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#Radio Play
amtrax · 11 months
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Yeah okay. Reinvigorated. Let’s get Megaton Girl to 1 Million Listens on Youtube.
It’s a podcast about this girl, Connie:
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Her girlfriend, Laurel:
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And their mentor, Kirby:
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The three of them are working together to turn Connie into the best superhero she can possibly be.
Standing between them and their goal is the selfish, arrogant douchebag, Captain Valiant:
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Along the way, Connie is tutored in the ways of the hero by veteran heroes…
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-brought face to face with dastardly villains…
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…and kissed by her girlfriend, like, a lot. (This particular art by @bunni-hopper )
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I hope you enjoy it if you listen. You can find the whole series FREE on Youtube here:
Or you can find every episode along with character bios, music and merch here:
Any help we can get is appreciated ❤️ Thank you!
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alastorsart · 1 year
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When I was drawing this, a title has came to my mind: "This world is mine" from the wonderful song Radioplay by Silva Hound 😍
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syntheticcharmva · 25 days
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Chet Harvey 2 electric Boogaloo!
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More of this Devilish Gameshow host with the most!
Chet (Chester) Harvey, hosting his marvelous and terrible gameshow TRIVIAL LIVES!
Chet will be the antagonist for the first episode of Malady Unseen, what will happen next? who's to say.
Make sure you stay tuned, or else!
Art as always by the beyond Talented @glowbat
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bookmaven · 11 months
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THE HOUSE ON THE BORDERLAND, and Other Short Novels by William Hope Hodgson. (Sauk City, WI: Arkham House, 1946) Cover art by Hannes Bok. 3014 copy edition.
‘The House on the Borderland is unique in several ways. The narrative itself is a double-frame narrative: the editor of the volume is presenting a manuscript he found under mysterious circumstances, describing the account of two fishermen who themselves discovered a hand-written account of the cosmic haunting of a recluse’s remote home.
Additionally, the novel is one of the earliest examples of the departure of horror fiction from the Gothic style of supernatural, psychological hauntings, to more realist, science-fiction/cosmic horror themes. The recluse is, among other events, transported to a mysterious supra-universal plane populated by monsters and elder gods; and his house withstands assaults from legions of monsters as he travels across time and the solar system.
The book was very influential on H. P. Lovecraft, who himself was famous for the cosmic horror themes in his work. The concept of an uncaring, and even evil, universe that Lovecraft found so disturbing is front and center in this supremely strange novel.’
source [a newer print edition]
source [radio play]
source [audio from Libre Vox]
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tintinology · 10 months
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What is Tintin’s favourite music record?
In Tintin and the Picaros, Tintin tells the Captain to be quiet and insists on playing a record that "he simply adores" to drown out their conversation while he reveals that the villa they’re staying at is bugged:
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What record does he play? In the comic, it’s clearly Bianca Castafiore’s famous Jewel Song:
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But what of the adaptations based on the comics? Tintin and the Picaros only has four adaptations: three radio plays (in German, Danish and Swedish), and the 1991 Nelvana TV show.
The TV show is the most similar to the comics, in that it also uses a record of Bianca Castafiore singing to drown out the sound of their conversation.
The German radio play (1984-1987), has Tintin play a rock song:
In the Swedish one (1970s-1980s), he puts on a mambo record (had to add as video because the audio file didn't work, sorry!):
The Danish one (1972-1983), despite being hard to hear, has him put on Dancing Queen by ABBA:
It’s clear the TV show was concerned with being accurate (and maybe didn’t want to choose a song that would age poorly or that people wouldn’t associate with Tintin), while both the German and Danish radio plays went for something that was popular at the time. The Swedish one is probably the most realistic of them all, because they would probably be more likely to find local music among the records at the villa.
Are any of these actually songs that Tintin likes? One can assume that he’s just putting on whatever is at hand, but it is interesting to see what each adaptation thought would be a likely choice for him to find in the villa he and his friends are prisoners in.
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Tournament 2 : Characters with the Demigods' names
Round 1 Poll 4
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(Yes the picture on the right is just a picture of Anthony Head. He portrays Herc in the radio play Cabin Pressure)
Demigods they're named after :
- Gilgamesh : demigod, son of the Mesopotamian goddess Nissun and (according to some sources) the Sumerian king Lugalbanda
- Hercules : Son of the Roman god Jupiter and the mortal Alcmena/Alcmene
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bonbons-artdump · 1 month
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"I'm Back and i'm Beaming, The Radio Demon's In Town"
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purplecatsandhearts · 29 days
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Help, all I want to do is wear red and black (more than usual) commit arson, watch Hazbin Hotel and listen to every song related to Hazbin Hotel/Alastor on repeat-
I'd be drawing fanart too if my hands didn't hurt-
Anyway this is my current favorite Alastor song!
It's so good 😭
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whoovesnassistant · 3 months
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Tips for making a radio play
We've had a lot of experience making this show, and we've seen a lot of series come and go or even crash and burn before they begin. So we're going to give some tips to hopefully help people avoid the crashing and burning.
1: Start Small
A lot of people make the mistake of starting with a grand idea in mind, like "We're going to do an epic with 3 seasons that comes with animatics, original music, and a large cast of characters and-" Slow down. You don't even know what you're capable of yet, so it's a really bad idea to plan so far ahead without knowing what you can do and how much effort it takes to do it. Before you decide to dedicate yourself to something on a grand scale, start with something small to test the waters. A pilot is a good way to really understand the process and give an audience a chance to get interested. This pilot should not be as long as a full episode unless you plan for your episodes to be relatively short anyways. There should be a small cast, 2-5 characters at most generally. You don't need to go all-in with the pilot, just use what you have to do it and hopefully it should garner enough attention to get more people on board in your project team. Even after your pilot, make small goals. Plan for say, 5 episodes at first, and plan for more once you've gotten a flow and idea of production time and how long you want to be working on this project. Radio plays take a lot of time and effort, they aren't as easy as they seem.
2: Don't Cast Too Early
This is a big one that a lot of people tend to do that's a huge mistake to be making. Do not cast your characters way ahead of when you're going to need them. Generally, you should have your next script done FIRST before you cast the characters for it, and even if you have scripts done for multiple episodes ahead of time, do not cast unless you plan to get the lines done ASAP. You do not want to have idle voice actors waiting a really long time before they can even record lines, because this is a good way to lose voice actors or have people feel you don't really know what you are doing or how to organize a project. The exception to this rule is if you know someone really well and you know they want the role and they will stick around for it. It's good to cast people you are closer with as long term characters than expecting strangers to volunteer all their time, which leads into our next tip...
3: Don't Expect Too Much From People
Unless you plan on paying people, don't expect too much hard work from others. Don't expect voice actors to stay on for years and years and years. Don't expect a musician to volunteer original music for free. Don't expect artists to draw a bunch of scenes or animatics. Expect to start with basic resources, like stock music and one piece of cover art. If people want to volunteer more, they will come in time once you've shown your project is legitimately producing content. People are generally not going to just hop on board when you have no credentials and no examples of what you're capable of.
4: Quality Control
You need to have certain standards of quality, and you need to understand what that means. For example, no matter how much you might like someone's voice, if they have a bad microphone there is no fixing that audio, it will be unpleasant to edit and even more unpleasant for an audience to listen to. You can't just chuck together whatever audio you get or have, you need to research how to clean up noise, how to master vocals, how to level volumes, how to make sure your sound effects are good quality and not distractedly bad. Thankfully, Audacity which is a free program can handle most of your audio editing needs and there are plenty of tutorials for it on youtube so there's no reason not to study this stuff before you dive in.
5: Organization
This one's important. You need an organized system for getting everything done. Have checklists, organized folders, a proper place for crew to communicate. Discord is excellent for organizing a project because you can make different channels for different purposes within one server, such as a place for auditions, a place to submit lines, a place to post art, a place to give instructions, and you can make certain channels accessible to only specific people so spoilers aren't getting out to the wrong people. The more organized your project is, the smoother things will run.
6: Don't Overwork Yourself
It's very tempting to just do all the hard work on your own, like doing all the vocal editing, all the SFX, placing all the music, doing all the scripting. And at first, you'll probably have no choice but to do this. But as your project gets bigger, you should start to divide out the roles for other people to do, otherwise you risk burnout. It might feel fun to get all these things done on your own, but after a while it's going to feel tedious and it's often going to take more time to do. It's okay to have people you trust work on scripts, you would still be the director of what that script is about but you might be surprised what other people can come up with. It might be difficult to find a good audio editing crew but it's worth it if you do.
7: Be Willing to Take Criticism
Nobody's perfect, and sometimes people will have constructive criticism about your project. Don't see criticism as failure, see it as an opportunity to improve. For example, if you're having a hard time casting a character and you hear a lot of people saying they don't want to audition for the character because they don't like the character, don't sit there insisting your writing is gold and everyone else is just rude. Examine why people don't like the character, and adjust. If you notice people aren't really jumping on board with your project, swallow your pride and ask why. Try to figure out what it is that needs improvement, and then move forward with it.
8: Have Voice Actors Record Multiple Takes
Be sure that you're not just getting one take of lines, because you never know when a line might not sound right, or if a different delivery would sound better. Have at least 3 takes of every line recorded, and encourage your voice actors to try different kinds of deliveries. This way you have a much bigger chance of getting quality lines and the best takes!
9: Don't Rely on Artwork
This is an AUDIO drama, you CAN NOT expect everyone to be watching the video if you release a video with it. Some people just play these in the background, or download them to listen while they drive. If you're expecting people to understand what's going on from the artwork alone, you're doing something wrong. Imagine your script not having any images to go with it, and try to imagine what people are going to get out of purely listening. There are a lot of clever ways to help people visualize things without an actual visual. Artwork should be a bonus, not a requirement.
9B: Don't Script Visual Only Cues
Speaking of not relying on art, this goes with the above and is an issue a lot of beginners have. Scripting things like "the character smiles", "character waves", "character stands up" is not helpful for sound design. You need to figure out how those would be conveyed if they are important, like for smiling have the prompt for the actor you can have [Said happily] for a tone, a [shuffle] for standing up, a [whooshing] for waving with a character saying something like 'I'm waving as hard as I can!'. Sound effects and exposition are your friends in radio plays, soundless actions are not.
10: Be Careful About Vocal Effects
Vocal effects can be really cool! You can make someone sound like a demon, or a ghost, or some kind of magical creature. But you also need to be really careful about using those effects, because they can very easily make a person's voice hard to understand. This tip doesn't always work, but sometimes you can have the original voice line overlay the effect and make the effect quieter to keep the voice more clear. Run the effects voices by other people to make sure they can understand them.
11: Organization and Communication is Important
Radio plays have a lot of stuff that goes into them. There's a lot of files, often a lot of people, and a lot of tasks and instructions that need to be made. Discord is an excellent messenger to organize a radio play in, where you can organize things by topic in channels and assign roles to people to make sure they have special access to specific channels so other people don't get content they're not supposed to. You also need to make sure you are communicating with everyone and make sure everyone is on the same page. A discord server can help with this by having things like an announcement channel, an auditions channel, a channel to submit lines, etc. Google docs is also a great resource to keep everyone updated, where you can make things like art claims, and progress checklists, and share scripts. You can change permissions on the documents to let people comment or edit, either anyone viewing it or specific people who can be given access. The more organized you are, the faster things will get done and the more your team will respect the project.
12: Format Your Scripts to be Reader Friendly
We had some fairly messy looking scripts in the past, where there was nothing really making the character names stand out from the rest. Lines weren't spaced properly, names weren't bolded, and as a result voice actors would often miss lines on accident or not realize where a line ended or began. Now, you don't have to format it like we do, but you at least need to make it clear when a new line is being spoken and by who. Space new lines apart. What we do is we bold all the character names at the start of the lines and change the paragraph settings to adding a space after each paragraph. This makes it so when a character has a longer line, the spacing remains close together, but a new line from a new character will be spaced away from the previous line. As a bonus, we highlight all the character names in specific colors for specific characters (Not too bright colors!) and this has majorly solved the issue of people missing their lines and we have gotten many compliments for this formatting.
13: Be Kind and Respectful to Your Crew
I really shouldn't have to say this, but it is incredibly important that you respect the people you're working with. More than likely, they are volunteering their time to you, and you have no right to disrespect them by pushing them, tossing them to the side, being picky with them, getting into arguments, rejecting their feedback, etc. You shouldn't even be treating them like this if you were paying them. If you want people to stay and to provide quality content, they will be at their best when you treat them well
14: Listen a Few Times Before Release
So the audio is done, time to make a video and release it! Right? Wrong! You still need to do more quality control! This time you should listen through a few times and pay close attention to any issues that may occur, such as odd pauses, misplaced sound effects, or accidentally repeated lines. This can be easy to miss if you're not paying attention, and once it's out, your mistakes will be out there for everyone to hear.
15: Don't Get a Big Head
On the one hand, it's good to be proud of your work... but on the other, there's such a thing as being too confident and too prideful, especially if you haven't made a reputation for yourself yet. No matter how good you think your ideas might be, you yourself are not going to be the true judge of that. It's up to other people if they like what you have to give, and if they don't like it, there's probably a good reason for it and you may need to take a big bite of humble pie. This is where you need to be open to feedback and realize no one is perfect, no one has the most amazing idea with no flaws. Even we have made a lot of mistakes and will continue to do so, and we know we are always learning. And because of that, we try to listen to constructive feedback. Sure, we can't do everything people want, but we can try to at least improve. Basically, don't boast without knowing what people actually think of your work, and if they don't like it, don't blame them; be ready to look at yourself.
Also, don't put down other creators' work in order to boast about how much better you could or did do it. We're not here to fight, we're not here to compete, we're all just here making something we're supposed to love and be passionate about. It doesn't matter if you honestly think your work is better, having a nasty attitude about it is not going to make people confident in your work. They're just going to see you as someone with no respect for the craft and therefor probably not having the talent you claim you have.
That's all we could think of for now, but if we think of more tips we'll add them to this post and reblog it to show the new ones. We hope this helps!
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froggyfun365 · 3 months
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"Yes, let's make a series of rational decisions as we're careening through space-time in a diner that has wolves in the deep freeze and parmesan cheese without spatial permanence." ~ Casper, Midnight Burger "Chapter 26: Brunch"
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amtrax · 2 years
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Okay so. I made a show.
It’s about a woman named Connie and her girlfriend Laurel. They’ve been best friends for most of their lives, and now they’ve taken the next step together
On their first date, Connie was transformed into a powerful superhero and took on the name Megaton Girl. Now Connie’s super strong, super durable, she can fly, and she can spew lasers like a dragon spits fire.
Now Connie, with the help of Laurel and her manager Kirby, is soaring up into superhero stardom. She’s taking down villains, learning the ropes from other heroes, and aiming to dethrone a super powered jerk named Captain Valiant as the greatest hero in the world.
The WHOLE SHOW is available for FREE. EVERYWHERE. Youtube? It’s there. iTunes? It’s there. Spotify, Podchasher, Audible, anywhere??? It’s there. Please check it out and let people know that we’ve made this great show. I’ve spent ten years of my life making it happen, and I want to succeed.
Help us get there. Here it is on Youtube
And here’s our website.
Thanks everybody
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punctuationmarks · 5 months
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Als ich aufwuchs, war ich ein großer Fan von 'Die Drei ???'. Ich dachte "Crimebusters" sei das Ende der Buchreihe. Aber ich war überrascht, als ich erfuhr, dass die Serie in Deutschland eine Fortsetzung hat. Ich war sehr glücklich darüber, sodass ich Deutsch zu lernen begann, damit ich die Bücher lesen konnte. Das Hörspiel inspirierte mich und ich wollte eine Animation machen. Mein Favorit ist Peter und ich mochte seine Emotionen hier, also habe ich diese Szene animiert. Ich hoffe es gefällt euch allen. Die Drei ??? sollten eine TV Show sein! Entschuldigung, mein Deutsch ist nicht gut.
Main Blog ► @azurajae Twitter ►https://twitter.com/azurajae ArtStation ► https://artstation.com/azurajae
Special thanks to @greenxlady for all the German help <3 You're the best, Green!
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benpaddon · 8 months
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If you're looking for a new audiodrama to check out, may I suggest my own scripted scifi-comedy series, Jump Leads? It's short - the first season is made up of six 30-40 minute episodes - so you'll probably get through it fairly quickly.
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kingmakerpod · 8 months
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Transcript
The VSR's Government takes the threat of anarchism very seriously.
Featuring the voices of Bradley Gareth and David Ault. The Valorian National Anthem was composed and performed by June Isenhart, the Kingmaker Histories theme was composed and performed by Professor Shyguy.
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tintinology · 9 months
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Tintin radio drama: where to listen?
There have been several radio adaptations of Tintin's adventures throughout the years. Of those, seven are still freely available online:
French
Les aventures de Tintin (1959-1963) – two versions available: an abridged version on YouTube and a full version on the INA website*
Les aventures de Tintin (2015- ) – available on the Radio France website
* The INA website requires a subscription to access the episodes, but the first month is free
English
The Adventures of Tintin (1992-1993) – available on the Internet Archive
German
Tim und Struppi (1984-1987) – available on the Play-Europa website
Danish
Tintins oplevelser (1972-1983) – available on Spotify
Swedish
Tintin (1970s-1980s) – available on YouTube
Spanish
Las aventuras de Tintín (2023) – available on the RNE website
Here is a list of the adventures that were adapted in each version:
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ghoulpepperv · 4 months
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You can tell I'm getting back to scriptwriting because I'm obsessed with my own characters again. Someone has to be.
Thank you @countslimeula for this art!
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