#Concept Art Orchestra

[donospl]

JAZZOWE ZAPOWIEDZI: 29 Festiwal Jazz Goes to Town

Hradec Kralove, 10-14.10.2023 Tegoroczna edycja, odbywającego się w czeskim mieście Hradec Králové , Festiwalu Jazz Goes to Town, potrwa od 10 do 14 października. 29 odsłonę  imprezy promuje hasło Waves of Joy.  Na festiwalowych scenach zaprezentuje się ponad 80 muzyków reprezentujących 14 projektów. Widzowie będą mieli okazję spotkać gwiazdy lokalnej i międzynarodowej sceny, w tym artystów z…

[ai-art-multiverse]

Skeletal Serenade: Bone Orchestras & Ghostly Notes

[nyktomorphia]

Biomechanical Philharmonic - Xylophone

'Tis the season.

This one has somehow gotten both more Giger and more Animusic, I think.

[rhenreads]

AJR Fanart

[patricia-taxxon]

Sorry people are being hostile in the notes of your recent AI post! Your points are really interesting and I hadn't thought about it like that (referencing the "..."it's theft" isn't a good argument when much of the greatest art to ever be made is also largely theft" part)

I agree with what you're saying about theft/ creative use of someone else's stuff (or even un-creative use of someone else's stuff, looking at John Williams fully ripping off Holst in the imperial march)

But something about generative AI still rubs me the wrong way though (re: taking people's work), and your comparison has made me question more specifically what it is that I'm uncomfortable with. I think it's the lack of intentionality behind the theft? Coming at this as a composer, if someone stole like, a melody I wrote, I would be happy that they had thoughts & ideas about the thing I made & interested to see what they did with it. I think the thing about generative AI that I don't like (on a personal level) is the lack of intentionality, like, both not knowing if my work had been fed into the training data + if someone rips me off it wouldn't be a choice they made specifically, but just a thing that mysteriously happened.

Idk if I'm making much sense, I'm not really engaged with the online discourse about generative AI because (from the bits and pieces that I've seen) it's a lot of people getting really angry and shouting the same x5 things at each other, rather than like, a discussion.

Anyway sorry for rambling, I appreciate your perspective! hope you have a good day! ♪ヽ(´▽｀)/

Yeah, this is mostly where I'm at as well. Even purely secular people tend to invoke the concept of a "soul" when talking about "AI" art, and I'm pretty sure this is what they mean. Soul as in aggregate experience, perception, taste. People want copying in art to communicate something, they want to consider another human's notions of beauty and ugliness. That's why I describe it as modernist, it extricates taste. It copies accidentally with no bridge to the source, not even an implied one. I compare it to generative art a lot, but even that doesn't really reach the level of randomness and diversity of output as these image synthesis engines do. Morton Feldman's pieces still exist within the formal framework of orchestra, after all.

[moltengoldveins]

@clingyduoapologist made a really cool “what if DSMP were a stage play” post and basically the instant I saw it I was struck by the muse but I don’t want to just chain reblog the dang thing or make one huge reblog with all my thoughts so instead here are all my thoughts on this concept

i don’t think it’s a musical. I think the tone of the story doesn’t fit. But if it were, it would have a Lot of scenes of unsung dialogue, and that dialoge? Would be rhythmic poetry. It’s Shakespeare Appreciation Time baby.

i do however think there would be a live score and an orchestra. A lot of the music would need to be recorded but there’s at least be a few musicians.

different characters speak in different poetic styles at different times to communicate character and plot development.

to elaborate on that: Characters switch from loose ABBA or ABAB rhyme schemes and vaguely rhythmic meter when chatting back and forth to strict perfect iambic pentameter for tense scenes or political speeches.

Techno speaks exclusively in unrhyming dactylic hexameter, an extremely common poetic form for Greek and Latin poetry. It’s what the Iliad was written in. This has the interesting effect of making Techno sound, at first glance, unpoetic. His speech doesn’t rhyme, and doesn’t follow a common English rhythm scheme, so it wouldn’t immediately register as structured. However, dactylic hexameter is actually significantly harder to write in English than expected because of our syllable stress patterns. Speaking like that would be, objectively, a sign of extreme intelligence, but could easily be overlooked as coarse uncultured behavior.

Techno’s chorus - composed of audience members, background extras, and people (in safety harnesses) sitting in the theater rafters - speak largely in Greek and Classical Chinese, quoting sections of the Art of War and Homer’s work. The major exceptions to this are ‘Blood for the Blood god,’ ‘no,’ and ‘do it.’ They all wear a hat or some form of headband that has a glowing LED eye, hidden, but activated when they speak. The audience plants are all in dark clothes, and when the lights go down they don medical masks/sunglasses. Anything to obscure their faces.

The Chorus, a group of robed masked people who broke the fourth wall and often entered the audience, was a vital part of early Greek theatre. I am an intolerable nerd, and the thought of sitting in a dark theatre only to hear an low distorted voice beside you start to comment on the play as a whole choir of voices echo around you, then turning to see your seat neighbor is a masked person with a glowing red eye in your forehead? Literally incredible.

Dream is the only character dressed in even remotely modern clothes.

Dream is first seen as someone (again, in modern clothes) sneaking around backstage in a black hoodie: most of the audience probably assumes he’s a stagehand and not meant to be seen. Then, at some point, he moves from behind a set piece and enters the scene as an actual character, revealing his mask.

interestingly, this is really similar to what I believe is a bit of myth about why ninjas are dressed in all black in modern media. They wouldn’t have been irl, they would’ve dressed like civilians. But stagehands in Japanese theatre would dress in all-black, and were often completely visible onstage moving sets - it was common courtesy to ignore them. Then one day some playwright had the brilliant idea of having one of the stagehands enter the story as an assassin, and suddenly every actor in all-black was a threat. For the life of me I can’t remember where I read that but it’s a cool thought :D

Dream canonically can interact with set pieces, lighting, and curtains.

Dream actively directs lighting in scenes he is not in, sitting above the stage kicking his feet.

Dream is often used to hand off props to characters instead of having them pull them from a pocket and pretend they were pulled from their ‘inventory.’ This begins to get confusing when Dream is acknowledged later on as the he person giving, say, TNT to Wilbur, or wither skulls to Techno.

characters address the audience as ‘Chat,’ (English’s first fourth-person pronoun my beloved) almost constantly, especially for comedic purposes- most of their monologues are addressed directly to the audience as well. For Wilbur, it’s a sign of instability when he stops addressing ‘Chat’ and start addressing the sides or back of the stage.

philza enters from the lower audience, right by the stage, probably after pooping up from the orchestra pit and taking a reserved seat halfway through so no one sees the wings.

Tommy has by far the least structured or rhyming dialogue - if it weren’t for how carefully crafted it was it would sound like normal prose.

Tommy speaks to the audience by FAR the most. Wilbur only addresses them when soliloquizing. Techno barely addresses them at all: they address him. Ranboo speaks to the audience only when alone, and it’s usually phrased like he’s writing in his memory journal. Tommy speaks to the audience at first like a loud younger brother. As he gets older, it sounds more and more like a plea for help, a prayer for intervention that will never come. Exile is one long string of desperate begging aimed our way.

Tommy stops speaking to the audience so much after Doomsday. He starts again when Dream is imprisoned. He stops for good when he dies in there, beaten, alone.

Sam and the Warden are meant to be played by different actors, ideally siblings or fraternal twins. They wear identical stage makeup and costumes, but the difference is there. None of the characters acknowledge this.

the Stage would need to be absolutely massive and curve almost halfway around the central audience, largely because it should be able to be split at times into two separate stages to show different things happening at the same time. This could possibly also work if there were two stages, but getting people to easily turn from one stage to the other without loosing sight of what was happening would be rough.

Doomsday taking advantage of the scaffolding in the rafters and using them as the ‘grid’ for the tnt droppers.

actual trained dogs for Doomsday my beloved. Would cost a fortune but could you imagine.

the entire revolution arc ripped off Hamilton, we all know that, I think we can afford to have a stagehand step forward in that frozen moment in time when Tommy and Dream have that duel, grab the arrow, and carry it slowly across the stage right into Tommy’s eye. For morale.

throughout the execution scene Techno keeps slipping out of poetic meter, especially when he sees/is worried about Phil. After the totem (which would be freaking amazing as some sort of stage effect with like lights and red and green streamers or smthn dude-) he stops speaking in poetry. The scene with Quackity is entirely spoken dialogue. Chat is silent. It’s only when he gets back and sees evidence that his house has been tampered with that Chat starts up again (kill, blood, death, hunt, hunt, hunt-) and he starts speaking in rhythm again.

Every canon death, Dream marks a tally on something in the background. Maybe it’s in his arm? Like a personal scorecard. Or maybe it’s on the person themselves, a little set of three hearts he marks through with a dry-erase marker or something.

phil and techno have a lot more eastern design elements and musical influences than the rest of the cast, except for Techno’s war theme which is just choir, bagpipes, and some sort of rhythmic ticking or thumping. Phil’s also got a choir sting but it’s a lot harsher, the ladies are higher and them men lower, and the chords are really dissonant (think murder of crows)

Tommy’s theme has a lot of drums, but its core is actually a piano melody. The inverse of Tommy’s theme is Tubbo’s, but Tubbo’s is usually played on a ukulele. Wilbur is guitar, obv, and Niki’s is on viola.

Quackity is a little saxophone lick. He and Schlatt both have a strong big band/jazz influence.

None of the instruments that play dream’s theme play anywhere else in the music. I’m thinking harp, music box, and some kind of low wind instrument.

[inbarfink]

[rivalsforlife]

Ace Attorney 456 Tokyo Game Show Information Masterpost

Since I haven't seen all the information collected in one place, this post SHOULD be a comprehensive review of everything revealed today - though please let me know if I missed anything important.

New Trailer and Release Date

We got a new trailer for the 456 collection, which covers (most of) what I'm going to say in this post, and a release date of January 25, 2024!

New Features

Language Support: These games are now available in seven languages: Japanese, English, French, German, Korean, and Traditional and Simplified Chinese, along with voice dubs for each of these. These are some of the first times some of the games (in particular 5 and 6) are officially translated to many of these languages.

DLC: The previously DLC-exclusive cases Turnabout Reclaimed and Turnabout Time Traveler will be added to the game for free, along with previously DLC-exclusive costumes. You can dress up Phoenix in the Tigre outfit from the beginning!

QOL: As well, any of the quality of life features from the Great Ace Attorney Chronicles have been added to the 456 collection. This includes an episode/chapter select unlocked from the start, so you can skip straight to your favorite sections, autoplay and story mode, and a backlog/history to review recent text.

Art Gallery: The game will also include an "art gallery" which includes concept art for the games. This will also include special artworks commissioned exclusively for this collection, some of which are unlocked after beating each game and unlocking each trilogy.

Orchestra Hall: There is also an "orchestra hall" where you can listen to what seems to be the full soundtrack for all three games (though I haven't verified this), along with orchestral tracks from the 15th anniversary and 2019 orchestra concerts.

There are also two new "trilogy exclusive" songs: "Apollo Justice - A New Era Begins! 2024", and "Trucy's Theme - Bring It In, Everyone". The new "a new era begins" remix might possibly be what they're playing in the trailer. "Bring It In, Everyone" is distinct from Trucy's main theme, "Child of Magic" (listed earlier in the soundtrack list), so I have no idea what that one will be like.

Animation Studio: This new feature allows you to play around with character models, setting up different backgrounds and sprites and settings, to create whatever scene you want. This doesn't seem to have a text feature, so it just seems kind of like a worse objection.lol but with 3D sprites. (Although I'm sure the objection.lol people will find a way to rip the models in like... five minutes of the game's release)

Preorder Information

It seems we overseas people will only have the collection available digitally, but Japan seems to have physical copies along with a lot of preorder bonuses! You can find the official page here.

This includes the following:

Game Software: You can order this standalone, or with the other preorder goods, or seemingly just the goods on their own without the software included.

Original Drama CDs: Two new drama CDs are being developed for this collection! As far as I can tell, one involves the Gavinners attempting a one-night-only revival of the band (which goes poorly...), and the second involves Taka fleeing the courtroom.

Evidence and Items Set: This includes ten pieces of evidence available from the games, along with some original illustrations. As can be seen above, this includes things like the photo of Apollo and Clay from Dual Destinies, six ID photos of major characters, and a signed poster of Klavier.

As well, a new sleeve box drawn by Takuro Fuse, the character designer for 5 and 6.

That should cover everything, but please let me know if I missed any news!

[yes-i-write-fanfiction]

Seeing that Cybertron bearly exsperience arts, I think that also applied with form of music

In your opinion on things how would ( in Prime and Tfa ) would have reacted on the concept of music that is not dubstep ( what I think they listen to because of Jazz in tfa since I think it's one of the few songs that Cybertronians would be able to call music ), and listen say classic of violin and pianos, maybe an orchestra music with a side of opera

Prime: Most bots find all the different musical genres fascinating, kinda in a "haha, that's wild" way and happily listen and experiment with different songs and genres. Some bots however, like Ratchet and Dreadwing, reject human music and cling to cybertronian melodies, mostly out of nostalgia and to remember home.

Animated: The younger bots are much quicker to appreciate human music compared to the older generation. The young bots are delighted by this new world of music and starts thinking that their own music is boring in comparison. Older bots are a bit more stubborn, refusing to let go of the "good ol' classics" but even they have to admit that when compared to human music, their own might be kinda... generic? Very copy paste, that's for sure.

[nerdanel01]

Here's an ask about Agnes and Emmrich that I hope leads to a slutty little drabble: we know Agnes has fantasized about Emmrich, but is the reverse also true? What would that look like for Emmrich? When would it have happened in their relationship: before or after she left? How awful did he feel about it?

*laughs nervously* the short answer is… a lot?? And in the most Catholic way possible??? 4k+ below the cut very NSFW

9:48 Dragon

Though he would never admit it to Agnes, the truth of it was, Emmrich found the opera to be just fine. Catching a performance with Agnes was a lovely way to spend an evening, but by no means did that make Emmrich himself any kind of aficionado. It was Agnes’ avid interest that first brought him to the theatre, and Agnes’ continued fervor that kept him coming back: he went, not to see a performance, but to see her —so engaged, so happy.

This opera, in particular, he was finding impossible to enjoy. Agnes had practically begged him to take her to The Marriage of Figaro, and by the title alone, Emmrich had thought it would be innocuous enough. Another light, romantic comedie, like the Donizetti works of which she was so fond. 

It was most definitely not that. If the opera was humorous, Emmrich found it to be a dark, almost sadistic kind of humor. The plot centered around the titular servant Figaro and his bride-to-be, Susanna… and their escalating attempts to prevent the master of the house, Count Almaviva, from asserting his droite de seigneur. Emmrich could not fathom how it was that Agnes could so breathlessly throw herself into a plot that all too well reflected what little he knew to be true of her own conception; of the cruelty and the violent torments Agnes’ mother had suffered at the hands of her father. And yet, she seemed unperturbed.

As if that were not bad enough, he could not help but feel (irrationally, of course) that the entire premise of the opera was pointing an accusing finger directly at him. Agnes was not his servant, of course—she was far more than that—but he could not help but feel that his longing for her shared a similar, lecherous undertone to Almaviva’s licentious pursuit of Susanna. Certainly he held professional power over Agnes, as the Count did Susanna; the fact that he was often reluctant to wield it did not wish that fact away. And just like the Count, his advantage of age he held over Agnes was… considerable. 

And so, by the second act of the opera, Emmrich had more or less mentally checked out of the performance entirely. Pleasant as the music may have been (when it was not pulsing, throbbing, thrumming with anxiety; imminent danger; repressed sexual desire) Emmrich found his eyes wandering across the theatre: at the orchestra playing below, at the audience seated at the level of the stage, at the wide balconies where even in the dim performance light he could make out figures packed in the seats. He had never been a particularly devout man, but sometimes, when the mood was just right, being in the opera house reminded him of the most peaceful moments he’d ever spent in a Chantry. He would give Agnes that: there was something special about all these people—strangers—gathered in the dark, assembled in the worship of a great piece of art. It was peaceful, to look upon all those dark faces. Something almost holy about it. 

Which made what Emmrich saw next all the more upsetting. 

As the adolescent servant Cherubino took to the stage, preparing to sing his invented love song for the Countess Almaviva (with whom, Emmrich had gathered, he was hopelessly infatuated), movement drew his eye to the theatre box opposite his, on the lefthand side of the stage. 

At first Emmrich blinked, resisting the impulse to shake his head—surely he was seeing things? Were they—? They couldn’t be—! And yet, they were: cozied up in a balcony box all to themselves, a young woman had snuck her hand into her companion’s lap and, by the white flash of her arm in the dim light, Emmrich could tell she was pumping that hand up and down quite enthusiastically. Though her date had taken care to conceal his lap from view by fanning his performance program wide across his legs, it was all too clear exactly what was going on from the open-mouthed, slack expression on his face and the way he was tilting his head back against the chair. 

This late in life there was not much that could still shock him, but Emmrich’s jaw fully dropped. At first he merely sat there, stunned, staring… before his senses returned to him, and he snapped his eyes (wide with disbelief) back to the action on the stage, thoughts an absolute whirl. What should he do? Agnes’ attention was fixed on the stage, deeply engrossed by the drama unfolding (though he still could not really understand why); he did not want to draw her focus to the absolutely debased act that was happening just across the room. Should he excuse himself? Rise from the box and alert one of the theatre’s ushers? Was this even something they were trained to deal with?

Perhaps they had stopped; perhaps he had imagined it. But when Emmrich let his eyes slide, as innocuously as he could manage, back to the opposite box, he saw not only that their public affair failed come to a conclusion, but that the man had thrown his arm around the woman’s shoulders, and was rather obscenely squeezing at her breast over her bodice. 

´Andraste have mercy!’

Never in his life had he witnessed such indecency, and as one of the most senior members of the Mourn Watch, his presence had been requested at some extremely indecent parties hosted by the noble class. His face was burning with shock and embarrassment. Trying to get ahold of himself—hoping that if he ignored it for long enough, they would cease or (Maker’s breath!) reach the natural conclusion of such affairs and settle down. He turned back to the stage, watching over Agnes’ shoulder at the scene playing out in the Countess’ bedroom, the teenage Cherubino, all hot-blooded and virile, singing at center stage:

“You women who know what love is, Look and tell me if it is within my heart?”

Truly, they were no better than teenagers, those two nobles in flagrante delicto across the theater. Certainly if he, Emmrich, had endured the past three years of his increasingly inescapable (and increasingly inappropriate) desire for Agnes, they should have been able to keep their hands off of each other for three hours. 

And yet, as if summoned, he felt the tickle of those depraved imaginings in the back of his mind. He watched the stage at Agnes’ side, over her shoulder; his eyes slid away from Cherubino to trace the delicate black lace of the blouse she wore over her bodice—the woven pattern of the fabric offering a rare, tantalizing glimpse at the bare skin of her shoulder, her collarbone, her neck… the tops of her breasts, straining against her bodice as she took in the aria with ecstatic, rapt attention.  

“Let me tell you what I am feeling: It is new to me, and I cannot understand it.  I feel affection, I am full of desire, A desire both delightful and miserable…”

He wanted to brush tenderly at the lock of raven-black hair that had escaped her chignon, curled and coiled charmingly tight by the summer humidity. He wanted to lean in close, to breathe hot against her neck, to take the lobe of her ear between his teeth.

“I sigh and lament without wanting to…”

Intrusive thoughts of what it would be like to pull off his dress gloves, to put his hand on her knee. To draw, slowly, inch by inch, her skirts up over her leg, revealing calves clothed in deliciously sheer stockings, the clips and straps of the garters that kept those stockings secure… to round his hand around her knee, for fingertips to creep past the band of her stockings and along the soft skin of her thigh…

“I tremble and I throb without knowing why…”

…and climb higher. To find her swollen? Wet, already? Slick with anticipation at the promise of his touch—

—and at once, the sudden, mortifying tightness in his trousers brought Emmrich back to reality. He pulled the inside of his cheek between top and bottom teeth and bit down hard, trying to anchor himself with the pain and will away his arousal. Agnes, thank the blessed Andraste herself, kept her eyes glued to her opera glasses; she did not turn to see, and so he did not have to excuse, the flush across his cheeks and his ears, nor the far more conspicuous evidence of arousal tenting his trousers. 

He did not know what would be worse: if Agnes assumed, rightly, that it was her own presence that had pitched him into the throes of desire, or if she assumed, wrongly, that it had something to do with Cherubino, a woman in men’s clothes playing as an innocent, virgin, teenage boy on the stage below them. 

“Though I find peace neither day nor night, Still, I cannot get enough of the feeling.”

Inconspicuously, taking a queue from the deviant across the theatre, Emmrich laid his paper program over his lap. Focused his eyes on his hands. Picked idly at his nails, willing away his desire. 

Knowing pettily, venomously, that if he happened to encounter the couple in the opposite box on his way out of the theatre that evening, he would do everything in his power to trip them on their way down the opera house steps. 

But of course, in the sudden throng of activity as the curtain fell and the theatre emptied, the offending exhibitionists were nowhere to be seen. Probably gratifying themselves further in the powder room, Emmrich thought with disgust (and though he would never admit it to himself, even under pain of torture or death: envy.) 

He wanted nothing more than to get back to the Necropolis, to put the evening and the terribly obvious handjob and horny little Cherubino behind him. But when Agnes threaded her arm through his and tugged him towards the champagne bar, he was as incapable as ever of refusing her—though he almost certainly should have. Though he knew it was ill-advised, he tried (and failed) to put the memory behind him with drink. By the time he had finished his second glass, Agnes was still sipping politely at her first. 

But all the drink in the world could not break the spell of her beauty. In the walk from the opera to the bar, more tendrils of hair had shook loose from her bun, and the flyaways curled like tender pea shoots around her head. He loved her most like this, he thought, when the facade of perfection and rigor and discipline she worked so hard to maintain began to fall away. His eyes lingered too long on the crimson print her lips had left on her apricot-colored coupe glass.

Desperate to shake himself out of it, Emmrich confided in her, at last: “Nessa, you will not believe what I witnessed at the theatre tonight.”

She lifted her glass to her mouth, and her bright grey eyes met his, full of curiosity and innocence. “What?”

But he was not even sure how to politely say it. He licked his lips, a wry, disbelieving grin tugging at his mouth as he told her at last, “A noblewoman in one of the balcony boxes opposite ours… manually stimulating her companion under the cover of his paper program during the second act.”

Agnes’ eyes widened; she set her coupe down forcefully enough for the glass to clink on the table top, covering her mouth politely as she coughed up the drink she had accidentally inhaled in surprise. 

“You saw what?”  

A lovely, delicious color was rising in her cheeks, red to match the stain on her lips. 

“Should I repeat myself?” he asked, full of dry humor. “Believe me, I was not sure myself, but when he started groping her over her dress that more or less quelled any lingering doubts I had in my mind.”

Agnes lifted her glass to her mouth once more, her eyes boring holes into the table before her. Whispered, lowly, “Andraste have mercy.” 

“That’s exactly what I thought!” Emmrich said, pleased to see her scandalized, to have his own reaction to what had transpired mirrored and confirmed. “I mean, really. It would have been perfectly easy for them to step deeper into the recesses of the box, into the cover of darkness where no one could see them. But did they? No, and I do not believe for a minute that is because concealing themselves did not occur to them. I think they wanted to be exposed. To be witnessed, to be seen.”

But as he continued to speak, Agnes’ blush receded. She watched him, too keenly, over the rim of her glass; she was neither as outraged nor as scandalized as Emmrich wanted her to be. Needed her to be, to draw a line: to stand in firm opposition to the Agnes he had all too readily conjured in his mind: the fictive siren that would gasp at his touch, that would part her legs all too willingly for his hand, without regard for the risk, without a care for who might see them.

“It bothered you quite a lot, didn’t it?” was all she asked him, softly, probingly, when at last he had finished his tirade.

He blinked at her a couple of times. His fingertips found the stem of his third glass of champagne, and he spun it back and forth between forefinger and thumb. “Well—yes,” he managed, at last. A terrible, traitorous heat rising in his cheeks, in his ears. “Did it—does it not bother you?”

Agnes only shrugged and offered him an indifferent smile. “I did not see it,” she said, at last, “engrossed as I was in the music. I am sorry, however, that you found it so distracting.”

“You think it was merely distracting?” Emmrich prompted, in a state of disbelief. “Not… not shameful—nor disrespectful? To the performers, to the rest of the audience?”

The blush had returned to her cheeks. With a nervous smile, she confessed, quietly, “Perhaps I am not as disciplined as you.” She was not looking at him now, staring into the fizzing depths of her coupe glass. “Perhaps… I understand how easy it is, to be suddenly overcome. By the music, by… by desire.” 

Obscene scenarios clamored for attention in Emmrich’s mind. An arched back, a cry of pleasure—how beautiful she would look, how desperately he wanted to see her overcome, to be the one responsible for bringing forth such pleasure and desire within her—!

Without looking at him, Agnes lifted the glass to her mouth and drained the rest of it in a single sip. Placing the coupe down with something like a grimace, she raised her hand, motioning for the waiter to bring her another. As soon as he did, she took a second generous gulp.

“But enough of that,” Agnes said at last, reasserting her control over herself, redirecting the conversation. “What did you think of the music?” she asked, then teased him: “The parts of it you were not too distracted to pay attention to, that is.”

The music? She was just going to drop that explosively erotic phrase into the conversation, and then she wanted to talk about the music? Emmrich fumbled for something intelligent to say. “I thought the basso who sang Figaro had a very fine voice.”

“Oh, did he not?” Agnes effused; and then she was off, chatting a million miles an hour about everything she knew about that particular Rivaini singer, his training, the roles he had performed in other venues, the lyrical quality of his singing. Emmrich nursed his champagne, happy to simply listen to her as he fought to subdue the heat in his face.

By the time they returned to the Necropolis at last it was late, the halls silent. Agnes had held his arm the whole way back—not, he feared, out of affection for him, but out of concern that he had drank too much, that without her support he might stumble and fall. He had drank too much, which was both embarrassing and most unbecoming. Worse still, the drink had done nothing to dispel the ludicrous fever those idiots in the opera had set in his blood; it had only fanned the flames. When they had reached the door to his bedroom, Emmrich had stopped for a moment, hovered awkwardly in front of Agnes as he debated, then decided against, pressing a grateful kiss to her brow. He did not think, in his current temperament, he could manage to keep it appropriately chaste.

Indeed, as soon as the door had closed behind him and he was left to his privacy, all the intrusive thoughts he had fought in the theatre and the in the bar and on the long walk home returned to him, tormenting him: the light rasp of his nails along the inside of her thigh; the fine hair of her legs standing on end in the wake of those touches; the damp warmth of her smallclothes as he’d push them aside; her anxious little whisper, aroused, anticipatory, cautious: “Emmrich, your nails…” and how he might respond, lips brushing against her ear, “I will be most careful with you.” Throbbing and freezing and burning like poor Cherubino, like a young man a quarter of his age as he imagined her wetness, the slickness of her beneath his fingertips as he circled her bud—

(There was nothing for it now but to see it through. Only one way to truly relieve himself, to exorcise the thoughts that haunted him so at last he could rest. Hastily, inarticulate drunken fingers stumbling over buttons, he unfastened his trousers and dropped onto the edge of his bed.)

—her parted lips, the little hitches in her breath, the pleasure sounds she would try to stifle as (carefully, so carefully, true to his word) he would slip middle-and-forefinger deep into her hot wet heat—

(Ragged edge to his breath like torn parchment as he closes his hand around himself and begins to stroke. Delicious tightness in his core, feet arching against the floor.)

—placing a kiss on her neck. Breathing hotly against her ear. Agnes’ hands trembling, her opera glasses shaking in her hands as her satisfaction builds, mounts; a keening cry; the way her back would snap, her hips driving his fingers into her, grinding against the palm of his hand—her cunt tightening reflexively around him—

(Free hand white-knuckling, twisted in his bedsheets. A gasp and low groan as fist tightens over the slick head of his arousal. It’s rotten, it’s foul, it’s wrong in a thousand ways to imagine her this way—but it feels much too good to stop.)

—would she follow him back after? Rise before the curtain had fully fallen, before the applause had concluded, racing with him back to the Necropolis, creeping into his room? The blush of her face in the champagne bar: “Perhaps I know how easily it is to be overcome by desire.” To hold her in his arms, to kiss her in this room—! Loose the buttons on her blouse and slide the lace past her bare shoulder, bare neck, bare clavicle… lifting her skirts, sinking into her—

(“Hha—ahh! Nessa—!”)

—with her legs wrapped tightly around his waist, her hands clawing across his back for purchase, enveloped in the smell of her, by her warmth… here, in the privacy of the bedchamber, where she would not have to hide her pleasure sounds but could pitch his name upon them like a storm-tossed ship, scream it as she reached the height of her pleasure—

Tension in his body snapping white-hot, shooting sparks through his limbs and coiling in his core, Emmrich held the back of his hand firmly against his mouth to stifle his own obscene, satisfied groan as he spilled into his hand. He came so hard it left his toes curling; thighs shaking; short of breath.

The next day, he did not arrive at their study until nearly noon. 

He had woken hungover, head pounding, light-sensitive. But that discomfort was nothing compared to the agonizing guilt and shame that washed over him when he recalled the events of the night prior. Why couldn’t he have minded his own business? He should not have let what he saw in the theater get under his skin; it was inconceivable to him in the sober light of morning that he had thought telling Agnes about it was a good idea. Had he really used the words ‘manually stimulating’? How uncomfortable had he made her? He recalled how quickly Agnes had changed the conversation, cringed at how long he had lingered over it. Fighting through the hangover to shower and shave did nothing to cleanse the pervasive filthiness he felt. 

He could not remember the last time he had attended Chantry service—but some habits were difficult to break. Seeking even the slightest reprieve of absolution, he left the Necropolis shortly after dawn, heading towards the Chantry in Nevarra City. But even among the incense and the singing Mothers, he could not escape from his regret, the Canticle of Threnodies echoing among the vaulted ceiling in accusation:

Marvel at perfection, for it is fleeting. You have brought Sin to Heaven And doom upon all the world. 

He had something beautiful—a partner to stand by him, to protect and care for him—and he was going to spoil it, desecrate it as thoroughly as the Tevinter Magisters of old had corrupted the Golden City of the Maker. Every lurid imagining he indulged in, he knew, brought him closer and closer to doing irreparable harm to the thing in his life most precious to him. 

When at last he returned to the Necropolis, Agnes was already in the study, waiting for him. The smell of lavender oil was thick in the air; she must have spent the morning cleaning, a task which he had repeatedly told her she need not take upon herself, and one to which she repeatedly insisted upon undertaking nevertheless. Now she stood at one of the tables with Wilfred at her side, watching him with scrutiny as he clumsily tried to grind down some fresh herbs, his bony hands struggling with the mortar and pestle. 

She looked up at him the minute he entered, her bright eyes full of anticipation—and was that a hint of concern?

“Where were you?”

Beaten down by his excessive drinking and shame alike, Emmrich did not have the willpower within him to lie. “In Nevarra City. I attended Chantry services this morning.”

Agnes smiled, like it was a joke. “No, really, where were you? You missed breakfast. I was not sure you’d want to eat after last night, but I saved you a bit of toast, just in case.”

Emmrich took a deep breath, following the slender line of her arm to the table near the hearth, where four slices of toast were stacked on a plate beside an artful dollop of jam and a pat of butter. Though his stomach still felt wretched, he knew eating would probably help. “Chantry services, really,” he repeated, again, in answer to her question, his tone resigned. He walked to the table, tore a slice of toast in half and lifted it to his mouth without bothering with the  ornamentation of butter or jam—he did not think his stomach could endure the grease nor the sweetness. “Thank you, dear, for saving me something to eat.”

“Seriously?” Agnes asked. Emmrich did not have to look up to know the look of incredulous disbelief on her face. It was plain by the tone of her voice.

Emmrich chewed through the dry toast, swallowed. His stomach gave a discontented growl, awakening at the prospect of food. “Quite seriously,” he answered at last. “Though I am far from the most devout among the Mourn Watch, old habits are difficult to shake. Every once in a while, it’s like an itch that needs to be scratched.” Not that the debasement and self-flagellation he frequently associated with Chantry service had done him any particular good this morning. 

Agnes gave a low huff of amusement. Without needing to be asked—knowing, as she knew him so well, that the toast would go down easier with a bit of tea to help it—she crossed the room, cast iron teapot in hand, and bent before the heart to suspend it over the fire.

“So did it?” she teased him. “Scratch your itch?”

With her back turned to him, she did not see the ugly grimace he made, the way his lips curled into a frustrated scowl at his own lack of discipline. Nor did she see, blessedly, the way his eyes were fixed upon her: her narrow waist, the pert swell of her backside as she bent over the fire. 

“No, I’m afraid not,” Emmrich said, tearing his eyes away to stare at his toast. “Not this time.” He recalled to himself the verse from Threnodies, repeated it in his mind, beating himself against it until it obliterated the image of her (legs spread, back arched) that had begun to resurface in his mind:

Those who had once been mage-lords, The brightest of their age, Were no longer men, but monsters.

[herbgerblin]

ipre theater thots

loosely based off of this poll. sorry, this got away from me. i was a theater kid for years (i still am, i literally made a bunch of friends larp as wizards two weeks ago)

Davenport: Producer and Stage Manager. Personally more experienced in opera than musicals, but answers the call when the need for a manager arises. Keeps everyone focused and on schedule. Has final word on what choices the art department gets to make. Sometimes does solo performances on his own time.

Merle: Choreographer and Director. Leads the ensemble into meditation every rehearsal before warming up. Talks with each member of the cast one-on-one. Sometimes leaves the script open to interpretation. His artistic vision sounds bonkers in concept, but illuminating in execution. Why are there so many plants? Don't worry about it.

Magnus: Lead Actor and Set Builder. He brings the energy every single night. He doesn't need to be micc'ed up because his natural voice projects well enough. It takes a bit of time for him to memorize the script, but he devotes his heart and soul to it. He claps loudly for the ensemble when he's in the wings. He cries at the emotional numbers. Built all the sets by hand.

Lucretia: Co-stage Manager and Supporting Actor (not for lack of chops, only because she spreads herself very thin.) Knows the script like a second language. Mainly reserves her Director Voice for backstage when things get chaotic. Enjoys performing the musical numbers because no one knows she can belt, until she does. Standing ovation girlie, but bashful about it.

Lup: Co-lead Lead Actor and Costumer. Only willing to do the role if Davenport lets her include cold sparks and fog machines in the set budget (he finds a way.) No one knows when she took measurements for the costumes, but they're ready by dress rehearsal and they fit perfectly. Helps the other actors figure out their groove. Great at engaging the audience.

Angus (special edition): Child lead and stagehand. The sweetest little singing voice you ever did hear. Everyone is going to rue the day his voice starts cracking. A heartbreaker of a performer and a speedy backstage assistant.

Taako: A MYSTERY. He's wearing a fancy scarf and roaming all over the place. He's talking about the Art of the Theatre. He's listed on the billing of lead actors and NO ONE knows what his role is. He remembers all the little things that everyone forgets: clothes pins, a hot glue gun, and electrolytes. He's got a walkie-talkie. Only the managers and tech are supposed to have walkie-talkies. Hello, this is Taako speaking, over.

Barry: Usually Tech. He's got a beautifully choreographed queue of lighting designs and stage effects. He's got an immaculately labeled pad controller and a ready-to-go Excel spreadsheet. But on opening night, Lucretia informs him he's in the orchestra pit.

Barry: ...But I'm lighting tonight.

Lucretia (via walkie-talkie): And our percussionist twisted his ankle tripping over a stage light. You're in the orchestra now, compadre.

Barry: (with increasing emphasis, decreasing conviction) But. I'm. Light. Tech.

Taako: E N T E R T H E P I T B A R O L D

Davenport: Taako, get off this line.

During intermission, Magnus asks him to help lift the ensemble dancers onto the set scaffolding, and hold it steady. Barry agrees, thinking he's in the clear after that. But the second the music number ends, Merle tells him that one of the support roles had to leave, so now he's the understudy.

Barry (longsuffering): I am just. the light guy.

Merle (gesturing to Taako in the balcony, having a ballgame playing with the lightboard): well, in two minutes you're the showstopper guy, so you need to go out there and stop the show

Lup (emerging from nowhere, slapping a red, hooded robe on Barold's shoulders): Knock 'em dead!

Barry: D:

[cursed-elo-images]

Yes

Melvyn would love this

Draw anime Melvyn Gale

I’m not good at drawing anime but I tried

[fraeuleintaka]

Capcom Museum Investigations Sketches

This is the 66th post in the Ace Attorney Investigations Collection Countdown: 15 days left until release!

Today's topic: concept art sketches from the Capcom Museum Ace Attorney Investigations Exhibit!

The Investigations exhibit on the Capcom Museum website has tons of amazing artworks, backgrounds, sketches, promotional material and even the old promotion video for Investigations! The exhibit itself might be closed by now (sadly) but you can still access all the art and stuff they posted including these sketches below. They're originally from the artbook but I had first seen them on the Capcom Museum website and they're lovely so I wanted to talk about them.

This one shows a bunch of concept work done for the life-size figurine of Miles for the Investigations promotion booth back then. The highlighted parts are considered to be particularly important for Miles to look like Miles, that includes the line between his eyebrows and the lock of hair standing out at the back of his head. It's often exactly these kinds of details that make characters suddenly look wrong if they're missing even if you don't actively notice them when they're there. I also love the image of Miles with just his waistcoat on, we've never seen him like that before! (Definitely gonna use this for future fanfic endeavours.)

The next two sketches are particular favourites of mine, they're from the Investigations main trio and I always love seeing them together! The first one shows them rushing to get somewhere (the scene of the crime, most likely). Miles is running in front, very focused and determined, followed by Gumshoe closely behind, with a more concerned look on his face. Kay looks like she's flying or jumping from somewhere above them, her arms stretched and her scarf flapping in the wind reminiscent of an action hero. It's a wonderfully dynamic image, even at the sketch stage, and I'd love to see a fully drawn and coloured version of this. It's amazing how all their personalities come through in such a simple action and how well their team dynamic comes across. Miles as the serious leader, Kay always rushing in headfirst as dramatically as possible and Gumshoe lacking a little behind but always there to support. So nice!

The second one shows them sitting on something (probably a bench) and, again, I love how their personalities and dynamic is expressed in just the way they're sitting! Miles is in the middle with his hands folded on his crossed legs and facing slightly upwards with a very serious expression like he's thinking about something particularly difficult to figure out. Kay is on his left fully croaching on the bench instead of sitting like she could jump up at any time, ready for action. She doesn't look quite as serious but still contemplative propping up her chin with her arm and looking off to the side. Gumshoe has his legs parallel to each other, his feet on the ground and his back straight, the perfect picture of how to sit on a bench. He looks completely relaxed with his hands in his lap and a happy smile on his face. Such a nice contrast between the three! I'd love to have this one fully drawn and coloured too but it's great in the sketch stage as well.

The last piece is a series of sketches done for the cute little comic that came with the Investigations 2 orchestra soundtrack (the final version with translation can be found here). Just from the sketches alone you can roughly tell what it's about, the intro is dramatic with Miles, Kay and Gumshoe all looking distressed, then the reveal that Kay and Gumshoe are wearing baseball gloves and hiding, to a final extremely rough sketch of Miles finding his broken King of Prosecutors' trophy with the culprit clearly being a baseball. Great little comic and the sketches already deliver so much! It's honestly amazing that Gumshoe would agree to playing catch in Miles' office considering he's the one who cleans and is so protective of it. Maybe he thought, in his naivety, that nothing would happen or that he could clean any mess they made before Miles returned... At least it was "only" the trophy that Miles isn't so attached to anyway but I can't imagine him being very happy about them playing ball games in his office 😅 Daily shenanigans of the Investigations crew!

[nyktomorphia]

Sorry Francis Bacon, your Figures At The Base Of A Crucifixion are adorable

[bbu-fan-blog]

Check out the backerkit if you're interested in pre-ordering the BBU art book! You'll find tons of concept art there!

[hoshinierabareshimono]

Audentes Fortuna Iuvat

@hiislegacy

With a selection of exquisite beverages and delicacies, and an enchanting performance of Midgar’s finest orchestra, the reception hosted to celebrate Genesis’ ascension to the rank of a First Class SOLDIER was nothing to sneer at.

Albeit not as fancy as the celebrations hosted for Sephiroth as well as a – in Genesis’ most humble opinion – transparent ploy to generate further publicity for the SOLDIER program and the company in its whole, Genesis chose to relish it as a decent personal victory in its own right.

Clad in a bespoke black silk suit with a burgundy tie and handkerchief that accentuated his refined physique and immaculate complexion, Genesis was quick to captivate the eyes and hearts of his audience as he delivered his promotion speech with just the right amount of rhetorical embellishments and graceful gestures.

Many of the journalists, dignitaries, and common guests invited may not have known his name prior to that day, yet Genesis was confident that he had made a lasting impression on each and every one of them.

It was but a matter of time until the whispers about his rapid progress within the SOLDIER program would morph into hymns of praise for Sephiroth’s one and only equal.

As the evening progressed and Genesis had fulfilled his official duties, his elation made way for a creeping sense of ennui, soon prompting him to politely excuse himself from further vacuous chit-chat.

What he sought from those assembled, after all, was an audience, not companionship. Art could not exist in a vacuum, and yet, it was the artist alone who conceived and gave mere concepts shape in accordance with his design, be it on page, a canvas or a merciless battlefield.

Having slipped away through the nearest backdoor, he was not surprised to find Sephiroth avoiding the. For all his fame, Sephiroth seemed to hold little appreciation for his numerous worshipers.

“So, the great hero Sephiroth was in attendance after all,” he greeted his soon-to-be-equal in more than rank with a confident smirk and an exaggerated bow. “I’m honored.”

Although he was not in the habit of breaching protocol, they were off-duty now and Genesis was neither a bootlicker nor an awe-struck coward failing to act on his new privileges.

“Gil for your thoughts?” he asked, and just like that, where there had been playful mockery mere moments before, there was a conspiratorial glint in his eyes instead.