#I think kris is very knowledgeable about music

[throwawayacc99999]

I like to think kris listens to memphis rap

[jokeroutsubs]

[ENG translation] Joker Out: We won't screw up

A radio interview with Bojan Cvjetićanin and Kris Guštin on the radio station called Radio Koper, from 01.01.2024. The interviewer and author is Iztok Novak Easy. You can read the translation below or listen to the audio in Slovene from the source.

~

['Carpe Diem' starts playing and continues to play in the background]

Interviewer: Hello, Bojan.

Bojan: Hello, dear friend.

Interviewer: And Kris.

Kris: Hi. It's good to see you here.

Interviewer: Thank you. How would you describe the year that just ended in a few sentences?

Bojan: In a few sentences? Yes, a year that changed our lives significantly and brought us closer to what we imagined our musical dreams to be.

Interviewer: What about you, Kris?

Kris: We have been using the word turbulent all day, today. In fact, it makes sense in at least two ways, because it has actually been very turbulent for us. Mentally and physically. We have also taken so many flights where we have experienced more turbulence than ever before.

['Carpe Diem' gets louder for a few seconds]

Interviewer: Moving on with this year. Eurovision, all the travelling that came before it, Stožice, the tour that followed, the recording in between, and so on. What would you put first? I'm asking you, Kris.

Kris: Even though we went to Eurovision this year, the main event for me was still the concert in Stožice. After all, we announced it a year before the event, which means half a year before we really even started to deal with Eurovision. For us, the whole year was split into before Stožice and after Stožice. Everything we were doing before Stožice was kind of leading up to it, so, once it happened, at least for me, it completely changed the shape of the year. So I have to say Stožice maybe even more than Eurovision.

Interviewer: What would you, Bojan, point out as the most valuable or what are the most valuable new pieces of knowledge or insights that you have gained this year?

Bojan: I would say the most valuable insight is that life on tour really requires a healthy rhythm. I would say that we very quickly realised that there is no room for hedonism or egocentrism on tour, and that it is an extremely complex machine that stops very quickly if the pieces start to fall apart. So the realisation that we, as a group, know how to work but also that we have to do so in harmony is the most valuable thing, I think.

Interviewer: I recently read that Eurovision fans awarded those who made an impact at this year's contest. You have become the kings of charisma. More than 50% of the votes. What is your comment?

Bojan: I mean, it's... not the kings of charisma, it's just the way this competition is, these titles in the end are more of a joke than for real. But it's absolutely wonderful that our name was even included in the five or six categories that were awarded. The fact that we won proves that this year we have been very much present in this Eurovision bubble. I would say that we were a very strong link among all the representatives of the countries at Eurovision. So there were a lot of good vibes and a lot of fun surrounding us. So it was nice that the listeners and the viewers picked that and, like you said, out of 80000 votes, more than 40000 were for us, so that is such a nice start to the New Year. And also, I would say, a very nice end to this Eurovision story.

['Carpe Diem' gets louder and it ends]

Interviewer: Your European tour is behind you. From Helsinki to Belgrade. A lot of sold-out concerts. I read a review of the Belgrade concert in Dom Omladine. All praises, Joker Out. A sociological phenomenon. The new Beatlmania* and so on. How do you manage to stay normal?

(*Beatlemania was the fanaticism surrounding the English rock band the Beatles in the 1960s.)

['Ne bi smel' starts playing in the background]

Bojan: I stand by the fact that all five of us are extremely down-to-earth and normal guys to begin with. That we have a very nice and safe community, waiting for us at home, watching over us and supporting us. That is, of course, our families, our friends and our team. So I would dare to say that we don't have a lot of room to screw up, because there are enough people around us who can grab us and hold us and bring us back down to Earth in an instant. So we don't have this tendency to suddenly become total jerks, but we are who we are and the moment we come back from the stage to the backstage, the gig is over and there is only genuineness left. I mean, on stage we're really totally genuine too, but still. We're on stage and it's a show. So yeah, I would say that we don't allow ourselves and others don't allow us to change who we are.

['Ne bi smel' gets louder for a few seconds]

Interviewer: Kris, Helsinki, The Hague, Wroclaw, Madrid, Barcelona, as I said Zagreb, Belgrade, Novi Sad, Rijeka too. Which would you say was the most emotional?

Kris: So I'll say this: it's really hard to pick one concert or one place that was really the best. Personally, I will say that Amsterdam was the most emotional experience for me, because it was the first time my Dutch family attending a concert of ours. Because before that, ok, they watched us at Eurovision, but after that performance, it's hard to really understand what we do besides that. They know that I do music, but they never really understood what I do until they came to the concert and saw their fellow Dutchies singing in Slovene for the whole concert, while they had never learned one song or a few words of Slovene in their whole life. And they were all enthusiastic until the end and it was a real honour to perform for them.

Interviewer: What about you, Bojan?

Bojan: I have to say that it was extremely emotional, in terms of the fact that we were totally shocked, that people were singing in Slovene in countries you wouldn't think of. I mean, let's say that the further north we went, the more and more it blew us away. As for me personally, perhaps the most heartfelt was in the countries of the region, so to say, the countries of the former Yugoslavia.

Interviewer: Your version of Đurđevdan in Belgrade went viral on tiktok. Was it spontaneous?

Bojan: Yes, totally spontaneous. When we went off stage Jure was feeling unwell and couldn't go back on stage for the encore and I took the acoustic guitar because people were screaming for the encore, and when I came on stage, I said, "Which one are we going to do?" and some of the fans in the front screamed "Đurđevdan" and I said "C'mon". And Đurđevdan was the final encore song. And it turned out to be a great moment.

[an audio recording of 'Đurđevdan' from the concert plays]

Interviewer: Did you notice any particularity, perhaps a difference, between the British organisers, the Spanish, the Scandinavian and those from what you called our former country? Maybe how you were treated by the media?

['Vse kar vem' starts playing and it continues to play in the background]

Kris: If we just focus on the organiser. Before we started our tours abroad, I had never come into contact with organisers. Here, in Slovenia, we treat everything a little differently. Maybe in Slovenia you have such organisers at Kino Šiška* because they are used to a lot of foreign performers. But things are different and I have to say that we have been lucky that we have been less and less involved with them because we have had a bigger and more experienced team around us who have been trained for abroad from before. So, I would say that things are a little bit better abroad. Far from Slovenia being pure chaos and wild, I somehow felt safer and more confident when I was doing concerts abroad, in terms of the performance itself. As far as the media is concerned, of course in Slovenia we were one of the most talked about artists, so we got a lot of attention that we might not have received abroad. Abroad, we had Eurovision media, maybe some national television. So, as far as some commercial networks are concerned, we are still getting there. On the other hand, in the Balkans, all of a sudden it was "wow". All of a sudden the tabloids asked 'What's up with the girls, where are they, where's the party?' and things like that. It's a completely different scene than in Slovenia.

(*Kino Šiška has been the central Slovenian institution of the contemporary concert scene since 2009, complemented by activities in visual and performing arts.)

Interviewer: Do you have anything to add?

Bojan: Yes, I do. Like Kris said, when it comes to organising concerts, things tend to really... the biggest difference is that when you look at the plan and the timeline that you get before the concert, that timeline really makes sense and is accurate to the minute and it sticks to what is written. But I would say that in the Balkans, this is quite impartial, but in the Balkans we were really, I would say, treated like kings. In all aspects. As for the media... At least for me, it was the first time in the Balkans that a music journalist came and asked questions with 100% respect. At no point in the interview was there any hint of cynicism, which is practically in every interview here in Slovenia. Whenever there is some success or praise, there is a small 'but' in the next sentence. There is always something negative to point out, while someone who has a positive attitude also writes a really 100% positive article. And if someone is negative, they write it negatively. So that really really fascinated me. I have to say that the interviews in the Balkans this year were also heartwarming.

['Vse kar vem' plays louder for a few seconds]

Interviewer: Talking about positive things, have you ever had a negative experience? Maybe one... Have you ever had a hard time recently?

Bojan: Yes, absolutely. I'll say it like this, this year we gave our all, everything we had. We didn't have an ounce of energy left, that we could have saved just in case, but we went 800% with our heads through the wall. In every situation. And it left an impression on us, because we were tired and I was so tired that it started to show in certain stressful situations that we weren't used to before. For example, the stage was 1000% the safest place for me, but then by the end of summer, ['Padam' starts playing in the background] when I experienced a panic moment on the stage that then lasted for the whole concert, it left a mark on me and that stress and panic still lasts, for almost half a year from then. So, it's not a joke, when they say that you have to take time for yourself and slow down once in a while. But here we are, that moment has arrived, thank god. Next week we're going to London for two months, where us five are going to make music in peace. Well, in between we're going to fly to two concerts but almost two months in peace. So, yes, I'm very excited for that time.

['Padam' gets louder for a few seconds and continues to play in the background]

Interviewer: Maybe it's important in regards to this: when things start happening like in your case the task of choosing the people to surround yourself with, it's very hard. How do you manage situations like this? Where did you draw the line? How did you choose the people who help you? The people, like you say, who watch over you?

Kris: In the past it was always like this that we started working with people with whom we naturally developed a bond. With whom we have developed trust before we started the business collaboration or rather business relationship. And that basically functioned really well until Eurovision, then our presence suddenly broadened from Slovenia to the whole of Europe and the whole world, and here what we know how to do, and what the majority of people from Slovenia know, it's not enough to properly tackle the market. So we had to make a few quick decisions, we had to welcome a few people from abroad to our team that we might not have welcomed so quickly in Slovenia. But we said that this is the moment, when we have to trust certain people to help us. We established that trust in advance as much as it was possible. Now we have in our team, for example, people we got to know during Eurovision with whom we have already developed a relationship but we are still developing it and waiting. At the same time we had to say goodbye to certain people in Slovenia, even those who were a part of our team from the very start, because our situation is drastically changing, because our schedules no longer align, in regards to life, ambitions and business. So for me one of the hardest things this year was that we had to say goodbye to people who were with us from the start, because we're moving forward.

['Padam' gets louder for a few seconds]

Interviewer: In March and April you have a new concert tour. Before that, Bojan, you said there will be time for creating.

['Sunny Side of London' starts playing in the background]

Bojan: Yes, next year will be a little experimental from all aspects, so, not just the concert aspect but also from the creative aspect. We'll be creating music abroad for the first time. So, the next two months in London are devoted to writing, making the songs, rewiring our brains.

Interviewer: In English?

Bojan: In Slovene, English and Serbo-Croatian language. Maybe another one, but for now these three are planned. English will dominate for sure but all three languages will be on the album. In March and a little bit of April, we're going on this one month tour. Then we're going to a studio in Germany for one month, where we'll record the album. That is the studio where we recorded 'Carpe Diem' so we're already used to it. We're planning to put the March tour to good use with trying out what we will write and play in our rehearsal space in January and February. So the March tour will be the most playful tour until now, because at each concert we'll try out two, three songs from the new album, at the next concert we'll play another one. So each concert will be actually different and a different experience for the fans and for us. After the studio we are going on a festival tour that will probably also be quite extensive. Then we will return back home at the end of summer and slowly release the album in October, which means another tour for sure and then it's happy new year and merry Christmas and here we are.

['Sunny Side of London' gets louder for a few seconds and continues in the background]

Interviewer: Earlier I mentioned Finland, where you were already during the last tour. One of the concerts is already sold out, as far as I know, in Helsinki. Can you explain this phenomenon? Finland? Is this that story that developed from Eurovision?

Kris: Yes, for sure. I think Finland was the first country ever where we got a golden record and it was for Carpe Diem. We learned about that on tour, when we were in Finland. No one exactly knows the reason why Finland stands out the most. It's definitely the fact that they are big fans of Eurovision, so more of them came in contact with us. Besides that, we had a nice friendship, or rather, Bojan did, with their representative. That gave us additional exposure in this country. But there is clearly something with us and our music that resonates with their ethos and despite all the exposure they had something to hold on to, once they got to us.

Interviewer: You were talking about the golden record. If I mention a few numbers now. Your former PR representative, booking manager, I don't know what else he was responsible for, we're talking about Gregor, of course, he mentioned 45 million streams on Facebook. Now there are more, for sure. Your fee was raised 30 times and it's going up. In short, there are a lot of numbers. What does this bring?

Bojan: This brings a lot of things. Now, in the music business it's common that when you have a bigger fee you have to make a bigger and better production. In the end, it literally comes to proportionally the same fee you had in the beginning, but with a bigger show. In regards to that, our life absolutely hasn't changed. Maybe I could say that it could have if we had stayed in Slovenia... I can say that for sure. If we kept doing concerts in Slovenia we could get more out of it, in a financial sense. In regards to all the other aspects, in other words, how inspirational is it for a musician in how much it fills you, it's incomparable. We don't do music because of money, if we did we would probably either do a different kind of music or do it in a different way. But what drives us, is creating and that new faces in the crowd sing. Especially now, when we started going abroad, it's something incredible. To listen, to see the crowds queuing to come to your concert.

Interviewer: Can you also comment on my question?

Kris: Half of people will always resent you for changing and the other half for staying the same. No matter what you decide and because I personally know that a musician needs to grow in their career, so then I'd rather see that half of the people resent us for changing than for staying the same.

['Demoni' starts playing loudly for a few seconds]

Interviewer: Okay, our chat was recorded at the time that we on Radio Koper realised that Carpe Diem was the most played song in this past year. I told you earlier that the second one was 'Novi val', last year at this time, it was the most played song too. The song that now has an English version, with the great Elvis Costello in the main role. I still don't get it how you managed to pull that off.

Bojan: We don't get it either, honestly. Elvis Costello is someone who was musically connected with the band literally from the start. So, when we first drew the line under this shagadelic rock'n'roll and we called our music this made-up genre it coincided with Elvis Costello, who was acting and singing in the Austin Powers movie, where "shagadelic" came from. So it's an unbelievable common thread that came full circle in the end. Elvis has, in his own words, co-authored with very few people, Paul McCartney is one of them. So, when he told me that he co-signed this song with me, I wasn't really able to grasp that.

Interviewer: Okay. You are a part of the new wave. You're inviting us to the carneval. Generation of love and hope and so on. You are a part of some kind of a new wave that happened several years earlier, the so-called new wave 30 or 40 years ago. You know that there's this phrase that embodied musicians who had changed our story as well, and I dare to say that it was part of the reason why many things unraveled the way they did, for the better. I have a feeling, that you are also, please tell us for all five of you, a part of this new wave that wants things to lead in a better direction.

Kris: I definitely count on all five of us knowing and understanding and feeling that we are a part of the new wave and if I connect to the previous question about Elvis, I think he felt it too. Because this is the bond that we have with him, besides all the surface level things, shagadelic and I-don't-know what else. The bond we have with him is that we both started creating in a vacuum of new music and we made something out of it and I think he could feel it even without beeing present on the Slovene music scene. And if he could feel it, we have to trust ourselves that we are doing something right and we're leaving something meaningful behind us.

['New Wave' plays in the background]

Interviewer: Bojan.

Bojan: We are... the five of us, young people in 21st century, we grew up with the notion that from what we learned from books, everything will be better, all the mistakes have already been made and the world learned something, and now we can flourish. And unfortunately, it is becoming clearer by the day that not only have we not learned from our mistakes, but the mistakes have clearly been learned by those who want to, I would say, take these mistakes to a higher level for future generations who will learn about them in textbooks. So after all the musicians, all the songs that were encouraging peace and love, we are clearly just another wave who can do the same. I hope and believe that for those who want to hear it, we can change their world view and can make their everyday better to a degree that they don't feel a need to share their wrath and indignation with others. In reality, times are stressful and horrifying and we can only make them better by a tiny smidge, and we can appeal to people to be a part of the new wave. I think that the most we can do is that people might be able to recognise within themselves that "maybe I can do this better, I can do it more nicely, and if we share music, if we share love, this new wave can wave stronger."

Interviewer: Good luck.

Bojan: Thank you very much.

['New Wave' starts playing loudly]

~

Transcript by a member of JOS, translation by @varianestoroff, marusapersic and another member of JOS, proofread by a member of JOS.

[retropobor]

Ladies, Gentleman, and All Other Colors, I present to thee: Deltarune Parallels

So about a week ago, I put out a poll asking when I should reveal this little project of mine, and with an overwhelming 2 votes the people said I should release now, so I am pleased to announce the existence of the one and only

(It's currently in a very early stage, so not everything is fleshed out, but here's what I have so far)

Parallels is a little side project of mine which takes the current deltarune world, and focuses on a different cast.

The Human: Terro

Terro is an adventurous person. They're often very quiet while in public, but completely change when alone or with friends, becoming drastically more social and friendly.

The Monster: Ruby

Ruby is a jack of all trades when it comes to knowledge. If you have a question about just about anything, she probably at least knows where to guide you for answers. Above all else however, she loves gardening and nature

The Neighbor: Jack

Jack is a simple monster. If someone gets scared, himself included, he's happy. Scaring runs in his family, and he's happy to keep up the tradition. Although being Hallow entails far more than just scaring. After all, a halloween scare contrasts sharply with holiday spirit

The Prince from the pmdw: MT Pqge

Mgfaymfaz Tqxbqd Pqge, mxea wzaiz me MT Pqge ad vgef Pqge, ue m pmdwzqd ymotuzq yqmzf fa meeuef xustfzqde ftdagst ftq pmdw iadxp. Tq ue puefuzofxk xqee radymx ftmz tue oagzfqdbmdf, ngf efuxx nqxuqhqe uz yqdok mxx ftq emyq.

The story would occur during the story of regular Deltarune in hometown, however, instead of playing as kris, you instead play as Terro, accompanied by Ruby on your search to find out what happened to Kris and Susie

Now then, with all those introductions aside, you're probably wondering where this will go. That is a good question, I do not know, but I have some options, which is where you come in. Either:

A Game

Pros

-The intended experience for parallels

-Will probably be the most enjoyable

-Gives me an excuse to finally get into game design and begin something big

Cons

-Will take forever (Look no further than UTY taking 7 years)

-Requires me to learn music design, and game design

-Unless someone actively asks to join, I have no clue how I would expand my team

A webcomic

Pros

-Frequent Content that still follows the plot

-Follows the plot most accurately without being the game itself

Cons

-I cannot draw well and I don't have any art creation software other than aseprite (There is a reason I went into sprite art)

-I'm not sure how I would write this, and I don't think it will turn out that good

You can submit asks, and the characters will answer

Pros

-Can exist alongside other options freely (honestly depending on what happens with my question box, it will probably just come with whatever other option is chosen)

-Takes basically no effort on my end

Cons

-Barely gives any plot

-If used alone, makes certain characters forever unknown

Or I release the info doc I have on this thing

Pros

-Easiest option on my end

Cons

-I genuinely cannot think of a more boring option for all this lore to be revealed. Like seriously, this doc just lists everything out that I have

-Locks out all other options from being usable as it spoils the entire plot and everyone's character -Immediately all mystery is thrown out the window, and the majority of headcanon formation is squashed

Multiple of the above

Pros

-Any Pros of the components

-Gives more depth and interest to the story

Cons

-Any Cons of the components

-Combines the time of the individual parts

I now place the option in your hands, but I should note that if this doesn't get much attention, I'll probably just drop this all, because I already have a lot on my plate (Idk if this is greedy of me to ask, and I guarantee this will never happen in a million years, but just so everyone can have a concrete number I'll guarantee making whatever comes of the result I can get 3k notes on this post if the poll is still active, 5k notes if it's not, at which point I'll repost the poll so all the new people can vote).

Anyways, I think that's about everything on the topic, thanks for reading through this mess, you may go back to your regular scrolling.

oh hey you're still here. Have some art

Okay, that's all for real

U eqq kag mdq dmftqd pqhafqp fa gzpqdefmzpuzs ftue fqjf. Kag dqyuzp yq m xaf ar ykeqxr, pqmd dqmpqd. Bxqmeq, oazfuzgq fa pa ea itqz iq yqqf msmuz. Kag iuxx ruzp sdqmf geq uz pauzs ea.

[baura-bear]

Welcome to newsie’s big king rant!! *cracks knuckles* i apologise for spelling mistakes or grammar innacuracies

i’ll start with AKB but i’ll do it in three parts ranging how much knowledge i have on the subject

andrew keenan bolger was born on the 16th may 1985 in detroit. he has 2 older sisters, maggie and celia ( who won a tony award for “to kill a mockingbird”!) he’s married to scott bixby since 2018 and their relationship is so nice and wholesome it’s so cute.

HES 5’4. IM 5’5. it’s so funny to think he’s shorter than me but whatever 😭😭

his first broadway role was in the OBC of seussical as alternate Jojo in 2000-2001 of which he did ONE broadway show then got kicked coz he hit puberty LMFAO poor 15 year old andrew

he then went on to be robertson ay in mary poppins THEN went in a woekshop for newsies and papermill and broadway( fun fact i think he’s the only actor who stayed in the same role for the workshop, papermill then obc of newsies )

during newsies he got a lot of fans which honestly yeah real but in march 2013 he left newsies to begin rehersing for tuck everlasting which didn’t make it until 2016 bc there wasn’t a suitable theatre for a transfer to broadway yet ( another fun fact if it had stayed in the realm of 2013 sadie sink would have played winnie instead of sarah charles lewis )

then in 2017 he was in kris kringle the musical playing kris kringle and in 2021 he was in seven deadly sins the off broadway musical playing phillipe

in september ( not sure if going ahead due to sag aftra ) he’s gonna star in “dracula a comedy of terrors” which seems very fun!! he posted a rlly funny photo of him wearing vampire teeth

ok other things than theatre he’s done i’m so sorry gang

so in 1997 he was chip’s singing voice in that lovely enchanted christmas beauty and the beast spinoff which i watched ALL OF IT just to find he’s in ONE FUCKING SONG and he’s only in the credits ONCE

( however tim curry is in it and he’s a fat smash so 🤷🏻‍♀️ )

he was in this show called looking in 2014 don’t watch it if ur under 18 i’m fucking traumatised from it don’t curse yourself with that PLEASE GOD DONT SEARCH ANDREW KEENAN ON GIFS EITHER

he had like a miniseries called ‘submissions only’ which also performed at 54 below

he has a podcast called ‘that sounds right’ which is SO FUCKING FUNNY PLEASE GO LISTEN TO IT I LOVE IT SO MUCH

OH SHIT YEAH HE WAS ALSO IN ( these are all like regional theatre ?? )

high school musical as ryan

perez hilton saves the universe…😬 as a shit ton of different ppl

LITTLE SHOP AS SEYMOUR!!!!!

a really funny parody video called ‘sherlock the musical” it’s so funny bc my irl friend robin thinks he looks like martin freeman

OTHER THINGS I JUST LIKE ABOUT HIM

he’s not afraid to post whatever on his socials 💀 like i’ll be scrolling and that one pic of him licking the screen is there and i’m like 😀 ok andrew

hes really funny

hes honest and open about not being the best dancer which is so real ( so he showed up to newsies to audition and , in his own words , apparently the directors thought he was a good enough dancer to play a boy with a crutch BAHHAHA WHICH IS SO RELATABLE OH MY HOD )

i think that’s it!! please enjoy i’m soo tired i’ll do some more ranting soon :3

thank you for all the knowledge! fun fact: I saw Celia perform in TKAM (very good) and my grandma used to baby sit Jeff Daniels' (Atticus) cousin because they grew up in the same town

also the note about his lack of dancing skills reminded me of his old youtube videos and one video he was talking about an audition he botched (there was basketball choreo he was supposed to learn) and instead, because he didn't know what to do, he just put the basketball in his shirt and pretended to be pregnant??? hey directors like a strong acting choice and he delivered.

[deltaruminations]

ok here's an extremely stripped-down summary of what i think could be the basic mechanisms & reasoning of Gaster Knight (& also a basic explanation of that stupid romhack metaphor i keep alluding to):

basic mechanisms:

Will = ability to change trajectory of universe (ability to make choices that "matter")

we'll say there are two actors: "The Man" and "WD." i have chosen these names for Reasons

The Man = incorporeal, out-of-universe Gaster who talks to us & facilitates the game. does not possess Will

WD = corporeal, in-universe Gaster. possesses Will

from The Man's perspective, WD is his past. from an in-universe perspective, WD is theoretically contemporary to the events of Deltarune the game, but from the in-universe perspective by the time of our entry into the game, he doesn't exist and has never existed.

Deltarune the universe is like a ROM with assets and programming. removing assets doesn't change its programming. the actions still execute, there's simply no asset to associate with them -- its space in memory (IF YOU WILL!!!) is empty. there's an indication of this "programming" mechanism in the fact that defeating a secret boss in one file will cause them to be defeated in the others from that point on. oh also that thing goner kid says about the world still functioning without you

WD "is" the unseen actor opening the fountains we've seen so far (not Kris's, obviously). all of his assets have been removed, which means no one can associate him with those actions, but those actions are still executing because he already programmed them into the universe (carved them into the Earth) with his Will. WHY he "is" doing this is unclear, but i think there might be indicators that he's at the very least unaware of the consequences.

In Deltarune the universe, only actors with Will (in-universe Lightners) can change the programming. neither The Player nor The Man can touch it directly.

The Man seemingly has some amount of control over assets, however, evidenced by his ability to create* a vessel (Possibly Among Other Things) and swap out dark world rooms to give teenagers eggs. The Man may have actually erased WD's assets himself.

how any of this shakes out from here (ex. how will Kris's fountain affect anything?) is anyone's guess and the vast majority of this game is still an absolute mystery but yeah. Gaster Knight maybe?

basic justifications:

the idea that it's the missing WD's choices resulting in the unseen Knight's Fountains is indicated by the seeming absence of knowledge about the Knight by darkners who supposedly interacted with them (they are "programmed" to know of/have met them but have no data to access). there MAY also be some subtle (well. maybe not always so subtle) cues in where Gaster's leitmotif is and isn't present in-universe. OH and also i almost forgot freaking entry seventeen/memoryhead what am i even doing

the justifications for why i think The Man may have removed WD's assets himself are harder to summarize. but basically: it seems like his intention is for the fountains to be closed, seemingly the opposite of the Knight's intentions, and we know that he wants a "NEW FUTURE". if WD is the Knight, then The Man is essentially looking to reverse his own past actions. this means that he regrets them and may be motivated in part by guilt/shame. he could have erased WD because he thought it'd erase the actions too (it didn't) or he may have erased him out of shame and/or maybe he needed that space in memory for something else.

i think the idea that he feels some amount of guilt/shame is bolstered by a certain amount of emotional storytelling that I Believe occurs in the scenes in which we interact with him (musical choices, closing the window/returning us to title after certain actions, possible symbolism of Egg). also memoryhead

if true, the narrative choice of Gaster Knight could be considered to contribute to/reflect various broader themes ex. Do Choice Matter/Maybe But Only With Help/Do We Influence With Kindness Or Violence, etc (when Gaster had choice, the choices he made caused pain, and now he can't change them except with assistance/through influence) & and Relationship Of Player To Options Available In Story (Gaster thinks Deltarune's (the universe's) ending sucks so he metaphorically "made a romhack" of it so he could write an ending he thinks is better)

oh also. just to put a finer point on it, "time and space" -> two instances of him (his consciousness and his Will) technically exist concurrently, even though one is also technically in his past + he "exists" both in and out of universe at the same time. also if we put any stock in the romhack metaphor, his "space" in "memory" has been altered (his assets were removed, and he may have used that space to "create" other things (characters, Egg), thereby shattering what would have been his "form" across the DR universe

experiment (dark fountains) went wrong (roaring) but this may not have itself caused "shattering." shattering may or may not have been intentional, we don't have the info yet to say imo

* whether or not he can actually "create" entirely new things (as in, open a new space in memory) or only swap out existing assets is its rabbit hole so let's just disregard that for right now. ok

[zinnia-apologist]

If you'll excuse me, I'm about to go into Deltarune Theory Mode, about something I've had brewing in the back of my mind for months. I want to be the first person on record about this, if my theory is correct.

I don't think that the speaker in the SURVEY_PROGRAM intro is Gaster. Or any character we've already met.

First off, the speaker does not use either Wingdings or Aster as his font. Instead, he uses the game's default font (introduced with a glowing variation, before later reverting to the regular sharp-edges version), in a slow and deliberate typing style with no sound for his voice.

Next, the theme that plays during the intro is obviously inspired by Gaster's theme, but the titles are interesting -- Gaster's theme is "mus_st_him", whereas the music during the intro is "Another Him" -- seemingly citing another individual, rather than being another theme for the same character.

This character seems to be very heavily tied to communication and connection. In the mysterious tweets preceding the game's reveal, the character spoke of being in contact soon, and that he and you are on the verge of connection. When you start the game, he asks, "ARE WE CONNECTED?"

Jevil and Spamton are, of course, implied to have been getting information from a mystery character, often theorized to be Gaster. Jevil met a strange man, whose knowledge drove him mad from the revelation. Spamton was in constant contact with a person who brought him success, until suddenly he was cut off from his benefactor and similarly spiraled into madness. Both Spamton and Jevil are unique in having real spoken voice clips; notably, in the SURVEY_PROGRAM intro, one of the gifts you can give to the discarded vessel is VOICE as well.

(Sidenote, the only other voice clips are the singer of Don't Forget/Until Next Time, and the "HEY" in It's Pronounced "Rules" that Rouxls also says in a speech bubble. I think both are significant, but that's more for other speculation.)

Personally, I do think that Gaster was Spamton's benefactor, as well as the mystery man who met Jevil. But I don't think he was the voice at the beginning of the game.

Seeing as the default font, and therefore his voice, is 8-Bit Operator, I'm choosing to call him The Operator.

An operator can mean a few things. In mathematics, it refers to the function of an equation, such as plus for addition or times for multiplication. In machinery, it refers to the person using the machine. In business, it refers to someone running the enterprise.

More significantly, in telecommunications, the operator is a middle man who facilitates communication, by assisting users or working with the telephone switchboard. Such a person would be responsible for maintaining the connection between Gaster and Spamton during their phone calls -- as well as potentially being the reason that contact is lost, and why an attempted phone call might only return garbage noise.

Another meaning of operator is a manipulator. Someone controlling, someone who makes other people do what he wants. Someone who pulls the strings. The Operator very well could have manipulated Gaster or those he offers his help to.

My personal theory? Is that the Operator sabotaged Gaster's experiment and caused his disappearance, potentially due to him knowing too much and sharing too much. For as much as Gaster has a spooky reputation, everyone who talks about him seems to agree that he's quite the honorable and charitable man. The dissonance seems a bit too off to attribute to Gaster being a malicious chessmaster, especially for someone whose death was an accident.

I also think a lot about how the Operator speaks about connecting you. He's the one who tells you that your choices don't matter, and that it's not you who you are playing as, but rather, another individual that got saddled with the SOUL you control. Kris, the SOUL, and you-the-player all seem to be fully different entities with fully distinct motivations, that just happen to line up for the plot. The SOUL seems to be a new addition to Kris's life, as of the moment they wake up in the beginning of the game, because up until that very day, Kris acted like a different person. I think the moment the Operator created that connection, was the moment Kris's life changed. And, of course, it's driving Kris absolutely up the wall.

[thedaythatwas]

my utdr kfc music headcanons (literally nobody asked, but I have thoughts that require sharing):

Frisk: This kid is a Swiftie. All the eras. They love everything Taylor has to offer, Debut through Reputation and every genre she covers in between. Generally speaking, mid-2000s pop is their jam. They love a bit of Colbie Caillat! Love some Carly Rae Jepsen! Also, are you gonna look at the Mettaton fight and tell me this kid doesn’t go hard to Gaga? Has definitely lip-synched to TiK ToK by Kesha in the mirror at least once.

Chara: They’re along for the ride with Frisk, and as cheesy as they think some of their friend’s pop favorites are, they live for them deep-down. Don’t ask them about it directly, though. They’re the reason “Stay Stay Stay” (Taylor’s Version) has been stuck in Frisk’s head for the past week. Frisk isn’t complaining! They go HARD to MCR and have been forcing Frisk to follow the live tour with them. Gerard’s flamethrower fit was their fave. Their top album? Three Cheers. Frisk vibes more with Danger Days though, so the two tend to listen to it more often.

Kris: A contrarian. When the reddit post dropped (you know the one), they started listening to Cbat unironically and simply didn’t stop. They don’t plan on it. If a song has been dubbed a meme song, it’s on their playlist now. They’ll never acknowledge whether they’re doing it for the bit or not- that’s how invested in the bit they are. All Star. Take On Me. The Minecraft “Mine Diamonds” parody of Take On Me by that one kid on YouTube. They listened to 100 gecs long after tiktok deemed it “uncool”. Notably, they’re a fan of Ska (Asriel introduced them to it, and they take his recs very seriously). They’re incredibly well versed in the genre and are knowledgeable about its deep and significant cultural history. No one suspects their love for it is a bit, because it isn’t.

[protoslacker]

Jazz Trios

I was off work yesterday after a long week of heavy work. I think am too old, anyhow I'd planned to do nothing except rest. By good fortune early in the morning I stumbled upon Jazz Sabbath, a Jazz trio performing  music of Black Sabbath. After a bunch of their videos, I listened to Jazz trio music all day long.

I listened to the Julius Rodrigues Trio and the Joey Alexander Trio. Both are such brilliant musicians, who while very young have been playing for a long time. Here is Joey Alexander at age 11. He's 19 now and the Birdland concert linked to are all his original compositions.

He's been playing regularly in trio with Kris Funn. His collaborations with Joey Alexander and John Davis on drums are wonderful. On Funn's Google knowledge panel the genre is listed: Japanese Hip Hop/Rap. I was skeptical and clicked through to his Website. I was glad because there is so much there, so much that I might have missed the Japanese Hip Hop. He's got the coolest merch I've seen. There's a whole page of Art + Writing which moved me.  His Web site is worth the visit. 

I listened to a bunch of Jazz trios and will link to a few performances that taught my ear:

I Cover the Waterfront, Lester Young, Nat King Cole, Buddy Rich.

Money Jungle, Duke Ellington, Charles Mingus, Max Roach

River Man, Brad Mehldau, Larry Grenadier, Jorge Rossy

Everywhere You Turn, The Bad Plus, Reid Anderson, Dave King, Ethan Iverson

When the Sleeper Wakes, Michael Wollny Trio, Michael Wollny, Christian Weber, Eric Schaefer

I really know so little about music. I am sure I’ve just scratched the surface. And I surely hadn't appreciated Jazz trios as much before today!

[albatris]

blorbo blursday!!!!!!

can I hear facts and knowledges about the atdao gang !!!!

a very happy blorb blurs to you!! yes yes of course you can :D!!

Kai has one younger brother, Kieran, and two younger twin sisters who are now older than Kai due to time loop fuckery, Kris and Kayla. can you tell their parents had a Theme

Noa is into all kinds of obscure music genres, the names of which get more and more outlandish as the story goes on up until the point I'm literally just making them up on the fly and seeing if anyone notices

Tris is into all kinds of fancy pretentious coffee, the names of which get more and more outlandish as the story goes on up until the point I'm literally just making them up on the fly and seeing if anyone notices

you know you've Made It in terms of being friends with Shara when she just. tells you which X Files episode will probably be your favourite. she just Knows based on vibes and she's pretty good at it

Noa and Jacob Greer have scrapbooking sessions together........ Jacob likes all kinds of crafty hobbies that keep his hands busy and Noa is, to many people's surprise, SUPER sentimental :') the Greers are FORBIDDEN from telling anyone Noa scrapbooks fjdjdks

if you let Kai loose in your kitchen they'll just start cooking stuff. they stress cook and they're always vaguely stressed. Kai makes spaghetti bolognese like some people doodle on envelopes when they're zoned out. a running subplot of ATDAO is the Greer family trying to pan the eight fucking tubs of leftover spaghetti bolognese Kai left in their fridge off to people so they can finally be free

Shara uses her handheld radio and the little dashes of interdimensional radio chatter she can pick up to map the layout of other realities in relation to her own! her radio is covered in glittery nail polish and stickers of frogs!

Tris doesn't really enjoy Noa's music taste and prefers high energy boppy pop songs, but he likes it because Noa likes it, and he has all her playlists saved. the especially loud yell-y metal songs are fantastic for blocking out auditory hallucinations with the added benefit of making him think about his best friend and how sweet of a person she is :3

after the story's events, Kai, Tris and Shara go on a roadtrip around Australia together :3c Noa was all "pfft well you're welcome to ask Tris to come along but he won't, he doesn't like travel" and Kai was like "wanna fuckin bet" and made the most detailed colour coded itinerary and route map with every single possible necessary note on it so that everything is Planned and Safe. like Maximum Effort trip planning. so that Tris feels safe enough to finally dip his toes into going on Adventures :3ccc

Noa's favourite pokemon is crobat. she considers this a crucial key fact about herself

when Tris grimly makes reference to The Family Curse people often assume he is talking about the metal illinois but he's usually talking about love for british crime drama television series Midsomer Murders

Shara WILL not leave the house without some article of floral clothing, commonly a scarf or socks. if you ever don't know what to get her for her birthday anything floral is a good bet. or any cool novelty rubik's cube. if you can find her a floral rubik's cube I think you'd win her friendship for life

[septembersghost]

I've never seen it and don't know a lot about this but do you think A Star is Born would've been good with or for Elvis if he'd done it

it would be a different movie, and very likely a better one, because i've personally never understood the casting of kris kristofferson lol. my knowledge on this is not expansive, i only know what i've seen barbra say, which is that she thought he was perfect for it, and for the version of the story they wanted to tell. back when she recorded her album partners, which is a collection of duets, she included love me tender, i remember her recalling talking to him about it, and that he'd expressed a real sensitivity to her, and mentioned something about needing to find peace and quiet before going onstage, which she understood. (barbra pretty famously has suffered from crushing stage fright.)

"The two superstars met (at least) twice. The first time was when Streisand was performing at the International Hotel in Las Vegas. Elvis came to her show and afterward went backstage, surprising the singer in her dressing room.

A nervous Streisand was painting her fingernails so she didn’t have to look Presley in the face. In a commentary track for the DVD release of A Star Is Born, Streisand mentioned that Presley, incredibly, took the bottle of nail polish, got down on his knees, and started painting her nails." (x)

there's an article from this year addressing this, but it's from a tabloid, so we'll take that into account:

"On March 28, 1974, Barbra Streisand visited him backstage at his residency at Las Vegas' Caesars Palace. ...[she and Jon Peters] had the movie rights to A Star Is Born and Elvis was the first choice to play opposite her as the tragically self-destructive rock star John Norman Howard. It was the juicy role of a lifetime, and Streisand said in 2014, "I thought he was perfect to play that part."

An offer was made and contracts were drawn up. The King's girlfriend at the time, Linda Thompson, said: "Elvis wanted to do it. Elvis was very excited about the prospect of working with [Barbra]. Thompson added: "Elvis said, 'This is going to be a great opportunity. We’re going to do A Star Is Born. I’m really excited about it. This is finally going to be a role that I can sink my teeth into. I’ve never gotten the kind of role that would show me as an actor.' That was a big frustration for him. His favourite movie he ever did as far as acting was King Creole, because he thought that he had the best script and the best chance of showing his acting ability."

After two meetings, Streisand and Peters made a formal offer and Linda recalled Elvis “was thrilled at the prospect of finally having the opportunity to really immerse himself in a role and reveal new dimensions of his acting talent.” The offer included $500,000 upfront plus 10 percent of the net profits. Elvis could produce and take the full revenue from the concerts that would be filmed. Streisand's production company and Warner Bros would retain rights to the music and soundtrack album. Elvis had been paid far more in his Hollywood heyday, but Memphis Mafia member Jerry Schilling said: “There was no way the film's budget could stand two superstar salaries and Elvis didn't care about the money. He was smart enough to know that this kind of supporting role could be his way back into the movies.”

As always, all business had to go through The King's powerful manager Colonel Parker. He demanded $1million upfront, 50 percent of the gross profits, $1,000 a week in expenses, approval on all of Presley's songs and a cut of the soundtrack revenues. Parker added one more thing that was even more damaging to the deal. His original proposed contract is kept in the archives at Graceland and states Elvis would be entitled to first position credit and 100 percent of the listing above the title on all promotional materials and the styling of the finished film. It was unthinkable. [...] Parker's constant unwillingness to let Elvis explore more challenging music and movie avenues meant he would never accept his client playing the role of a heavy-drinking, drug-using wreck. Most believe Parker intentionally sabotaged the negotiations, demanding impossible terms. Thompson, however, believes differently: "I think The Colonel couldn’t make the deal...Elvis did not negotiate. So the Colonel came to him and said, ‘Son you can’t do this movie because you can’t be depicted as a loser…You are a winner and you can’t be depicted as a loser."

The talks were "dead" within weeks and Thompson said Elvis was "devastated." Kris Kristofferson went on to take the role The King had so desperately wanted.

Even worse, he would have seen the 1976 A Star Is Born go on to be a massive hit, taking $80million in the US alone where it was the second-biggest film of the year. It was also hugely profitable, being made for a tiny $6million. It won Golden Globes for the two leading actors and for the theme song, Evergreen. The soundtrack also topped the US charts for six weeks and eventually sold eight million copies.

As Elvis wrestled with health and emotional demons in his final years, it is fascinating to wonder what might have happened if he had made A Star is Born."

ASIB is an interesting little creature in itself - its male lead needs to be charismatic and difficult and tragic, but not outshine the female lead, and due to the elements of the story, it tries to hit a balance with that relationship being both nurturing and destructive that's hard to find. each of the three musical versions has this iconic, signature moment from its leading lady - it's judy singing the man that got away, barbra with evergreen, lady gaga with shallow. basically the framework is meant to showcase her triumph, her resolve, and her grief, as he's struggling and fading. it's a love story on its face, yet ultimately about the perils of fame, so it can't really let him be a romantic hero, he's jealous and troubled and the relationship never quite finds solid ground. judy, barbra, and lady gaga are all luminous in their roles in disparate ways (judy deserved an oscar), but i've always felt the men supporting them are a little hit-and-miss. judy's version of the film was unfortunately butchered in post by the studio, without director george cukor's permission, barbra's version suffers from what i personally feel is a lack of chemistry. gaga/bradley's version is probably thus the best as far as its telling of the story and the very natural connection they have (i unironically love the soundtrack, and think he directed the film well, and while not every decision he made acting-wise nor the kind of odd judgment on her "selling out" to pop music sits right with me, his jack is more of a character onscreen with her ally than the other two incarnations). (also all three of these have biting moments that hinge on the idea of the women not being beautiful enough to be successful and it's angering and makes my heart hurt.)

this is more information than you wanted, but i say all of this because i think elvis, and what he'd specifically experienced and been through, would've carried a unique perspective to it and potentially could've brought out a much different humanity in that character. he'd known the meteoric rise and some of the fall, and while his career onstage was doing well at the time, he'd seen the drop of his film career. i think the fact that he very much wanted to do it and to tackle something a little more challenging speaks to the outlet he was always looking for in his creativity and intellect. he certainly wanted to prove himself as an actor and never felt he got that chance. maybe it wouldn't have worked, but i imagine it vibrantly could have, and would at the very least be a more interesting and textured film. plus we were robbed of the potential musical collaborations there and tbh she needed a powerhouse opposite her. (i'm sorry to kristofferson, but that man was not it for me, no matter how hard they tried to sell it and an idea of sex appeal there. this was also an odd time in barbra's career, even though she was at a fairly high point following the way we were, if asib had been better, it would've had an effect for her too. anyway the conclusion of that movie where she leans into rock and roll with watch closely now is electric, and that might've been even more so had she been responding to a literal icon of the genre.) the whole energy of the film and even its marketing would be different. maybe he could've elevated the character and story. maybe it would've made a difference for him personally. it's one of those haunting what-ifs where we can just never know, but i'd like to see the universe where he'd done it.

[taisiakat]

Manifesting Monday - Reading for week of 06-05_06-11

Focus: Business/Career/Professional/Work related Deck: The Goddess Tarot Deck, by Kris Andreas Waldherr Music: Awakening The Goddess Within

It is all about embracing the Divine Feminine energy this week in regards to Business, Career, Professional activities.

Doesn't matter how you identify yourself gender wise, as we all have both Energies within in us, and that we can call upon, utilize and experience.

Six of Cups: Yours, theirs, memories, good times, nostalgia

This week it's all about sharing, caring and helping, even if you are not in a service business/profession. It is about helping others find new opportunities, sharing your wisdom and knowledge with others just starting out. It's about caring about how someone else's business or professional space may not be as enriched or fulfilling as yours is.

No matter what it is, this week make sure everyone you meet within your professional space feels seen, heard and validate. Give extra time to folks. Greet them warmly and with the desire first to get to know how their day is going before rushing into what ever professional activities you are engaging with them.

Create a sweetness, gentle professionalization with each engagement so that forms a wonderful memory for the other person. And that memory will reflect back to you with more abundance coming from them.

Juno - the Goddess that watches over women and protects them, from their first breath, to their last breath, is here to help bring about some important structure changes in your day to day professional space.

It is very fitting since the Divine Feminine is the focus energy this week with business, career, professional area, that she become involved.

Remember Business is a birth of an idea.

It is a marriage of processes, programs and structures to help bring about manifesting abundance.

It is a set rituals - intents - goals to accomplish what it is you want to accomplish in this space.

Never underestimate the power of love, joy and happiness as a vital tool as we spend 1/2 of our life working, building, focusing on some career, a business, or professional path.

It is time to really really think of your professional space as a place to make sure you are doing what you love, why you love it, and how you love it.

Otherwise you're wasting your time, energy and talent.

Please feel free to ask any questions, share your thoughts, does this resonate with you, is it helpful?

Let me know how I can assist you.

@}}>`~~~ Experience, observe, be curious and enjoy!

The Last Chance Crone - helping you with your shit when other methods fail

[sadsongsandwaltzes]

Okok for a country music ask either

which song do you personally believe to be the absolute best country song of all time?

Or

Why do you believe that so many people people of our generation dislike country music? (because it honestly breaks my heart that good country isn't always given the love it deserves)

I can’t say it’s the best all around, there are better examples of a true country sound and musicianship, but as far as I’m concerned, Sunday Morning Coming Down is the greatest song ever written. I’ve talked about my love for this song before. A couple times actually. There is no song that resonated at my core more than that one did when I was Going Through It. But this does give me an idea to maybe long post about Kris Kristofferson sometime because he’s my favorite songwriter of all time :)

As for why people dislike country… I don’t think it’s a generational problem. I think it’s cultural mostly.

In rural America, country music is still alive and well. Outside of that…. Eh. Nashville “country” is thriving with the suburbanites who think farmhouses are actually all white, I guess. But typically this dichotomy between rural/small town Americans loving country and the rest of America hating it has existed as long as the music itself has been around. So it’s not generational. It’s cultural. And why those who are outside of the culture won’t give it a chance boils down to two reasons 1. Misconceptions or 2. Classism/“other”-ism

1. Misconceptions: this is more true now than in the past because of the gap between country music and country radio, but if I had no background knowledge of country music and turned it to country radio and heard Kane Brown, I wouldn’t be impressed either. And we’re still feeling the sting of Bro country, so everyone thinks country music is just about men objectifying women in their trucks. But even before country radio went downhill, misconceptions and stereotyping was a problem. They’d dismiss country as just “drinking and cheating songs.” Which country does have plenty of drinking songs — some better than others — but these people completely ignore how the better songs take these real and painful aspects of life and turn it into something beautiful. They ignore the songs about every other aspect of life. They ignore the stories. They ignore the musicianship. They ignore the artistry. Granted anymore it’s not entirely their fault. We need to have better representation of country music in the mainstream. Cuz country radio ain’t it.

2. -isms: mostly I’d say classism. Country music was made by the people. And the “people” include the backwoods Bible thumpin tobacco spittin hicks. It gave a voice to the poor, to the forgotten, to the every man. Most people who aren’t these people don’t want to associate with these people and they certainly don’t want The Other people trying to mingle with them and have a say in society. I mean Kris Kristofferson’s own parents disowned him because he gave up a prestigious military career to instead write songs for hillbillies. His parents wanted nothing to do with that. They didn’t want to associate with hillbilly music and viewed him as an embarrassment to their family and cut him out of their lives. Country music is rooted in the truth. Of course his parents couldn’t stand it — people like that don’t care about what is real, they only care about appearances. Being in good standing with ~ society ~. And isn’t that just the whole thing? Really the correct -ism is classism. And it’s not even necessarily that all people of a higher class don’t enjoy country music and that all poor people do — it’s the desire to be a higher class, or at the very least perceived as such. And that’s the actual heart of classism. Of course, I also tied in the divide between rural and suburban/urban. But I don’t think that’s the biggest issue here. I think it’s class. I think it’s wanting be seen as high class. And poor people are viewed as low class. And rural people are viewed as low class 🤷🏼‍♀️ either way, it’s dumb hillbilly music to them. But the people who don’t care about that kind of shallow stuff — no matter what their actual tax bracket is or what culture they came from — this obviously isn’t a problem for them if they don’t care about being viewed as “higher” than others. I’m not talking about them.

Well… I’m sure this post will be received well lol.

Also, I’m not saying you have to like country music. We all have different taste. It’s more so the disrespect that country music gets. Even if you don’t like it or it’s just not your thing, you should at least be able to respect it as a legitimate art form.

[dukeoftheblackstar]

I am here to raid your music and offer some in turn! Send me anything you think has Boba vibes or Wolffe vibes :D My offering: https://youtu.be/-xi-cbhWPgA Voltaire's cover of Hallelujah

No point killing the dead. 

One could argue the truth behind the sthat if you stare long enough at a mirror, your mind plays tricks on you — some ‘bloody mary’ bullshit Boba heard about from a prompted excursion on a planet called ‘Earth’. He frequented there mainly because he could easily get lost in the crowd without his armor — not that he couldn’t do it elsewhere, but this so-called Earth had weird shit that seems to have captivated Boba and his vast knowledge of the galaxy’s inner workings that seem to elude this primitively unadvanced planet.

Though that may be so, Boba stares.  Move. 

And stares. Move.

And stares. Move, goddamn it. 

And stares. I said mov—Oh.

And move he indeed did. Wolffe grunted and clung to his side — a broken rib maybe, a fractured bone. It didn’t really matter. He got to push Sinker to the side before he—- “What the kri…”

(tempted to make Boba go, sup bro because I can’t write anything serious — fuckkk)

Frantic eyes sought to grab the blasters that were neatly a nudge away from reach only to be reeled back by the unabashed pain that kept the clone commander in place. 

Seemingly satiated, Boba — who had perched himself on a log by the fire, tucks a worn-down instrument beneath his arms. He took a moment to admire them — scars of time; scratches from the sharp edges of the very armor that once were blue as the Kaminoan seas now green as… well — Doesn’t matter.

Admired the dents and chipped wood that resonated with the pride of battle-bounty ragged armor. Do I make you proud?

Boba could answer whatever it was that he heard. Or he could just fucking not. Fett’s don’t really give two shits when they’re being overly dramatic. Today was no different. Today was full of drama.

He moved. He’s alive.

That’s all that mattered. Whether to him, Jango Fett’s son. Or to himself, another man in the mirror.

He’s alive.

********* Context because I write like shit even though I said no context. - Boba saves Wolffe who saves Sinker from falling off a cliff, in which he falls to his death — not really, we don't do deaths in this house. Boba swoops in. Saves b r o t h e r .

Please assume he sang the song you sent. Doesn't have to. But my Fetts are dramatic with no chill.

Let Boba bust out tunes ktnxbyeeeeeeeeeeeee!~

@kimiheartblade thank you for participating ♥ Had to listen to it like 6 times. I know the song, but this cover be nice ♥

[stainedglassthreads]

Incoherent musings on Jevil, Spamton, and their themes. 

I do not have enough music knowledge to talk about this in detail, but I really really love how well THE WORLD REVOLVING and BIG SHOT deliver the emotions and personalities of their respective characters, as well as their contrasting views on freedom. 

Jevil believes that he IS free, and it’s a recurring theme in his backstory. After the theme of ‘your choices have consequences’ in Undertale, and ‘your choices don’t matter’ in Deltarune, Jevil’s philosophy of ‘my actions have no consequences, so I can do anything’ feels like a direct response to both. Likewise, his absolute joy in freedom from consequence also feels like an answer to Flowey’s boredom, Sans’ apathy, and Chara’s judgement. 

Jevil’s battle feels distinctly different from Asriel’s, Photoshop Flowey’s, and Sans’ boss fights. Photoshop Flowey wants to gain godlike power. Asriel has achieved godlike power, and now desperately fears the game ending and Chara saying goodbye. Sans fights to make the player ragequit, distinctly not seeing the world as a ‘game’. But why does Jevil fight? 

Because he wants to. He was lonely and wanted someone to play with. 

Jevil doesn’t really get anything from beating you, and he doesn’t really offer you any prize for beating him. Sure, he says unlocking him will help ‘free’ the party, but he presents the fight itself as a simple game, and seems to be enjoying himself immensely. Even when he loses, he’s not that upset, just remarking that the party has tired him out, musing on the challenges ahead, and daring them to do their best with Jevilsknife or Jevilstail. He doesn’t really seem to be rooting for or against the party, at least how I read the lines-- just curious. 

If there are truly no consequences, then there’s no reason to be sad about losing, and so he can truly just have fun with this fight. And his theme reflects that. It’s fast-paced and manic, but also jubilant and bombastic, with lots of horns and pipes. 

Spamton on the other hand... Spamton started from a very low place, with big dreams. With that ‘mysterious person’s help, he achieved everything he desired, but then lost it and fell fast, and hard. Spamton is also obsessed with freedom-- not because he has it and loves it, but because he wants it. And he seems to believe being big, being the one in control, is the only way he can attain that freedom. 

Jevil’s ‘freedom’ is connected to prisons, both literal and metaphorical. Often a prison implies a jailor and one to enforce consequences, but if someone can escape or avoid the law, then there’s very little way to threaten them and enforce said consequences. Spamton’s ‘freedom’ is connected to puppet strings, which implies both a puppeteer and a puppet-- where the puppet is afforded no freedom and no consequences, but the puppeteer’s actions have consequences for the puppet. 

In another parallel, Jevil lost everything by being locked up by the Kings, but only seems to regret being a bit lonely now. The benefits of his ‘freedom’ are very mindset-based. Spamton’s ‘benefits’ seem extremely material-- big cars, big room in the Queen’s mansion, big deals big gigs. He was the puppeteer calling the shots, then he loses everything when his benefactor stops helping him. 

Spamton’s theme is much less like normal music. It’s frenetic, desperate, glitchy, all over the place, like he was borrowing and grabbing at anything he could. While The World Revolving only uses leitmotifs from Don’t Forget, Big Shot uses leitmotifs from Now’s Your Chance To Be A, Power of NEO, Dummy!, and some of Napstablook’s themes. It starts out big and cinematic and scary, and immediately goes strange, switching between something grand it wants to be, and something... stitched-together. Like he’s trying to imitate a ‘big shot’ but just can’t get it all to be coherent. It also repeats the spoken phrases ‘now’s your chance to be a big shot’, it’s obsessive, like how Spamton utterly fixates on becoming so big and escaping the loneliness and darkness. 

Speaking of the loneliness and darkness... did you know ‘now’s your chance to be a big shot’ aren’t the only lyrics in the song? According to a comment on a youtube video I found, from one minute five seconds in, you can hear: 

Answer me please, answer the phone.  Can't spend another minute all alone.  Pull the strings and make it ring. Don't you wanna be free? Answer me please, answer the phone. Can't spend another minute all alone. Pull the strings and- Pull the strings and- Don't you wanna be a [[BIG SHOT!]]

It’s also interesting that while beating Jevil leaves him satisfied but tired... beating Spamton is heartbreaking, quite literally shooting him down when he seems capable of achieving that so-hoped-for freedom, with the help of Kris, his fellow puppet who he’s been projecting onto. While Jevil had nothing to lose and gave away Jevilsknife/Jevilstail out of curiosity, Spamton lost whatever hope he had, all over again. And so it feels... more meaningful that he gave Kris the Dealmaker/FibreScarf. He was projecting onto Kris, and it was definitely a lot of his own issues, yes. But he still wasn’t wrong there were parallels between them-- and I believe his desire for Kris to cut their own strings was a genuine attempt at helping them. 

Because there are no consequences for Jevil, he doesn’t care if we win or lose, there is no investment in Kris’ story for him, just entertainment. He is closer to us, the Player. Because Spamton is very materialistic and knows what it’s like to lose everything and be abandoned, he is neither apathetic nor uninvested, and I think is actually very invested in Kris’ story, not just curious about how it’ll go. But all he can do to help them now is give them new armor, well-wishes, and cryptic hints about things to come. 

From prisons to puppets, I’m very excited to see the other secret boss’ takes on freedon. 

[the-irreverend]

The Doctor; The Demon; and the Darkner's friend

You really thought the motherducking follow-up to Undertale is just gonna be Alice in Wonderland with more furries? Au contraire my fellow fandom-asses (get it), for Deltarune is more than just a standalone sequel, it’s closure. It's an opportunity to finally solve the last few loose ends of Toby Fox’s magnum opus; specifically Undertale’s most mysterious, and most controversial characters: Doctor W.D. Gaster and Chara Dreemurr.

It’s obvious that some console-exclusive add-on or some cheap last-minute DLC isn’t enough for characters as (in)famous and important to the game (and the fandom) as they are, so what better way to do them justice than with their very own game. It’s also pure genius (accidentally or intentionally) that the only two major characters in Undertale that never got a proper resolution/explanation just happen to know a thing or two about worlds beyond their own.

[Haven’t forgot about this scene have you?]

So to all the loose cannons who headcanon that Chara and Gaster are somehow present in the world of Deltarune, there’s good news because you're not totally out of your head as after I’m done here, you can take the “head” out of your headcanon. 

Now, the evidence for Gaster is clearly there as indicated by such details as the dialogue from Toby’s Twitter Account; the music in the South Part of Monster Town; and the fact that one of his followers said that you’ll meet a certain Susie in the Switch port of Undertale.

But what about our sweet rose-cheek freak? Compare the text from the intro to DR after your character is discarded and you’ll find that it is quite different from the text that came before... and all too similar to the text found in UT after the world is discarded. 

Uncanny, is it not? But if that wasn’t enough all you have to do is ask yourself: who is narrating the game? Does anyone else find it odd that the narrator/Flavour-Text keeps making references to events and characters of Undertale despite being worlds apart. For starters, why would it give the option to tell Sans “Great to see you again!” if Kris never even met him? 

Not only that, why would the Flavour-Text give the option to ask Undyne about Alphys despite that they don’t have any relationship in Deltarune.

But perhaps the most damning piece of evidence is this:

This is what the FT asks you before you read Alphys give a glowing review of Mew Mew 2, something that her UT counterpart considered blasphemy. There is literally no way the narrator could make a statement like this… unless they had an intimate knowledge of the world of Undertale. Perhaps even had a hand in narrating that game’s events?

So now we know that Chara and Gaster are here in Deltarune, but why? What are they trying to gain from being in another world? And what does Kris have to do with any of this? Some have suggested that Chara and Gaster are at war with each other, but the truth is, Chara and Gaster are not working against each other, but are working together. In fact, one might even call them partners. 

[A totally accurate representation of Chara and Gaster’s relationship]

It’s when you start to consider a certain prophecy that it all makes perfect sense. 

Do you really think it's a coincidence that the only three individuals in the game that know of the player’s existence just so happen to be a human [Kris]; a monster [Gaster]; and a PRINCE OF DARKNESS [Chara]?!?!?!?!

Doesn’t sound so insane anymore, now does it?

Y’all should know by now that our Lord and Saviour Toby Fox is a GOD when it comes to misdirection, deceiving appearances, and red herrings, so I think it's safe to say that the chosen ones might not be Blue Man Group, Barney the Dinosaur, and the Wonderful Wizard of Fuzz. 

As for the rest of Chara and Gaster’s goals, well... remember how the prophecy mentioned banishing an “angel's heaven?” That “Angel’s Heaven” is YOU. 

Did you not at one point return to underground and cause it to go empty as Undertale’s prophecy foretold? Did also not at one point disrupt harmony and caused a great calamity in the world of Undertale. It wouldn’t be the first similarity to UT and DR’s prophecies given how the people who end up fulfilling UT’s prophecy happen to be a human [Frisk], a monster [Asriel], and a prince of darkness [Chara].

Besides, why would Kris go through all the trouble to threaten you in the exact same manner as Chara did (All while throwing in a knife motif for good measure, i.e. something that we associate with Chara)?

Whether intentions are noble or ill has yet to be revealed, but as of now, the only thing that matters is that KG&C they know you’re here…

…and they ain’t exactly happy about it.

{Artwork belongs to @bamsara & @sovogirl​}

[new2fivesauce]

The Hell Tour - 1. One Way Ticket

Kristi caught her reflection in the mirror as she took slow, deep breaths. She looked down at her hands, her fingernails were bitten into nubs and her Fairy Plum purple nail polish was chipped on all of them. Her hands were still shaking, but not as bad as five minutes ago.

"God, you're such a wimp." she chastised herself. "You can do this."

She closed her eyes, this time giving herself a mini peptalk in her head before she opened them and stared hard at her reflection. She nodded at herself and turned around to face her bed.

Her bed wasn't made and there was an array of clothes laying on top, but even from across the room, Kristi's hazel-green eyes could see the manilla envelope sticking out like a sore thumb between her pillows and a stuffed Jack Skellington. She strode across her room in three easy steps and grabbed the envelope. She opened it for the millionth time and looked inside.

Yup, that airplane ticket was real. And yup, it had her name on it. She shut her eyes quickly and threw the envelope back on her bed. How was this even possible? Who put her up to this? Who sent her photography to this guy? Who told him about her? The only person she could think of with these sort of connections was her dad, but she didn't think his connections were THAT good. She bit her lip and ran her teeth across it gently as she pulled her phone from her pocket.

She had to toughen up and just do it now. He had to know. There was no way she was going to do this without his knowledge first. She didn't know why she felt that she needed his approval anyway, but they were never... well, in nice terms, sociable.

Since they were children, he always made her feel like an outsider even in their family. He had rejected in every way and this was something that she desperately wanted and needed to do. She needed the income. She needed the experience. She wanted this life.

Her thumb hung over her phone's touchscreen, waiting. Her brain kept stopping her. With another deep breath and with shut eyes, she pressed his name and put the phone to her ear.

She held her breath, cheeks puffed out, as the phone rang. It rang once, twice, three times. She didn't know if he had her number. Her dad always, for emergency reasons, gave her his number every time he changed it. She didn't know why Dad bothered with it, but in this instance she was kind of glad she had it.

"Hello?" his tenor voice finally answered the phone. Kristi swallowed hard, her voice stuck in her throat. There was a lot of background noise: loud music, beers clinking, rowdy voices. She assumed he was at a bar or just hanging with his friends. "Hello?" His voice came through again and Kristi snapped out her thoughts.

She had to say something quick and something he would recognize instantly. She was sure at this point that he didn't know who was calling.

"Hey, Bostwick." She found herself saying. Her hand flew to her mouth wanting to stop her words but it was too late.

There was a loud crash on his end.

"Kristi?" He replied, this time in a hushed tone. The phone suddenly sounded muffled and she heard him say that he was stepping outside. WIthin seconds, the connection was clear again and there was no more noise. It was silent on the line for a moment before he spoke again. "Kris, is this you?" he asked.

Kristi sighed into the phone. "Yeah... It's me."

"I- uh- what- Shit..." He cursed. "What do you want?" His surprised voice changed to harsh and mean. This was the tone she had become accustomed to. This was the Kellin she knew.

"I'm sorry, Kellin." She apologized quickly unknowingly. "Umm... Dad gave me your number and uhh..." she struggled to find the words. She began to pace the length of her room.

"Spit it out." he growled into the phone. Kristi winced at his voice. It'd been far too long since she'd talked to him. She had almost forgotten what he sounded like. The way he talked to her was very unlike the way he sang and talked to his fans.

"I got this new job and I was calling to tell you about it because--"

"What do I care if you have a new job or not?" He interrupted her. "I have better things to do than hear about this, so if you don't mind…"

"I GOT A JOB AS A PHOTOGRAPHER ON THE WORLD TOUR!" She quickly blurted out, cutting him short. There was another silent pause and Kristi could only imagine smoke coming out of his ears or him clenching his fists and gritting his teeth like she knew he did when he got angry.

"What?!" he exclaimed. "How is that-- What the fuck–! Explain."

"I-I don't know. Someone sent in my photographs to the tour managers and next thing I know is I'm getting this phone call about offering my services and I'd be getting paid. I thought it was a hoax, but then I went to a couple of meetings for the tour and met the other photographers. Today I got a plane ticket in the mail and an information packet. I didn't know what the World Tour was until I looked it up and well... yeah. I'm sorry, Kellin. I can decline though. I have two days to give them my final answer."

Kellin didn't respond. Kristi took this opportunity to keep talking.

"Look, this job will help me out a lot. I promise I'd stay out of your hair. I won't even mention what we are to each other. I don't even have to ride a tour bus. I can take my own car. All I'll be there to do is snap some pics of each band at each date and then it's over. But if you really don't want me there--"

"Do whatever the fuck you want." Kellin mumbled into the phone and then there was pure silence.

He had hung up on her.

She pulled the phone away from her ear and stared at it blankly for a few moments. What just happened? She scratched her head and debated calling him back, but didn't. His final words kept ringing in her ears.

Her eyes wandered to where she tossed the envelope on her bed. Her mind was made up. She tossed her phone next to the envelope and headed to her closet.

"See you on fuckin' tour, brother." she huffed as she pulled her luggage out the closet.