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spikemuthtoothfairy · 3 years ago

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Given James and Jasmine spent 18 months in Hisui - with the majority of that time being spent living in with the Diamond Clan in the Crimson Mirelands - they had time to develop friendships with those they lived with.

This is a very rough idea of what those relationships where like!

Adaman - Respectful and cordial. James never truly saw him as a ‘friend’ as such but they were always on good terms, with James never missing an oppertunity to thank him for his generosity in letting he and Jasmine stay. They even shared a laugh now and again!

It was also Adaman’s suggestion in the early days that, in order to earn his keep, James take up running supplies out to the various clan wardens which he took to with gusto.

Mai - James didn’t have a great deal of contact with Mai beyond running supplies from the Mirelands to her until he and Jasmine moved into their own little cabin in the Obsidian Fieldlands during their last several months in Hisui, but like Adaman there was never an unkind word and he found himself chatting to her more than some of the other Wardens he’d met.

Arezu - James didn’t visit Jubilife a great deal until he and Jasmine moved to the Fieldands, but whenever he did he always made sure to swing by the hairdressers to prevent his hair getting too long. Arezu attempted to convince him to have his hair styled many times, he politely refused (except on two occasions). In her Warden duties, Arezu was one of those he would visit the most given Liligant’s proximity in the Mirelands.

Iscan - James never truly developed any sort of relationship with Iscan, owing to the man’s quiet and nervous demeanor that made any interaction for giving supplies a quick (if very polite!) affair. He didn’t dislike him though, he just didn’t get to know him the way he did some of the other wardens.

Melli - They did not get on. At all. Everything about Melli infuriated James, made worse by his incredibly grating attitude and James being one of the main people who would run supplies to him.

In fact, Melli will get his own post after this.

Sabi - James wishes he could say he genuinely liked, and in a way he did! She was a sweet child but she also wasn’t above making James chase her around the Icelands for a while before she’d accept the supplies he’d brought. He’s always been fond of children but he can’t say he didn’t want to punt her off of a cliff more than once.

Ingo - Though he isn’t of the Diamond Clan, the frequency in which James passed through the Cornet Highlands and Wayward Cave in particular meant they met more than once. James felt incredibly sympathetic for him and was always sure to ask about Lady Sneasler; he’d even bring extra supplies just in case Ingo needed them. He hopes he got home.

#ooc #headcanons&musings #spikemuthtoothfairy

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boredandelusive · 2 years ago

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23.

More time has passed than I thought, but since I'm on spring break from college, I can at least upload this part and the next before I go back. Shit has been hectic, and though I'm not sure when the next chapter will be that I upload besides the second half of her performance, I think it's a start. Enjoy these fluffy moments... Link to the playlist here.

♞

Even if she didn't want to see his face in the crowd, she still had a performance to get through and her unresolved feelings will not impede that. Taking her seat as the first violinist, the oboe played a note, signaling the rest of the band to tune to that note. As the note rang through the building, anyone in the crowd immediately went silent to not interrupt the performance.

"Hana-Bi" was the first song to play, and the piano began the tune with the orchestra following behind. A visual in the background followed streaks of light. As the piano stopped playing, the musical dynamics never faltered, even as the tune expressed an emotion that couldn't be said.

As the piano had a solo with the first seatings in the instrumental arrangements, the cello and double bass quieted down. Kiara and Milton were the only two who played at this moment, the piano following the violin. Even as her nerves grew, her fingers remained unchanging, and when her solo was over, the sound of the other instruments plucking their strings with the piano gave a feeling of walking on clouds.

When the piano played solo for a bit, the rest of the orchestra followed behind with the climax of the song. The difference in playing speed to sound like the song went too fast was purposeful, yet the other instruments caught up in time for the resolution of the song. When the first song finished, there was an immediate shift to "Doves and the Boy/The Girl Who Fell from the Sky."

Trumpet and Cornet began the song to sound like angels playing over a crowd. The rest of the instruments followed suit, the percussion both leading and following. As the piano brought in the next movement, double reed instruments had a supporting part before the violins began the next movement in the heartfelt song. The sound of the cymbals crashing with the rest of the orchestra following into the music went in tandem with the visual of a floating castle caught in the cloud.

Cellos led the sound before the strings ushered the climax, yet each instrument played could be heard as the support to another. Even if the song's end led to an upbeat march, the feeling wouldn't be forgotten. "A Street Brawl/The Chase/Floating with the Crystal" was the next selection to play as the snare led the band in tempo.

The orchestra's sound grew fuller as the song moved to a faster tempo, resembling a march. This was not the end, however, as the next movement had more action from the brass instruments. The song's final climax led to fast-fingered trills within the violins as the brass instruments led the piece.

What brought the song to a close was the violins, bringing the sound to a relaxing tone as if whisking through a forest to a side of paradise. "Memories of Gondoa" had a lighthearted sound from the flutes and violins playing together. Because the song is shorter than the others, "The Crisis/Disheartened Pazu" followed with an urgent tone in the beginning.

The oboe brought the tone of worry into the music, with the first violins leading the music. Because there was a false sense of relief, the song's end gave a quiet hand into "Robot Soldier/Resurrection-Rescue." A more demanding and action-packed song followed, giving way to the strings and snare leading the audience to a climax of a march-like ending.

"Gran'ma Dola" started with an immediate tone, like someone snuck around, but still had the power to it. The straightforward piece left a feeling of no discussion, but when the orchestra quieted for the oboe/bassoon solo, the rest of the instruments came with a forceful tone. The violin used a feeling of compassion before the song's tempo sped up to give the audience an edge.

"The Castle of Time" was led with violin and the other strings coming in after the solo. The leading tone within the song was picked up by the flutes leading the next section before giving the melody to the violins. A climb to the height of the song felt like discovering something new before the resolve faded to the next song.

"Innocent" began with the piano playing a solo while the rest of the orchestra quieted down. Once the rest of the string instruments followed the cues, the tone of the song would bring tears to anyone who listened. What followed the cello/piano moved to a part with Kiara, specifically making her lead the trio section in the song. Even though this song had an entire orchestra to follow, the four of the group only played.

"The Eternal Tree of Life" transitioned the end from piano to vibraphone with flutes following the percussion before the rest of the accompaniment followed. The song was short, even if the feeling lasted forever. This song concluded the "Castle in the Sky" suite, leaving the audience room to clap as one section of the performance finished.

"The Legend of Ashitaka" was one of the few songs that weren't in a set like the previous songs. Timpani began the tune, followed only by the low strings, before clarinets came in to alleviate the warning in the song. As the orchestra built its sound, three seconds of silence passed before the strings led to the music.

The rising and fall of each note swayed the music of trees in a light wind before the French horns, cornet, and piano ushered in the next movement. The experience brought joy to Kiara's face, washing away any final feeling of regret. Even as the music quieted down to let the oboe's part show out, the cornet followed and brought the climax of the song to an astounding volume that echoes from the walls.

From one instrument to another, the call and response from one section to another with cymbals crashing led to a beautiful resolve. The next song, "On a Clear Day/A Town with an Ocean View" began with an exploring feeling as if arriving somewhere beautiful and quiet.

When the rest of the orchestra joined in, the fluttering sounds of the flutes mimicking birds paved to a sound unmatched. The sight of a child on a broomstick flying into town showed on the screen before showing her coming into town for the first time. The second half of the music began with a volume suddenly diminished to half the value.

While the piano and flute responded to the brass's call, the music connected once again to give a fluttering feeling to the audience's call. Kiara's small solo in the song only played with the bassoon responding and the second violins being the background. The climax of the song led to a galloping point in the song before the feeling switched to that of a waltz.

The song leaves on a high note, transitioning to "Madness" without time to clap for the previous song. A sense of urgency returns in the music, led by the piano with the supporting parts in the rest of the orchestra. Even with the frantic notes being played with precision and accuracy, the flutes were not silenced with their runs.

Tempo never slowed down as the eerie feeling only remained without a breath of relief. A call from the piano to the strings only increased any feelings of rush, yet there was still no sense of relief found. Sharp notes from the violins mimic the footsteps of people rushing away from an imaginary situation. The song comes to a brash end, leaving the audience on a cliffhanger.

As the audience claps from the previous song, "One Summer's Day" began with the piano and the strings leading the song. Even as the smooth tone never changed in the music, there wasn't a moment that grew to fill the room, leaving the audience to lean forward to hear the music better. Only toward the end did an adventurous tone arise from the sound.

"Princess Mononoke" followed immediately after as the piano-led yet another song. Where Kiara's accompanied solo to the other instruments, leaning into the touch of her strings. The rest of the sound followed her lead, inviting the cello and double basses to support the sound. Though her part in the song came to an end, she passed the melody onto the flutes, but their part was quick to return it.

Winding up the music to the climax, the notes flying from the fingers of the violin and flute players were nothing to ignore. As the piano closed out the song, the curtains drew to a close. "We will now have a thirty-minute intermission," a voice announced overhead. Even though the show was only halfway through, the past hour felt magical.

Behind the curtains, Kiara stood from her seat and placed her violin down. Regrouping with the others, she met Milton, Katie-Marie, and Maralyn. "That was amazing!" Maralyn cheered, and Kiara and Katie-Marie laughed out of their anxiety. "I mean, hearing the songs in practice is one thing, but connecting it with the acoustics of the room made it sound heavenly."

"I forget you're a music major," Milton says as the group moves to the wings of the stage. "I was so scared I would mess up and everyone would hear the parts I messed up back in practice," he says as he flexes his fingers. "But then it was like muscle memory."

"I'm surprised the flutist was okay with you taking some of her solos in the songs she was supposed to play in," Katie-Marie pointed out, yet Kiara shook her head. "Also, was that your older sister in the crowd?"

"Yeah, how'd you know?" She asks next, yet when Katie-Marie pointed to the person behind her, she watched as Mia approached the group. "We'll give you some time," she says as the others move away from the sisters.

"Kiara, that was amazing! I told you there is nothing to worry about," Mia says as she grabs Kiara's hands and held them close.

"There was nothing to worry about. What is Spencer doing here? I didn't tell him about my performance." even though the two weren't an item anymore, she still had anxiety about him being in the Opera House. "And I didn't think you knew him well enough to tell him about tonight."

"That's because I didn't tell him about tonight. You might've forgotten if you told some girls in the BAU, but I know Garcia enough to tell you she would've been the one to tell the others. For now, focus on your performance, and don't worry about Spencer. I'm sure he's only here to apologize."

"You act like this is something to sweep under the rug, Mia. I'm not sure I'm ready to talk to him again," no matter how much Kiara convinced herself that she would do fine without him, it was obvious she couldn't let go so easily. Seeing his face after the things he'd said last time without apologizing once and then showing up at a performance she didn't mention...?

"Will you relax? Most guys who break off the relationship don't come crawling back asking for a second chance, especially not someone you were gushing to me for hours on end. When your performance is over, will you at least give him a chance? You might not like it, but you need to listen to the man first before you push him away?" Mia knew how her sister would get, not only because she was stubborn, but convincing herself to not listen to her heart took time.

"I might, but there had better be a good reason for him saying everything he did and showing up after that," even if Kiara didn't realize it now, she was still willing to give Spencer one chance, and that was all he would need. "Intermission ends in five minutes. I need to get back to the stage and grab my second instrument."

Mia watched as Kiara moved away and toward the stage again. "At least listen to what he says! Don't judge him without hearing everything first!" Even if Kiara didn't say anything in response, a sister's intuition told her she would be okay, even if it didn't seem like it now.

#sub!spencer #spencer reid #Criminal Minds #criminal minds angst #Criminal Minds Fanfiction #criminal minds story #criminal minds emily prentiss #derek morgan #Luke Alvez #spencer reid stories #sub spencer reid #Penelope Garcia #garcia #Jennifer Jareau #emily prentiss #aaron hotchner #tara lewis #tara lewis criminal minds

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papermoonloveslucy · 2 years ago

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BEHIND THE WHEEL!

Lucy & Cars ~ Part Three

In the late 1960s and early 1970s America’s automobile obsession had become part of daily life, including on “Here’s Lucy.”

“Lucy and the Great Airport Chase” (1969) ~ Filmed entirely on location at Los Angeles Airport, there were a variety of vehicles featured. During the chase, Lucy (or her double) drives a Hough Paymover towing a jet!

The episode features (top left to bottom right):

1968 Chrysler Newport

1968 Dodge Cornet 500 wagon

Clark Clarktor, luggage transport vehicle

Corchran Cargo King, for unloading baggage

1963 Ford C-Series Truck

Clark 15su-653

The episode included stock footage of various airport vehicles.

There is also footage of cars on the roads and parking lots outside the airport, including the iconic LAX Theme Building.

Footage of Lucy and Harry driving the Clark 15su on the tarmac was done with a stunt double in the location footage, and using rear-projection with Ball and Gordon in the studio. The wires in the upper left corner of the screen actually made their way into the finished film!

"Lucy Helps Craig Get His Driver's License" (1969) ~ The driving test scenes were filmed on location and reproduced in the studio using rear projection.

Craig takes his road test in Lucy's car, a pale yellow 1965 convertible Dodge Dart. In the parking log there are also a red 1969 Plymouth GTX and a blue station wagon waiting to take the road test. The location footage was done on the streets of Hollywood surrounding the Paramount lot. The Dodge Dart was previously driven by Sergeant Carter on Desilu’s “Gomer Pyle U.S.M.C” in 1965.

As the Dart traveled the streets of Los Angeles, it passed many other vehicles parked or traveling the roads.

“Lucy Visits the Air Force Academy Parts 1 & 2″ (1969) ~ Season two opens with a road trip as the series goes on location for the first four episodes. All four episodes feature a Travco motor home. The company's RV's were originally built on a Dodge chassis. Travco was in business from 1964 until the late 1980s.

Like previous location shoots, the episodes were supplemented with studio shots using rear projection for driving scenes.

The mobile home passes a 1955 Chevrolet Two-Ten parked on the side of the road. At the time, this car was nearly 15 years old! It resembles the 1953 blue Pontiac featured on the Hollywood episodes of “I Love Lucy.”

“Lucy Runs the Rapids” (1969) ~ This episode opens the same way as the first two episodes of season two, with the camper driving through western landscape to the strains of “Breezin’ Along with the Breeze,” a song used as the theme music for Lucille Ball and Desi Arnaz’s 1953 film The Long, Long Trailer.

This episode features the interior of the mobile home, where some physical comedy takes place, much like in The Long, Long Trailer.

The mobile home isn’t the only vehicle parked on the banks of Lee’s Ferry, Arizona.

“Lucy and the Indian Chief” (1969) ~ The fourth and final episode on the road trip finds the mobile home pulled over to help the driver of a 1967 GMC C-2500.

Studio shot footage is combined with location footage of Lucy riding on the roof of the Travco!

After this road trip, the series returns to its interior home and office setting.

"Lucy at the Drive-In Movie" (1969) ~ Lucy and Harry track down Chris and her new boyfriend Alan to the local ‘passion pit’ aka ‘drive-in theatre’. Any episode taking place at a drive-in necessarily involved an array of vehicles.

1969 Red Plymouth Barracuda convertible (Alan’s car)

1969 Blue Simca 1204 [928] (Man with dog’s car)

1969 Blue Plymouth Valiant (Younger necking couple’s car)

1969 Blue Plymouth Barracuda (Older necking couple’s car), 1964 Red Plymouth Valiant Signet & 1969 Beige Simca 1118 [950]

1969 Yellow Triumph TR6

1965 Dodge Dart (Lucy and Harry’s car, the same vehicle used in “Lucy Helps Craig Get a Driver’s License”)

1964 Red Plymouth Valiant Signet

“Lucy and the Used Car Dealer” (1969) ~ Milton Berle plays Cheeful Charlie, a used car salesman with an eclectic array of vehicles on his lot. Charlie cons Kim and Craig into buying a psychodelic (Harry calls it ‘sick-o-delic’) 1940 Packard One-Twenty.

Other vehicles on Charlie’s lot:

1961 Ford Falcon

1966 tan Volkswagen Beetle

1961 light blue Ford Falcon

1964 blue Chevrolet Biscayne

1955 Cadillac Coupe

The episode also mentions:

Kaiser-Frazer ~ a car company that briefly thrived after World War II.

Pierce-Ruxton ~ a fictional combination of the Pierce-Arrow Motor Car Company (1901-1938) and the Ruxton, a front-wheel drive automobile produced by New Era Motors Company from 1929 to 1930.

Lucy calls a car a combination Hudson Edsel Tucker Reo and Packard - all defunct automobile companies.

Chitty Chitty Bang Bang ~ the name of a fantastical flying car in the 1964 book by Ian Fleming and a 1968 musical film.

“Lucy the Laundress” (1970) ~ After bragging to Craig about her perfect driving record, Lucy smashes into a laundry truck. In order to pay for the repairs, she has to go to work at the laundry. Although no actual vehicles are used in the episode, Lucy reanacts the accident at the insurance agent’s office using model cars. Lucy insists on a green car because the red one clashes with her hair!

“Lucy and Viv Visit Tijuana” (1970) ~ To get there, they first have to convince Harry to loan them his car.

Harry agrees to drive them using his 1970 yellow Plymouth Satellite convertible. They get stopped at the border after agreeing to transport a stuffed animal they don’t realize is smuggling stolen gems.

The line of cars at the border station also features a red 1970 Dodge Challenger and a 1968 Sunbeam Alpine GT [Arrow].

“Lucy and Wayne Newton” (1970) ~ The Carters drive to Las Vegas and end up at Wayne Newton’s ranch. The episode features location footage of the Las Vegas strip and Casa de Shenandoah. Harry's 1970 yellow Plymouth Satellite convertible was previously seen in “Lucy and Viv Visit Tijuana”.

Rear projection of the strip was used to replicate the location footage.

Tiny Tim (T.T.), Newton’s miniature horse, waits in the car!

“Lucy and the Raffle” (1970) ~ Kim wins a new sports car in a church raffle, but then can’t pay the taxes. The car is never seen on screen.

“The Not-So-Popular Mechanics” (1973) ~ Harry trusts Lucy and Mary Jane to watch after his prized antique automobile and take it in for an oil change. Since they have been taking night school courses in auto mechanics, they decide to do the oil change themselves!

There’s no room in the garage, which already holds Lucy’s new car.

Harry’s vintage vehicle is a Rolls Royce.

Chevrolet provided all the training materials as well as the motor parts for the car. Series Executive Producer (and husband to Lucille Ball) Gary Morton was an auto enthusiast so he acted as consultant for this episode. He was, however, billed under his birth name, Morton Goldaper.

"Lucy Carter Meets Lucille Ball" (1974) ~ The prize for winning the Mais Oui Lucille Ball Look-Alike Contest is a new sports car!

#Lucille Ball #Vivian Vance #Gale Gordon #Here's Lucy #cars #vehicles #automobiles #Lucie Arnaz #Desi Arnaz Jr.#Milton Berle #Mary Jane Croft #TV #Jack Gilford #Jackie Josephs #LAX

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sarahhsaritaa · 4 years ago

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i found myself in a really good rhythm. i had shot the opening and bath scenes with rosie, and as they were the first actual filming bits i did, their outcome gave me a boost of confidence for the rest of the project. then... my phone ran out of storage! in the middle of shooting the candle bits (that come after the opening scene) my phone wouldn’t allow me to go on any further, so filming came to a boring halt. i fell out of the rhythm and couldn’t get back into it. then out of the blue, my phone freed up enough storage to last me for about a year. i got excited but couldn’t film anything that involved others so i started editing footage i already shot.

when i imagined the final film complete, the opening scene was accompanied by a melancholic soundscape, something eerie and natural. but as i was writing in my blog and researching references, i came across a piece of music called ‘Les Quatre Cents Coup’ by Jean Constantin. it was the original score for the film of the same name (The 400 Blows, 1959). it’s playful and like a fairy tale in music form. it twinkles and gallops and paints a picture of twisted elegance. the classical components are challenged with sprinkles of what sounds like harp scales and i instantly connected it to how i edited the opening shots. the piece compliments the sophisticated stares and sips of wine whilst transforming the slightly weird brushing of the teeth and aggressive manipulation of lipstick into something more peculiar.

it was also simply meant to be. i had edited the footage before finding the song, and once i placed it over the edit, the quirks and chimes and mood changes in the song seemed to line up perfectly with my cuts and combination of actions. instead of me editing footage to fit the beat of a piece of music, it’s like the music was composed for my edits.

i was thinking about this; how some films are edited and cut to match beats and lyrics in music like ‘Baby Driver’ (dir. Edgar Wright, 2017). however impressive and to some original and never-seen-before, a short film i watched last year outshines Wright’s musical car-chase. ‘Conversation Piece’ (dir. Joe Tunmer, 2018) presents a mundane relationship between a husband and wife; the wife notices a chip on a vase and accuses and questions her husband. “this unique musical-of-sorts matches every single syllable of dialogue to every single note from jazz cornetist Rex Stewart’s 1966 improvised recording ‘Conversation Piece’.” there is no dialogue heard, but as you see their lips moving, sounds of trumpets or cornets take over. when the husband talks, the instrument is deeper and groans. when the wife talks, the sounds are whiny yet flirty. it’s so interesting that you understand exactly what they’re saying without hearing a word, simple from how perfectly Rex Stewart’s improvisations have been interpreted. the planning, editing and skills required to execute this at such a high level is impressive and, in my opinion, definitely trumps films like ‘Baby Driver’.

http://joetunmer.com/portfolio/conversation-piece

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ranger-rai · 6 years ago

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What’s the weirdest thing you’ve seen in your career as a ranger

Well besides some of the usual like Ruin Maniacs who try and enter restricted areas to search for relics, and occasional land dwellers who choose to try and live like pokemon and usually we need to take them in or move them from certain areas because some wild pokemon cant always be reasoned with in their natural habitat.

The weirdest has to be when a pokemon fanatic decided to only communicate as the pokemon they were a super fan of (rapidash) and would not respond in human speech.

it wouldn't have been so bad, except they had some weird rig, hat thing that let them put fire on their head and this guy was pretty good at running like a Rapidash and actually evaded us for a while.

We eventually caught him, but we chased him from the edge of Jublife near the entrance to Mt. Cornet and thankfully a pretty ticked off geodude helped stop him.

#pokemon #rapidash #pokemon ranger #asks open #ask me questions #ask me anything #rai headcanon

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marcusmb · 6 years ago

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Shot press photos + album cover for the American musician and producer Sam Cornet’s project “Love Jonsin’” while being in NYC late last year. The photos are all shot as digital photographs and edited analog/physically. “Jones /jōnz/ INFORMAL•US noun 1. A fixation on or compulsive desire for someone or something, typically a drug; an addiction. The musical project “Love Jonsin’” attempts to sonically capture the angst of chasing after what seems to be within reach but unattainable. Where most manufactured goods find their place in our social virtual reality, love is one of the things that seems to be the most advertised, yet completely out of stock. No matter what arrangement or musical outfit, that the blues dresses itself up on this album, the guttural groans reminds us of the heavens and hells of life's heartbreak, and the spirit of the human soul to still jonse after what the heart really wants.” #marcusmb #marcusmøllerbitsch #samcornet #nyc #albumcover #pressphotos (at New York, New York) https://www.instagram.com/p/BvhkVvgFO2D/?utm_source=ig_tumblr_share&igshid=1hny2u30yk59w

#marcusmb #marcusmøllerbitsch #samcornet #nyc #albumcover #pressphotos

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achiouma · 6 years ago

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NDVR3 Marching Band AU That Literally No One Asked For But With A Twist

A.K.A. Part 2 of this post where I update my headcanons for this AU because the children have evolved from last time!

Akamatsu: she still plays the glockenspiel, however she does like to play a little bit of every single instrument the music department has to offer. Her favorite instrument to practice (besides piano of course) is the trumpet!

Yumeno: also still plays the glockenspiel, although sometimes she can’t help but pretend to play since remembering notes is too much work.

Chabashira: Tenko is a majorette! If you don’t know what that is, it’s another word for a baton twirler. She’s really good at it and she’s often seen chasing annoying boys around with the baton when they annoy her too much. She still plays the mellophone during concert band season though!

Yonaga: she now plays the piccolo! She will occasionally play the flute but she prefers the smaller instrument instead. Of course she will always credit Atua for her ability to play it beautiful.

Ouma: While he does play the cymbals during off-season, I think Kokichi would be a colorguard during Marching Band season. No one knows how he’s able to twirl a weighted flag when he can barely lift a tuba up (and its ridiculously taller than him),but he’s good at it so no one questions it anymore (he has “accidently” hit many people with the flags though).

Saihara: he’s still a clarinet player because I want him to be he still looks like a clarinet. People like to make fun of the clarinet because of how ridiculously high pitched it gets and he is seen constantly trying to defend it. They’re best friends.

Momota: he’s still a trombone player, and he still makes people cry when he tries to actually play the thing.

Harukawa: I changed Maki from playing the triangle; she now plays the cymbals! I changed it solely because she’d be stuck in a section with Kokichi during off-season and I just think it’s hilarious.

Iruma: technically last time I only said Miu invented a robot to play drums for her, but not that she was actually a drummer herself. Because she is! She switches between the snare drum and the bass drum, but she’ll never admit that she doesn’t know how to play the quints because she thinks it’s embarrassing. Poor soul.

Kiibo: I switched Kiibo from playing the oboe to the trumpet! He’s still learning how to play it though and while no one would directly tell him, everyone agrees that he’s pretty bad at it. But he tries his hardest and is slowly getting better! A+ for effort!!!

Amami: thinking back on it, i see Rantarou more as an alto saxophone player than a trumpet player. He seems like the type to love smooth jazz and thus learned how to play it himself!

Toujo: they needed more people to be in the colorguard section, so who did they ask to join? Mom of course! She still plays the French horn during concert band of course, but she has shown to be very talented at flag twirling as well! (She is often seen trying to prevent Kokichi from hitting someone with a flag again).

Gokuhara: Gonta still plays the tuba as well! At some point though Miu tried to convince him to play the bass drum, only for him to accidentally break the thing which was an extremely tragic moment since it made him cry. Miu had to pay for a replacement instead.

Hoshi: he still plays the saxophone, but instead of an alto saxophone he plays the tenor saxophone! And if you know what a tenor sax is, you also know that it’s even bigger then an alto sax. So how does he manage to play it? We still don’t know (and probably never will)

Shingucci: Kiyo still plays the cornet, but he still has not revealed the secret to how he plays it with the mask on. The amount of people who stare him down when he plays is laughable as they all still try to figure it out.

Shirogane: I decided to make Tsumugi a majorette as well! She and Tenko just seem like the type to be majorettes to me. She still plays an instrument during off-season too of course, but I switched it to a flute instead of the piccolo, mostly because she’s quiet like a flute.

#tldr: i changed some instruments and made some people colorguards and majorettes #also added a bit more info about my hc for everyone!#Achi speaks #Marching Band AU #ignore

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bluesky88diary · 3 years ago

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A story of love.. in so lonely Paris. Very brief touch of feather. Walking on the streets each step creates a thought about you, my beloved 승연. In each face I wish to see a miracle, your pretty eyes. Sometimes I stop and look at the people more precisely, but no one looks like you, with your silky hair, happy smile and in love eyes. Like grey clouds people go to and fro chasing own lust, apetite or anxiety. No one can compare your sunshne in overcasted Paris. Maybe only kids having fun around christmas markets. So meny smells in air, at one cornet sweet choclate, at another all kinds of meat, but I'm looking only for one aroma of your charms, for sure my favorite. Sun goes slowly down, rain also. But I lift up my heart to our blue sky with faith all the best will come yet. Maybe in city of freedom... Would you like to walk with me?

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vincentspork · 3 years ago

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Rhapsody DS cut scene translations, part 2

So, before I post the rest of these, a quick rundown of what all was cut - there are technically 8 removed sequences in all: four focusing on Etoile, two on Myao, one following Seglinde and Karl, and a final one with Cornet and Kururu. However, that last one is just an update of the scene where Cornet and Kururu go to Bluecat. The Karl and Segline cutscene will be a whole thing to translate, since neither of them have portraits :v

Once again, these are computer translated. Some jokes may have gotten affected, some word choices may differ, etc. but the overall gist is still there.

[Localization note: Burg punctuates his sentences with "BANG" in the Japanese version - this isn't carried over into Atlus' translation.]

BURG: ...And that's what happened, BANG. BURG: I'm sorry, BANG. MYAO: Hmm. Another screwup, nya. BURG: Burg did his best, BANG! I swear, BANG! BURG: But, you know.... BURG: The Nyankos were out there, dragging their feet! NYANKOS: meow, meow! NYANKO: We did our best too, meow! NYANKO: Yeah, meow! NYANKO: Maybe Burg is the weak link here... BURG: What was that, BANG!? Nyanko: I'm just telling the truth, meow!! BURG: You're gonna regret that, BANG!! (Burg chases the nyankos out and Myao sits in Marjoly's throne) MYAO: Sigh... MYAO: It's tough having such stupid underlings... (Burg and the nyankos return) BURG: I'd imagine Marjoly feels the same way about you, Myao. NYANKOS: Yeah, meow! MYAO: Meowwww, I'm gonna kick your butts!

(Etoile and her bodyguards in RedHot)

MOMIE: This is RedHot, milady. ETOILE: Ah... MOMIE: Hm? ETOILE: IT'S HOT!! ETOILE: HotHotHotHotHot!!!! ETOILE: Why is it so hot here?! HAMMER: Well, miss, I'd think that's easy to figure out - we are right next to the famous Salsa Volcano, after all. ETOILE: Salsa Volcano, huh... ETOILE: So, is there a Heart Stone there? MOMIE: Most definitely. ETOILE: We’ll get baked in this heat if we stay here any longer than necessary! HAMMER: Hey, don't be too hasty... ETOILE: We should just leave this to Cornet. ETOILE: She can handle it. HAMMER: What makes you say that? ETOILE: H-hey!! ETOILE: Shouldn't we get going? ETOILE: Before I fry in this sunlight and get Cornet's country-girl complexion.... MOMIE & HAMMER: Yes, ma'am! (Hammer and Momie leave) ETOILE: ... ETOILE: (I'll leave this in your hands, Cornet.)

(Marjoly's underlings in Beauty Castle) MYAO: Did Crowdia get the Firestone yet? GAO: Get real... GAO: She didn't even look like she WANTED to go in the first place...kept mumbling to herself... (flashback) CROWDIA: "Why am I even going to such a humid place..." GAO: Yeah, yeah... (end flashback) GAO: I could handle any type of heat! I'd just power through it. MYAO: ....Typical Gao. GAO: What, being strong as hell? MYAO: No, being a gutsy idiot. GAO: WHY, YOU.... MYAO: WHAT, YOU WANNA THROW DOWN?! CROWDIA: Could you two shut up? I'm back from that humid hellhole. GAO: Oh, back already? MYAO: We-ell, how was it? CROWDIA: You know very well how it was. Hot and humid, like I said it'd be. CROWDIA: Grumble grumble grumble.... GAO: ... MYAO: ... CROWDIA: What? What are you two looking at? CROWDIA: Oh, the Firestone? CROWDIA: If you're wondering about that, I decided to leave it with that young lady who crossed my path. GAO: ... CROWDIA: I figured I'd teach her a lesson by letting her having it. CROWDIA: There are times where we have to face the sorrow of being human... CROWDIA: And sometimes, that sorrow must be shared. MYAO: Yawn...* CROWDIA: Don't be rude! It was a tragic scene at the volcano... GAO: Pfft.... CROWDIA: And what are you laughing at?... MYAO: Meowww-hahahaha!! GAO: Growww-hahahaha!! CROWDIA: ??? GAO: You should look in a mirror, hahaha! MYAO: Oh my godd, you're so right! Is there a mirror around here?! CROWDIA: Mirror? CROWDIA: ... CROWDIA: Oh my god, I can't believe it! MYAO: Her hair is totally permed!** GAO: And she didn't even notice it until now! CROWDIA: That...that dragon.... MYAO: Nyaaaa-hahahahaha!!!!! GAO: Hahaha, that's so awesome. CROWDIA: I...I..... CROWDIA: Can't you just hit your head and forget everything you saw here?! MYAO: Nya-hahaha!! GAO: Hahaha!! CROWDIA: Shut up!! Stop laughing!! (She chases them around Marjoly's throne)

*Apparently here, Myao made a...buzzer noise?....

**The original text said “チリチリ“ and I definitely had to look this up, since the program I was using just spat out “chili” (she turned herself into a pepper it was the funniest shit I’d ever seen) - it’s apparently a term associated with perming in Japan.

#marl

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