's looking into the abyss below and is moving towards it. So, The Fool is also perceived as the seed of life, the creature that is about to take a physical form to come to the world. The figure of this card is also read as a being that it's not in the physical realms yet, that might be suspended in the universe (nothingness). Basically, something invisible is happening, before having a body and before birth, which I connect with the lyrics:

"I'm a fool

In the depths of darkness, the fool goes

I'm a fool

Touched in the head, the fool goes

I'm a fool

Covered in blood, the fool goes

I'm a fool

To the end of darkness, the fool goes"

Additionally, The Fool relates to the 'immortal' self that later becomes trapped in the confusions and struggles of the ordinary world. The self in this card has no gender defined since it is expressing their complete humanity at all time naturally. The Fool dialogues with The World card in that sense, since both complement each other to reach unity through growth and to complete the journey.

It's very interesting to see how much Atsushi's word selection can convey because most of the time he left the lyrics open to personal interpretation and at the same time, those lyrics are full of visuals and symbolism (sometimes untranslatable), which gives much more weight and depth to his work. Love his writing so much.

More info:

Tarot Tracings: Essays on Literature and Divination by Camelia Elias

#personal #buck-tick #hisashi imai

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project-sekai-facts · 11 months

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For the ask about who actually sings in proseka, there is some other evidence that implies all of Niigo sings in their songs. Of course we have Kanade with her mic stand, but in the main story we also have some implications that Mafuyu sings, at least as OWN. While talking about OWN, they made specific comments about how the lyrics help coney a sense of hopelessness. Now Mafuyu could be using a vocaloid for her song, but it seems really unlikely because I don’t remember her showing any interest in vocaloids (I could be wrong here) and it adds a layer of difficultly I don’t think she can handle. In Someday, From The Depths of Despair Chapter 5 where Kanade first found Mafuyu’s cover, she said the arrangement of the song was poorly made (her words not mine). Although two years passed since her first song, I can’t imagine Mafuyu improving so much that she knows how to handle vocaloids and tune them correctly to the point of expressing that sense of hopelessness. Additionally, there is an area conversation (look up “Project Sekai: “Mizuki sing”” on youtube to find it) where Mizuki mentions being the lead singer in their new song. This means that despite not holding a music role, Mizuki does sing for Niigo which also implies Ena who also doesn’t have a music role sings as well. Kanade in the same area conversation also states that they chose Mizuki over the rest of the members which further implies that the rest of Niigo does sing.

That’s all of the information I remember off the top of my head but it has been a while since I’ve read some of their stories so I probably missed some other stuff. Sorry for the long ask and poor grammar, when I saw that ask it reminded me of when I was thinking the same thing so I just mindlessly jotted down all the information I remember finding after a bit of digging through some of their event stories.

Ooh thanks for the info anon

#project sekai #25 ji nightcord de #asks

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kanmom51 · 1 year

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fairly new army & jikooker here, and i just wanted to share my thoughts. (love your blog btw💜)

it just baffles me when ppl try to write JM off as being straight if he happens to refer to a ‘she’ in songs. Like Crazy being a good example recently. is their thinking so shallow that they can only perceive ‘she’ as a woman in the physical sense?

like, how often have ppl used female pronouns or the female form to express more abstract concepts in literally any art form over the course of history??

i never saw that ‘she’ in Like Crazy as anything other than JM referencing either alcohol (how many men call alcohol a seductive temptress/mistress when they have a drinking problem?), or his feminine side which he all but spelled out for us in his mv & dance for the song.

Agreed.

Nothing much to add really.

I'd say that it's even more so when we know that 'she' wasn't in the original lyrics.

Also, this song needs to be read within the Like crazy movie reference, and not separately from the quotes we get at the start and end of the song.

This song is about JM, well struggles he was going through during the pandemic, but the way I see it, it's not a one layered song. It has depth, multiple meanings, multiples interpretations, and I think that's what JM wanted for it, especially given the MV and choreography.

People assume. They love to assume. Well, they love to do that when it fits their own set of beliefs or wants. And they mostly don't want him to be queer.

And even more so, they definitley don't want him to be queer with JK.

Those two, they ruffle so many feathers, lol.

It's actually quite entertaining (when not infuriating) how much time and energy people are putting into trying to disprove they are a couple. For the months leading up to Feb 2023, when we had radio silence, they were all rejoicing and spending time in coming into our spaces to let us know how Jikook are no more (which means what? That prior to that they were a couple? Right?). And when they are acting like they were in the last BTB (something we haven't seen for such a long time because of the lack of ot7 content), they are all back to the old fanservice and JM forcing himself on JK narrative. Good thing I have a good chiropractor with the whiplash I get from these people.

Anyway, lovely that you reached out, and thank you for your kind words.

#JM Like crazy #ask

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notyouraryang0dd3ss · 11 days

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swifties trying desperately to prove how ''deep'' and ''thoughtful'' taylor's lyrics are is actually hilarious. i've listened to countless artists with much simpler and straightforward vocabulary deliver songs with genuinely smart and deep commentary. hell there's party songs with better lyrics than taylor's. i think swifties truly have no idea what makes a good song. it's extremely difficult to use complex words in a song because if you don't actually know how to do it, it comes off as childish and clumsy (see ttdp). not to mention that most of the songs which are considered 'the greatest of all time' have in fact quite simple lyrics. smart, poetic but simple nonetheless and what makes them so great is the combination of the singer's vocal ability and the instrumentation (both things that taylor is bad at)

yuppppp agreed big words and complex sentences is not good writing if the words ultimately mean nothing. and taylor swift has to rely excessively on bad extended metaphors because she does not have the vocal ability or instrumentation that adds to depth and enriches the quality of a song.

#anti taylor swift #ask #notyouraryang0dd3ss #anon #songwriting #anti swifties

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behindsonglyrics · 11 months

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“Question...?” (Midnights) Matty Healy Masterpost

I haven’t done an analytic post in quite some time! I’m a little rusty, but I felt like this would be fun and …Question? has been pondering on my mind for some time now.

Before I hop into it, this is just a personal analysis theory. I’m not Taylor. I cannot ‘confirm’ whether a song is about someone, only Taylor holds those cards. Since it is a solely a theory; if you have a different opinion on ‘who’ you think a song is about, that is ok.

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Now anyways, let’s get started...

Short Summary: …Question? Is a song where the song narrator (singing the song) is specifically reminiscing about a short lived moment of the past, regarding a short-lived situtationship, which we cannot fully call an official relationship because it was fleeting. The song narrator ponders on Questions she’s asking a former brief past lover. The narrator also opens up her heart, and telling her side of the story to that past brief lover, whom she has the Questions to.

Who is the ex fleeting situtationship? (Who the song is about?): Matty Healy.

How is it about Matty, well firstly, I know commonly Harry Styles is thought to be the muse of this track, and (you never can say never, he very well could ‘still’ be as Harry has similar coincidences experienced and the OOTW sample) but heavily it seems to lay on Matty.

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Let’s take an insight look to the lyrics, in a more depth way:

‘Good girl, sad boy / Big city, wrong choices”

Taylor tends to usually refer herself as a ‘good girl’ and has in previous songs, which narratively make it easily to come to the conclusion she is speaking about herself here. The ‘big city’ she refers to is New York, which, Taylor first met Matty Healy in 2014. New York is the “big city” as it’s often nicknamed the big apple for a reason.

At the time Matty had also met Taylor, it was known he was going through a lot himself: former heroin-addiction, outbursts, etc which led to a band intervention. He was not in a good place at the time of the rumors with Taylor.

“Wrong choices” also aren’t from Matty’s end either, Taylor is also speaking about her own wrong choices in the setting of New York.

“We had one thing goin' on / I swear that it was somethin'”

This is a very specific lyric that many may overlook, but tells a lot by the song narrator. Taylor indicates that she, “swears” they had something going on, meaning there wasn’t anything official, or set in stone. Thus why she, “swears” by it. This lyric here tends to steer me away from the Harry Styles theories, as Harry was in a full fledge (official) relationship with Taylor, unlike Matty where they were briefly having “something going on” even though it was fleeting, and she explains (in the rest of the song, why).

But one thing after another | Fuckin’ situations, circumstances | Miscommunications, and I have to say, by the way | I just want some explanations

This lyric is quite intriguing because it is insight what led to to derailing and the shortness of this situtationship, and Taylor is asking for an answer (to, whom) she is singing to. Around the time Taylor was seeing Matty (in 2014), briefly as it was just starting up, there was an interview where he described potentially dating Taylor Swift as ‘emasculating’ and denying the possibility of them dating when asked in the past. He later apologized publicly, and said his words were miscommunication, implying they were taken out of context and correcting what he meant.

There is a letter somewhere of his public response, I can’t find the link right now, but it does exist.

Which fits the “miscommunication issues” that led to lost.

Can I ask you a question? Did you ever have anyone kiss someone in a crowded room and every single one of your friends was makin’ fun of you but fifteen seconds later, they were clapping too?

I won’t say much about these lyrics, as it’s a very straight forward retelling specific moment, and Taylor (the narrator) is asking how they felt about that, but it is obvious they shared a kiss, his mates teased him and it’s not the ordinary, only for them to be cheering them on, which mates tend to do. You could also say this scenario is weird for the both of them based on the circumstance.

Half-moon eyes, bad surprise Did you realize out of time?

So, Matty seems to have a hooded eye shape, which you could describe as ‘half-moon’ and when he smiles becomes more obvious in which she is describing. When she also asks, “did you realize out of time?” Is their situtationship coming to an end, and him knowing such.

“She was on your mind with some dickhead guy / That you saw that night”

Now commonly people think these lyrics apply to Harry as Harry looked distressed seeing Taylor with Calvin (masterpost here) but Harry wasn’t the only one during this time who was experiencing this. Around the timing of Matty and Taylor when Taylor started to get close and began seeing Calvin, Matty was there. That exact day. Dickhead guy is also Calvin Harris, btw for anyone specifically curious.

“But you were on somethin' It was one drink after another”

As already said in this masterpost previously, Matty in the past was taking heavy drugs during this era of time. By 2017, an intervention was held for him by his bandmates. “On something” is pretty on the nose from Taylor.

What also debunks. …Question? Being about Harry Styles, is Harry in an interview himself said he never took drugs, until One Direction split. As he didn’t want to be the one who “fucks up.” It’s been said as well, Harry took One Direction seriously way back then, while his other bandmates (Louis, Zayn) were experimenting. He was “not on something” (Harry) he saw Taylor and Calvin, and that was the BBMA. Unlike Matty who “ran out of time” immediately after, cause after their breath flirting back and forth, Taylor met Calvin right then.

“Fuckin' politics and gender roles”

Matty has been politically outspoken for awhile now, I don’t know too much about him, but 21-year old Harry at the time wasn’t politically outspoken, besides maybe saying “don’t go to sea world” which is all I can really find, etc.

“Got swept away in the gray”

This may or may not be a similar reference like how Halsey paints Matty Healy and associates him with the color gray, he has strips of gray in his hair. Gray (as a color) = associated with some negative connation's, as it symbolizes loss, gloom, etc. Just like “blue’ is associated with describing the feeling of sadness.

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Other than the lyrics, let’s talk about the sampling from OOTW.

There are theories that ‘About You’ may be Matty’s song to Taylor (whether it was written about her ¯\_(ツ)_/¯ up to you), but About You is saying, “did you think I forgotten” while OOTW is, “I remember” … Lastly, it is Jack who has long time worked with Taylor both on OOTW and Question. Both songs are on each others pre-set list as well.

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melliotwrites · 1 year

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10 tips for musical theater writing!

We've been getting asks about musical theater writing and thought it might be helpful to share some things we've learned from our writing process that've made our lives easier. DISCLAIMER: we are by no means experts in writing musicals! These are just things that've worked for us!

(Some great resources we'd recommend are Finishing The Hat and Look, I Made A Hat by Stephen Sondheim for good jumping-off books by an amazing lyricist, or websites like https://www.musicals101.com/write.htm (they have a good explanation of song forms here: https://www.musicals101.com/score.htm that cover the basics of musical forms, etc.) To chat with people more experienced than us, we'd recommend visiting https://www.reddit.com/r/musicalwriting/)

Here are our tips:

Collaborate! In professional musical theater, there are three writing roles: lyricist, who writes the words for the songs, bookwriter, who writes the words in the scenes, and composer, who writes the music for the piece. People can be any combination of the three- for example, Mel is a lyricist/bookwriter but Elliot is a composer/lyricist/bookwriter. You can also take on different roles on different projects! You don't have to choose which one you are Right Now, but writing a show is a lot easier if you have one or more collaborators. One of the most common mistakes I see in aspiring musical theater is trying to do too many at once -- people who are awesome composers but mediocre lyricists, or people who are great lyricists but their music is all over the place -- which can kill interest in a project before it even begins. Theatre will always be a collaborative art form, so try to find people you can create your best work with!

Choose a topic you have something important to say about. Something you feel like nobody else has said before, or something you think you personally can say in a new way. Our writing process for both TAOPP and Adamandi was to begin with some big ideas that we had something important to say about- for TAOPP, we talked about the transformative experience of falling in love, and for Adamandi, we talked about the ways that dark academia idealizes an unhealthy independence, and doesn't often include queer students or students of color. We choose a set of characters that allows us to have an interesting group of perspectives on that central idea.

Outline! Once we know who is in it, we write a rough outline of the show, deciding where scenes and songs are, though this outline often changes throughout the process (for example, at this stage in the Adamandi process, we knew how Act I would end, but initially Litany of the Martyrs was in the middle of Act I instead of Act II). Outlining is especially important for musicals, because you want it to be as solid as possible before you start writing. It sucks when shifting around the plot or cutting characters means scrapping great songs you've written too soon.

Know why you want this to be a musical! Why not a book or a screenplay or a concert or song cycle? What is it about the musical form that makes you excited to tell the story through it, and how will live theater help you tell this story? If you're new to musical writing, make sure you aren't actually writing a play with music. In a musical, the songs should move the story forward, help characters reach realizations and show new depths of character, etc. Musical songs should start at a point A and end at a very different point B. If you take out all the songs you've got planned in your show, are there huge holes in the plot or does everything still make sense? If everything still makes sense, maybe you don't want to write a musical.

Find a songwriting process that works for you! We tend to write lyrics-first, so Mel will write all the words to a song for Elliot to "set", or compose a tune for. After Elliot has a melody, he finds chords for the melody and builds the accompaniment from there. Another way you can write (especially if you are a composer more versed in instrumental music) is to start music first -- finding a fun melody or a fun chord progression and then building the rest from there. Songwriting is like filling in a puzzle. Elliot goes through many iterations of melodies and chords before settling on a melody he likes. When he finds a good melody, he'll record a little voice memo of it but revisit it later to see if it still holds up before building upon it. It's okay if something stumps you a little! Songwriting is usually a collaborative process; we edit each others' lyrics and talk about musical moments and the tone/feel of a song. We make sure we're on the same page with Mel reading out the lyrics of a song before Elliot sets it, so Elliot gets a sense of where Mel's rhythmic instincts for the song lie. Don't let your roles define what you're allowed to have an opinion in- the ideal collaboration incorporates both people's expertise in the form overall instead of being a neat delineation of roles.

WATCH, READ, & LISTEN TO LOTS OF THINGS (especially musicals!) Make fun little movie nights out of it! You can learn a lot about what you want to create by seeing what's out there! Find things you enjoyed in shows you disliked, or things you disliked in shows you liked, and think about why. (Tip: Don't just watch musicals that have been made into movies: go to local theaters, watch proshots, get a sense for what staging can do to a story. Watch two different productions of the same show! Consume things written for the same medium you will be writing in.) This will also help you learn about song forms, musical structures that work, etc.!

Similarly, use a shared musical vocabulary as inspiration! If you're a composer and don't know where to start, discuss the vibe of the song you are about to write with your lyricists (genre, similar songs, etc.) Find a playlist with similar songs -- doo-wop songs, swing music from the '30s, or the discographies of artists you like -- and just listen to them for a while. Try to pick apart things that the songs have in common, or things you like from certain songs -- is it a certain song structure? Is it three-part vocal harmonies? Is it a certain combination of instruments? There are also lots of great resources on YouTube/online about what characterizes certain kinds of music. What are common chord progressions in the genre? Is there a rhythm or time signature that characterizes the genre (as is often the case with dances, like tangos or waltzes etc.)? Then try out what you liked from the research and play around with it!

Make it understandable! A musical isn't a novel or an album -- typically, the audience watching it can't reread a page or replay the song. They're watching and listening live, and you have to make sure they understand all the information! When it comes to songwriting, make sure you are setting your lyrics in a comprehensible way. Try reading out your lyrics before setting them at all, so you note where you naturally emphasize words (e.g., we pronounce the word MU-sical, not mu-SIC-al or musi-CAL). Once you have this for reference, recreate this natural rhythm to the best of your ability in your melody! It will help people understand your lyrics better. You want folks to understand as many words as possible on the first listen! (E.g., if someone's singing really quickly and then sing the word musical as mu-SIC-al, people very well might easily mistake it for another set of words entirely, 'cause their brains are not used to the word being said like that!) Similarly, you want to watch out for the amount of syllables you're putting in each line. If two lines sound similar melodically but one has a couple extra syllables in there, chances are it's gonna get squashed rhythmically and become word mush. Fixing this means revisiting your lyrics and cutting some/rephrasing them, which is a natural part of the process!

Finish it! Whatever else you have to do to get to the end of it, it's so important to have a complete project to see how your storytelling works and where it can be improved. A great thing about writing musicals is how often they can be revised -- you'll get feedback, or grow as a writer, and end up wanting to revamp it, which is fine! Look at the difference between Broadway shows and productions of the same shows before Broadway. Or you'll move onto a different project with the skills you acquired from this one -- either way, you have a show's worth of experience under your belt. :)

Be open to criticism, but form your own opinions based on many audience reactions, not just one person's critique. Have readings of your show for your friends, or host a talkback after your performances!

#adamandi #adamandi musical #the art of pleasing princes #taopp #musical #musical theatre writing #musical theater #songwriting

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the-fandom-crossroads · 6 months

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Help Pick Furina's Character Song!

I am currently making a Playlist of every Genshin character being represented by one song. Some of them I still can't find a song for. List of missing characters post Here!

But Some character's like Furina have TOO Many Songs so I can't decide on just one. So here's a poll to help me decide which song should represent Furina in the playlist!

If you have a suggestion I'd love to hear about it in the comments or tags!

This is the basics of what I look for when trying to see if a song fits the character. The song should fit their personality, but also their drive/inspiration for doing what they do. Basically why Celestia picked them to get a vision. In the case of Show Yourself it would be channeling the Moment of getting Furina's Vision.

A longer breakdown of why I think each song fits Furina under the read more! Includes minor 4.2 Spoilers!

The first 3 were actually picked before 4.2 came out. But the added context to Furina's Story in 4.2 built more depth into them that they didn't originally have. Regardless nearly every line of these songs fits Furina so don't be surprised by the wall of lyrics. It's what makes picking so hard!

Castle

"Sick of all these people talking, sick of all this noise. Tired of all these cameras flashing, sick of being poised."

"Already choking on my pride, so there's no use crying about it.

I'm headed straight for the castle. They wanna make me their queen. And there's an old man sitting on the throne. That's saying that I probably shouldn't be so mean."

This was the first song picked out for her back during 4.0. It perfectly describes the Mask personality Furina wear's for the roll of Hydro Archon along with hinting at the cracks. It really fits Furina's vibes in the beginning and the confidence she shows. But it doesn't go deeper than that and it doesn't hint at Focalors involvement in anyway.

It's mostly still on the list because it was the first and because Furina's character trailer just is this song. Like I could use those clips for an AMV of this song and it would fit without changing any context.

Little Talks

"There's an old voice in my head. That's holding me back.

Well, tell her that I miss our little talks.

Soon it will be over and buried with our past."

"You're gone, gone, gone away. I watched you disappear. All that's left is a ghost of you.

Now we're torn, torn, torn apart. There's nothing we can do. Just let me go, we'll meet again soon.

Now wait, wait, wait for me, please hang around. I'll see you when I fall asleep.

Don't listen to a word I say (Hey) The screams all sound the same (Hey)"

So I also picked this one back during 4.0, but it has only grown to fit more as we have learned more. There are two lead singers for this song. The lady and her Lyrics (italics) are Furina, while the man (Bold) is Neuvillette. By the end they are both singing the lyrics.

The "old voice" originally was just Furina's internalized anxiety we saw during Lyney's trial. But it now can also fit the warnings of Focalors and how that held Furina back from trusting in Neuvillette to be able to help her.

The "I watched you disappear" would also be Neuvillette witnessing Focalors death. While "is a ghost of you" is the depression spell Furina clearly fell into between the Archon quest and her character quest where she pulled away from everyone.

"the screams" would be from the centuries of trials they oversaw together. Childe was not the first to refuse to go quietly. Furina acted like it was all entertainment. But some of those guilty verdicts would stick with anyone and to have collected hundreds if not thousands of those sorts of verdicts over the years. "The screams of the damned" as they say. Will probably haunt both of them for the rest of their existence.

The State of Dreaming

"My life is a play, is a play, is a play."

"If only you knew my dear. How I live my life in fear. If only you knew my dear. How I know my time is near

Yeah, I've been living in the state of dreaming. Living in a make-believe land. Living in the state of dreaming, of dreaming, of dreaming"

Now this song is currently already on the playlist for Nilou because of 3.0 and the Samsara dream. But Furina's been acting the roll of Archon for centuries now. Her life is literally a play. But the songs lyrics only repeat this phrase. So it doesn't cover other parts of Furina's story.

Show Yourself

"Something is familiar. Like a dream I can reach. But not quite hold. I can sense you there. Like a friend I’ve always known. I’m arriving. And it feels like I am home."

"Where the Northwind meets the sea. There's a River. Full of Memories."

"Step into your power. Grow yourself into something new.

You are the one you’ve been waiting for

All of my life. All of your life."

So this one only got added to the list after learning about Focalors at the end of 4.2 and now I can't unsee it. Fontaine's water holding memories is literally pulled from Frozen II. Like that was not a common thing before Frozen II.

Furina her whole life was waiting for Focalors the "real" Hydro Archon to show up and take over as Archon. But Furina had always been Fontaine's real Hydro Archon. She was enough. I like to image the end being Furina getting bestowed with her vision.

The only thing causing me to pause with Show Yourself is that, like with State of Dreaming, the song is already being used by another character. Xingqui's VA sang a cover of this song and that cover is part of the reason I even thought to make this playlist. So it has a place of being one of the first songs picked for the character.

Of course if it sweeps the poll I'll swap it in for Furina. That's why we're doing this poll because I can't decide on my own.

---

So yeah those are the songs. I feel like I'd probably find a 5th option if I looked at Christian Songs, so I'm specifically not doing that. But if you think of one and you feel like it fits better than these feel free to share it!

Thank you for reading if you got all the way down here!

#genshin impact #genshin #furina #polls #focalors #genshin polls #hydro archon #genshin spoilers #douglimemes #neuvillette #genshin 4.2

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taminoarticles · 10 months

Text

— Tamino for Style Magazine Italia, June 2023 (x) (x)

Tamino returns to play in Italy: “The warmer the countries are, the warmer the audience"

The singer will perform at the Rocca Malatestiana in Cesena on July 4th and at the Spazio 211 in Turin on July 5th. "In Italy I always like to play," he says. But "in reality it scares me to meet too many people.” A true hero of introverts.

By Pier Andrea Canei June 15, 2023

The soundcheck is over, Alcatraz sold out, a thousand Milanese waiting to see the star of the evening: the Belgian-Egyptian singer Tamino. He relaxes behind the scenes, drinks green (tea) and wears black (Armani): like a 26-year-old prince of darkness. He has gentle manners, and a voice that vibrates on a broad spectrum. From the dark depths (the school is the one that goes from Leonard Cohen and Jacques Brel to Jeff Buckley and the alt-rock genre called “shoegaze”: emo tones, monochord guitars) to an angelic falsetto.

Soon, Tamino will go out there on stage and, without doing ballets or stepping on flowers, almost motionless except for when he holds his oud (a lute of the Arab tradition), he will attract attention. He is hieratic, with the charisma of a crusader of introverts, quiet people, and young romantic heroes; what allowed him to create a following that goes from [sic], (Colin Redwood [sic], former bassist of Radiohead, left Thom Yorke's group to follow him through studios and tours) up to the Arab world, from which it takes up sounds and instruments.

Tamino: Style's interview

Amir, the title of your first album and your middle name, means "prince" in Arabic. Were you raised as a little prince?

Well, I don't think so. Princes lead a very controlled life, lots of rules, discipline. I had a free childhood.

For the idea of calling you Tamino, like the young prince in Mozart's Magic Flute, we should thank your mother, Eva (de Pauw, anthropologist, hobby musician, passionate about cultures). What was it like growing up in Belgium?

Inspiring in many ways: lots of good art, music, art movements. From the Surrealism of René Magritte, to the music of Tom Barman's dEUS, a band that has opened many doors to the alternative scene. Then there are the negative sides in the social culture: in Belgium we tend not to value the potential of others... We are made like this, we like to see ourselves laying low, leveling ourselves up.

You realized this as soon as you finished compulsory school and left to study music in Holland.

It was an enlightening and difficult experience. From cool Antwerp designers to Amsterdam street style. Two hours by train and you land in another world. I wanted to shake off the provincial part of Belgium.

Habibi: I needed love

And your first hit song was born right in Amsterdam, in 2017: Habibi ... an Arabic and universal word of love.

You can say it to your loved one, to good friends, but also to a waiter: “Come here habibi, bring me a coffee”... Well, during the first days in Amsterdam I was depressed, very lonely, it was difficult to find human ties. I was looking for warmth, love: that piece came from there.

Of that vagueness that generates universality...

I think back to a title from the Talking Heads: Stop making sense. When you write lyrics for a song, you don't have to chase a precise meaning. Better ask yourself if your words convey the right feelings.

Typically Tamino: the yearning, the nostalgia. Songs like Indigo night: nocturnal, brooding, even melancholy. You recognise yourself in it?

I certainly tend to ruminate on things a lot. Too much...

An app to free yourself from the ego

And how do you free yourself from it?

Meditation helps. I also use a specific app, Waking Up: Beyond Meditation. Ten minutes a day is enough. It helps me to free myself from the ego, to feel myself a witness of thought, of consciousness. Simply necessary. More than diet or physical training.

Sahar, the title of the second and most recent album, means "at the crack of dawn."

For me it is already part of the past: the last words I sing are “before I step into darker days”...

That is: “Prima d'inoltrarmi in giorni più oscuri.”

I mean: before facing new torments, new struggles. What helps you grow is discomfort. That's the challenge. Never be afraid to step into the unknown.

Out of the comfort zone...

I like spending some time in New York. I stay out of my own comfort zone, it's not comfortable for me. And doing so inspires me.

Lone sailor

In the video for Sunflower, a duet with the singer Angèle, you have the air of a romantic hero. Do you want to act?

In that video I enjoyed interpreting, even without lines, this figure of the lonely sailor. This was an idea from the director. I've only done a little theater and at most a few sailing trips with friends.

Would you be a testimonial for a perfume?

Well, yes, under the right conditions... For example, a prestigious operation like the Bleu de Chanel campaign with Gaspard Ulliel, with that spot directed by Martin Scorsese.

A spot that stylises the clichés of a rock star life: glamorous places, flashes, meetings with crazy people...

In reality it scares me to meet too many people. I'm a very lonely guy. Even though I’m finding it easier and easier for me to make connections lately, I steer clear of glam dinners or events.

Then you spends the whole summer on the road

I have fun at festivals. My favourite is Into the Great Wide Open, on the island of Vlieland, Holland: 10,000 people, zero cars, music, love and kindness.

Your summer also includes two Italian stages.

I always like to play in Italy. The warmer the countries, the warmer the audience.

I live in Türkiye

Who knows in the Middle East, or in Africa.

We do the biggest lives in Turkey: crazy crowds. And Egypt is like coming home: you feel that for the people it is more than just a concert.

Your surname is famous in Egypt. Your grandfather Muharram Fouad was a musical star, your father started out as a performer.

It's like an Egyptian dynasty of music. A fun fact about me being a huge Lord of the Rings fan is that I've always felt like Aragorn, the legitimate heir to the Elven throne, who travels incognito. Nobody ever knows who he is. I felt like this growing up in Belgium. It was never talked about, nor was there much money, and that side of the family has only emerged now that I'm better known.

Who among the main names would you bring next to you at the festival of your dreams?

I don't even know if I would put myself among the top names... I'd like Anouar Brahem, Tunisian, master of the oud. And then something electronic, maybe the Aphex Twins. And I dream of working with Massive Attack.

Many festivals. But never a festive song?

I should write one first. But generally gloomy, tenebrous things come out to me.

Let's say you sing one happy song and save the world; which one do you choose?

I don't know if a happy song could save the world. Lou Reed's Walk on the Wild Side?

The height of happiness.A matter of feeling: a song can be sad in itself, but make you feel good. A glimmer of hope, an air of comfort. It can wrap you in emotions. Maybe you're sad, and that's okay: because you feel alive. A song full of life: well, for me it will always be a good song.

#tamino #tamino amir #style magazine italia #article #interview #italian #2023 #with photoshoot #english translated text #huge thanks to gipgio sending me the article and editing the english translation!! :D #i'm very glad that they posted the interview text online for free #but if anyone has the magazine itself and could kindly send me photos/scans of his article so we can see the photos and layout i would be #extremely grateful!!

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