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help-im-a-gay-fish · 3 years

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Okay I had to do some stuff, but here I am rambling about relationship between Killer and Nightmare in Colours of LOVE.

Some of this I might mention before some of it might be your and Jann or Yuri ideas... Anyway!! The way I see that:

Even though this is soulmate au Nightmare and Killer aren't perfect fit for eachother. They are perfect fit in threesome - Ccino softens rough edges of both of them, and changes their attention from being mad on eachother to carrying about Ccino together (especially at first when he is really depressed). But before that... It was hard.

Killer is really open about everything he thinks and feels. If he founds someone who is attractive he will flirt. Even when he is already dating Nightmare. And also he always shows his affection to Nightmare everywhere, in public too. That's cute and sweet, but Nightmare is really closed person so that makes him really uncomfortable. Night often got jealous with Killer flirting with anyone else, got embarrassed with his kisses and all on public, and in general is a bit annoyed with Killer's actions. Killer on the other hand doesn't really understand why Nightmare is so "tensed" (he is not, Night is just much more calm, but Killer don't get it).

They were braking up and coming back again a few times, because they had argued a lot about everything and got tired of this. Right now they are on their "best days" - they started to date again a few weeks ago and right now they are through some stuff, they understand eachother better, and pretty chill about eachother weird actions. Like in the second page Night is a bit flustered by Killer's kiss but he almost used to that. Same as he is worried about being late, since Killer is almost always late, but he is more or less fine by that. On next page (which you haven't seen yet), there are an interesting dialog between them, and I will definitely write some of "subtext" about it when I will post it.

Actually if they haven't met Ccino they would break up again after a few months. And maybe come back again after a week.

Also! Interesting thing about third soulmate: at the beginning of the comic (before Nigh met Ccino) Killer is 100% sure that they have third soulmate, but Nightmare is sure for about 60%. Killer is existed about that, he knew knew that he is polyamorious for a long time, but Nightmare hesitates a lot, because he can't really imagine himself in polyam relationship. It feels weird and also he is soooooo jealous about Killer paying any attention to anyone except him, that he worries to become "third wheel". Will it be different with Ccino?? Who knows (. ❛ ᴗ ❛.)

Hi kotikaleo!!! This was super fun to read.

Firstly I'm going to tag @zu-is-here since she started the studio verse

It's definitely an interesting insight to your comic and the characters!

It reminds me a lot of an early version of my own ideas about the studio verse nightkiller relationship! And I can definitely see the way we have bounced headcannons of each other paying off.

Them still dealing with a softer kind of lovehate dynamic is an interesting one. It doesn't seem to be as extreme as my version, but it's interesting that it's still there.

The fact that they are meant to work as a 3 makes sense as well. If they are supposed to be bounded as a 3 it makes sense that three they their relationship would be unstable. They don't work as a two, but they are soul mates and something would always pull the two of them together.

I'm also curious, since Nightmare isn't 100% sure that the lack of colour is due to them being soul mated to another person. I wonder if he ever felt like the universe got it wrong? And that he'd been mated to the wrong person? Or perhaps he felt it meant that him and Killer don't have soul mates and that's why they have some connections.

It sad boy.

Also if Killer knows he's poly by nature, is that something that causes disagreements with the 2 of them?

And now for mine and @jann-the-bean version.

This story has been something that we mostly developed in tumbler DMs but both me and Jan wrote a story about it. Jan wrote

KillerNight(s)

And I'm writing

Round and round till we all fall down

Nightmare and Killer's relationship started off baddddd, it basically started as a mutual dislike for one another. This is due to their conflicting personalities and morals.

Nightmare was originally quite excited to meet Killer, as he'd heard a lot about the actor. But almost straight away he found Killer to be rude, childish and irritating. Killer found Nightmare to be stuck up, snobbish and entitled.

The two first met at an awards ceremony and got into a yelling match after a few drinks and were separated. From there their dislike for one another was made quite well known to the public because of a social media battle back and forth.

This only went on for a few months however, as the characters of 'Killer' and 'Nightmare' were cast to play together.

Nightmare and Killer agreed to be civil in order to function while working and get the filming completed as soon as possible.

As they worked together, their dislike turned into a playful banter and respect for one another. And then something else shifted.

Now Killer has a reputation for being a player and one who likes to sleep around, as you said, he's open about his interest in people when he has it and enjoys casually flirting with just about anyone.

Which came to include Nightmare.

Nightmare paid no mind to it really, though he couldn't understand why it embarrassed him so much.

Killer comes to find Nightmare to be very attractive and enjoys his reactions when teased, he rights him off though because he was under the impression that Nightmare was straight, and he'd never try to change that.

It was a day when they were talking about Killer's eyes and how it's caused him to struggle, that Nightmare tells him that he thinks his eyes are very pretty and that they are an attractive quality, and something in Killer breaks and he kisses him.

So Killer feels like he messed up and the two avoid each other. But it causes Nightmare to start questioning things about himself.

Nightmare at this point had only every dated women. He assumed that he was straight. But after that kiss a lot of buried feelings are dragged to the surface and exposed, and he realises that he's also attracted to men.

So Jan goes into full details about this, in the fic Killernights, but basically Nightmare confronts Killer about the kiss and Killer tells him he 'has a thing for him'

The two go back to Killer's flat to talk, but their normal banter, leads to flirting and then another kiss. And Nightmare who is curious and suddenly craving new sensations becomes lost to him. Killer who finds Nightmare physically very attractive, also gets wrapped up and the two of them sleep together.

Nowwww this is getting long so I'll try to shorten it down a bit.

Basically, it's an amazing night. It's passionate, enjoyable and a lot of fun for both of them. Upon finding out Night has never been with a man, Killer guides him carefully though the process.

After that night the two can't stop thinking about each other, even though they both planned for it to be a one time thing. Again, they avoided each other until talking after a while.

And killer admits his desires for the other, and offers Nightmare a safe environment to experiment with his sexuality, where he won't be judged.

To cut a long story short, this spirals into a passionate and carnal, on and off booty call/fling with each other that spans for years.

Other that time they grow very close with each other, and come to recognise the similarities that they share, and have soft moments of just enjoying being together with one another.

For Killer, Nightmare is the first person to ever tell him he had beautiful eyes and mean it. The first person who wasn't at all put off by them.

To Nightmare, it feels like Killer is the one person that will never pick Dream over him. And he makes him feel wanted and desirable in a way few have before.

However, their are still parts of their relationship that conflict. Of course a healthy relationship will always have some conflicts. But for Killer and Nightmare the conflicts clash and fight with each other.

That along with both of their past traumas, (I wrote about Killer's back story here) means they find it difficult to talk about genuine feelings and what's bothering them. Causing things to bottle up and blow up over time.

They also find it impossible to admit that they actually love each other deeply.

They tried to be in a full on committed relationship once, (which I'm writing about in Round and Round) but it didn't work out for these issues. As well as the fact that Killer is poly by nature, and therefore gets anxious and uncomfortable in a relationship with one person only. Which he won't talk to Night about for the reasons stated above.

Enter Ccino.

Now Ccino is the missing piece for Nightmare and Killer.

He's soft and gentle spoken, which easily helps them calm down when things get heated between them. He also provides a safe and loving space to open up about what things are bothering them.

Nightmare and Killer's also, as you said, spend more energy caring for and sometimes worrying about Ccino, so they have less energy for the constant fighting.

Ccino was the missing piece. He's the person who will cuddle and read books with nightmare, but also the one who's super into affection, which Killer loveesss.

A relationship would never work between just killer and Ccino, since Ccino wouldn't be able to keep up with Killer's libido and killer doesn't know much about Ccino's mental health. And Ccino wouldn't work in a relationship with just Nightmare because Night's colder and more straight forward personality would leave him affection staved after a while.

They just work together! They are basically soul mates in this universe as well!

P. S Nightmare in this universe was also very veryyyyy jealous when Killer showed interest in Ccino. Which is something he took out on Ccino till Killer stopped it. After falling in love with Marshmallow he regrets this a lot.

I'M SO EXCITED FOR MORE. COLOURS OF LOVEEEEE

#undertale au #shipping #undertale multiverse #sansest #fluffynightkiller #fluffynight #Nightkiller #studio verse #studioverse #studio au #studio versions #studio #Fluffynightkiller #ccillermare #Colours of love #headcannons #Headcannon

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natromanxoff · 3 years

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Queen live at National Bowl in Milton Keynes, UK - June 5, 1982 (Part-1)

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It was originally intended for the band to play this concert at Arsenal Stadium in Highbury, but it was moved to Milton Keynes for the same reason the Leeds show wasn't played at the famed Old Trafford. It's also worth noting that the band wanted to play at London's famous Royal Albert Hall as well, but the plan was never orchestrated as there was much fear that the weight of Queen's lighting rig would make the ceiling cave in. An early tour itinerary listed two London shows (June 4 and 5) on the agenda. The Teardrop Explodes were among the bands (the same line-up as last week in Leeds) who opened for Queen at this show. Their guitarist, Julian Cope, stood before about 40 thousand Queen fans and introduced the next song as being probably the best song they had ever heard, prompting someone near the stage to throw a toilet seat at him, which missed (people are known to bring cameras and certain substances to concerts, but toilet seats?). Lemonade bottles were then thrown at the guitarist which he tossed back into the audience. The complete Queen concert was filmed. A shortened video was shown on UK TV on a show called "The Tube" in January 1983 (omitting Action This Day, the bit of Las Palabras de Amor, Back Chat, Get Down Make Love, part of the guitar solo, Crazy Little Thing Called Love, Another One Bites The Dust, and Sheer Heart Attack), and on MTV in the US in August 1983 (the latter was a simulcast, with the audio being broadcast on FM radio in stereo, on the west coast, at least). The video was edited by Gavin Taylor, who was later invited by the band to direct the now famous video at Wembley Stadium in 1986. An even shorter version (about 50 minutes long) of the Milton Keynes video was shown on UK TV in 2001 (and many times since). Both the Milton Keynes and Wembley shows would eventually be released on DVD uncut. The 2004 official release of this show (both on CD and DVD) is called "Queen On Fire: Live At The Bowl". The DVD is a beautiful document of Queen's show at the time, packed full of classic Queen moments. There are also extras from 1982 shows in Vienna and Tokyo. After a great version of Play The Game, Freddie essentially apologizes to the audience for much of the latest album's content: "Now most of you know that we've got some new songs out in the last week. For what it's worth we're gonna do a few songs in the funk/black category, whatever you call it. That doesn't mean we've lost our rock and roll feel, okay? I mean it's only a bloody record. People get so excited about these things! We just wanna try out a few songs. This is Staying Power." For some reason part of the speech was removed for the CD release of "Live At The Bowl." Without a doubt this is his definitive live delivery of the song, pulling off all of the stops. Mercury is at his peak tonight. Somebody To Love has been a vocal adventure of Freddie's for the past couple years. His intro is different every night, as is his solo spot towards the end. The version captured here on film is surely one of his best. Before launching into the familiar piano theme, he asks the audience in a moment for the ages, "Are you ready?" And in excitement, "Huh? Are you ready brothers and sisters?" Part way through his vocal exchange with the audience in Now I'm Here, Freddie says, "C'mon, we're gonna make you sing like Aretha Franklin." At the end of the successful duel, he jokingly says, "Right, you can join the band!" The r&b influence is never more evident than it is here, and it makes for a classic version of the song. Brian breaks a string just before his guitar solo in Dragon Attack. While he switches to a Red Special copy, John Deacon gets to play the bass solo as it's heard on the record - the one and only time he has the chance to do it. It's on the fly, and he nails it note for note. "Las Palabras de Amor" was released as a single a few days ago, and Brian plays a small bit of it on his 12-string acoustic before Love Of My Life. He then mentions how the band won't be playing their "song of peace" tonight, as he calls it. This remains the only show where the Hot Space ballad would be referenced. Brian's guitar briefly cuts out during his solo spot, a moment that was edited out of the 1983 TV broadcasts (and slightly edited on the CD release) but seen uncut on the DVD. Brian's guitar tech is seen rushing on and off stage within seconds, having quickly resolved the issue (it was likely a sticky pickup switch). About half way through Sheer Heart Attack, Brian sneaks in the riff from I Go Crazy an octave up, and much faster, to match the tempo of the energetic News Of The World rocker. The song would be dropped from the set after this show, only to emerge again late in the pending North American tour. This would be Morgan Fisher's last show with the band as the touring keyboardist. A number of theories abound about his departure, including butting heads with Mercury's personal manager Paul Prenter or his apparent fear of flying, but it was simply a case of him moving on to other gigs (Fisher confirmed in a 2009 interview that he has never been afraid of airplanes). The CD and DVD releases would be patched up a bit, most notably in the third verse of Fat Bottomed Girls where Freddie's voice cracked badly on "locality," as well as for "now I'm here, now I'm there." Roger's timing with the guitar delays at the end of May's solo spot was bit off at the show, but this is fixed up as well. The sound quality as a whole is much better than the broadcasts, but there are a couple differences in the mix - some of Brian's backing vocals (particularly at the end of Somebody To Love) can be clearly heard in the broadcast mix but were brought down for the official releases, and compression has been added to Roger's snare drum, giving it a much fatter sound compared to Queen Rock Montreal. Brian May and Roger Taylor are interviewed before the show, as shown on the Bowl DVD and the original TV broadcasts. Brian reveals that he really enjoys playing Play The Game. He explains, "You've done your leaping about, and you've made your statement on your entry. And then you can settle down and start really playing something." Roger says his current favourite is Under Pressure. On the day before this show Freddie's boyfriend at the time had bitten him between his thumb and forefinger during a fight, causing it to bleed profusely and require stitches. On the DVD, Freddie is seen tossing the bandage around just before coming on stage. The sixth picture was submitted by Fabio Minero, and the eighth is from Alessio Rizzitelli. The second set was taken by Brenski.

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Fan Stories

“At the time, I was living on the Mull Of Kintyre on the West coast of Scotland. I remember being elated at getting tickets for the last gig of the UK tour. I always tried to get 'last night' tickets, because the band were famous for always going a little more 'over the top' on each of their tour's final nights. So, we drove down from Scotland, which took an eternity with fuel and meal stops, and stayed at the in-law's on the south coast of England. The next day we set for the 'new-town' of Milton Keynes, about 100 miles or so, away. We got there quite early before the gates opened and the weather was unsettled, lightly raining for about five minutes nearly every other hour. The support bands for the day were 'Teardrop Explodes', who had a fairly big hit with a song called 'Reward'. I quite liked Julian Cope and his band, but this WAS a rock gig, and the audience weren't generally as receptive to this brass backed 'new romantic' style of music. The customary sea of lemonade bottles headed towards the stage ensued. Now it was over twenty years ago, and the memory starts to fade a bit after a while, so I'm not sure whether 'Heart' were next on, or 'Joan Jett and the Blackhearts'. Either way, both bands played well, and were most enjoyable. Joan Jett had recently had a very big hit with 'I Love Rock'n'Roll' (very recently covered by Britney Spears), and the crowd loved that one. This was prior to 'Heart' having a major hit in the UK, but they were at that time an established and well known band. Looking at the stage, there were these items that looked like little vehicles hanging from the gantry, we later found out that these were individual self contained lighting platforms with a guy sat in each directing three spotlights wherever they were required to do so. The Queen set itself started with an extended backing tape from the intro of Flash Gordon. Most of you will have seen the video of this gig, so I won't labour on about what they played too much. Only that the crowd, as a whole, weren't into the 'Hot Space' numbers that much. Personally, I was watching my favourite band, so I didn't really care what they played, as long as it was theirs. The bits cut out of the video, included an intro to 'Las Palabras De Amor' from Brian, (just before 'Love Of My Life'), though they never actually played the whole song, Brian announced that they were not doing their song of peace tonight. Brian's two-day guitar solo was edited out, as was 'Fat Bottomed Girls', the intro harmonies on this did come across as pretty iffy, and of all songs, they also edited out 'Crazy Little Thing Called Love', much to my disappointment, as I'd heckled Freddie about his ability as a guitarist, and 'stone me', he only went and answered me. Knebworth '86 was a much better show, but I know I'm lucky enough to have had the honour to be able to compare them.” - Steve_C/Kes

Part-2

Part-3

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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miserablesme · 3 years

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The Les Miserables Changelog Part 2: 1985-1986 West End

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Today, we look at the differences between the later of the two available Barbican preview audios (more on that in Part 1) and the West End variant of the musical as it existed in 1986. Only one rather poor quality audio is available of the show's pre-Broadway, post-Barbican form (though a friend of a friend has multiple masters from the era that she apparently keeps meaning to digitize). It is known to come from 1986, but the exact date remains a mystery. As such we cannot know when exactly most of the changes might have been made.

Reportedly (according to The Complete Book of Les Miserables) the majority of these refinements were made between the closing of the Barbican show and the opening of the West End one. However, some further refinements were doubtless made during the Barbican previews, and some likely were made between the opening of the West End production and whenever the audio was recorded. With all that cleared up, let's get started!

As I mentioned in Part 1, the very early Barbican previews of the opening "Work Song" featured this chain of lyrics (no pun intended):

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

As has also been established, later previews removed one sequence of lines to create the following exchange:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

However, by 1986 another sequence was removed and the originally removed one was added back then. Thus, the still-current lyrics as of today are as follows:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

A much better choice of cuts in my opinion. The point of the opening scene is to present the prisoners sympathetically, as comparatively innocent victims of an overly brutal and elitist police system. Establishing a member of the chain gang as literally being a murderer doesn't really help send that message!

Everything stays the same until "Fantine's Arrest". The Barbican previews feature this sequence:

(FANTINE)

There's a child who sorely needs me

Please monsieur, she's but that high

Holy God! Is there no mercy?

If I go to jail she'll die

(TOWNSPEOPLE[?])

Take this harlot now this minute

Let there be a full report

Let her go back in the morning

Let her answer to the court

(FANTINE)

Gentle Jesus! Won't you save me?

Are there tears enough to cry?

(JAVERT)

It's the same pathetic story

Please monsieur, my child will die!

I have heard such protestations...

By the 1986 recording, everything between "Take this harlot" and "Please monsieur, my child will die!" has been totally removed. I have a bit of a soft spot for that sequence, though I can't earnestly say the musical lost anything by removing it. Indeed Javert comes across as unbelievably heartless there!

As Part 1 pointed out, the earlier Barbican preview had Valjean shout "You know where to find me!" at the end of "Who Am I?", while the later preview did not. The 1986 recording interestingly reinserts that line, but now Valjean speaks it much more casually, without the slightly cheesy passion of the first recording. This makes me wonder whether or not it was initially removed because it was hard to take seriously, and a calmer rendition was reinstated as a compromise? Who knows.

A subtle change occurs at the beginning of the "Confrontation" sequence. During the Barbican previews, the number opens with a few notes being played and then repeated. However, by the 1986 recording the notes do not repeat. It goes straight into Javert's announcement (which Roger Allam has now learned to sing on time!) after the notes play the first time. The sequence would stay this way for quite awhile before being further shortened - more on that in a later edition!

We now go to the subsequent number, Little Cosette's famous "Castle on a Cloud" song. The Barbican previews give her a few lines before the main number starts (sung in a similar tune to her remarks about Mme. Thenardier's arrival at the end of the song):

They’ll come back any minute

And I’m nowhere near finished

Sweeping and scrubbing and polishing the floor

It’s the same every day, oh please!

Don’t let Madame hit me again

I should be used to it, but then

I know a place where nobody has to work too hard

And where I won’t be lonely again

These lines, taken closely from the original French concept album, don't really add much to the number plot-wise that won't be stated later except for more explicit confirmation that Mme. Thenardier is abusive. Perhaps partly for this reason, by the 1986 recording these lines are removed, and after the opening instrumentals it goes straight into the number we all know.

As I previously mentioned in Part 1, the later recording I have of the Barbican previews cut out the following lines during the preamble to Master of the House. I originally mistakenly claimed that the cuts occured after Thenardier's verse, but in actuality that verse too is removed.

(THENARDIER)

My band of soaks, my den of disollutes

My dirty jokes, my always pissed as newts

My sons of whores spend their lives in my inn

Homing pigeons homing in

They fly through my doors

And their money's good as yours

(CUSTOMERS)

Ain’t got a clue what he put into his stew

Must’ve scraped it off the street

Hell, what a wine

Châteauneuf de Turpentine

Must’ve pressed it with his feet

Landlord over here

Where’s the bloody man

One more for the road

One more slug of gin

Just one more or my old man is gonna do me in

By the 1986 recording, they are back in all their glory. Indeed, as you can read in Part 1 of this series Trevor Nunn himself has confirmed that the crew decided the number didn't work as well without the full preamble (an exception being, shockingly enough, Cameron Mackintosh).

During the Barbican previews, "Master of the House" was followed by a beautiful Well Scene between Valjean and Little Cosette:

(LITTLE COSETTE)

There is a castle on a cloud

I like to go there in my sleep

Aren’t any floors for me to sweep

(A FEW SECONDS OF INSTRUMENTALS)

(VALJEAN)

Don’t be afraid of me, my dear

Tell me your name and have no fear

How cold it grows when the sun has set

(LITTLE COSETTE)

I’m not afraid

Monsieur, my name’s Cosette

(VALJEAN)

Nor will you be afraid again

I come to take you from this place

There is a better world, you’ll see

(LITTLE COSETTE)

Give me your hand, and walk with me.

This leads into the humming duet between Valjean and Cosette. However, in what I consider the biggest mistake of this era's adjustments, the Well Scene was totally excised from the West End version and "Master of the House" is following directly by the humming duet. Trevor Nunn remarked a degree of regret about this in 1990's The Complete Book of Les Miserables. I don't have the book on hand right now, but I'll put down the exact quote later.

Of course, the Well Scene would later return in a much different form, but let's not get ahead of ourselves.

Perhaps to compensate for the deleted scene, another scene is added after the "Waltz of Treachery" number. During the Barbican previews, Valjean's "It won't take you too long to forget" is followed by a lot of vamping and eventually a reprise of Valjean and Cosette's humming duet. The West End production slightly reduces the vamping from about one minute to about forty-five seconds, and adds a scene (sung in the tune of "Castle on a Cloud", specifically the "there is a lady all in white" part at first and the main chorus for "Nor will you be afraid again" onwards):

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The normal humming duet follows. This is a fascinating scene which seems to be exclusive to the brief era after the Barbican previews but before Broadway. It's interesting how it incorporates elements both of the opening Well Scene and of the more well-known later closing scene to the "Waltz of Treachery". It's also intriguing how it incorporates elements not really touched upon this directly in any other version of the musical, specifically just how mysterious and secretive Valjean is to the world in general as well as the fact that Cosette, in fact, is not truly Cosette's given name.

Everything seems to be the same from this point until "The Attack on Rue Plumet". In the Barbican previews, this is how the opening goes:

(EPONINE)

'Parnasse, what are you doing

So far out of our patch?

(MONTPARNASSE)

This house, we're gonna do it!

Rich man, plenty of scratch

You remember he's the bloke wot got away the other day

Got a number on his chest, perhaps a fortune put away

Took off like a guilty man, why would he want to disappear?

Now we're gonna do him right, this time no one will interfere

Everything from "Took off like a guilty man" onwards is removed from the West End version. Later in the number, we hear approximately the following exchange in the Barbican show. Fans have debated what exactly some of the lyrics are, but this is how I hear them:

(CLAQUESOUS)

What a palaver, what an absolute treat

To watch a cat and his father pick a bone in the street

(THENARDIER)

Not a sound out of you

(EPONINE)

What do you care if things scare me

(THENARDIER)

Listen 'Ponine, there might be jewels inside

There could be something for all

There could be bruises enough

You will have your share

(EPONINE)

Well I told you I'd do it, I told you I'd do it

The West End production reduces the vamping prior to this scene. Additionally, everything between "What do you care" and "You will have your share" is removed, meaning the "I told you I'd do it" is a direct remark to "Not a sound out of you". This is a much more linear and succinct way of moving the plot in my humble opinion!

That's it for act one! Act two begins largely the same, up until the scene where Gavroche reveals Javert to be a traitor. First off, Javert's original claim that they will "play their games" is changed to "spoil their games".

Next is probably this version's biggest change in the entire musical up to this point. Originally Gavroche sung approximately the following lines (once again, the recordings aren't as clear as would be desirable) in a unique tune heard nowhere else in the musical:

Good evening, dear inspector, lovely evening my dear!

A charlie for a copper who pays a call

I know who you’re supposed to be, Inspector Javert

Who never showed no mercy to no one at all

So don’t believe a word, none of it will wash

This time you’re reckoned without Gavroche!

The West End version scrapped this sequence and replaced it with "Little People" (which originally appeared in a much longer form later in the musical). This is how it went:

Good evening dear inspector, lovely evening my dear

I know this man, my friends, his name's Inspector Javert

So don't believe a word he says 'cause none of it's true

It only goes to show what little people can do

And little people know, when little people fight

We may look easy picking but we've got some bite

So never kick a dog because he's just a pup

You'd better run for cover when the pup grows up!

This edited placement of "Little People" is often attributed to the original Broadway production, but in fact it made its debut in the West End show. I'm not sure when exactly this was, given that the original cast album uses the long version. However, by the 1986 recording this is how it goes. It should be noted that it's not quite in its Broadway form, however; most notably, "We'll fight like twenty armies and we won't give up!" is not present.

A minor difference occurs during the First Attack sequence. In the Barbican production, this is how the students respond to their victory:

(GRANTAIRE)

By God, we've won the day

(LESGLES)

See how they run away

The West End production swaps the two students' lines, allowing Grantaire's slightly incredulous spirit to have a more poignant and/or amusing effect depending on your perspective.

Consequently given the new placement of the song, the show obviously had to be edited to remove the original "Little People" number. Originally, this is the way the show transitioned between the First Attack and "Little People":

(ENJOLRAS)

Courfeyrac, you take the watch

They won't attack until it's light

Everybody stay awake

We must be ready for the fight

For the final fight

Let no one sleep tonight

(GRANTAIRE)

Only little boys may sleep

For little people need their rest

Little tucks are quickly drained

And little grapes are quickly pressed

Come on little mite

It's time to say goodnight

Cue the original "Little People" number in all of its long, silly glory (in case you somehow don't know it, here are the lyrics). The West End production (and everything afterwards) cuts Grantaire's verse, so that the scene transitions straight from Enjolras' announcement to "Drink with Me". As much as I love the full-length "Little People" number (and I really do love it), I admit removing it was definitely the right choice. It's just so sweet and optimistic, it feels out of place in a musical as tragic and cynical as Les Miserables. It doesn't help that its placement is between a high-stakes action scene and a somber, slightly drunk reflection on the nature of friendships, sex, and romance. It's a wonderful song but a terrible Les Mis song. I do love it, though, and I also love how Grantaire manages to make his pre-song metaphors alcohol-related.

In the sewers, the Barbican recordings feature a unique tune not heard anywhere elsewhere in the musical (it can be heard here) before transitioning to the final Valjean-Javert confrontation. Apparently, this music was accompanied by a short chase scene. However, by the time of the 1986 recording there is instead what is essentially one repeated note which then transitions into an instrumental version of "Look Down". This is followed by the same Valjean-Javert confrontation as before.

And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les mierables #les mis #les miz #barbican #west end #changelog #history #1985 #1986 #comparison #the les miserables changelog #changes #theatre #musical #part 2

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fitzefitcher · 3 years

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birthday rituals - horde side

so probably the people that actually kick this off are goblins. goblins to me read as Very Aggressively American, and so actually Believe in Birthdays and Birthday Presents and Cake etc., but I'm going to go ahead and tack on my family's own Birthday Rituals, in that there isn't just One birthday dinner per birthday. first there's birthday dinner on your birthday-day, with everyone currently in the house. THEN there's a second birthday dinner, with everyone in your immediate family. THEN there's a THIRD birthday dinner, for you and everyone you share your birthday month with, with everyone in your immediate family and also friends and also extended family also people that didn't manage to get in the first two times. Sometimes there are fourth and fifth birthday dinners, depending on who can show up. presents will happen either on your birthday day, or on the third birthday dinner for everybody in that month. presents are not guaranteed every dinner, but cake and ice cream are, and so is the song. The Song Is Mandatory Each Time There Is Cake, This Is Not Up For Discussion. also the week of your birthday you don't have to do any of the household chores just by exclaiming IT'S MY BIRTHDAY, or I'M BIRTHDAY, because it's your birthday. you are birthday.

orcs prior to thrall's horde probably didn't do birthdays per se? at least not the specific day. iirc they don't typically name their newborns until a specific nameday, which leads me to believe that this tradition maybe started out of waiting to make sure said newborn survived before naming them, which in a hostile world like draenor makes sense. so: orcs probably having 1 naming day per season, and you probably get to celebrate your naming day with everyone else who lived to see that season. there's probably some clan-specific rituals, maybe the shadowmoon are better about keeping track of your actual birth date for astrology reasons, but in general, pre-horde and old horde tradition doesn't seem like it would have time for something that's arguably pretty frivolous. but in thrall's horde, with warchief "raised by humans who celebrate birthdays" thrall, new gen orcs probably do something for birthdays, both because of cultural influence from humans and goblins, and bc they have stability to be frivolous. maybe there's not cake, but there's definitely a favorite meal.

trolls DEFINITELY keep track of birthdays but for absolutely insane astrology reasons. the zandalari's rigid caste system leads me to believe that upper-class nobles have their lives planned from the fucking START, so birthdays are EXTREMELY important in plotting out the entire course of your life based on if draenor is in retrograde or some shit. I think it would be neat if trolls had quinceaneras, given the mesoamerican influence. presents are probably more practical among the not-so-wealthy, and extremely ostentatious and politically driven for the very wealthy. depending on your star sign, you probably give thanks to whatever pantheon god you were born under. bwonsamdi is the equivalent of scorpio no I will not apologize or budge on this.

tauren are very similar to orcs in this way? mostly because the tauren's lifestyle prior to thrall's horde is very very similar to the orcs' lifestyle pre-horde, in general. given their proximity to nelves and their reverence for the sun and moon, they probably keep track of birthdays using what moon phase and season it is. it seems like camping and campfire culture is relatively important to them, so a birthday ritual might be less presents and cake and more telling stories around the fire about you, and your accomplishments and friends and family, and maybe telling some stories about folk heroes or the deeds of ancestors long past. but then: Horde Were Declared, and again similar to the orcs, birthday ritual probably now includes a favorite meal, and maybe a little more frivolousness.

forsaken are. having a weird time at all times always and forever, but I think a couple of them would hold onto birthdays, or at least feel Some Kinda Way about it. again, it probably doesn't become prevalent again until they join up with the horde, and maybe it's a little easier to celebrate someone else's birthday bc they're still alive, and maybe it's fun to see baffled rage on the faces of their new allies when it comes time to do Cake and Candles and The Birthday Song. probably when goblins join the horde formally is when the forsaken go Full Birthday Madness, much to the confused fear of the rest of the horde.

belves probably have a watered down version of nelf astrology, which in turn is a watered down version of troll astrology, though tbh they're so long-lived I'm not sure if they would care to keep track of actual birthday dates. probably what would happen is that they would reach a certain age number, and then sort of. just stop keeping track lmao? because they're effectively alive long enough that it doesn't matter that much. but, given their rapidly shortening lifespans in comparison to nelves, well. they probably are getting back into the habit of keeping track of them. probably again in the same vein as trolls, where the less wealthy give practical presents, and the very wealthy give ostentatious presents. probably after joining the horde and being subjected to the forsaken and goblins' collective Birthday Madness also corrupts them into joining the madness, also.

pandaren birthdays are relatively straight-forward, in that there's maybe some presents, but it's more about having a lot of good food and a lot of good booze. they probably have some coming-of-age milestone birthdays in which you get a specific present for hitting a specific age, but pandaren culture strikes me as very intimacy-forward, so gifts wouldn't be expsensive so much as thoughtful and of good quality, with the specific person in mind. maybe they prefer something crafted by hand by the person giving them the present, rather than store-bought.

the nightborne like. don't Get keeping the exact birth date at first? they're probably in the same boat as tauren in that they keep track of season and moon phase moreso than the actual date, and probably just kind of Forget how long they've been alive after a while lmao. but the nightborne at their heart Do in fact, like to Party, and the Birthday Madness is Inescapable, so: they, too, join in on the birthday madness.

#gentle horde content #warcraft

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felassan · 3 years

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Gamers For Groceries 2 event

A Twitch stream event from a few days ago. It can currently be re-watched here (it was fun & interesting, so I do recommend to check it out direct). This post contains some notes on things of particular interest & relevant timestamps, in case this is useful to anyone (for example bc of accessibility reasons).

First up is the All About Animating panel, a series of mini-interviews with game devs (animators) asking what they do, how they got there, and advice for anyone interested in getting into the industry. Some or all of the devs that were interviewed are currently working on DA4. They talked a bit about their day-to-day work and a lot about the craft of game dev animation in general. This segment runs from timestamp ~38 mins 40 secs to 1:07:50. Some notes:

[sounded like DA4] Right now the creature team are working on different creatures in a way which involves going through a lot of mocap data

At BioWare they have a pretty big technical animation team, to support their animators, so each tech animator has a different specialty. Tech anim involves animation support, character art support, and rigging the characters so that the animators can pose them

[not sure if re: DA4 work specifically, another project or a general comment on the craft] One of the featured animators’ area of specialty at the moment is faces and hair (building the control structure for face animations). First they had to decide how the face rig and its control structure would work. This involves a lot of performance capture of live actors for things like cinematics and gameplay animation, therefore the rigs for bodies and faces have to be able to accurately capture the full range of expressions and emotions that the actor is portraying. Right now the stage that this dev is working on most is setting up the heads that they’re getting through the pipeline from character art e.g. making adjustments based on feedback from the cinematics team. “Polish - just trying to get realism”

Hair tech has come quite a long way in the last few years [in the industry]

[not sure if re: DA4 work specifically, another project or a general comment on the craft] Hair is very complex to get right. “In the past most games have used card-based hair, which is basically like sheets of polygons with a texture on it that looks like hair, through layers of transparency. But real hair is strand-based, digital strands, so we’re starting to look into that kind of tech - try to get more realistic, more beautiful hair, but there’s always a performance cost to hair. Layers of transparent things are always an expense, they need to balance like, it looks good and moves well, but it doesn’t make your computer or console chug. [...] I guess we’re in the prototype stage but we’ve almost got a set pipeline. It’s always fun to experiment”

In Mass Effect 2 or 3, Miranda’s hair was as expensive as a whole character (!)

[on balancing hair costs/performance, general] It depends on things like character importance and how many characters are on-screen at the time. When you’re in gameplay fighting a bunch of monsters you’re not going to be giving full beautiful hair to all the characters and the monsters, as it will cost too much. (Having a helmet on is a convenient way to get rid of hair.) But if it’s a cinematic scene, with 2 characters talking to each other in a dramatic context, there’s a better budget for nice hair allocated

Some of the hair in Anthem was quite expensive in cinematics. They kept getting bugs from QA saying (for example) that a character’s hair was tripling the performance cost in the scene, so it would go back to character art so they could take away some of the hair cards. “Tough balance, quality versus cost”

“I wish all the characters could have beautiful strand hair”

For p-cap, a lot of the time they don’t want to be too prescriptive in terms of the direction that they’re giving the actors, as the actors know what they’re doing and have a lot of experience, so they give them vague instructions that they then riff off of

[sounded like DA4] They recently did a mocap shoot

[sounded like DA4] There’s a bit more productivity happening now in the pandemic situation; now that the animators are not all going to the capture lab in Vancouver in person for shoots, if it’s not their turn to direct a shot they can instead be working on something else on their computers (multi-tasking). ((Lead DA4 Producer Scylla Costa recently gave a talk at a games festival on the challenges of DA production during the pandemic. In part of this talk he talked about various benefits and drawbacks to the remote-working situation. He also talked about and showed some behind-the-scenes stuff for p-cap and mocap. Notes, images and link here))

[sounded like DA4] Special mocap suits were sent out that they can use with a laptop to go anywhere and shoot motion capture. It’s not as high fidelity as what comes out of the capture lab, but it’s really good for prototyping stuff. Before the pandemic they did some of this (going to a park and shooting some running around)

[sounded like DA4] In one of the shoots they had some actors who were really well-trained in dancing. They were trying to get them to do some combat stuff. This was a bit challenging in the pandemic situation as there’s only so much they can demonstrate/portray as an example to the actors from a distance on camera. “It’s hard to describe what a ‘dodge to attack’ is through the camera to somebody who has no idea what combat looks like in video games”

[not sure if re: DA4 work specifically, another project or a general comment on the craft] The pandemic has really affected performance capture for the face side of things badly, as in order to record, the actor gets dots painted on their face in specific locations by a makeup artist. They can’t do that right now because of social distancing/restrictions, so they haven’t been recording faces at the moment

The more detailed a face, the more joints it has, the more the cost to performance is

---

There was also the Writers’ Block panel, featuring DA writers Mary Kirby, Sheryl Chee and Patrick Weekes, and DA editor Karin Weekes. The timestamps for this segment are ~2:37:50 - 3:26:20. Some notes:

PW has never been weirder than when they were writing Cole on DAI

PW thinks that they accidentally wrote part of “Timber” by Kesha into Solas at one point and they were like “Well, okay, I have to stop listening to Kesha”

For Sheryl, after a while Blackwall’s VA always nailed doing his lines. She loved the quality of his voice and so after a while would always hear his voice while she was writing. This really worked out

^ Mary had this with Merrill. As soon as they cast Eve Myles she listened to several hours of her in Torchwood, and then just wrote to the way that she spoke as much as possible

^ PW had this with GDL as Solas and FPJ as Bull. As soon as they heard FPJ’s delivery, they were like “Oh, okay, I have to write some lines differently, because Bull is smarter than I realized”. With GDL they were like “Okay, he’s going to put poetry into anything I say, in the best way possible”. In early drafts of Solas lines there were parts where they [PW] wondered “Is this too melodramatic? Is this too tragically-angstful?” and then they would hear GDL and be like “Oh! [It’s fine] Game on!”

For localization, German words are often quite long so they often have to make sure that everything fits on the GUI

They think scenes like the romance scenes sound prettier in the Italian versions

Behind the curtain in creating the in-world languages: PW: “There are some awesome websites that have every elven word, like ‘Here are the translations and verb tenses and conjugations’ [etc], [...] and usually Mary and I get very sad slightly looking at those pages going like ‘Does that mean that we have to stick to that?’ [...] The rule is, if I’ve looked at the Wiki and the words, and I go ‘Here’s the correct grammatical way to do it’, and if that turns out to be too long or too many disconnected syllables and it just looks bad or sounds bad, then we shorten it to something simpler, because the key is we want to give the flavor of a foreign language, but we don’t have the world-building budget and capacity to make something that is going to be dictionary-real [in a way that] someone could go through and translate all the background things written on the old temple walls”. Part of the reason for this is the consideration for VAs, who already have to act while bearing lots of things in mind, like the cues in the script for each line

Mary: “For building a language, the first things that I started with for qunlat, elven and dwarven, was what words do we need to use the most? Greetings, farewells, words for friend and enemy, basic things that will come up easily in conversation. After that it’s ‘How difficult is this for other writers to use?’ Can they just pick it off the Wiki? Do they need just one word? Do they need to write whole sentences, and how does that work? Qunlat has almost no grammar to it because asking anyone to learn how to use Qunari grammar and conjugate verbs in a pretend language is impossible, and then once you’ve done that a human being has to be able to read it, while not knowing what any of it means”

PW: “One thing that I was really impressed with with Mary in particular doing, Mary was one of the big lore people across the entire DA series; I can look at a word and go like, ‘That has two A’s in a row, that’s definitely a Qunari word. That word is kind of long and maybe has some apostrophes and has a couple of flowy vowel sounds, that’s probably elven’, I think that’s what’s important. You want players to be able to look at a word, players want to feel smart, [like] ‘Oh I don’t know what that means but I totally know that’s a word from the Qunari people!’”. Mary: “Every language has its own set of phonemes, the sounds that they make, and the sort of word structure and spelling so that it gives a flavor to that language. Hopefully that is always chosen to be pronounceable, because again, very important that the words can be said by human beings :D”

Sheryl: “One of the fun things to do is to make up swear words in the fake languages [...] Recently Brianne wanted a word, I don’t know if she managed to find one”

The origin of bosh’tet in ME: it’s just saying “bastard” and slurring it

PW: “I feel like there are times when past writers kind of leave traps for future writers, where past writers will go ‘Okay, I’m going to write this detailed phrase in a codex entry but don’t worry, it doesn’t matter if it can never be said aloud, because it’ll never have to be voiced!’ and then, next game, guess what guys! Look what you have to make someone [a VA] say! And you’re like [facepalm], c’mon!”

Karin: “Now, four games in, we have pages and pages of all these examples, and I wanna say this, well that’s how we said something before, well that’s ridiculous, I don’t wanna say that, but now we’ve said it and it’s out there, so it’s like, how do we, y’know, how do we evolve, and sometimes we just go ‘Screw it! Languages are living languages! We’ll just say it like this now!’”

PW's favorite is the sarcastic Mythal’enaste, “Because it’s the sarcastic Mythal's blessing that basically means you’re getting screwed over somehow. I love it because Mythal nasty! Whoever wrote that clearly never thought that someone would have to say this out loud”

Sheryl wrote Bull’s joke icicles line. She also wrote Isabela’s big boats line - Jennifer took it out but then DG was like “No it has to come back”

They have a pun test, they get a few of them and have to allot them wisely so as not to oversaturate on the puns. “Is this good/bad enough to be one of the times that we pull the trigger? We did have one of those recently, I obviously can’t talk about it, but it was pronounced Okay to go ahead”

The ‘baby-est’ writer is Brianne, who’s been there 8 years

It makes PW sad that the players never get to see the writers’ temp-text [placeholder text when portions are a WIP]. “People have the best temp-text". Mary: “The number of conversations that I’ve temped in like ‘WELL. I hope nothing BAD happens HERE’”

Q. If you could bring in anybody from outside of gamedev, who would you like to work with and do a writer’s session with? PW: “I will say romance novelist Nora Roberts, she is really smart and also she knows how to write inside a genre, and do wonders within it. Her structure is so good. If you pick up one of her books, you know here’s when this is gonna happen, here’s when they’re gonna meet, here’s when this first moment will happen. We’re all experienced and I feel pretty good about that but I really like all of the things she does that way, and also I am a sucker for romance so I would love to bring a romance novelist in and just have them look at our scenes and go ‘Okay here, no, they should pull the tie so that the article of clothing comes open, we need a sense of how warm the skin is here’ - something like that. I’d wanna see what they could do with that”

“Luke writes the best worst lines”

“I’m always impressed with Mary getting away with lines. There are lines that I look at like, wow, you buried that one. [...] The only players who get that line, I feel like they earned it if they went that far into it. [...] And then Varric or Merrill says a ridiculous line in a one-time throwaway”

Karin: “The group dynamic, you’ll see conversations or snippets of a lunch chat or a thing we’ve been joking about and you’ll see it get pulled in, and how all of you [the writers] are able to take a normal kind of thing - as normal as we get as a group anyway - and then turn it into a moment, and use it to further the plot or use it to further a character. It’s just the cleverest thing and it happens in so many different ways. [...] The little snippet of life, then how you crafted it into this very cool thing”

Quartermaster Threnn was written by PW in half a day. “When I was writing Threnn, ‘Okay, this is a good-hearted [person], I was doing a little bit of Steel Magnolias, southern, no-nonsense, but like, blue collar Steel Magnolias’. This is someone accustomed to the ways of the world so she’s going to call a spade a spade. If you come up to her and you’re an elf she doesn’t recognize you and says ‘Buckets are over there’ because she thinks you’re there to clean, [but] ‘Anyone calls you a knife-ear you come to me I’ll take care of it’. It’s problematic but she’s trying - the good-hearted person rooted for the wrong group on every occasion. She was a proud Loghain supporter, she gets really exited if he comes to Skyhold. That was a fun character for me to write because I had a viewpoint in my mind. I remember someone was like ‘Threnn is really important to me’. And you have to honor that, cause you’re like ‘Cool, it means so much to me that this connected with some part of you’”

---

Also of interest was the Mass Affection panel, in which BioWare devs looked back in over a decade of history to remaster a classic. It featured devs who worked on MELE. The timestamps for this segment are ~3:36:09 - 4:24:37. Some notes:

When the pandemic hit the MELE team were in a relatively awkward spot. They were really entering into what they consider full production and were on-boarding a bunch of teams, as well as training and on-boarding third-party external partner specialized teams worldwide. When the pandemic hit, BioWare and EA were super on top of it. They were tracking it weeks beforehand, getting everyone their computers ready, and getting everything encrypted. When the middle of March 2020 hit they were home rightaway. EA were nothing but supportive throughout the entire thing. They got money every quarter for stuff. It functionally ‘hit’ at 4-6 different times for them as the pandemic occurred in different places throughout the world at different times depending on each country’s response plan (and their external partners were in different countries). “So it was one of those things where it was just like, every day we’d come in like can we still work with this company anymore? Do we need to find someone else? Do we need to pull people in off the other projects at BioWare to fill gaps here and there?”

There was a bug on Virmire at the part when you’re coming into the STG camp. If the Mako had its new boosters on and you came hurtling in really fast, it cut to the cutscene, but the Mako hit a jump and when Ash was like “What do we do now?” the Mako ended up literally flying around in the background sideways and then crashing into the camp

Another bug: when they were re-tuning the guns, the physics force on some of the guns with Hammerhead rounds was so high that when you were fighting some of the Thorian Creepers, you could ragdoll them so hard that you could basically embed them in the roof. They’d be moving so fast that they’d penetrate all the walls with their legs dangling out. It was so easy to do and you could do it to everybody. You could launch a geth halfway across an Uncharted World

Another bug: with Shepard’s casual appearance in ME3, if you didn’t have it set up perfectly correctly it would default to Grunt for some reason. You’d be walking around as Grunt, going on dates as Grunt, and your face would be all scrunched up because it was all mapped to human bones still, so it was just, like, Nightmare Fuel of Grunt

Another bug: in ME2 on Illium when trying to recruit Samara, the Asari enemies just would not stop screaming - regardless of whether they were hit or not, it was endless screaming. Later one of the devs got an audio file of the scream, endless and looped, and now one of the devs has it on their phone and uses it for their morning alarm tone

“Shepard would come up to characters and they’d just be screaming”

---

There was also the Programming Variables panel, talking about what hurdles game programmers face. Some [or all?] of the devs that were part of this panel are currently working on DA4. They talked a bit about their day-to-day work and about the craft of game dev programming in general. The timestamps for this segment are ~ 4:24:46 - 5:06:02.

[source]

[insights/notes from Gamers For Groceries 1]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

#dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #long post #longpost #in case this is of interest to anyone #mass effect #anthem #covid mention #cole #spirit boy #solas #lul

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senotsuri · 3 years

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Way back when, I posted an image of an OC, who fairly recently got a full name (she only had a surname back then.) So, with Eliza’s name finally figured out, I realised I hadn’t actually given my overview of the game that spawned her; Champions of Vestroia.

Time to lose my mind, I guess.

Some fore-knowledge before we get into this.

I am, by all means, a legacy bakugan fan, not a reboot fan. I’ve only seen one double episode (the become-smaller-child episode, which was cute, and Outer Demons, which has a super good premise, but the execution is. something.) By all accounts, CoV is essentially my introduction to the world of the reboot, and I’ll come to this later.

I played both the first game (Bakugan Battle Brawlers, specifically the Wii edition), and the... third game (Defenders of the Core, shortened to DOTC, also for the Wii. The second game, for anyone curious, is Battle Trainer, a DS exclusive.) This will come up later, of course, but I want to point out these two as they’re basically my control group for the quality here (not for the battles though; different battle system and all.)

I am incredibly stay-at-home. A lot of people I know irl I don’t have contact with, and most of them don’t live in my city. This is only important when it comes to the protagonist and literally no one else in the game, but I thought I’d mention it anyway.

So the game begins with the character creator. This is pretty standard stuff, honestly. My one issue with it is just-- this is probably my fashion sense speaking, but the fashion in the game is very... for lack of a better term, naff. There aren’t many options that look good, personally speaking. This is ignoring the issues where the protagonist loses their name, mid conversation, or is referred to as if I chose the male option instead of the female option. These issues are likely just oversights, by all accounts, but talk about jarring.

The first time you see your character is where 3. comes in. The protagonist, no matter what you chose (I have two save files, in case there was a difference. There isn’t), will always be a football/soccer player. Are you one of many, many people who isn’t sporty, who is trying to play as themselves? Sorry, your character is sporty, and you can’t do anything about it.

In the legacy games, this was never really a problem; your character was never seen doing anything other than brawling and interacting with other characters. Whether they played sports, or stayed indoors and wrote fanfic, the game let you decide on that for your character, by not having them do either of those things: your character only battled, or snuck around in DOTC’s case.

Once you stop playing football, you get to run to your best friends, and I guarantee you, you won’t immediately guess who they are unless you somehow already knew.

I mentioned BBB and DOTC being my control group on quality. Bringing the character creator back into this, the NPCs are laughable in quality. Any character who has the same model as you (older child. There are only two other model types: adult, and younger child) will look like a remixed version of your character. Had it not been for some characters having special eye shapes, you could practically cosplay any character in the game, because they were made the same way you made your character.

This includes your two best friends.

You could easily make the same character (minus clothes) as one of your best friend characters, without knowing it until you saw them.

While, yes, BBB and DOTC had the characters from the legacy anime in them, the fact that your best friends are nigh indistinguishable from any other character in the area, because you could easily make any of them in the character creator, isn’t... great.

Speaking of that. Characterisation is questionable, to say the least. Whatever bakugan you have in your first slot will answer to you the same as any other bakugan you have in your first slot. If you started off with Howlkor in the front of your party, and you replaced him with, say, Barbetra, Barbetra will act the exact same as Howlkor did, and it’s really something.

There’s only (?) Armoured Alliance bakugan in the game, other than Dragonoid, Pegatrix, Trox, Hydorous, Nillious, and the afforementioned Howlkor. That’s a small roster, by all accounts, so having varied dialogue depending on the bakugan would make sense.

The characterisation of the other characters is also a little funky in places. Your best friends don’t brawl, and I honestly forgot about them for a portion of the game. The tournament brawlers are practically as faceless as the villain minions, and the villains- oh the villains...

Preston. I don’t like Preston, at all. He’s a villain from the moment you see him, and the whole “try to find Preston” section in Helena Heights makes me want to punch someone. When you fight him in the Parasol HQ, his dad being the CEO, it’s fairly clear that Preston is little more than a tool for him. Sometime later, you fight Preston again, this time as the final tournament’s final battle, and he’s laughably weak compared to the other challengers. Remember, this kid fights you with Leonidas.

You’d think Leo would be good, but I’ll get into the butchering that happened to my death dragon later.

Anyhow, he fights you, assuming his dad will enjoy him defeating you. With the power of you’re the player character, you beat him, he hands all of his bakugan to you, and gives up on brawling for good. Kinda.

The next time you see him... hoo boy. In Old Town, on the way to defeat dear detestable dad, you come across Preston. He offers you help, and when player character is understandably suspicious, Preston complains that... one of his toys was taken away because you beat him, and now he wants Revenge On Dad.

I wish I was joking. His revenge, by helping you defeat his dad, isn’t because he’s obviously neglected by his dad (company taking priority over him, the CEO’s son), and then is used as a minion to try and get rid of you. It’s not out of bitter feelings because his dad doesn’t care about him, no, it’s because his dad took his ball away.

What’s worse is how player character reacts: “Oh! :) You’ve learned that bakugan aren’t just tools! :) Yes you can help me, despite the fact that you learning this sounds less than genuine and definitely not last minute! :)”

This is a level of stupidity I’ve only seen in DOTC Mira when Spectra tricks her into giving him Drago. He’s literally sulking and moping about over his ball, and then he sees the player character, immediately being manipulative so that player character can take down his dad for him.

Leonidas also forgives him, and has the same reaction as the player character.

Speaking of Leonidas! I think everyone’s been excited for Leonidas in general - we all love a shark headed death dragon, and we wanted one in the reboot for ages.

I refuse to call reboot Leonidas Leonidas. This is like the Shun Kazami debacle, but one I’m substantially more angry about.

Leonidas, in BBB, was untrusting of everything, wanted to throw down with everything in sight, had no fear of anything because “I don’t fear weak [humans]”, and literally came from hell. He eventually grew to trust you and others, to calm down and enjoy himself at his own pace, and was willing to have help from others, showing anyone around him that his origins aren’t the be all and end all about him.

Leonidas, in CoV, is immediately trusting of the first human who showed a hint of kindness, has a weakness to all attacks in the game, comes from Vestroia (not the Doom Dimension), and forgives the human who threw him away when he didn’t win the battle against you for him.

Ignoring the fact that Leonidas just doesn’t look good in CoV, I’d say he got bastardised. That’s not Leonidas, it’s just a dragon with the same name.

The main villain is the CEO of Parasol, an energy company that, assumedly, used to use solar power. Upon finding out that bakugan battles give off incredible levels of power, they turned to using bakugan, forced to battle, to generate power. These guys literally dug into someone’s house to try and get Leonidas. They’re evil.

On the topic of the battling for power generation; this has a decay effect on Vestroia, as it happens, as battling energy would usually go back into Vestroia, which would be recycled and reused.

The CEO doesn’t bend the knee to you until you break him, which is undoubtedly nice for a villain; I was honestly expecting him to give up, but he doesn’t. You beat him into a corner.

But as my introduction to the world of BP, through CoV, is lackluster at best. Obviously the game is meant for those who have seen the reboot, and don’t mind being completely disconnected from the story, because CoV is self contained, and Dan only shows up to be the tutorial giver (as a jpg, no less).

From what the game tells me about the setting; bakugan are often exploited by adults, bakugan do not like adults because of this, but can’t tell when a human child is manipulating them, unless another child removes them from that situation (the lack of agency here is somehow worse than in the legacy series, who knew).

Despite bakugan being around for 18 years in the setting, no one seems to be aware that they’re living beings, other than the main charcter, as if BP humans are equivalent to Legacy’s Vestals. I was already aware of Vestroia and Earth sharing a location in space, but the fact that drilling deep enough causes bakugan to appear on Earth seems... really weird? Schrödinger’s Bakugan Summoning Pit, but they exist on every digging site possible. Bonus points to all bakugan being able to speak, and they do speak a lot, but only to the player and whoever is around the player in a cutscene.

I’m missing a lot of things, such as battle items being the worst sometimes, I’m aware, but at this point I’m tired of rambling, so let me end off in a comparison.

CoV has, in my opinion, the same replayability levels as Pokemon Shield; I couldn’t replay either game to the end, and I wouldn’t recommend either to anyone unless they were desperate for a new game to play, and had nothing else to chose.

#Bakugan #CoV #Bakugan Champions of vestroia #I had Feelings today #I give CoV a 4/10. personally #I think me being a legacy fan doesn't help it. but I don't think any of those biases actually held the game back?#Shoutout to the one kid in Oldtown who says something about the state of the economy. and makes the player character enter a mild panic #the kid is like. 6. the player character is maybe twice their age #The kid says it with a smug face too I wish I was making this up #I think his name is Rusty? I could be wrong #Bonus: I don't think Player Character has a house #There isn't a single house you can enter. not even one labelled as yours. all you have is your hideout. which has a clothes rack??#I'm almost convinced that's exactly where they live and that's it #Extra bonus to the ventus centipod you find when picking a flower. a flower that gets a guy to quit his job on the spot without a care.#sir. sir where is your sense of responsibility. sir--#Also it's like. half one in the morning--

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the-necessary-unnecessary · 3 years

Note

What website/software do you use to create your gifs? They're always such good quality.

hello! I’m so sorry for only getting round to answering this now, it’s been sitting in my inbox for months and since you sent it I’ve completely changed the platform I make my gifs on. I’m now using photoshop cc 2018 but the gifs you must have been referring to were made using completely different, free and accessible software/websites. There’s a lot of photoshop tutorials out there but less so for other options so I’ve decided to just go through my previous process in the hopes that someone will find it useful!

To be honest, the differences between my gifs BP (before photoshop) and AP (after photoshop) aren’t that huge as long as the video quality is good. It’s easier to add subtitles, to colour and to play around with the gif size/quality, but there’s no need to give your soul away to adobe to create good gifs there’s obviously always the possibility of downloading ps less legally which i of course would never in a million years do. So, to create gifs as I did BP you will need three different things:

a screen recorder (I use QuickTime Player which is preinstalled on a mac but there are many others out there, and then VLC player if I had already downloaded the video which didn’t happen often as I mostly gif matches so I’d just screen record parts of the match if I couldn’t download it)

a video editor (I used iMovie which again is preinstalled on macs but there are other options out there if you have a poke around - if necessary this step can also be skipped but it’s useful and will improve gif quality)

the lord and saviour ezgif.com (a free website at everyone’s fingertips which provides many of the features you can get with ps)

1A. Screen recording: have the part of the video you want to record on your screen, open up QuickTime Player, right click on the image of the app in your dock, then click on “new screen recording”. You can then click on the arrow pointing down to change your sound settings, I usually have mine like this

click on the circle with smaller red circle (play button) after which these instructions will appear across your screen: “click to record the full screen. Drag to record part of the screen. End recording by clicking the stop button in the bar menu”. So you can chose to record your full screen or just a part of it depending on whether you click or drag. If you drag you are then given the opportunity to adjust the area you want to record and then you press “start recording. Once you have finished recording the part you want to gif, click on the circle with a black square inside (stop button) in the menu bar at the top of your screen. Go to file > save and then save the video in whatever file and under whatever name you want. After this you will have finished step one!

1B. The alternative, if rather than screen recording a video you haven’t downloaded you want to record a certain part of an already downloaded video then you can use software such as VLC (you can also just upload the video directly to iMovie and crop it there but if it’s very long/you don’t want to go through the middle step then you may want to consider this as an option). Go to Finder for the video you’ve downloaded, right click on it then Open with > VLC. Find the part you wish to use for your gif, go to Playback > Record like so.

It will immediately start recording what’s playing, stopping when you click on Record again once the part you want to gif is over. Then step one method two is done!

2. iMovie: as ezgif isn’t the best for colouring, and anything that it does do is pretty slow and arduous, then I used iMovie to shorten, slow down and colour my videos before turning them into gifs. Here I go Create New > Movie > File > Import Media. I find the video(s) I want to use to make gifs, click import and then drag and drop them into the timeline.

Usually I try to make my gifs about 3 second long, so first thing I would do is change the speed from normal to about 70/80% (this is a completely individual choice though!) so these would be my current settings

Then I find the exact bits I want to gif and divide them into individual clips, as I said they’re usually 3 second long but it can vary. This is done by right clicking on the part of the video you want your gif to start and clicking on “Split Clip”, and again at the point you want your gif to end. Repeat for however many gifs you want. Simply delete the parts of the video(s) you don’t want to keep after this is done.

Now I attempt to add some colouring. First I go to “Colour Correction” which is in the same bar “Speed” is - it’s the little artist’s palette. I play around with the different toggles a little bit until I find something which I believe works. This honestly varies so much from gif to gif but usually I up the saturation just a lil bit, leave the temperature as it is and darken the video so that it ends up a bit like this but honestly it fluctuated a lot and it’s all about personal preference.

If I’m feeling funky I’ll also mess about with the “Colour Balance” which is under the first icon on the left which is a half white circle. I use the eye dropper to change the skin tone balance and sometimes the “White Balance” eye dropper which is a simplified version of ‘curves’ in photoshop.

Once you’re happy with how your video looks then save it by going to File > Share > File. Name it and, if possible save it in as high a quality as possible. My settings usually look something like this

click Next > Save and step two is finished!!

3. Actually making the gif using ezgif.com/video-to-gif. Go to “Choose Files” and select the video you want to gif, then click “Upload Video!”. Chose the time frame you want for your gif, the size (the x540 one which says for Tumblr is the one to use if you’re uploading them onto here), the frame rate (the more per second the better the quality but also the bigger the gif size). All of this is also very well explained by ezgif at the bottom of the page so I’d definitely recommend having a read through all that. Then click “Convert To GIF!”.

From here you can either ‘crop’ to make the gif a particular size or use other tools such as ‘effects’, ‘speed’ or ‘optimise’ if you didn’t use iMovie or want to make some further changes. I usually only use the ‘crop’ as iMovie won’t let you change the dimensions of the gif whilst here you can do that. However I mostly stay away from the other tools as I find them a bit clunky and annoying to use. Once you’re happy with the final product click “Save” and hey presto your gif has been downloaded and is ready to be used!!

I hope some/all of this helped and feel free to hmu with any questions you might have if anything isn't explained that well. It took me ages to write this because I'm never sure whether these explanations make sense outside of the realms of my brain :)))

#sleep who? i only know what making gif tutorials at ungodly hours is #genuinely hope this helps people!!#i developed this process bit by bit so thought id finally share :))#gif tutorials #tutorials #colouring tutorials #how to #og #ezgif tutorials #coloring tutorial

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pumpkins-s · 4 years

Photo

*toots world’s littlest horn* Hi hello it’s me.

So I promised chapter 25 of Not As Simple out today, for Undertale’s 5th anniversary....and truth be told, I worked my ass off trying to make that happen. I have...not had much sleep lately haha... But at the end of the day I had to accept my physical limitations, and recognize that even for this special day, it isn’t worth putting out a subpar, shortened, chapter lacking in quality.

So...I’ve reluctantly tabled that.

Instead, what I would like to offer you, is a glimpse at the next chapter--a rough version of its first two scenes (subject to revisions in the final chapter, obviously) sitting at 2.5k words--and my solemnest promise that, god willing, I will be releasing the chapter in full either this weekend or the next. Basically, as soon as I can without costing the writing quality.

So, without further ado, please enjoy this preview--

“Daddy, help me—”

The recorder stops. Rewinds. Plays again.

“Daddy, help me—”

And again.

“Daddy, help me—”

And again.

Sans sighs as he steps back into the lab room, making his was over to Gaster. With a deft maneuver, he wrestles the recorder out of his mentor’s hand, cutting off another plaintive, shrill “Help me.” He places the recorder on the far end of the table Gaster is sitting at, just out of his reach, and plops into the chair next to him. Gaster doesn’t reach for the recorder—no doubt understanding it’s a futile effort after the last time Sans had confiscated it and spent the next hour swatting Gaster’s hand away from it every time he reached for it—but his eyes follow it all the same. And stay there.

There’s something shell-shocked and empty about him, ever since he’d heard Remnant’s voice over the radio. Ever since he’d stumbled closer, demanding to know what the fuck he’d just heard, and played it back—then played it once more.

Then he’d sat down heavily, eyes wide, and had said quietly “…That was a child. Sans, that was a child,” like it was the most earth-shattering, devastating revelation he could picture. Sans hadn’t known what to say—hadn’t ever really stopped to think about it until then, because Remnant is Remnant, and Sans knows something about being both a child and not one—and Gaster had gone uncharacteristically, unimaginably quiet.

He still is. He wanders around as if he’s in a daze, startling whenever Sans touches him, and answering slowly, with long pauses, when spoken to.

And that recording—that last sentence, especially. It seems whenever Sans makes the mistake of leaving Gaster alone for more than a few minutes, he comes back to the other monster listening to it over, and over, and over.

Needless to say, he’s gotten used to prying the recorder out of Gaster’s hands in the days since their successful venture into void-studying, as he juggles sifting through the mountain of data the experiment had given them, and trying to cajole Gaster into helping him. It’s the only way they manage to get anything done.

“Gaster,” Sans says, patiently, and Gaster makes a vague, acknowledging Mhmm noise, eyes still on the recorder. Sans waves it vaguely—feeling rather like he does when he holds a treat in front of Toby, or a really engrossing volume of manga in front of Alphys—and feels mildly put out when Gaster’s eyes track the recorder, as expected. He bites back a sigh, and tries again, actively taking the recorder out of sight and putting it in his pocket. “Gaster.”

Gaster startles, and finally looks him in the eye. “Yes, Sans, what is it?”

“Well—” Gaster’s gaze slips lower, to the jacket pocket Sans is currently hiding the recorder in, and Sans groans. “Gaster!”

Gaster blinks. “What?”

Sans frowns, feeling the genuine concern creep in underneath the thin layer of annoyance at Gaster’s constant distraction. “What is up with you?” he says softly. “All you seem to do is listen to that recording.”

“I just—” A complicated look passes over Gaster’s face. “I just—” He makes a frustrated noise at his inability to put his feelings into words, and makes a complicated hand gesture Sans assumes is supposed to convey his meaning. “I just can’t get the thought out of my head. A child, trapped in that place. After everything I’ve heard you say about it—after everything I’ve seen it do to you…”

Gaster trails off again, expression filled with some kind of morbid, fascinated horror, and Sans feels a pang of sympathy. Much as he’s more used to Remnant’s… Remnant-ness than Gaster, and to the void, he won’t deny the recording was certainly disturbing—or that it hasn’t stolen sleep from him the last few days, plagued by shapeless nightmares and dreams filled with those screams.

It seems neither of them can get it out of their head. It’s just that Sans is, perhaps, a little bit better at compartmentalizing.

Or…perhaps it’s something else.

“…Is it a voice you recognize?” he asks slowly, turning over an old thought—a thing he’d wondered, about who Remnant might have been before, and about Gaster’s human, the smartest of them all.

“No,” Gaster says firmly, dismissing the idea without hesitation. Sans senses no lie. “No, it’s not a voice I recognize.”

Sans hesitates, confused. “Then…”

Gaster makes a face.

“It’s not a voice I recognize—and that’s why it scares me so much.”

xxx

Sans runs a series of commands into the computer in front of him, overlaying the various maps their tech had drawn up of the void, trying to form a concrete, comprehensive image.

The computer hesitantly, choppily, acquiesces to his request—and forms a few samples based off their compiled maps. Sans stares at it, and then squints really hard. He squints some more—and then a little more, just to be safe.

“…Huh,” he says slowly.

It’d taken them a difficult, well-overworked couple of weeks to slog through sorting the mountain of data their little void-studying quest had given them, and things were finally starting to fall into a manageable enough line to take a proper look at and study. Except…Except—

“That can’t be right,” Sans says, and Gaster perks up from across the room, practically shoving himself back from the table he was working at, and sending himself, in his desk chair, rocketing over to Sans.

“What? What is it?” he asks excitedly, and Sans points a confused finger at his computer screen. Gaster also pauses, and then also squints. He takes his glasses off, polishes them thoroughly, replaces them, and then squints again.

“I don’t…What?” Gaster says eloquently.

Sans blinks. “We’re—we’re looking at the same thing, right? You’re seeing what I’m seeing?”

“If you are referring to the completely…illogical map of the void your computer has drawn up—then yes, my boy, we are.”

“Something must have gone wrong here,” Sans mutters, and types quickly, calling up the individual scans of the void. Dozens of images flood the screen, and Sans tries to look at each of them and figure out what has caused the error. Eyeballing this is a little difficult given they’d used so many different mapping tools and scanners—and when some were designed to study greater ranges than others—but when looking at all the maps together on one screen, for the first time, Sans notices something he’d not stopped to think about before.

“It’s not just incorrectly measured averages of the scans or something,” he continues slowly. “Look at the individuals. There’s—they’re all familiar pieces, they’re places we know.”

“It’s the Underground,” Gaster says, shaking his head. “That—that can’t be right. We took a scan of the Underground? How’d I fuck up that badly—how’d you not catch it? That’s what you’re best at. ”

“Hey,” Sans says, with no real heat in the word, but then frowns. Too distracted with his shifting thoughts, the images on the screen, to argue with Gaster. “Hold on. Just let me…” He runs a few more commands into the computer, pulls up his composites again. “Maybe we’re looking at this wrong.”

“How so?”

“Remnant told me the Void was the place between places.”

“Yes,” Gaster murmurs. “The connection between the Underground and the Barrier.”

Sans shakes his head. “No, no. That’s the problem. We’ve been thinking about it too literally.” He taps the screen. “This is the void.”

“Sans,” Gaster says patiently. “That’s the Underground.”

“No,” Sans says. “It’s the void.”

Gaster raises an eyebrow.

“We’ve been treating the void as this separate, physical other. Like a house—we’re in one room, and there’s another room between us and the door. That’s the void, right? Except that’s all wrong, Gaster the room is right here—under our feet, between our fingers, in our breath.”

The eyebrow climbs higher.

“Think of it like…a mirror,” Sans says, “When you look in a mirror, you see the room behind you, you see yourself—it’s the same, except it also isn’t, right?”

“Okay but…it is, that’s how mirrors works,” Gaster says patiently, and Sans groans, burying his face in his hands.

“Okay, but what if it wasn’t? What if there were things you could only see in the mirror? You can’t see them directly, but—but they were there the whole time.” Sans gestures in a hopeless way, not sure how else to explain himself. It all feels so clear, suddenly—and at the same time he feels so, so stupid for not understanding it sooner. “This entire time, with Remnant flittering in and out, I was assuming they were coming from somewhere else. I thought of the void as a discreet place—but I was completely misunderstanding what they meant. It’s the place between places, an echo.” He waves his hand around the room, between the two of them, “It’s here, it’s always been here, we just can’t see it. We can’t hear it.”

Gaster’s eyes widen.

“Imagine if…” Sans says slowly, “Imagine if you were standing in a room. You can see everything going on around you, you can hear it. But you can’t touch it, you can’t change it—not physically, at least. Not the way we think about. Imagine…” Sans swallows, and suddenly his heart feels heavy. “Imagine if you stood there, and screamed and screamed…and no one could see you. No one could hear you. You’re standing in a crowded room making as much noise as you can, and you’re there, you know you’re there, but you don’t exist. As far as the rest of the world is concerned…you don’t exist.”

He’s not even sure if he’s explaining anything useful anymore—drifting further and further from the point—but now all he can think of is Remnant, and all the tears they have cried and all the different ways they have died. Dead in form, dead in soul. Dead to the world. But still there.

They were nothing, they’d said to him, just something with too much power and not enough common sense to die.

Sans shivers.

“Christ…” Gaster mutters, face ashen. “So you’re saying that…child, that child is wandering the Underground, alone, completely alone, and no one can see them, except in the moments they find their way to you.”

Sans winces, thinks of roots beneath the earth, beneath the skin, and switches images on his computer. “Alone…might be the wrong word.”

Gaster squints at the screen, and frowns. “Which one is this?”

“It’s the readings of the magic surges in the void. The hotspots, the movements of power. It was going to be a way to find more shortcut spots, like the one in the labs that goes to the Core. See, that’s there.” Sans taps a small, dark spot on the map. “You can see it. There’s some kind of…concentration there, presumably that’s what’s opened the rift.”

“God,” Gaster hisses in a breath. “Look at the labs.”

On the map, within the loose, spiraling storm of energy in the vague shape of the Underground, swirling and moving in its currents, sits the bright star, the eye. Right where they sit, where they sleep, along the tunnels and basements where they and their family spend their days.

“Remnant,” Sans says softly.

“They’re here?”

Sans sighs. “They always have been.”

Gaster moves closer the monitor, snatches the mouse out of Sans’s hand and zooms in. “Now I’m still not completely sure we haven’t both lost it, but—and tell me if I am crazy—doesn’t it look like there’s a second, separate hotspot, right next to it?”

Sans frowns, leaning in. “…They did say they have a friend.”

“…Please tell me it’s not another child.”

“Shit, I don’t know Gaster,” Sans snaps, annoyance getting the better of him. It’s Gaster and the recording of Remnant all over again. “Why are you so convinced Remnant is a kid, anyways?”

Sans has never been able to make sense of Remnant, shies away from any kind of label for them, who or what they might be—have been, will become. They’re static, an empty hole—tiny and grief-stricken and not quite all there at the best of times. There’s the teeter-totter innocence, little feet on his own, but there’s the darkness, too, the precise and intelligent way they hold themself, speak.

Child, it feels too small, too easy. He knows what it’s like to have a young body, and an older mind. He knows what it’s like to exist outside of time. And Remnant, he suspects, has done it much longer than he.

“I just know,” Gaster murmurs. “I can hear it.”

“Gaster.”

“No adult screams for their father like that, Sans.”

“Time doesn’t work for them like it does for us,” Sans reminds him as gently as he knows how, because he doesn’t know how else to admit you’re right, but—but—but—“They’ve pretty much said as much. The void may echo the Underground, but how times moves for them…I’m not sure, I’m not sure it’s the same. And when they…tap in, when they parse that barrier and I can see them, it’s not…linear. They’re finding me from a different time, a different place. How can we be confident we’re not doing the same? What we heard could be years old, Gaster.”

It could be the future, he doesn’t say.

Gaster grumbles, but doesn’t argue any further.

“Anyways,” Sans says. “Remnant’s uh…friend? Not what I was talking about.” Slowly, he zooms out, and points upwards with a careful finger, and Gaster swears.

“I acknowledge it’s not very becoming of the Royal Scientist himself to keep asking his own assistant questions, but…Sans, if Remnant’s here, who is that?”

The second star beams bright, casting a wide, warping trail in its vortex. On the map, it stands in direct opposition to its twin—the one Sans is sure is Remnant, buried beneath the castle deep with all the rest of them and their ghosts—two centers of power staring out over the battlefield across the planes of the Underground.

The Royal Labs, and the Ruins.

Sans thinks of forces that have found him within the grip of the void, tangled him up in blood and vines. He thinks of roots, spreading deep, searching for a way out above the soil.

“Honestly,” he says. “I’d like to know that myself.”

#Not As Simple talk #fic previews #dun dun dun....1 hour before the anniversary is over lol

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emeraldskulblaka · 5 years

Note

I just fell in love with lotr and remember you posting about a musical a few times? So i was wondering if i should check it out, and if you have any recommendations on which version(s) would be best :)

Dear anon, since you're asking me - you definitely should check it out!

Thank you for reaching out!

The Lord of the Rings musical is such an underrated adaption - the amount of craftsmanship, dedication, skills, money, ... that went into it is simply out of this world. It's a feast for the eyes and ears, but the plot was reduced to the bare minimum, a few characters simply cut, but still, it felt horribly compressed into three hours/three acts (for the London production).

That is to say - you need to be familiar with the plot, the characters, and, to an extent, the fictional background and lore to fully grasp what is actually happening in the scenes and to understand why the characters (re)act a certain way.

I don't know if you knew LotR before and fell in love with it now or if you've just discovered it - I'm so glad you did! The Lord of the Rings and the other Tolkien books as well as the Peter Jackson movies are beautiful and timeless masterpieces. Before you check out the musical (or better: what's available from it), please make sure to read the LotR books or watch the LotR trilogy, otherwise you'll get quite confused.

As for which version, and where - there have only been two productions: at the Princess of Wales Theatre in Toronto, Canada, from February to September 2006 and the West End production at the Theatre Royal, Drury Lane in London from May 2007 to July 2008. Naturally, there is more content available from the West End production. I'll leave a few links and comments here:

Toronto, Canada (2006)

The show originally ran for 3h 40min and was shortened to 3h 20min during previews. It received mixed reviews from critics, but proved popular with audiences.

As for the cast, James Loye (Frodo), Peter Howe (Sam), Owen Sharpe (Pippin) and Michael Therriault (Gollum/Sméagol) as well as a few ensemble members transferred to the West End. Other better known cast members include Evan Buliung as Aragorn (he's currently playing Larry Murphy in the Toronto production of Dear Evan Hansen) and Cliff Saunders as Bilbo (he played Thénardier in the latest Broadway revival of Les Mis).

Here are press reels! A must watch, they're absolutely fantastic!

As for the bootlegs: I have two audios, one from previews in March 2006 and one from June (with better quality), as well as a highlights video that runs for an hour. Mostly full-stage shots though, and very dark. Still, it gives a nice impression of the impressive set. Here you can watch a few clips. Please DM me for the entire video.

West End (2007-2008)

A cast recording was released in 2008! The beautiful Prologue was cut from the actual show, or rather, added after Boromir's death. 'Springle Ring', during which hobbits dance around and climb over the audience trying to catch fireflies, serves as the prologue.

There's a documentary available, shot during rehearsals and previews, featuring interviews with the creative team and the cast, as well as a backstage vlog hosted by Laura Michelle Kelly (Galadriel).

There are tons of photos if you search on Google Images, and if you buy a physical copy of the cast recording, you'll get an additional DVD with songs and pictures.

The best known video is probably Lothlorien. But The Cat and the Moon is undoubtedly the best drinking song ever!

As for cast members:

Peter Howe (Sam) is the original Michael Wormwood in Matilda, Michael Rouse (Legolas) was involved in the Stratford production as well.

Rosalie Craig (Arwen) played Bobbie in the recent West End revival of Company and is also known for The Light Princess. If these don't ring a bell: she's married to Hadley Fraser.

Jérôme Pradon (Aragorn) is the OG Marius in French Les Mis and has since played Javert in London. He's also been in Jesus Christ Superstar and is part of the upcoming Cinderella concert at Cadogan Hall (October 2019).

Laura Michelle Kelly (Galadriel) aka my favourite performer ever, I think I don't need to say a lot about her because I post a lot, but she was Mary Poppins in London and on Broadway, the OG Sylvia in Finding Neverland, and played the Beggar Woman in the Sweeney Todd movie.

There are quite a few audio bootlegs, some of them in pretty good quality. I have about ten of them and I'm always wiling to share. Here is my list.

Here is a compilation of various West End related videos.

Here is a trailer for the musical in general, with mixed footage from both productions.

My personal favourites from the cast recording are Lothlorien, Wonder, Now and For Always, and The Siege of the City of Kings.

Feel free to message me about this musical any time, I'm always happy to talk about it and share more. Thank you for asking😊

EDIT: Please check out my masterpost.

#ask #lotr musical

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gottagobuycheese · 4 years

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Tag Thingy

Thanks @silent--sonata for indulging my terrible sleeping habits XD

(fyi this will probably be unnecessarily long and rambly, so it’s going under a cut (EDIT: whelp the song list got a little out of hand, I’d apologize if I were even remotely sorry))

Rules: Answer 17 questions & tag 17 people you want to get to know better

Nickname: Cheese (or Lactose Wedge, or Dairy Product of Unspecified Origin and Purpose)

Zodiac Sign: Gemini!

Height: 160.5 cm/5′3″ (Bubbles I refuse to believe you’re actually that much taller than me)

Hogwarts house: Somewhere between Ravenclaw and Hufflepuff allegedly, both of which I’d be honored to get sorted into, but honestly I’d just be stoked to get sorted at all

Last thing I googled: I think it was something along the lines of “how to speed up audio playback in GarageBand,” but but my train of thought was derailed before I actually looked at any of the results so ¯\_(ツ)_/¯ (and on a related note, thanks again for the magical audio editing @imperiousheiress!)

Song stuck in my head: The end credits to Legacy of the Wizard (which is SUCH a jam, thank you for enlightening me @jessicafish) Following and followers: 227 (goodness just looking at that number is stress-inducing) and...104?! When the HECK did you all get here??? I think just last summer I was happily floating about in the 50′s. Anyways, to anyone I have not said hello, hello! Hope you enjoy your stay, and I am sincerely sorry if you expected Quality Original Content, or even just regularly scheduled other people’s content. Sadly, neither of these things tend to happen here.

Amount I sleep: During the school year it’s usually anywhere between 30 minutes and 6 hours (DON’T EVEN START BUBBLES YOU HAVE NO RIGHT), usually landing in the 3/4 hour ranges if I’m smart about it, but now that I am on Unofficial Break, it’s usually at least around 6 hours (except today was 3 because Avatar is an excellent show and the weirdos in this house have regularly scheduled breakfast at 9-something every morning). Sadly my sleep schedule can only be forced to tolerate normalcy for so long before careening back in the other direction, so we’ll see if this is just a blip or if we’re back to normal mid-Atlantic Ocean hours!

Lucky number(s): I wouldn’t say these are necessarily favorite numbers, but I do like 2 and 9. But come to think of it, second attempts at Official Things do tend to go better for me than first attempts, so maybe there’s some merit there after all! Dream Job: Don’t think I’m really cut out for dreaming anymore, haha (unless you are a theoretical future employer in which case I am Extremely Full of Ambition and Passion). The bed-adjacent metaphor has been made, and not to brag, but I can sleep on pretty much any surface. Currently studying my Not Favorite aspect of STEM (was there ever a favorite or did I just like being good at things sometimes) and learning how to People™ properly (and also learning a gazillion convoluted drug names like what the heck dude, did you just fall asleep on your typewriter coming up with these), so I’ll take whatever place hires me and pays me enough not to depend on my parents for everything, I suppose. In an ideal world, that would entail a job where I could make friends, and even more importantly, a job where my shortcomings would not cause Massive and Irreparable Harm, but I don’t think this line of work really meshes with that last one, so I guess I’ll either have to get my shit together™ extremely soon or fake my death, adopt an alias, and flee to a completely new place with no ties whatsoever before trying to get another, less high stakes job.

(Though I guess, less cynically, I like helping people well enough? And stories are fun! Maybe there could’ve been something with that. Not that there still can’t be, mind, but there’s still a long way to go between Here and There)

Wearing: Black shorts. Navy t-shirt. Brown some-specific-kind-of-jacket-I-forgot-the-name-of jacket. Is it summer? Is it fall? Am I in middle school? Who can say, but they are COMFY so sadly I have no cares to give

Favourite song(s): way way WAY too many to list here, and I do not have them all organized in a handy playlist separately, but to name a few (and these are not necessarily the MOST favorite okay, it doesn’t mean I don’t love stuff not on this list, it means you can’t force me to pick between my children and I am going to find at least one quick thing from a few things I like before I need to hit post and go back to looking like I’m being studious, and also things I think you should listen to right now, but for everything I’ve linked assuming I mean the whole OST), here’s a spam of links in no particular order:

LoZ Wind Waker - The Great Sea (aka the epitome of optimism)

Undertale - NGAHHH!! (I was about to link more but then I realized it’d be the whole soundtrack lol)

LoZ Breath of the Wild - Hateno Village (Night)

A:tLA - Peace (bad call BAD CALL NOW I HAVE EMOTIONS)

Legend of Korra - Final Scene/Ending Theme (MISTAKES WERE MADE MISTAKES WERE MADE)

Kung Fu Panda - Oogway Ascends (I feel like I’m taking you on a whole little album journey now XD)

PMD: Explorers of Sky - Dialga’s Fight to the Finish (aka the Gotta Shower Fast song)

Phoenix Wright: Ace Attorney - Pursuit ~ Cornered (aka the HURRY UP AND PACK UR SHIT YOUR FLIGHT LEAVES IN THREE HOURS song)

Apollo Justice: A New Trial Is In Session (very underrated soundtrack imo) and also Apollo Justice: Telling the Truth (because these two are very closely associated in my head and it’s getting harder and harder to narrow things down so maybe I should stop lol)

Your Name: Katawaredoki (in which I am forcibly thrown heart first into the bedroom of my second apartment at approximately 12-something A.M.)

Digimon Adventure 01: Butterfly (MASSIVE 90′s childhood anime feels, and also Last Summer Before Everything Went to Shit feels (on a general scale I mean, not personal))

Pokémon: Lugia’s Song multitrack cover by Jordan Moore (would that I could have a talent of that musical talent)

Pokémon the First Movie: Tears of Life (great now I’m on a Pokémon music spiral GUESS IT’S CHILDHOOD NOSTALGIA HOURS NOW)

PMD: Blue Rescue Team - Farewell and Run Away/Fugitives (you CANNOT make me choose between these guys okay, my brain WILL explode, and whoops now I want to link the whole ost)

Palette by A Dear Friend (wink wonk)

Pokémon: Alpha Sapphire - Fortree City (wow talk about mood whiplash)

Detective Conan: Main Theme (I can’t find the specific version since there are so many, but it’s a Good Theme)

Super Smash Bros.: Brawl - Opening Theme

Pokémon Colosseum - Relic Forest

Song for Lindsay by Andrew Boysen Jr. (oh great now it’s time for marching band feelings I guess)

Mt. Everest by Rossano Galante

Deltarune - Field of Hopes and Dreams and A Town Called Hometown (orchestrated) (aka the Lots of Work To Do song) and You Can Always Come Home and Don’t Forget (hey guess what I wrote a bunch of fake extra verses for) (also it looks my pathetic attempts at narrowing things down are getting even more pathetic so I’ll wrap up soon XD)

Guild Wars 2 - Fear Not This Night (never actually played this myself but my friend got me addicted to the music)

Lord of the Rings - May It Be (Enya) (aaaand now I miss choir, THANKS BUBBLES)

Lion King - Can You Feel the Love Tonight (Multilingual) by Travys Kim (aka how I remembered how fun these things are)

Original Song by Anonymous

(The urge to add all the other songs I’m not adding is so strong but I’ve got so much work to do so just assume I mean all Nintendo music from any game I’ve played, all Ghibli movie music, every musical I’ve ever heard, and even more)

Random fact:

Apparently as early as the 17th century, you could guess that a child would have a shortened life span if their foreheads tasted salty. Yes, there is a specific reason, and yes, you may already know what it is, and thankfully no, that life span projection no longer holds true, assuming access to Modern Medicine!

Favourite Authors: Okay I have not read enough various books of enough various authors to be able to answer this, so I’m just gonna go with a few books instead. They are not necessarily all-time favorites, but I enjoyed reading them very much at the time and more often than not go back to them for comfort reads: The Martian, any of first three Harry Potter books, and The Rise of Kiyoshi. (That last one’s not really a comfort read but I am drowning in Loving Kiyoshi juice so here we are)

Favourite Animal Noises: Certain kinds of birds (UNLESS it’s some ungodly hour of the morning and you’re trying to sleep)? Ooh, and crickets!

Aesthetic: A slob, but like...a comfy slob. An incredibly disorganized hermit who is happy to mill about in the uncontrolled entropy. (Are we talking about what aesthetic I give off, or what I like to look at, visually? Because I like space, and water, and mountains, and forests, and forests ON mountains, OOH and forests on mountains at night where you can see space, perhaps reflected in a body of water. Or just water, idk. Different things are pretty to look at at different times)

WELL THAT ONLY TOOK FOREVER SORRY FOR THE OBSCENE LENGTH

@pachelbelsheadcanon @averybritishbumblebee @shingeki-no-korra @sailorlock @yeswevegotavideo @soultheta @queenerdloser @ifeelbetterer @rogueofdragons @peppervl @amadness2method @mutalune and anybody else who wants to do this! This isn’t seventeen, and I don’t know if any of you have already done it/been tagged, but I hear people moving around upstairs so that means this break is over XD. And ABSOLUTELY no pressure to actually do this, this is pretty much just me wishing you well! (and YOU of course, my dear reader! I hope everything’s going all right, or if it’s not, that it does soon)

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scarletlion94 · 5 years

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My Thoughts About THRIVE Live 2019

I finally got to watch it, so now it’s time to ramble about my thoughts! If you don’t want any spoilers from the live then don’t read this!!

I went back to take pictures of my TV because there’s not many on the internet right now and this review needs pictures! Sorry if they’re somewhat bad quality with the lighting but I did my best! :)

Anyways, to start, I think the whole 131 minute run time I had a smile on my face. Maybe also forgetting how to breathe a few times Watching these boys have so much fun and perform a great show made it go by way too fast! I already want to watch it again!!!

I’ll start with everything I liked:

The INTRO! I loved the Broadway theme and music and how even the back up dancers got to put on their own little routine to start the show! Then THRIVE comes on and we get the full version of Chokan Destiny! (Not the abbreviated one from Eternal Pacific 2018 woo hoo!)

The Pacing of the Live Compared to the Eternal Pacific Live feeling really rushed, this one only having one group felt much better paced. After 2 songs the boys already got some time to talk to the crowd and joke around. From what I was able to understand of it it seemed like they enjoyed talking about their outfits and making fun of all of Kato’s throughout the show hahaha (Ugh I wish I understood more Japanese! I need to start studying again!)

LOVE ADDICTION This!! Was amazing! But so sad!! But that’s because it’s a sad song. Regardless, I love the way they did it. There was a couch in the middle of the stage and they mostly just sat there and walked around it the whole song. And then at the end of the song...Goshi holding a ring and sadly looking at it, Yuta looking at a framed photo on a table, and Kento lying down alone on the couch...my heart...ahhh it was so sad I wanted to just shout “I’m right here!! Don’t be sad!!”

Special Appearances!! There was a special intermission type video that had recorded messages from some of the other BPro boys!! Haruhi, Momotaro, Yuzuki and Hikaru! It was nice to see them!!

Small things in the songs I’m grouping all of these into one category

The transition between ALL RIGHT! and LOVE GAME (Hanae slowly goes behind a curtain, building up the music, then the curtain drops and Kato appears going right into LOVE GAME and then I died)

The transition into the second verse of Tick-tack

Eikyuu Paradise! (I’m so used to listening to the THRIVE version from the Dreaming Time CD and in the one at the live they switched around the solo vocals and I actually think I like that one better!!)

Yuta’s rabbit and bear back up dancers during Happy Ending (so cute!)

Cover Songs THRIVE sang KiLLER KiNG Hungry Wolf, Kitakore Wonder Future and MooNs Summer Mermaid and they did so good! It was cool to see! When do we get a CD? JK LOL (You could tell more here that they were really looking down at the screens on stage with the lyrics on them haha)

The Outfits The stage costumes were so nice! Especially the red and black ones they wore at the end of the show!! They really do look perfect for a Broadway theme!

Epic.

And I probably sound super biased but Kazuki looked sooo good in it!

I mean...

Come onnnnn...

Anyway, moving on...

I’m sure there’s probably a few more things that I liked but can’t remember right now but basically the whole thing was amazing.

But I guess I have to put things I was disappointed in too, which is only petty stuff that really wasn’t enough to ruin anything for me:

Some songs were shortened. I wish Needle No. 6 was longer! But I get that they just recycled the dances from the shortened versions in Eternal Pacific and maybe didn’t want to make the seiyuus have to learn too much extra choreography; plus time restraints?

Also, they debuted their new song Welcome to the GLORIA! but it was a shortened version! I don’t know if they just wanted to give everyone a small taste and make them go buy it on iTunes? (It’s a really good song though. I just imagine Kento rocking the keyboard solo in it every time I listen to it ^_^)

The live wasn’t long enough!! (This is just a joke because I could watch BPro 24/7 if I could haha)

I think that’s about it. I’m really happy that we were given a standalone THRIVE concert and hopefully there will be some for the other groups in the future! I know wishing for more lives means more Blu-rays and I know the Blu-rays aren’t cheap but to me they’re worth the money especially with how much I watch all the lives that I’ve purchased in the past! I like to support our boys any way that I can!

I sacrificed some sleep to stay up late watching this. THRIVE is life. 💙🖤💗

#b project #bpro #thrive #thrive live 2019 #kento aizome #yuta ashu #goshi kaneshiro #kazuki kato #natsuki hanae #toshiyuki toyonaga

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