#and when on stage they arent really 'awake' just going on script and not thinking at all.

[the-knife-consumer]

One thing I really like is the idea that springbonnie hates William just as much as William has (probably) grown to hate it.

[gurggggleburgle]

Resisting committing murder because my monster mother almost let the house catch fire and was drunk asleep masterubating and All the bedding is covered in piss including my own because she's a shit dog owner- and this dog is the only reason I'm still here and not in my car because her dementia is bad enough she's started biting people and i can't just leave her and my mon now awake just trying to drunk cook me her shit food even as i scream ive already eaten and to stop touching me Because my laundry 3 runs later still smells of piss andi want to sleep for one fucking night withoutany of this. AND FOR THE SVSSS MUSICAL THAT LIVES IN MY HEAD RENT FREE

Okay so stage time economics and specifically what songs and characters does this play need to overall function. For me the important thing to remember for a real stage play is that your cast can be big but not large. You need to prioritize scenes and emotions by what is relevant for themes which means a shit ton of characters in my opinion need to be cut simply because they just wouldn't have anything to do.

My best example of this is virtually all but 3 peak lords are relevant in any capacity and there's just functionally no point in having all 12. I would also choose to represent the harem with the choir but specifically go out of my way to not mention any particular girl that isn't plot relevant past introduction.

No Shen Jiu outside of a musical flashback. I don't think Shen Jiu having a expaned role means or given svsss anything in a stage. A crucial element for the thematic relevancy of svsss is that Shen Jiu himself really never gets a line. Yes we see a flashback but there's no conversation with him. There's never anything that can pin him morally and in a play you'd carry the same weight with physical character acting and never giving him spoken dialogue. Keep the unreliable narrative through what the play is purposely lacking for the sake of narrative tension.

The biggest problem for song structure is how do you construct a play that effectively has 3 places that would be a mid act climax. This is the part stumping me as I write a script because effectively you can have 3 full acts but I personally think svsss is 2 hr hour 2 act story when you boil it down to its essentials so it doesn't make sense to stretch it to 3 acts. The 3rd act will drag because there isn't enough meat and potatoes to effectively do the third act without things falling apart. Unlike CQL I respect your time and believing in adapting your material to suit the new medium.

So this becomes more what do you cut? I think you cut the skinner demon, obviously. It basically just serves as narrative tutorial and you can essentially get the same thing with the demon tournament. And while I know we love the Liu qingge book intro narratively i dlnt think it flows on a stage. Ao i think we should have basically a line where sqq is like arent you supposed to be dead? And they save each other from demons. It gets the same point acorss while filling in the rough patch. Here we reiterate what's stated in the opening exposition of why the girls are important followed by a fight sequence. Poison happens cut straight to the nightmare. Use the fact that as a transitional scene this is very odd. Meng Mo is a stage effect like a shadow puppet on the wall. Song about demons not being evil. Like a scene right before the alliance conference.

Fall into abyss scene and mobei Jun intro. And this is dramatic it's big and heartbreaking. Then we move to Shen Qingqiu noticing that airplane has been narrating the whole time and we slow down a moment before getting Binghe's in the abyss resolve song. This is done mostly for the sake of the stage hands.

End of act 1.