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spirit-lanterns · 2 months

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THE BOSS’ CHARACTER SHEET

A semi-detailed post about the Boss’ character information and personality. Certain pieces of information are REDACTED, but will be unlocked in the future.

All information available for the Boss, is under the cut:

BIO:

FULL NAME: ??? “The Boss” {TO BE UNLOCKED}

GENDER: Female

PRONOUNS: She/her

AGE: 38 years old

HEIGHT: 5’8

MODEL TYPE: Tall female

TYPE: Playable character

FACTION(S): The Rabbit’s Foot

WORLD: Penacony

RARITY: 5 Star

PATH: Harmony

COMBAT TYPE: Imaginary

OVERVIEW:

The Boss is a woman of mysterious origin. No one in Penacony recalls just how she set foot upon the elusive planet of festivities, yet The Rabbit’s Foot, her most prized casino, is quite popular amongst the people of Penacony for all the riches and Bunnies she has to offer…

A mature woman of high status and a slacker to boot, the Boss is quite a mixed bag as no one really knows what to expect when conversing with her for the first time. People expect her to be a lavish, elegant, and proper woman, yet if you ask the Bunnies of the casino, they’d all say their Boss is a well-known “lazy bones.”

Besides sleeping at her office and lounging with her Bunnies, the Boss enjoys collecting intricate tea sets and watching Broadway shows.

APPEARANCE:

The Boss is a tall woman with long, blonde hair, always pulled up in an intricate updo with multiple hairpins and clips, light blue eyes, fair skin, as well as a darkly colored kimono with floral patterns. On her “lazy days” however, the Boss likes to leave her hair down, her clothes often not worn properly as she has a habit of wearing her clothes in a way where it exposes her shoulders and other assets.

She has a detailed sleeve of tattoos on her right arm (your left) that depict a branch of colorfully pink sakura flowers. It can sometimes be shown when the Boss doesn’t wear her clothes properly.

PERSONALITY:

The Boss is a lazy, yet mature woman that has a habit of napping in her office whenever she’s left alone. She’s a slacker through and through, and she never really does her paperwork unless her Bunnies force her to.

She’s also quite into adult indulgences, such as alcohol, smoking, gambling and sex. Not afraid to show off her wants and desires, the Boss can also be quite straightforward whenever she wants something of her affection. Besides coming off as a lazy bum however, the Boss cares deeply for her Bunnies, as she’s always looking for ways to keep them satisfied.

Sometimes when she’s left alone, the Boss can be seen frowning and immediately lighting her pipe for a smoke, before quickly changing her downcast expression to an aloof one.

BACKSTORY:

{TO BE UNLOCKED}

VOICE-OVERS:

FIRST MEETING: “Ah…a pleasantry to meet you. My name? Hah…just call me Boss, sweetheart.”

GREETING: “You’re back! That was fast…did you want to rent out a Bunny? Or perhaps…you came back for me?”

PARTING: “Come back soon, the Bunnies always miss you, I know I do…”

ABOUT SELF: REAL NAME: “My real name is not of importance, people know me as Boss and I stick to it. The Bunnies never really asked, but you are the first person to push on this topic. Heh, what? Don’t look at me like that, I like being called Boss.”

ABOUT SELF: SMOKING: “Sorry, I know the smell of smoke isn’t pleasant, but I can’t help it whenever I’m stressed. I know, I know, it’s a bad habit, but…gambling is a bad habit too, right?”

CHAT: BUNNIES: “Ahhhh I just love my Bunnies so much! They’re so cute and bouncy, but goodness are they hyper. I had to build an indoor gym just for them in the casino, just so they could get their zoomies out.”

CHAT: NAPS: “I love napping. I hope it doesn’t show my age, but napping just replenishes my energy so much that sometimes I coax the Bunnies into napping with me in my office. They make the perfect cuddle buddies.”

HOBBIES: “I don’t drink tea, but I love collecting tea sets. I have an entire cabinet at home just filled with different sets from all over the galaxy. I even have one that has little bunny teacups!”

ANNOYANCES: “I hate drunk people. Why would you drink so much if you know your alcohol tolerance is low? (Sigh) At the very least, my Bouncer Bunnies are able to take care of it.”

SOMETHING TO SHARE: “If you scratch a Bunny’s ear at the base of their scalp, their foot will begin to tap rapidly against the floor. Hm? How do I know this? Aha…I like exploring with my hands.”

KNOWLEDGE: “When you drink alcohol, you have to do it fast. Slow, leisurely sips make the alcohol burn your throat longer, yet if you drink it in one go, you are able to enjoy the taste.”

ABOUT: (BUNNY READER): “Ah…(Bunny Reader)...why won’t she stay with me? Oh! How long have you been standing there?”

ABOUT: KAFKA: “She’s not a criminal under the casino, she’s a customer. However, I won’t lie and say that I am completely thrilled that a Stellaron Hunter is renting out one of my Golden Bunnies every week. I can’t imagine what she’s doing to my poor Bunny…”

ABOUT: HIMEKO: “I like Himeko, she’s a very sweet woman and her coffee recipe is divine. I’ll have to visit her on The Express one day and see her tea set collection myself.”

ABOUT: BLACK SWAN: “I never really know what’s going on with that woman, but she’s a very efficient dealer. She puts some of my Dealer Bunnies to shame with how quick her hands are, hehe.”

ABOUT: ACHERON: “The Galaxy Ranger, right? She’s not the best gambler, but her ambition is admirable.”

ABOUT: FIREFLY: “Ohhh, that poor girl. She’s been tackled in the casino sixteen times now by my Golden Bunny.”

ABOUT: ROBIN: “She’s probably the worst gambler I have ever seen, yet she seems to be a favorite of my Golden Bunny.”

ABOUT: TOPAZ: “She’s cheated in a gamble before, but thanks to Black Swan she was caught and punished accordingly. I would’ve kicked her out of the casino for this, but (Bunny Reader) loves to keep her around for some reason.”

ABOUT: SERVAL: “I hire her sometimes to play live music in my casino. The patrons and Bunnies love her very much, so she gets discounts sometimes if she wishes to rent out Golden Bunny.”

ABOUT: CONSTANCE: “Logically she’s much more dangerous than Kafka, but I can’t help but trust her more. Maybe it’s just because I’m a little biased and we have wine together sometimes.”

TRIVIA:

The Boss’ real name translates directly to “Spring Princess.”

The Boss uses her smoking pipe as a weapon when in combat. The smoke from it can increase the stats of party members.

Her alcohol tolerance is extremely high.

The Boss has talents in dancing and embroidery.

She is bisexual.

The Boss claims she is an ass woman because “everyone has an ass, therefore ass is the best part.”

The Boss is a criminal. For what exactly is a secret and will be revealed in her backstory.

GALLERY:

Left Art: @e-hibiscus on Tumblr

Right Art: @deadflyartlogs on Instagram

#🕯️ghost post #casino au

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jesterlesbian · 4 months

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From Ron Nyswaner (show creator and writer for Fellow Travelers)

"Fellow Travelers: What inspired you to create the love story between Marcus (Jelani Alladin) and Frankie (Noah J. Ricketts) for the series? Very early on, I decided there would be Black characters in the show and they would be essential to the story, not incidental. While researching life in 1950s Washington, we (my research and writing team) were impressed by the vitality of the Black LGBTQ community, learning about the Cozy Corner and Stormé DeLarverie (Chelsea Russell). We put Stormé into the Cozy. We landed on Marcus as a former lover of Hawk’s and fellow WWII vet. Each man views himself as a “man who fucks men” and neither is comfortable with love. It seemed natural that Marcus and Hawk would connect at the Cozy Corner, where Marcus would meet Frankie, a member of Stormé’s Jewel Box Revue. (Note: Jelani and Noah are incredible singers and Broadway musical stars.) In the 1950s, the “Black press” was thriving. Among the Black reporters who inspired Marcus (in terms of his career, not his sexuality): Alice Dunnigan, the first Black female White House correspondent and Simeon Booker, the first Black reporter for the Washington Post. It was very important to us that Marcus be complicated and flawed. Marcus has a compelling dilemma. He wants to use his writing talent to serve his Black community and he fears that being labelled as LGBTQ will make that impossible. Like Hawk, he likes sex and avoids love. Then he meets Frankie, who can’t so easily hide who he is (the term nonbinary didn’t exist until recently, so we avoided using it). In some ways, Marcus is aligned with Hank (avoiding love) and Frankie is aligned with Tim (“the more loving one”). Matt and Jelani created a terrific backstory about the two of them meeting while recovering from the war, but that story didn’t make it into the final cut."

#fellow travelers #marcus gaines #frankie hines #jelani alladin #noah j. ricketts #tv: fellow travelers

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slavghoul · 1 year

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Interview from Upset Magazine 6/2023

Words: Steven Loftin

Like an apparition manifesting within a dense fog, it was through radio static that Swedish rockers Ghost were formed. In the kindergarten he attended as a young boy, Tobias Forge found himself enamoured with the music crackling through the little toy speakers. From this point forward, he began picking apart the notes and melodies - his journey toward the lore and canon coming into focus as he sat, trying to figure out how this black magic could be summoned.

While it would be many years before he would don his garb as Papa Emeritus, the essence of what his future would sound like was being set through his exposure to a wide variety of music. If any proof were needed, just look to the impressive list of covers Ghost have put their ghastly mark upon, including 2016's 'Popestar' EP, which included the band's takes on Echo & The Bunnymen ('Nocturnal Me') and Simian Mobile Disco ('I Believe').

Ghost's latest EP is another covers bonanza. A five-piece offering of Tobias's backstory, 'Phantomime' plays out like a Greatest Hits radio playlist - a fitting throwback to Tobias' first dalliances with music. Of course, when a group more aligned to the metal/hard rock community bust out covers, including Genesis and Tina Turner, eyebrows are raised. To this reaction, Tobias scoffs. "In 1991, Genesis was one of the biggest bands on the planet! That was a huge hit. In the mid-80s, when I had an older teenage brother who rented every VHS movie that came out, of course, we saw the fucking Thunderdome, and that was a huge hit, and it's still being played on Swedish radio. It's an evergreen; it's not an eclectic choice at all," he declares. "I grew up listening to Stranglers because my brother liked them. What else do we have, Iron Maiden - I mean, are you kidding? I'm a metalhead!"

Originally conceived during the sessions for their fifth album, last year's 'Impera', there were two folders on his computer's desktop: one named 'Impera', the other simply 'Covers'. As the ideas for 'Impera' grew, Tobias would enter his usual routine of working on a cover or two. "At any point, when you lose a little wind in writing your own things, it's quite nice to say, 'Today let's go in and work on the covers'; you can choose anything you want, you can work on absolutely anything you want. And you don't have to finish it, you don't have to release it, you don't have to do anything, but just continue working."

He likens it to the freedom of being a theatre owner who, instead of trying to pen the next greatest Broadway phenomenon, opts to have a go at something already timeless and perfected.

"Maybe you're like, 'Okay, so this fall we're just going to do a reinterpretation of Hamlet instead, that's going to be fine, and that keeps everyone working, and that keeps a project moving along! And I find a similar thing with working on covers. So as I was writing "Impera', the covers folder was also growing exponentially and at a point. I had this idea that was going to be a full-length album."

With COVID restrictions meaning the original producer for 'Impera' was stuck in the US, Tobias had to source a replacement. It would be Klas Åhlund who stepped up to the plate. But, on one condition. "He was pretty upfront. He was like. Yeah, I only want to make the record; I don't want to work on covers," Tobias remembers "Fine, fine, fine, that's fine." he shrugs. "So, after the 'Impera' recording was done, I felt as if making a completely different, whole record again: I didn't have time for that. I didn't have the energy for that. But once I trimmed down the number of songs to only these five to make a very rocky record, it loosened up the screws a little bit for me in terms of like, "Okay, so now I know what the EP is going to be - it's going to be a full, full-throttle rock one."

Ditching some rumoured softer covers, including U2, Misfits, and Motörhead. 'Phantomime is instead a delectable slice of Ghost doing what Ghost do best: creating theatrically big rock. It's Tobias's mark upon some bonafide classics, including Iron Maiden's 'Phantom of the Opera' which feels as befitting to Ghost as it does seeing Papa Emeritus kick the bucket ready for his next iteration. While the focus was on creating this small dose of Tobias's musical DNA, it also served another purpose; to simply be "not very complicated." The project began with the mindset of "we can make this recording loosely - quick but stress-free - as opposed to making a record which is your hard fifth record that needs to live up to certain standards. So it was just a very inspired, very simple recording, actually."

After the complexities of 'Impera' which wound up requiring two studios simultaneously running in parallel "to be able to work efficiently" - Ghost was morphing into a taxing experience for the band leader, "It was just a bigger thing [and] way more stressful."

Deciding to strip that covers folder down to the five tracks, by all accounts, 'Phantomime was a measured and reserved effort. "It ended up being me, an engineer, and an occasional musician coming in and doing something. It was so much looser, so much more mentally Feng Shui," he smiles, relief glowing in his voice. "And I think that that reflected a little bit on the two different records. They're meant to be related - they are definitely related - they were made roughly in the same time, but they're completely different things."

'Phantomime' plays out like a ghoulish social commentary. Starting with a searing rendition of Televison's 'See No Evil, the journey traverses the scourge of Televangelism (Genesis' Jesus He Knows Me') with a delightfully-fitting NSFW video, the instant gratification humans require to feel (The Stranglers' Hanging Around"); the pull back into cruel reality (Phantom Of The Opera"), and the resulting undying hope from a degraded society (Tina Turner's 'We Don't Need Another Hero"). Each offering is bolstered with Ghost's dramatic, theatric rock licks and Tobias's powerhouse vocals.

With 'Phantomime' in the bag and the European leg of the 'Impera' tour imminent (Tobias is currently holed up in preparation), the idea of reflecting on how he came to go from a young boy listening to the static sounds of pop hits on the radio to orchestrating not only a feverishly adored band and its lore but finding the capacity to embrace his inner music nerd, couldn't be more timely. Tobias's relationship with music has always been one of intrigue. He's a pop songwriter with the ambition and ideas of a stadium rock band, which, in essence, explains perfectly why Ghost can sit in a unique, exponentially growing and expanding space.

"My earliest inclination of wanting to transform into something else was definitely Twisted Sister," he recalls. "You know, "I Want To Rock' and 'We're Not Going To Take It' - that was a huge record in 1984, and in 1984, I was three years old," he says. "My brother was 16, so everything that was going on pop-culturally amongst teenagers was happening in my home."

It was thanks to his brother that much of Tobias's relationship with music was formed. He's introduced him to various giants of the time, like tectonic plates being pushed around, impacting and shaping his musical landscape. Translating for young Tobias the attitude of punk at the time, as well as everything else that was 'in', he remembers, "When I was a kid, and he was supposed to babysit me, as a pacifier he would put me in front of [Sex Pistols mockumentary film] 'The Great Rock 'n' Roll Swindle"," he laughs. "And then when that was over, he would just switch to [X-rated cartoon] Fritz the Cat. And I loved that stuff, of course. That was as much [about] the expression and the attitude. Of course, I loved the songs, but it was also filtered or combined with big songs for me." Those big songs ("Men At Work 'Down Under'," he initially cites, "those sort of songs still have a unique place in my in my writing") would eventually entwine with his darker side that he'd explore as he grew older. "Whilst my whole adolescence was completely in the name of extreme metal, I always had a very soft spot for Top 40 rock and pop radio always," Tobias explains. "And I've listened to that all my life. So it's almost equal portions of Venom as it is anything. that was on the radio."

Also, witnessing shock and glam-rock bands explode intrigued Tobias. He became swept away in the idea that not only could you push a boundary to its absolute limits with convictions and over-the-top grandiosity, but you could do so with songs that quantifiably bop. But, as time has gone onto prove, it wasn't pop music that enamoured Tobias enough that he wanted to become a pop star. It's the mythology and mystery that has become his calling card.

Tobias remained an enigma under the disguise of an evolving form of the iconic Papa Emeritus (now in his fourth incarnation) until 2017, after a lawsuit from a previous iteration of his backing band's rotating cast, the Nameless Ghouls. Visual and video components to releases are often hoovered up by the fandom, stripped apart for meaning and potential. Instagram posts are referred to as a '[Message From The Clergy]" (a phrase later claimed for 2022's Best Of playlist), and lest it is forgotten, the Ghost 'Grucifix' - the prominent crucifix deconstructed into Tobias's gothic 'G' logo - which ties together the vision, religious imagery and satire that would become a core part of the Ghost experience.

His musical ambition and education colliding in the middle of his Venn diagram between dark metal and pop magic is thanks to the likes of the aforementioned Twisted Sister and W.A.S.P., as well as his teen years in the black metal community. "Their first record was also a huge impact in Swedish media," Tobias remembers. "There was this big sort of Satanic panic thing going on at the time in the fall of 1984. Where you had essentially all those things happening. You had Mötley Crüe 'Shout At The Devil', which came out a year earlier, and they were there because they toured with Iron Maiden in 1984, so there was a lot of focus on these shock-rock bands. I saw that as a kid, and I was immediately blown away - it was the coolest thing I've ever seen. And I think that that was the trigger that made me identify as that is how I want to express myself."

Decoding the songs he'd hear also became an integral part of that expression. "That was the only thing I did for years before I started writing my own songs." Recalling his time in kindergarten, they had a piano and guitar, which Tobias became infatuated with. Instead of playing with the other children, he would find himself enraptured, listening to the radio or flipping over whichever cassette happened to be loaded at the time. He would then imitate the sounds he was soaking up. "A lot of those early beginnings of how to learn and how I've learned how to understand music filters through everything I do now," he explains.

The early records he'd find himself trying to unpack included KISS 'Alive' and Pink Floyd's 'Piper At The Gates Of Dawn' - disparate matches, but undoubtedly Ghost fuel with hard rock melodies and psychedelic tendencies. "I had the first and the second Pink Floyd on a double LP that was called 'A Nice Pair'. And that's the shit that I sat and listened to and played guitar to," he says proudly. "That's weird music, that's really weird chord sequences and melodies that sort of went nowhere. And, that coloured me a lot in my vision of this is how you write a pop song. Of course, I knew more conventional writing as well. But I figured that this resonates with me, and I want to write more like that."

Tobias is the first to admit that the influence his musical exposure has had on him isn't the most straightforward. "For all the years that I was in bands, up until Ghost, basically when I was in bands not doing well, I got a lot of, I wouldn't say stick, but it was always like, 'You write weird songs, there's something weird about them, and it will never really become anything because it has that sort of weirdness to it".

As he grew, the songs he'd heard reflected this inherent strangeness he'd constructed. Before the days of mass formulaic pop factories, the music emanating from the radio abided by the strictest rule of needing to at least be approachable, but within these confines, artists of the 70s and 80s would push the envelope as far as they could. Citing Nik Kershaw's 'The Riddle' as one example, "Holy shit, if you would have taken that song and taken it to a chord structure masterclass amongst pop writers now who want to write songs for Miley Cyrus or The Weeknd or any of that sort of level they would say, no, no, no, no, that this will never work. It's too strange. It's too weird. You can't do that; it doesn't have the normal chord progression.

"There are a lot of songs from the 80s that are like that," he reckons, "compared to the now, more informative way of writing, the 80s was braver actually, and it worked well. And those songs are evergreens in a way that a lot of the top radio shit from seven years ago is forgotten, and that's the stuff that I grew up with when I started playing the guitar."

Having made that inner sanctum, he would enter kindergarten a reality, one where he can explore those recesses of his mind shaken by the musical earthquakes he experienced; now, he's matured and deeply entrenched in the reality. "Throughout the modern day of pop writing, I know a few professional pop songwriters, and we continue having these conversations because in pop," he says, "where some of them work prolifically on really high releases, they're like, it's strange how the business wants everything to be so informative. Everybody wants a weird song, but still, all the big songs are usually very, very formatted [and] very, very simple."

While unpacking the songs he'd heard back in the 80s offered Tobias a chance to comprehend what makes a good song, it, more importantly, helped him to set out doing it on his own. When digging into crafting a new Ghost number, Tobias explains that "each new song is a little bit like virgin territory with its own riddle to be solved, and is always a combination of the horror of maybe not solving the puzzle, with the thrill when you do. And it's never easy because each new song needs something new. And so you constantly need to feed your ability with knowledge about how other things are."

Breaking it down into a figurative example, he likens it to being like a detective. "I'm assuming that part of being a great detective is to constantly have an open mind, but also constantly learning about human behaviour and wha people do. If you just had 100 forensic classes, but you know nothing about people and how they live their lives, it's gonna be hard to solve crimes." The same rings true for writers who have to read to improve and further understand language, while comedians pull from real-life experiences - music is no different. Tobias's early days of stripping down songs to their basic parts and then rebuilding them have remained a constant endeavour. "But that's how you write songs as well; you go and absorb new things."

The covers process, as mentioned, is a release for Tobias. When things are stuck when trying to piece together a new chapter for the Ghost bible, a cover offers up a chance for something lighter. "Working on covers can be equally euphoric," he confirms, "because it's fun to understand a song whereas, on the other hand, it can be almost demoralising because you're like, I can't believe that this song is so much better than anything that I've written! And it's so much easier. It's so simple."

"I find myself overcomplicating things often, but you might not hear the complicated detour that I took to end up at the more understandable, straighter version that ended up being the actual recording," he continues. "That's a never-ending struggle because that's how it's supposed to be. It's not like you write the one song. I don't think I know anyone or know of anyone who's content with the idea of having written one huge song. And then you know, okay, that's nirvana for you. You don't write the one song the same way that if you're a comedian, it's not like, 'Oh, I just told the funniest joke. So now I'm done".

While Tobias is one for wanting to keep the ball rolling and on a constant endeavour to continue his musical evolution, he knows there's a limit. Every release of Ghost must have a purpose. Nodding to the 60s method of firing singles out on all fronts, eventually compiling them for a full-length release, Tobias acknowledges his relationship with his fans is based on a more long-term understanding. "That's not how we do things; we make an album, and off of that album, there are singles - it's a 70s/80s thinking. And I don't want to refrain from that - I don't want too many singles to be these autonomous little creatures."

But the world is different now. It's a Wild West where being in the masses' consciousness is key, so things may have to change for him. Admitting that right now, he knows he's post-release of Ghost's last canon entry, 'Impera', which arrived back in 2022, and while 'Phantomime' is a reasonable enough bridge, sooner or later, he's going to have to play the game of ensuring Ghost ramp up. Earlier this year, Ghost collaborated with Def Leppard's Joe Elliott on a re-release of 'Impera' cut 'Spillways' which, while a fantastic addition to their arsenal, adds to the same notion Tobias is fearful of. "I'm slowly preparing for making a new record that's going to come out in 2024, which is way too long for the current contemporary music climate; you need to be ever-present," the last phrase hanging in the air ominously.

That doesn't mean he has to lower his standards, however. No Ghost release will exist just for content's sake. Everything must have its place. He even reckons a 14-track album is "a lot of music", and he still sees an album as being "22 minutes of music per side" - true to form, currently, no standard issue of any Ghost album breaches 12 tracks. He's even ready to aim for the likes of The Rolling Stones and The Beatles by swiftly lobbing a couple of spicy takes out. "Look, man, I don't even think that 'Exile on Main Street' is that good. Not even the fucking White album is that great - break it up! Both of those records would have been better if they were trimmed down to singular records."

That pop mind breaking through; Tobias is someone who knows that music is entertainment. Certainly, a medium which often leads to more bulky connotations, but it must entertain. It's why he doesn't pay any mind to those naysayers that yearn for Ghost to be more metal or to follow a different path. This is Tobias's game; we're just privy to the sermon. These days the floodgates are open and, when compared to previous decades, as Tobias remembers it, "you had to buy your own records. Whatever additional music you got, that wasn't maybe heard on the TV or the radio, when you took something from someone else, was usually a choice, so music styles could in some way be a little bit more insular back then just because you weren't subjected to as much." He mentions his beloved death metal as being a signifier of the changes happening. "Back in the day, when I was starting listening to extreme metal, that was completely embraced by a certain little subculture or group of mostly teenagers and 20-somethings. Whereas in the 2000s, when Vice started doing black metal reporting, all of a sudden you have indie personalities who were fans of Darkthrone, and so, obviously, what ended up that turned into this fusion, which was a positive and very natural thing."

This cultural shift is another reason Ghost's space is widening and its success growing. "Nowadays, people are a little bit more open," he admits. But, with this comes issues. "As time has progressed, metal and hard rock, as well as most genres that have been around for a while, [they've] gone from this youth culture to a conservative institution because so many of the fans are now aged." The passage of time waits for no one. But, more presciently for culture, it also means our understanding of what is 'good' and what should be where is moulded differently to when we were younger. "Unfortunately, that happens to most people regardless of who you were when you were 20," Tobias reckons, "or your ideals when you're like 40/50/60 years old. Your brain starts morphing into a slightly more conservative, slightly more nostalgic... You don't want things to change."

Tobias is the first to hold his hands up and admit the same has happened to him. He yearns for 1984 and even 1990-94. He would even be happy with 1987, back to those days with the crackling radio and a childlike spirit. "That would be so much cooler. I loved that way more than in this day and age. But I can't sit around and mope about that because it's not a problem that it's not 1987."

'Phantomime' is proof nostalgia can be a useful tool. It fuels with passion, and Ghost is Tobias's Neverland. "There's such a debate about what we are and why that is." Ghost are a band that, thanks to Tobias's musical education, transcend time. They exist on their own plain and with the evergreen, timeless sounds of yesteryear echoing around Tobias's head, long may Papa reign with his gloved melodic iron fist.

#the band ghost #tobias forge #interview #really good one 👍

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sl-newsie · 3 months

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Ok hear me out:

Broadway musical trading cards. Different musical characters on each card with backstory and stats that fans can trade.

Broadway musical Monopoly game: each property is a different musical and ‘go to jail’ is for watching a slime tutorial.

Who’s with me? 🎭

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hazbinhazbinhazbinreblog · 3 months

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"That's the best part, the outside is new. Now it reflects what's already in you."

I AM NOT AN ARTIST, I draw maybe once a year, I tried for an hour to make Vox's face look decent but that was the best I got hence the error screen version

Context under the cut for anyone who wants to know but there's a lot:

I'm developing a backstory for these two that, in short, involves Alastor having an immediate connection with Vox after he landed in Hell and working together + helping him to develop his power. Anons have helped a lot with this but Broadway anon in particular brought to my attention that Vox's VA is Emmett in the Legally Blonde musical. They also told me about the song Take It Like a Man and suggested in addition that Alastor could help Vox dress more professionally given how similar their outfits are

And voila, they give me brainrot in the best way possible

#staticradio #radiostatic #staticlovetune #hazbin hotel #hazbin hotel alastor #hazbin hotel vox #fanart #favorite #*flops on the ground* this took so long #legally hazbin

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gabzilla-z · 11 months

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ok quick thoughts, spoilers behind the cut.

Pros:

Halle. HALLE. H a l l e. Her voice, her face, her mannerisms. They took what made Ariel special in the animated movie and built on it and she was the perfect person to pull it off.

Her beauty was distracting.

So glad they finally got a singer for a live action, I couldn’t take another B&B autotuned disaster.

Made me want to get to the nearest rock and play mermaid ngl.

I had my doubts with Jonah but he did a great job with Eric, played the shy, kinda awkward potato prince charming to perfection. Loved that they expanded his backstory and his interest in adventure and the sea. Also A+ for the movie knowing he had a white shirt on while surrounded by water and using every chance it had to drench him.

Eric still being caring and worried about Ariel even under Ursula’s spell? 10/10 no notes.

He came to chew bubblegum and be dreamy and he was all out of bubblegum.

Halle and Jonah’s chemistry was insane, I need them to do ten movies making eyes at each other.

Seriously the movie could have been 2 hours of them interacting in that library and it would have been money well spent.

or just two hours of them being cute smol and tol in a boat idc

TRUE LOVE INDEED

Can’t wait for this movie to be out in D+ so I can reblog all the gifs.

Part of Your World and all reprises were ofc gorgeous. Vanessa’s Trick is haunting and exactly what one would want for a siren song. For the First Time is gorgeous and underrated, felt very Broadway-esque. Eric’s song was corny but in a good way.

The rest of the songs are adequate but are not as good as the original ones.

Gotta said, song aside, the Kiss the Girl scene was more endearing in this version. When she helps him figure out her name?

Melissa was good as Ursula and made the character her own, though I think she was not as scary as she could have been. Better than I expected, though.

The actress that plays Vanessa knew she had 5 minutes to make an impression and used them to the fullest. Delightful.

Cons:

The CGI felt unfinished and so did the color grading/lighting. I edited all the movie images in this post (just played with the saturation and the contrast) and I’m mediocre at best. HIRE TUMBLR EDITORS, DISNEY.

Halle deserved to wear more outfits, I can't believe Disney missed an opportunity to sell more dolls. Would have given her a dress for each day on land and the water dress. Mouse, I thought you liked money.

we could have had it all

Wanted more of her sisters tbh. And less Triton, Javier phoned it in imo. I know Triton and Ariel’s relationship is an important part of the original movie but idk if it was his half assed acting or me wanting more of the sisters, but I wasn’t moved.

Flounder's weird character design was saved by his stellar voice actor and Sebastian grew on me, he was hilarious. Scuttlefina was tolerable but gosh she’s always playing the same character, stop casting her in everything.

Less I say about Scuttlebutt the better. Kids are probably gonna love it, though.

The ending was kinda weird? It felt rushed and the battle with Ursula was disappointing. Which is a surprise because the OTHER stormy scene at night was wonderfully done.

Up to Ursula taking Ariel back to the ocean it felt really cohesive but the second Triton appears to save her it was like they were trying to speed things up and it got... weird.

Didn’t mind Ariel being the one that killed Ursula, after everything she put her through.

Cannot believe the movie robbed us of Jonah screaming “I lost her once, I’m not gonna lose her again!”

Overall it was a well paced (up to the finale), entertaining, charming movie. Despite its faults, the only Disney live action I want to rewatch (outside MAYBE Cinderella).

8/10 Justice for the foam dress.

#The Little Mermaid

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foxykatie425 · 3 months

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Jedi: Fallen Order - The Musical (Act 1)

Wait, hear me out…

Alright look, I am fully aware that trying to turn Jedi: Fallen Order into a musical is a dumb idea. I am fully aware that Star Wars in general would probably not benefit from the musical treatment. And I am fully aware that even when people hear me out, there’s not a single human on this earth that really cares or has interest in this idea. And honestly, why should they? It’s not even like I have songs to offer, because despite my music degree, I am a really lousy songwriter!

However, all that being said, I really enjoy the problem-solving challenges that come with adapting a story for a very different medium than originally intended! And when I get my stupid ideas, I want to share them and get them outta my head! So while I have a captive audience, I’m gonna share some of my main ideas for Act 1 of Jedi: Fallen Order - The Musical! If anybody actually cares to read, please like this post, leave comments, reblog or whatever so I can find my drive to finish writing out my main ideas for Act 2! (And if you are not interested in reading 4500 words of my incoherent brainstorming, go ahead and keep scrolling. I will not be offended!)

Act 1

To start the show off, I think it would be somewhat poignant if, at the end of the overture, a single light comes up on Cal and he says the line “A long time ago in a galaxy far, far away…” before immediately transitioning into Bracca.

I imagine the introduction to the scrappers guild to be a Newsies style dance number, although perhaps not quite as happy.

The opening scenes on Bracca need to lay the foundations for the audience: who were the Jedi? What happened to them? And what is the current state of the galaxy? We have to assume, to an extent, that the audience has no background knowledge of Star Wars.

We also need to establish Cal’s current state of mind- fearful and alone. His only goal is to stay alive. He doesn’t trust anyone, but at the same time he does have friends that he cares about, such as Prauf.

Speaking of Prauf, odds are he’d be adapted into a human or humanoid character for this show. There’s nothing saying his character has to be an Abednedo, and it would be a lot of work to turn an actor into this alien character when said character is killed very early on. The actor would likely join the ensemble for the remainder of the show.

Let’s talk about Cere. Not much about her character would need to change, but without video game restraints confining us to Cal’s perspective, it becomes easier to flesh out Cere’s character arc a bit more. We can have the chance to see inside her head, and we can also have one or two scenes where she has the stage to herself.

Cere’s backstory can also be expanded on. Not only would I have her tell the story of how she tried to lure the imperials away from Trilla a bit earlier in the narrative, I would also have the scene play out onstage from Cere’s perspective so the audience actually gets to see young Trilla (and it foreshadows later when we get to see the exact same scene from Trilla’s perspective). There could also be two or three scenes throughout the first act where we get to see more flashbacks of Cere being a master. Perhaps as she gives advice to Cal, she reflects on times she had to give the exact same advice to Trilla (which could also have the added side effect of making Cal and Trilla interesting foils to each other).

Now Greez you could portray on stage a few different ways. I probably wouldn’t turn him into a humanoid character like with Prauf, because 1) he’s in the show for a lot longer, and 2) if all of your main characters are human it makes it difficult to portray the setting as “a galaxy far, far away.” For an alien species that’s meant to be so short in stature, you could potentially do him as a puppet, kind of like the way Olaf is done in Frozen the Broadway Musical, but I’d probably lean away from that because with a story as serious as this one, some strong emotions could get lost in translation. More likely, I’d try to cast an actor who is shorter in stature (most likely not quite Greez sized, but we just suspend our disbelief) and give him some prosthetic makeup and an extra set of arms that can be puppeted to mimic his real arms. (You might also be able to create his short stature by having the actor on his knees, like Lord Farquaad in Shrek the Musical, but again, you start to risk turning the character into a joke.)

As far as Greez’s character arc, it unfortunately comes off as a bit of an afterthought in the game (aside from the Haxion Brood level) but there is a bit that can be expanded on. He started off accepting Cere’s charter in an effort to pay off his debts, but he eventually comes to believe in her and in her quest. It’s not highlighted very much in JFO because a lot of that growth happened before Cal came into the picture. The most we get to see is his underlying dislike for Cal at the beginning grow into respect and eventually care. In a stage show, his arc would still have to be secondary to Cere’s and especially Cal’s arc, but he could definitely be played as a Han Solo-type character who took a job for money that slowly comes to mean more to him.

You can’t have a Jedi game, or a Jedi musical, without Cal’s best buddy BD-1. Now being a droid, and a very small droid at that, BD-1 would be puppeted onstage by an actor in a similar style to the characters in Avenue Q or Finding Nemo: The Musical. I tend to imagine BD-1 being played by a petite young woman (namely, a dancer) but nothing says it has to be. Since BD-1 doesn’t speak English (sorry, Basic!) it would be a silent role with BD’s beeps and trills being produced by a soundboard, probably controlled by someone in the booth rather than by the actor. However, the actor would bring life to BD-1 through their motions and facial expressions. And despite being a non-speaking and non-singing role, I do imagine BD-1 being front and center in every dance number!

The puppet for BD-1 would need to be lightweight and maneuverable. Due to the distance between the stage and the audience, it would probably need to be larger in scale than BD-1 is necessarily meant to be. It could feature some color changing lights that would likely be controlled by the actor. The entire puppet would be independently controlled by the actor rather than being attached to Cal’s back, however there could also be another version of the puppet that could be strapped to Cal’s back for scenes where BD-1’s absence wouldn’t make sense but a lack of contribution to the scene would make the presence of the actor onstage somewhat awkward (for example, some more personal scenes between Cal and Merrin).

Next character to discuss is Eno Cordova. He would likely have about the same level of involvement as he did in the game, although some bits of his instructions may be altered somewhat to make his quest a little less of a wild goose chase. (I mean let’s be real, he coulda just said “you need an Astrium to unlock the vault, there’s one on Dathomir, go get it.”) He would probably not be a singing role, but he would be portrayed by an actor on the stage, with the hologram effect being achieved by simply highlighting him with a blue spotlight.

Okay, now we get to the bulk of the story and our three main planets: Zeffo, Kashyyyk, and Dathomir. There’s a lot to talk about with these three locations, both individually and collectively, but let’s start with set design. For any show that features as many different locations as this one, you’d be best to have a unit set that doesn’t move that can function as all of those locations. I imagine this show having a large set with several different levels of platforms (it is a “platforming” video game after all) and the primary visual indication that we’ve changed locations would be different colored lights illuminating the cyclorama, the white backdrop at the back of the stage. Likely the choice of color for each planet would match the color of each planet on the holomap in the game (green for Kashyyyk, red for Dathomir, etc). There can also be props brought onto the stage that help indicate a change of setting, such as bringing out Greez’s pilot chair when we return to the Mantis.

As I hinted at before, Cordova in the game basically sends Cal out on a wild goose chase. Yes it’s meant to test him, but ultimately the only one of those three planets where Cal actually retrieves something tangible he needs to complete his quest is Dathomir. Now that works for a video game where there’s things for the player to do along the way, but for a passive audience who is watching rather than participating in the story, there needs to be a better reason for Cal to go to each planet. That’s not to say that Cordova should give him all of the answers, but perhaps there is something that Cal needs to retrieve from each tomb. Perhaps the Astrium comes in three different pieces. Yes, there are two tombs on Zeffo and none on Kashyyyk, but Cordova was here first after all. He wasn’t going to put back whatever pieces he found, but he also didn’t get all of them because he found another Astrium somewhere. Cal knows this because he found that Astrium destroyed in the vault. So he goes to Zeffo and through the Tomb of Eilram only to find that Cordova already took the piece that was there. BD plays the recording where Cordova talks about Tarfull and Kashyyyk, leading Cal to believe Cordova left the piece there and that Tarfull would know where to find it. He goes to Kashyyyk and fights alongside the Partisans, but he is unable to find the piece without Tarfull’s help, so he will have to return when the Partisans find him. Out of other leads, Cal remembers Cordova saying something about Dathomir, so he decides to search there. When he reaches the Tomb of Kujet, he finds that he needs the other two pieces of the Astrium to enter so he can retrieve the third. (Because in this context we can’t really use game mechanics like double jumping as a reason for why we can’t continue.) At the same time, Cere hears about Project Auger being restarted, and they return to Zeffo to search for the Tomb of Miktrull. Beyond this, the sequence of events would largely follow the remainder of the game.

Zeffo would probably be the hardest of the three planets to adapt to the stage because, with the exception of Cal’s confrontation with Trilla, not much really happens there. Much of your time on Zeffo in the game is spent traversing the land and solving puzzles in the tombs, all of which is less than exciting for a passive audience. Some kind of story beats would need to be added to Cal’s time on Zeffo (especially the first visit) that makes up for all the combat and platforming that doesn’t really translate to the stage. The story of JFO already has the slight inconvenience of being largely concentrated in the second half of the game, while in most musicals the first act tends to be longer. (And the game provides a perfect built-in spot for an intermission when Cal gets captured by the Brood, so I don’t really want to change that either.) There aren’t a lot of people for Cal to meet on Zeffo, so you could create a new character(s) and give them their own little subplot, but that runs the risk of creating one too many plot lines for the audience to follow as well as having little impact on the overall story. So more likely you would use that time to teach the audience about the Zeffo and have constant communication between Cal and Cere.

Believe it or not, at one point I considered cutting Kashyyyk entirely. But it’s important to show the early stages of rebellion against the Empire and have Cal get a taste of fighting back. Plus, the Partisans create an opportunity for a pretty fun dance number! However, I probably would cut out Saw Gerrera, simply because the more iconic the character is, the harder it is to translate them to the stage. (Obviously we’re gonna run into that same problem with Darth Vader, but we’ll discuss that when we get there.) Instead, I’d probably single out Mari Kosan as the leader of this group of Partisans, but mention that she is working under Saw. The great thing about Mari is that she’s so minor a character in the game that she can be a completely different character in an adaptation. You might even call her a completely new character with only her name being borrowed from a background character in the game. In this sense, we’d get to see the extremist side of the Partisans through her actions rather than Saw’s, but probably not until Cal returns to Kashyyyk in Act 2. (Also, if it proved necessary for the narrative, you could get away with killing off Mari, something you couldn’t do with Saw.)

I talked about iconic characters not translating well to the stage. Well, let’s talk about Wookiees and Stormtroopers. We certainly can’t go to Kashyyyk without seeing some Wookiees, but we’d want to keep their stage presence to a minimum. Creating their look in a live setting, while certainly possible, is not necessarily easy, and it quickly runs the risk of appearing fake to the point of being distracting, thus breaking the audience’s suspension of disbelief. Stormtroopers, on the other hand, would be a very easy, iconic look to recreate. Too easy, in fact. Despite the fact that they tend to be the butt of every Star Wars joke, the presence of Stormtroopers still needs to be felt as a threat, and that threat can be very quickly undermined if they are overused onstage. Not to mention, the moment you put Stormtroopers in a dance number, it becomes Star Wars Weekends at Disney World. So we’re gonna leave the dance numbers to the scrappers, the Partisans, and maybe the Dathomirians.

Speaking of Dathomir, we have to get there early. Obviously in the game you have the option to go there early on, but you don’t have a story reason to go there until much later. In the game, the crew returns to Zeffo right after they first visit Kashyyyk because Cere gets word of the Empire finding the other tomb. But in this case, let’s say she doesn’t hear about that until after Cal first visits Dathomir. We need to get to Dathomir early because 1) Merrin is far too important a character to be introduced in the second act, and 2) as previously mentioned, the second act is very story heavy and we need to shift some of that into the first act to make it slightly more balanced.

Finally it’s time to talk about Merrin! Her character in the first game was so underused and this adaptation offers the chance to expand on her story. (Although I need someone to hold me back a little, because she’s my favorite character but I need to be reminded that this is not her story. She cannot be a bigger character than Cal or Cere.) Introducing her earlier gives the audience more time to think of her as an antagonist, as they watch her repeatedly reject Cal’s attempts to reach out to her.

Let’s talk special effects, because Dathomir is where that really gets fun. Much of the appearance of Merrin’s magick can be achieved with the use of clever lighting and purposeful staging. Her ability to teleport can be mimicked by having her enter the stage in darkness and then using green lighting and perhaps some fog to illuminate her. Magick flames in her hands can be a combination of lighting and some classic magician props. (Disclaimer: Serious safety precautions would have to taken if we’re considering playing with actual fire though!) And the effects of her magick on her eyes and mouth can be achieved with black-light makeup that is invisible in regular lighting.

Now if there’s one person that tries to convince Cal that Merrin is a threat that can’t be reasoned with, it’s Malicos. As in the game, Cal would encounter this “wanderer” on the path to the Tomb of Kujet. He tells Cal that he was marooned on this planet when he came to study the Dathomirian culture, and that he has been hiding from the Nightsister, who he claims has repeatedly tried to kill him without hearing what he had to say (much like she tried to kill Cal upon their first encounter). Cal offers to help him escape the planet, but Malicos rejects this offer, stating that he has not yet completed his research on the planet (red flag # 1). Cal explains his mission, and Malicos explains that the ruins are surrounded by darkness and the magick of the Nightsisters. He tells Cal that Merrin will throw everything at him to keep him from entering the Tomb, and he tries to convince him that the only way to complete his quest is to kill her before she kills him (red flag # 2). But Cal, beginning to suspect he has ulterior motives, dismisses him and continues on to the Tomb. What Cal doesn’t know yet is that Malicos is also pulling the strings on Merrin’s side and actively trying to pit them against each other in the hopes of solidifying his control over whoever came out on top, as well as to keep them from uniting against him, which he knows would likely happen if his lies to Merrin about the massacre were exposed.

I debated a bit whether I should try to work in the romance between Cal and Merrin. Putting them together in Fallen Order definitely runs the risk of coming off rushed, and the way it was handled in Jedi: Survivor was perfect and probably could not be outdone. However, musicals don’t tend to get sequels (unless it’s Love Never Dies) and especially if we’re expanding on Merrin’s character, you can’t really write her and Cal together without there being sexual tension, and the audience will want to see that resolved, so I guess we’re going for it! (And besides, it’s my musical and I want to!) However, I still want Merrin to be an antagonist for most of the story, and prior to fighting Malicos I don’t want slip into the overused tropes of “he saved her life” or “they had to work together to survive.” The dynamic I’ve come up with instead bears a slight resemblance to Rey and Kylo Ren (cuz let’s be honest, Merrical is everything Reylo wishes it was!). Their first encounter is basically the same as the game, where she tells him to leave and sends the Nightbrothers after him. Take note that when I envision this scene, I have Merrin standing above Cal on one of the higher levels of the set (she had the high ground!). However, I’ve created a new scene between them in Act 1 while Cal is making his way back to the Mantis to return to Zeffo. He stumbles upon her praying to her fallen sisters for guidance, having taken off her hood and cloak. (Metaphorically, it’s almost like he catches her indecent.) Caught off guard and scared, Merrin prepares to defend herself, but Cal shows her that he has no intention of fighting her right now, and Merrin, knowing she wouldn’t win any fight she started in this moment, stands down. This scene gives an interesting visual representation of the power dynamics between the two of them, because where she stood high above him in her first scene, they now stand on the same level, which is made even more interesting if the actor playing Cal happens to be taller than her. Cal explains that he is leaving, but will return, and Merrin proclaims that she will be ready to face him when he does. He tells her about his mission and informs her that the Jedi have been wiped out, but importantly it never comes out that she believes the Jedi killed her family. They sing a counterpoint duet detailing their differing points of view, with Merrin stubbornly refusing to believe Cal’s Jedi “lies.” (This is actually the only song I’ve named: “Fool Me Once.” Fill in the rest of the saying.) By the time the scene ends, the audience should not yet be thinking that Merrin will eventually become Cal’s ally. However, the scene would definitely include noticeable sexual tension during their argument, mostly being in each other’s personal space for a hair too long and some extended eye contact.

Now that I’ve beaten that scene into the ground, let’s go back to Zeffo. Cal explores the Tomb of Miktrull and finally finds the first of the three pieces of the Astrium before encountering (hang onto your hats) the Second Sister, aka Trilla Suduri, Cere’s former Padawan! (Dun dun duuunnnn!!) Nothing super noteworthy changes in this section of the story except that Cal doesn’t encounter Trilla until after he explores the Tomb.

Remember those flashback scenes I was talking about with Cere and Trilla? This is what they’ve been leading up to. In the game, when Trilla takes her helmet off, the only reason we know who she is, is… well, she says so. However, if we see flashbacks of Trilla earlier in the show, now the audience recognizes the face under the mask. Now I know what you’re thinking: “won’t the voice give it away?” Not necessarily, if you’ve got a good enough actress. For all intents and purposes, Trilla and the Second Sister, much like Anakin and Darth Vader, are two different characters and should be treated by an actor as such. A good actress could make her tone and delivery so different between the two characters that first-time viewers wouldn’t put them together (as long as the playbill doesn’t give it away). But even if the audience does figure it out, I don’t think the fact that Trilla became an inquisitor is the biggest revelation in this scene. Because let’s be honest with ourselves, in terms of Star Wars plot twists, that one was a little predictable. But no, the bigger revelations are that Cere betrayed Trilla by giving up her location, she used the dark side in the aftermath, and perhaps most damningly, she has been keeping secrets from Cal.

Alright let’s talk stage combat. For this fight in particular, much like the game, it would get cut short and end up being more talking than fighting. But in general, stage combat tends to be more dance-like movements than martial arts. We’re not going for prequel-style lightsaber duels here. Plus, on stage, you only get one take, so you can’t exactly afford for anyone to get hurt halfway through. We’ll talk a little bit more about lightsaber effects later, but suffice to say, the stage combat, while important, comes second to the emotions surrounding the scene.

So BD-1 cuts the fight short by activating a laser gate between Cal and Trilla. Trilla reveals her past and sings about how you can never trust anyone before leaving. Now on stage alone, Cal finishes out the song by briefly lamenting why Cere didn’t tell him the truth. He hears another disturbance just offstage and prepares to defend himself before being hit by a stun grenade and knocked out by an unknown bounty hunter. Blackout.

End Act 1

So those are my notes on Act 1 of Jedi: Fallen Order - The Musical. I’ll be posting my Act 2 notes in the near future, but before I go, I want to quickly discuss the vocal ranges of each of the characters.

- Cal: Being a classic male hero, Cal would almost certainly have to be a pretty high tenor. However, he shouldn’t be like a squeaky tenor, for lack of a better phrase; his tone should be more round and even. (I’m just gonna say it- Cal probably shouldn’t have gay voice! I’m sorry, I don’t mean that in an offensive way, I just don’t have a better way of describing what I mean!)

- Cere: She would definitely be a low alto. (If we’re talking Broadway, I’m picturing Heather Headley or someone similar.) Not only would that be a good match for Debra Wilson’s voice in the game, but a lower singing voice is often used to portray age. It helps give the audience the impression that she is older and wiser than Cal.

- Greez: He’s a little tricky, but I’d probably put him somewhere in the mid-range, maybe a high-end baritone. I’m not locked into that though, I could also possibly imagine him as more of a low tenor.

- Merrin: Okay some people are gonna disagree with me here, but I would not make Merrin an alto. She can’t have the same range as Cere. That’s not to say I think she should have a super high singing voice, more like low mezzo soprano. But her voice should be powerful; I’m thinking like an Idina Menzel-style belter. (I mean, she is a witch, after all!)

- Trilla: Lemme start by saying that Trilla would not sing with her helmet on, so her first song probably wouldn’t be until the Act 1 finale. I imagine her having a very similar range to Merrin, with perhaps a slightly darker tone.

- Ninth Sister: We’ll talk about her more in Act 2, but she would definitely be a very low alto. She’s a big character, and generally the bigger the instrument, the lower the pitch. She also leans very heavy on the melodrama.

- Malicos: Now odds are he wouldn’t sing until Act 2, but he would definitely be a low baritone, if not a bass. I’ve been comparing him to Claude Frollo from Hunchback, both in terms of his character and his voice. So I would definitely imagine his voice sounding a bit aged, although the actor would also need to be able to do at least a small amount of stage combat, so he might have to be slightly younger than we might imagine the character.

- Sorc Tormo: Speaking of Hunchback, here we’ve got our Clopin Trouillefou. Eccentric and dramatic, Sorc Tormo would be the one to have that squeaky tenor voice that I didn’t want for Cal. (Now HE can have gay voice!)

- Jaro Tapal: I’ll throw him in because I haven’t decided whether or not he would sing, but if he does, he would most definitely be a bass.

One other note about casting: I am in my mind imagining the characters being played by actors who look similar to the actors in the game, with Cal, Greez, and Merrin all being white, and Cere and Trilla being people of color. However, the beautiful thing about a story like this is that there is absolutely no reason that you couldn’t colorblind cast every single one of the characters.

But I think I’ve rambled on enough for now. If anyone is actually still reading up to this point, thank you for indulging me! You are my favorite! Please share your thoughts and ideas in the comments, because I have no one to discuss this topic with and it would make me really happy… 🥺🫶

Act 2 coming soon!!

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almacambiondaughterofsaleos · 13 days

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YO FINALLY SOMEONE ELSE NOTICES HOW ZOOPHOBIA HAS THE WRITING PROBLEMS HAZBIN HOTEL AND HELLUVA BOSS HAS

coming from someone who read the webcomic it literally has the same repeating pattern as hazbin hotel and helluva boss does

the main character doesn’t barely be the main character because Vivzepop ALWAYS picks her other ocs to have the spotlight the

the character who is literally a creep or a asshole gets some sad sloppy backstory to get you to have pity for them aka stolas angel dust and that red demon fox guy (I forget his damn)

the drama is dry and comes out of nowhere

and it doesn’t help the fact that viv is still acting the same she is still the spoiled immature woman who threw temper tantrums whenever someone gives her valid criticism and now the 20 year old is 31 and STILL acts like that Vivzepop may think she’s untouchable because of the celebrities and Broadway actors she hangs around with but trust me as soon as hazbin hotel and helluva boss ends and everyone goes their separate ways the fandom will turn on her and Vivzepop will realize she can’t run away from the horrible things she done

This. This woman is impervious to learning any damn lesson.

#helluva boss #vivziepop critical #helluva boss critical #vivziepop #vivziepop criticism #helluva boss criticism #helluva boss critique #anti-vivziepop #hazbin hotel critical #hazbin hotel

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ericaportfolio · 4 months

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Today is my last day of being 24. So, to celebrate, here's something I've been working on the side. I wanted to try out the American Arcadia style as a challenge. Have colored versions of Willow Malton and Elijah Walton. If you guys want to use this concept in your American Arcadia Fanfics or Fanart, have fun with these two. Even Out of the Blue studio can have this for free if they want to make a sequel if the demand is there.

If you are struggling with ideas and need a backstory to brainstorm: The local Broadway actress and dancer about to have her breakout performance has her life ruined by a DNA 23 and Me test dare. Now, given the custody of a talking head of her grandfather/great-grandfather, to have it all, she'll have to dance and run for her life.

#american arcadia #american arcadia spoilers #american arcadia oc #willow malton #elijah walton #what a feeling reference #free to all fans #just credit me #please

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girlsies-week-2023 · 5 months

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Information on some of my favorite Girlsies !!! For sillies !!!

(working title was me infodumping about girlsies under the excuse that it is relevent to the event)

I don't have the energy to go through & update this post at the moment, but @thegroundsofbrooklyn has a post here that has more info on the UK Brooklyn Girls !!!

Starting out with our number one, the original girlsie: Charlie (Hard Promises) !!!

Charlie was the original love interest for Jack in Hard Promises, and she was a newsie !! Her story was that she was living in a house of prostitution with her aunt (with her aunt trying to shield her from as much as possible to stop her from going into that life / being exposed to it) and she was planning to (and did!) go with Jack to Santa Fe at the end.

Next up: Smalls (Papermill - Broadway) (Manhattan / Possibly The Bronx) !!!:

I know that whether or not Smalls is a girl is up to interpretation but I am interpreting her as a girl & including her in this list (same with Sniper).

Smalls is a Bronx newsie (as implied by her yelling so's da Bronx during Brooklyn's Here), but she's still allowed in Manhattan (hence being there for KoNY in some versions), so she's probably allowed to wander around on her own.

According to Liana Hunt, she lives in a family with at least one parent and a ton of brothers who all work to support them, so she's sort've eager to be one of the boys in that sense — she's also super tough.

Talls !!! (Broadway) (Manhattan / Possibly The Bronx):

Talls was Caitlyn Caughell's newsie whenever she was on for that track. I have no information on her besides the fact that she was played by Caitlyn Caughell & is probably a play on her height of some kind — + also being a play on Smalls. Smalls & Talls <3

Sniper !!! (Tour) (Manhattan / Possibly The Bronx):

I'm going to be mixing in other backstories for this because as far as I'm aware Sniper's the only newsie on that list with a backstory that isn't from their actress ? + she has more involvement in the show when she isn't a girl so I'm going off that

But according to Alex Wong — Sniper's last name is Wah, and she's the daughter (son in this backstory but it's okay) of Sam Wah, who owns the laundromat above Jacobi's (the sign of which can be seen in the pre-uksies Jacobi scenes). She's named after her 'incredible aim' with a slingshot.

In certain versions, she's one of the scabs, the last one to throw down her papers, and the one to go 'Ah, what the hell? My father's gonna kill me anyway!' in the proshot. In the tour, she was also the one to yell so's da bronx.

Puddles !!! (Tour) (Manhattan / Possibly The Bronx):

Puddles is in the same group as Talls in the sense that there is like no canon lore about her & there isn't even any information besides her name and the fact that she was played by Melissa Steadman Hart during the tour. However she has the cutest nickname and deserved to be included in this list.

Marriott! Buttons !!! (Marriott) (Manhattan):

According to Adrienne Storrs, the actress for Buttons, she's been a newsie for three years. Her parents are poor Italian immigrants that don't speak English, so she works to support them. She was convinced to start selling Newspapers by JoJo after being caught pickpocketing on the street.

Buttons & JoJo are best gal pals, she sees Specs as a younger brother figure (she's always looking out for him), and Race and Albert are her favorite people to joke around with!

She has (had?) a rich boyfriend that went to jail for forgery a bit before the strike, so she's a little heartbroken during it, but she's 'continuing to live her life and she has the best newsie friends'.

She has a really positive mindset in general.

She also (along with JoJo) checked Katherine out when she walked into Jacobi's and later taught her how to Irish dance during KoNY with JoJo !!!

Marriott! JoJo !!! (Marriott) (Manhattan):

According, once again, to Adrienne Storrs, JoJo (who's real name is Josephine) is 'one tough cookie'. She was originally a pickpocket, but Jack found her and took her under her wing for ten percent of her earnings when she was almost twelve. She was one of the original newsies in the Manhattan group, and after three years she started seeking out other girl newsies (& that's when Buttons came along !!). She's been a newsie for about five years, 'not too far behind how long Jack had been selling'.

She has an Irish father and a Romanian mother and they were circus artists that came to America with P.T Barnum in the 1870s. She was born in 1882 (making her seventeen at the time of the strike) and she was raised around a circus.

Rafaela (Marriott) (Brooklyn):

Once again, according to Adrienne Storrs, Rafaela's parents moved from Spain to Puerto Rico in the 1880s and she was born there in 1885. They moved to New York City when she was five and she's very close with her brothers, who were six and eight at the time. All three children became newsies at the same time, being expected to work as much as their parents did.

She didn't go to school, she taught herself how to read and speak English, using her time as a newsie as a teaching device. She's super tough, and she had to grow up really fast. She 'has a strong sense of community with her family and fellow Brooklyn Newsies'.

Joey (Marriott) (Brooklyn):

You guessed it, information yet again from Adrienne Storrs!

Joey is Racetrack Higgins' cousin, and she's super positive. She's also secretly a really good fighter.

Hildy (Marriott) (Brooklyn):

You'll never guess where this info is from.

Hildy is German, and her parents own a sausage shop, and she likes to get into trouble.

Honorable mention to Nancy, Hazel, and Muriel from Newsies Jr.

I don't have the energy to read through all of newsies jr rn to find out which lines they have, however I can tell you off the top of my head that they are very supportive of Katherine and probably also on the younger side (because. Newsies Jr. Obviously).

If anyone who's played them would like to mention their backstory in the rbs or in this accs ask box, that would be lovely !!!

Spot Conlon (UK) (Brooklyn):

Using Lillie-Pearl's backstory for Spot here, because Clarice never got the opportunity to share hers if she had one :(

Lillie-Pearl's backstory for Spot is that her parents were Irish and African American immigrants living in Seneca Village.

Spot in Uksies is very close with Davey !!! According to Lillie-Pearl, she doesn't call him Davey, she calls him David, and in her cameo description she added 'making rhymes with Davey' into her list of things she enjoyed. She is also very close with her girls (obviously), specifically Lucky & Stray, who she did the handshake with depending on what point in the show it was. She also liked Race, depending on the day.

(She also probably isn't on awful terms with most of the Manhattan newsies, especially if they're girls.)

Lucky (Newsies UK) (Brooklyn):

Lucky doesn't have a lot of canon lore too her HOWEVER I can tell you that she used to do the handshake with Spot back when she existed, was called Tops for some performances, AND her real name is Eliza !!! She also interacted with Scope a lot during The Rally.

Mack (Newsies UK) (Brooklyn):

Mack's real name is Jeanie MacDonald, but she shortened it down to Mack because she didn't like her name.

She's a Scottish immigrant whose family moved to the U.S (just North of New York) to start a farm, but a plague of locusts destroyed the farm, so they had to move into the city for work.

She couldn't stand being stuck in their one bedroom cramped apartment, so her father suggested that she take up work as a Newsie.

Splint (Newsies UK) (Brooklyn):

Splint's arm is in a Splint !!! For some mystery reason that definitely isn't because Bobbie's hand was injured at the time of the first preview. Definitely not.

She doesn't appear after The Rally, which is because — according to Bobbie — she falled down & died :( (Bobbie needed 2 be there as Hannah)

Also her real name is Splinty McSplint.

(Bobbie also said that if she were to have a love interest it would be Buttons.)

Scope (Newsies UK) (Brooklyn):

I have no canon info about Scope besides the fact that she has the world's cutest pigtails and hung around Lucky at The Rally a lot :(

Ritz (Newsies UK) (Brooklyn):

Ritz' real name is Rita, and her nickname comes from ritz crackers and also Lucy's last characters name !! That's all the canon info we have on her as far as ik :(

Stray (Newsies UK) (Brooklyn):

Stray's nickname comes from her feeding all of the stray animals of New York !!!

She is related to Specs in some way (probably siblings, considering the fact that Sam & Immie are).

She becomes a Bowery Beauty when she's older, and her real name is from a newsgirl turned dancer but Immie doesn't remember who that is — the closest I got in my research is Lillian Russell, who wasn't a newsgirl but yk close enough.

(Her love interest would've been Mike !!)

Pips (Newsies UK) (Brooklyn):

Again, no canon information on Pips as far as I'm aware, besides the fact that she is literally adorable

#girlsies week 2023 #newsies #girlsies #newsies uk #uksies #spot conlon #smalls newsies #brooklyn girlsies #hard promises #toursies #bwaysies #i was gonna add references & stuff 2 this but it's 1am & i'm tired #i just want 2 get this over with #anyways !! yeah !! i'm normsl #askbox is always open if you have questions / notes

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