#i have to memorize three new characters and their ability lines

[forcebookish]

played enough (what. one hour? and VERY badly) of overwatch on pc that now i can't remember how to play it on the switch

[comicaurora]

If you were to actually write a tournament arc (be it in Aurora or a future story) fashioned in your own preferences and ideas, what would it be like?

Oh boy. That's an interesting challenge, because there are so many factors to the Tournament Arc that I just don't like on principle-

Foregone conclusion. If the tournament is centered on a final battle with the Super Scary Big Bad, as they so often are, the heroes are just killing time before they get there, and at least one of the heroes is guaranteed to get to the final round. If the stakes of the tournament are too high, the conclusion is set in stone from the outset. If the heroes are being forced to participate for hostage or supervillain reasons, their victory becomes narratively assured. If the heroes aren't being forced to participate by narrative necessity, then the whole thing becomes an even bigger waste of time.

Formulaic. There's only so much you can mix up a tournament format - environmental hazards, minigames, ring-out rules - and without that, it's just a linear series of fights. Can give the heroes a chance to show off their unique movesets, but narratively they're just ticking up a progress bar before they can get to the end.

Fuckton of characters. Tournament needs meat for the grinder, let's make several dozen characters to throw at the heroes of which maybe five will be memorable enough to recur later. Better make sure they all have interesting gimmicks too - otherwise the formulaic fights will become even more formulaic!

None of these are particularly enticing for me, so in order to construct a tournament arc I actually liked, we'd need to find some way around them:

To avoid a foregone conclusion, the tournament stakes can't be a simple boolean value with "heroes win" and "heroes lose" tied inextricably to things like "heroes save hostage" or "villain destroys entire world." The easiest way to do that is to remove "the heroes" as a single unified participant. It's not a question of whether good will triumph over evil, it's a question of which characters will win and under what circumstances? Part of the reason I liked the tournament arc in MHA more than most is the actual overarching victory was basically irrelevant and our protagonist got eliminated in the quarterfinals, because it was actually all about character development inspired by that fight. So splitting the heroes up, letting them work independently and making their opponents something other than a monolithic antagonistic force would probably help to reduce that issue.

Some tournament arcs also make things more interesting by having a single loss not categorically eliminate a character from the running - the Dark Tournament arc of YYH was pretty good about this, despite being way too long, since it meant protagonists could actually lose fights without being kicked out of the arc entirely, which was a very smart way to keep the tension going, since only a few fights became foregone "either the heroes win this one or they die" situations.

The problem of fights being formulaic can also be addressed here, although I think the more relevant way to fix that is to simply make sure the tournament doesn't drag on for too long. Like, three to five fights is probably the max number we can really focus on. But we can also dodge the formulaic-ness accusations by making sure the fights have more going on than just "which action figure gets mashed harder." This is where most tournament arcs solve things by making a lot of unique gimmick characters with weird powers (so the heroes can't just smack em around the same way every time) and by giving the heroes either handicaps or new abilities/powerups they're still figuring out. This makes the choreography more interesting, and honestly even a really boring plot can be significantly brightened up by extremely cool fight choreography. "They fight and [character] wins" is a single line in the screenplay that can translate into something very spectacular in the execution. But this is, again, something they did in the YYH Dark Tournament arc, and that was still way too much tournament arc, so I think plotline fatigue is a problem that can't entirely be solved by finding new spices to pepper onto the same bracket structure.

You can, of course, also add emotional stakes like "this character's self-worth is tied in with their victory" or "this character is being manipulated by someone else" or "this character is having a personal crisis and handling it poorly" or even something really basic like "the other people in this tournament think we suck, let's prove them wrong."

The "fuckton of characters" problem isn't intrinsically an issue, because it can also be an opportunity to create and introduce a lot of very interesting secondary characters, but it does unfortunately lock them into an extremely artificially constraining plotline. The problem with a tournament arc is it is literally the same subplot template over and over again until the finale inevitably breaks the format. It's an extremely rigid scenario to lock a character-driven story into, and no matter how individually rad parts of the fights are, the overarching structure is repetitive and it limits the characters' ability to shine. Ultimately, no matter how neat or complicated a new character is, they only exist in the arc to be defeated and then get out of the way of the plot. They can have cool stories when they show up later, but in the bounds of the tournament arc they're just more obstacles.

On paper a tournament arc should be a fantastic way to elaborate on a character. The number one recipe for cool character moments is putting that bitch in a Situation and seeing how they handle it, and "a bunch of different fights with different enemies with different powers and different rules" sounds like an ideal Situation Gauntlet. But practically speaking they're all the same! Outside a tournament arc, the stakes of a fight can be anything and the victory condition can be anything. The heroes can bypass the fight, talk down the antagonist, plan a heist, turn the bad guys against each other, organize a prison break, hide and be sneaky - they can find allies, negotiate with political leaders, get captured or rescued, protect someone from pursuit, navigate a hostile and unfamiliar environment, outwit a super-persistent predator, join an underground resistance movement, run off for an angsty solo arc - but within the confines of a tournament, no matter how wacky that tournament might be, everything boils down to a fight with a clear-cut victory and defeat condition. The space of characterization carved out by this format is very, very narrow, so I think legitimately the only tournament arc I would uncritically enjoy is a short one.

[coraniaid]

Principal Flutie is, I think it's safe to say, not particularly consequential to the overall plot of Buffy the Vampire Slayer. Appearing only in the first half of the show's first season and almost entirely outshone by his successor Principal Snyder, his main claim to fame is the grisly manner of his departure: getting eaten alive by a gang of hyena-possessed students. As I write this, there are 26 works on AO3 tagged with this character's name.

Kendra Young is the second ever vampire slayer to appear on the show, Called as a Slayer after Buffy Summers (briefly) dies in the first season finale. Meeting Kendra helps to persuade Buffy that being a Slayer is a part of who she is and not merely a job she can one day escape from; while the existence of multiple Slayers will go on to become an important plot point in the show's third, fourth and seventh seasons. As I write this, there are 199 works on AO3 tagged with this character's name.

Given the above, which of these two characters do you think:

appears in the most episodes?

is mentioned in the most episodes after their death?

was actually given a full name while the show was still airing?

Here's a hint: all three questions have the same answer.

Here's a less subtle hint: it's not Kendra.

Robert ("all the kids are free to call me Bob ... but they don't") Flutie appears in a total of four Season 1 episodes (Welcome to the Hellmouth, The Harvest, Teacher's Pet, The Pack) before he dies, and is then mentioned again in three episodes (Season 1's The Puppet Show and Season 7's Lessons and Beneath You).

Kendra ("I have no last name") Young [who, despite being very clear on the subject when asked, suddenly acquired a last name when she needed one for the Buffy RPG tie-in] appears in a total of three Season 2 episodes (What's My Line? Part 1, What's My Line? Part 2, Becoming Part 1) before she dies, and is then mentioned again in two episodes (Season 2's Becoming Part 2 and Season 3's Faith, Hope & Trick) before never being mentioned again [at least not on the TV show].

You might think it strange that the show's actual focus seems so out of alignment with both fandom interest and what logic suggests should surely be central to its own mythos and world-building and to its major characters emotional arcs. You might think it strange that, after Season 2, Buffy never talks about Kendra again [the one time Kendra's name is spoken in Season 3 comes when Cordelia says it] despite Buffy having found Kendra's body and being falsely accused of her murder. [Fun fact: after Season 2 those same murder charges are mentioned more times than anybody expresses any sadness over Kendra's death, which is never. Oh, sorry, that's not a very fun fact.]

You might think it particularly strange that in Season 7 -- a season where the Slayer Line itself is a key part of the central plot and we meet many new Potential Slayers who Buffy is tasked with training and keeping alive, a season in which the Big Bad has the ability to appear in the form of any dead person she wishes and there are multiple episodes featuring flashbacks to the life of a former Slayer who was killed by one of the Big Bads from Season 2 [albeit flashbacks that involved recasting the original actor despite her interest in continuing to play the part] -- the Buffy writers thought to include two separate callbacks to the unremarkable and (up to this point) unlamented Principal Flutie (who surely only a minority of fans watching would have even remembered?) and exactly none to murdered Vampire Slayer Kendra.

Was a character who appeared in four episodes six years ago really so much more memorable than a character who sppeared in three episodes five years ago? Did Kendra really make so little impression at the time? Was there no reason to think one of the characters might have brought her up at any point? Was there really no room at all in any of this season's scripts to include even a fleeting reference to the very first girl Buffy met, tried to teach how to be a Slayer, and who then died in a way Buffy could blame herself for? Might Kendra's memory not have been slightly more thematically relevant to this season's story than the tedious ongoing sagas of "is Giles the First?" [no], "will the First ever use the hypnotized Spike as a weapon against Buffy?" [no] and "isn't Andrew Wells funny? doesn't he deserve his own spin-off show?" [no]? Is there any reason you can think of that might explain this puzzling creative choice?

Ah well.

Who can say what the writers were thinking? I guess it's just one of those little mysteries that will never be resolved.

[withasideofshakespeare]

An AMENDED Rundown on the Absolute Chaos That is First Quarto Hamlet

O, gather round me, my dear Shakespeare friends And let me tell to ye a tale of woe. It was a dark and drizzly winter night, When I discovered my life was a lie... This tale is a tragedy, one of Shakespeare sources turned into gardening websites, "misdated" quartos, and failed internet archives. It is also a story of the quarto itself, an early printing of our beloved Danish Prince's play, including an implied Hamlet/Horatio coffee date, weird and extremely short soliloquies, and Gertrude with a hint of motivation and autonomy.

But let us start from the beginning. Long ago, in the year of our lord 2022, I pulled a Christmas Eve all-nighter to bring you this post: https://www.tumblr.com/withasideofshakespeare/704686395278622720/a-rundown-on-the-absolute-chaos-that-is-first?source=share

It was popularish in Shakespeare circles, which is why I am amending it now! I returned to it tonight, only to discover a few problems with my dates and, more importantly, a mystery in which one of my sources miraculously turned into a link to a gardening website...

Anyhow, let us begin with the quarto! TL;DR: Multiple versions of Hamlet were printed between 1603 and 1637 (yes, post-folio) with major character and plot differences between them. The first quarto (aka Q1) is best known for its particular brand of chaos with brief soliloquies, an extra-sad Hamlet, some mother-son bonding, weird early modern spelling, and deleted/adapted scenes with major influences on the plot of the play!

A long rundown is included below the cut, including new and improved sources, lore, direct quotes, and my own interpretations. Skip what bores you! And continue... if thou darest!

What is the First Quarto? Actually, what is a quarto?

Excellent questions, brave Hamlet fan! A quarto is a pamphlet created by printing something onto a large sheet of paper and then folding it to get a smaller pamphlet with more pages per big sheet (1). First Quarto Hamlet was published in 1603 and then promptly lost for an entire two centuries until it was rediscovered in 1823 in the library of Sir Henry Bunbury. Rather than printed from a manuscript of Shakespeare, Q1 seems like it may be a memorial reconstruction of the play by the actor who played Marcellus (imagine being in a movie, memorizing the script to the best of your ability, writing it down, and then selling "your" script off to the print shop), but scholars are still out on this (2).

Are you saying that Hamlet comes with the stageplay equivalent of a “deleted scenes and extra credits” movie disc?

Yep, pretty much! In fact, there are even more of these! Q2 was printed in 1604 and it seems to have made use of Shakespeare's own drafts, and rather than being pirated like Q1, it was probably printed more or less with permission. Three more subsequent quartos were published between 1611 and 1637, but they share much in common with Q2. The First Folio (F1) was published in 1623 and its copy of Hamlet was either based on another (possibly cleaner but likely farther removed from Shakespeare's own text) playhouse manuscript (2, 3). It was an early "collected works" of sorts--although missing a few plays that we now consider canon--and is the main source used today for many of the plays!

The versions of the play that we read usually include elements from both Q2 and F1.

So... Q1? How is it any different from the version we all know (and love, of course)? What do the differences mean for the plot?

We’ll start with minor differences and build up to the big ones.

Names and spellings

Most of the versions of Shakespeare's plays that we read today have updated spellings in modern English, but a true facsimile (a near-exact reprint of a text) maintains the early modern English spellings found in the original text.

For example, here is the second line of the play transcribed from F1:

Francisco: Nay answer me: stand and vnfold your selfe.

For the most part, however, the names of the characters in these later versions (ex: F1) are spelled more or less how we would spell them today. This is not so in Q1.

Laertes is “Leartes”, Ophelia is “Ofelia”, Gertrude is “Gertred” (or sometimes “Gerterd”), Rosencrantz is “Rossencraft”, Guildenstern is “Gilderstone”, and my favorite, Polonius gets a completely different name: Corambis. 

(This goes on for minor characters, too. Sentinel Barnardo is “Bernardo”, Prince Fortinbras of Norway is “Fortenbrasse”, Voltemand and Cornelius--the Danish ambassadors to Norway--are “Voltemar” and “Cornelia” (genderbent Cornelius?), Osric doesn’t even get a name- he is called “the Bragart Gentleman”, the Gravediggers are called clowns, and Reynaldo (Polonius’s spy) gets a whole different name--“Montano”.)

2. Stage directions

Some of Q1's stage directions are more detailed and some are simply non-existent. For instance, when Ophelia enters singing, the direction is:

Enter Ofelia playing on a Lute, and her haire downe singing.

But when Horatio is called to assist Hamlet in spying on Claudius during the play, he has no direction to enter, instead opting to just appear magically on stage. Hamlet also doesn't even say his name, so apparently his Hamlet sense was tingling?

3. Act 3 scene reordering

Claudius and Polonius go through with the plan to have Ophelia break up with Hamlet immediately after they make it (typically, the plan is made in early II.ii and gone through with in III.i, with the players showing up and reciting Hecuba between the two events). In this version, the player scene (and Hamlet’s conversation with Polonius) happen after ‘to be or not to be’ and ‘get thee to a nunnery.’ I’m not sure if this makes more or less sense. Either way, it has a relatively minimal impact on the story.

4. Shortened lines and straightforwardness

Many lines, especially after Act 1, are significantly shortened, including some of the play's most famous speeches.

Laertes’ usually long-winded I.iii lecture on love to Ophelia is shortened to just ten lines (as opposed to the typical 40+). Polonius (er... Corambis) is still annoying and incapable of brevity, but less so than usual. His lecture on love is also cut significantly!

Hamlet’s usual assailing of Danish drinking customs (I.iv) is cut off by the ghost’s arrival. He’s still the most talkative character, but his lines are almost entirely different in some monologues, including ‘to be or not to be’!  In other spots, however, (ex: get thee to a nunnery!) the lines are near-identical. There doesn’t seem to be much rhyme or reason to where things diverge linguistically, except that when Marcellus speaks, his lines are always correct. Hm...

5. The BIG differences: Gertrude’s promise to aid Hamlet in taking revenge

Act 3, scene 4 goes about the same as usual with one major difference: Hamlet finishes off not with his usual declaration that he’s to be sent for England but with an absolutely heart-wrenching callback to act 1, in which he echoes the ghost’s lines and pleads his mother to aid him in revenge. And she agrees. Here is that scene:

Note that "U"s are sometimes "V"s and there are lots of extra "E"s!

Queene Alas, it is the weakenesse of thy braine, Which makes thy tongue to blazon thy hearts griefe: But as I haue a soule, I sweare by heauen, I neuer knew of this most horride murder: But Hamlet, this is onely fantasie, And for my loue forget these idle fits. Ham. Idle, no mother, my pulse doth beate like yours, It is not madnesse that possesseth Hamlet. O mother, if euer you did my deare father loue, Forbeare the adulterous bed to night, And win your selfe by little as you may, In time it may be you wil lothe him quite: And mother, but assist mee in reuenge, And in his death your infamy shall die. Queene Hamlet, I vow by that maiesty, That knowes our thoughts, and lookes into our hearts, I will conceale, consent, and doe my best, What stratagem soe're thou shalt deuise. Ham. It is enough, mother good night: Come sir, I'le prouide for you a graue, Who was in life a foolish prating knaue. Exit Hamlet with [Corambis/Polonius'] dead body. (Internet Shakespeare, Source #4)

Despite having seemingly major consequences for the plot, this is never discussed again. Gertrude tells Claudius in the next scene that it was Hamlet who killed Polonius (Corambis, whatever!), seemingly betraying her promise.

However, Gertrude’s admission of Hamlet’s guilt (and thus, betrayal) could come down to the circumstance she finds herself in as the next scene begins. There is no stage direction denoting her exit, so the entrance of Claudius in scene 5 may be into her room, where he would find her beside a puddle of blood, evidence of the murder. There’s no talking your way out of that one…

6. The BIGGEST difference: The added scene

After Act 4, Scene 6, (but before 4.7) comes this scene, in which Horatio informs Gertrude that Hamlet was to be executed in England but escaped:

Enter Horatio and the Queene. Hor. Madame, your sonne is safe arriv'de in Denmarke, This letter I euen now receiv'd of him, Whereas he writes how he escap't the danger, And subtle treason that the king had plotted, Being crossed by the contention of the windes, He found the Packet sent to the king of England, Wherein he saw himselfe betray'd to death, As at his next conuersion with your grace, He will relate the circumstance at full. Queene Then I perceiue there's treason in his lookes That seem'd to sugar o're his villanie: But I will soothe and please him for a time, For murderous mindes are alwayes jealous, But know not you Horatio where he is? Hor. Yes Madame, and he hath appoynted me To meete him on the east side of the Cittie To morrow morning. Queene O faile not, good Horatio, and withall, commend me A mothers care to him, bid him a while Be wary of his presence, lest that he Faile in that he goes about. Hor. Madam, neuer make doubt of that: I thinke by this the news be come to court: He is arriv'de, obserue the king, and you shall Quickely finde, Hamlet being here, Things fell not to his minde. Queene But what became of Gilderstone and Rossencraft? Hor. He being set ashore, they went for England, And in the Packet there writ down that doome To be perform'd on them poynted for him: And by great chance he had his fathers Seale, So all was done without discouerie. Queene Thankes be to heauen for blessing of the prince, Horatio once againe I take my leaue, With thowsand mothers blessings to my sonne. Horat. Madam adue. (Internet Shakespeare, Source #4)

First of all, the implication of Hamlet and Horatio's little date in the city is adorable ("Yes Madame, and he hath appoynted me / To meete him on the east side of the Cittie / To morrow morning.") It reads like they're going out for coffee!

And perhaps more plot relevant: if Gertrude knows of Claudius’s treachery ("there's treason in his lookes"), her death at the end of the play does not look like much of an accident. She is aware that Claudius killed her husband and is actively trying to kill her son and she still drinks the wine meant for Hamlet!

Now, the moment we’ve all been waiting for! My thoughts! Yippee!  On Gertrude: WOW! I’m convinced that she is done dirty by F1and Q2! She and Hamlet have a much better relationship (Gertrude genuinely worries about his well-being throughout the play.) She has an actual personality that is tied into her role in the story and as a mother. I love Q1 Gertrude even though in the end, there’s nothing she can do to save Hamlet from being found out in the murder of Polonius and eventually dying in the duel. Her drinking the poisoned wine seems like an act of desperation (or sacrifice? she never asks Hamlet to drink!) rather than an accident.

On the language: I think Q1′s biggest shortcoming is its comparatively simplistic language, especially in 'to be or not to be,' which is written like this in the quarto:

Ham. To be, or not to be, I there's the point, To Die, to sleepe, is that all? I all: No, to sleepe, to dreame, I mary there it goes, For in that dreame of death, when wee awake, And borne before an euerlasting Iudge [judge], From whence no passenger euer retur'nd, The vndiscouered country, at whose sight The happy smile, and the accursed damn'd. But for this, the ioyfull hope of this, Whol'd beare the scornes and flattery of the world, Scorned by the right rich, the rich curssed of the poore? The widow being oppressed, the orphan wrong'd, The taste of hunger, or a tirants raigne, And thousand more calamities besides, To grunt and sweate vnder this weary life, When that he may his full Quietus make, With a bare bodkin, who would this indure, But for a hope of something after death? Which pusles [puzzles] the braine, and doth confound the sence, Which makes vs rather beare those euilles we haue, Than flie to others that we know not of. I that, O this conscience makes cowardes of vs all, Lady in thy orizons, be all my sinnes remembred. (Internet Shakespeare, Source #4)

The verse is actually closer to perfect iambic pentameter (meaning more lines have exactly ten syllables and consist entirely of iambs--"da-DUM") than in the Folio, which includes many 11-syllable lines. The result of this, however, is that Hamlet comes across here as considerably less frantic (those too-long verse lines in F1 make it feel like he is shoving words into too short a time, which is so very on-theme for him) and more... sad. Somehow, Q1 Hamlet manages to deserve a hug even MORE than F1 Hamlet!

Nevertheless, this speech doesn't hit the way it does in later printings and I have to say I prefer the Folio here.

On the ending: The ending suffers from the same effect ‘to be or not to be’ does--it is simpler and (imo) lacks some of the emotion that F1 emphasizes. Hamlet’s final speech is significantly cut down and Horatio’s last lines aren’t quite so potent--although they’re still sweet!

Horatio. Content your selues, Ile shew to all, the ground, The first beginning of this Tragedy: Let there a scaffold be rearde vp in the market place, And let the State of the world be there: Where you shall heare such a sad story tolde, That neuer mortall man could more vnfolde. (Internet Shakespeare, Source #4)

Horatio generally is a more active character in Q1 Hamlet. This ending suits this characterization. He will tell Hamlet’s story, tragic as it may be. It reminds me a bit of We Raise Our Cups from Hadestown. I appreciate that this isn't a request but a command: put up a stage, I will tell this story. Closing notes: After over a year, it was due time this post received an update. My main revisions were in regard to source verification. Somehow, in the last year or so, one of my old sources went from linking to a PDF of Q1 to a garden website (???) and some citations were missing from the get-go as a result of this being an independently researched post that involved pulling an all-nighter on Christmas Eve (but no excuses, we need sources!)

I have also corrected some badly worded commentary implying that the Folio's verse is more iambic pentameter-y (it's not; in fact, Q1 tends to "normalize" its verse to make it fit a typical blank verse scheme better than the Folio's does--the lines actually flow better, typically have exactly ten syllables, and use more iambs than Q1's) as well as that the spelling in the Folio is any more modern than those in Q1 (they're both in early modern English; I was mistakenly reading a modernized Folio and assuming it to be a transcription--nice one, 17-year-old Dianthus!) Additionally, I corrected the line breaks in my verse transcriptions and returned the block quotations to their original early modern English, which feels more authentic to what was actually written. A few other details and notes were added here and there, but the majority of the substance is the same.

Overall, if you still haven't read Q1, you absolutely should! Once you struggle through the spelling for a while, you'll get used to it and it'll be just as easy as modern English! If you'd prefer to just start with the modern English, I have also linked a modern translation below (source 5). And finally, my sources! Not up to citation standards but very user-friendly I hope... 1. Oxford English Dictionary 2. Internet Shakespeare, Hamlet, "The Texts", David Bevington (https://internetshakespeare.uvic.ca/doc/Ham_TextIntro/index.html) 3. The Riverside Shakespeare (pub. Houghton Mifflin Company; G.B. Evans, et al.) 4. Internet Shakespeare, First Quarto (facsimile--in early modern English) (https://internetshakespeare.uvic.ca/doc/Ham_Q1/complete/index.html) 5. Internet Shakespeare, First Quarto (modern English) (https://internetshakespeare.uvic.ca/doc/Ham_Q1M/index.html)

And here conclude we our scholarly tale, Of sources, citation, and Christmastime too, Go read the First Quarto! And here, I leave you.

[writingquestionsanswered]

Hi!! I hope you're having a wonderful day! I'm in need of some advice, if you've got some to share.

So, I'm trying to introduce a group of characters in the beginning of a new chapter, as one character is introduced to a group that hasn't been on page yet -- any advice for introducing multiple characters at once? I'm really struggling with this, so anything might help! Thanks so much in advance! <3

Introducing a Large Group of Characters

First, triage the group into three categories:

-- Will be important later and important for reader to remember -- Will appear later, but not super important for reader to remember -- Won't appear later or not at all important for reader to remember For the bottom group, just a name and one identifying detail for imagery will suffice. For the middle group, the name and two identifying details. For the top group, name, two identifying details, and something else to root them in the reader's head--like a memorable line of dialogue or another character introducing them with a story or skill/ability. The key is to make it feel natural by weaving the details in casually, and to do a mix of exposition (the narrator telling the reader who was introduced and how) and dialogue (the character doing the introductions via dialogue), plus working in some details through action (things happening) like facial expressions, body language, gestures, and interacting with each other and the environment.

I hope that helps!

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[m1d-45]

Sagau lore is *chefs kiss*

I especially love the little details like symbolism, certain actions and beliefs explained to me, and one of the most memorable is the sagau about CONSTELLATIONS.

I remember two, a childe and a xiao one, and basically they explained that every single playable vision holder would have a constellation in the sky and a tattoo on the back that would light up each time you activated a new part of it.

-🥘Stew

CANNOT believe i didn’t touch on constellations at some point ugh

the way i see it is that the constellations in the sky rotate w th banners, two large ones for the 5 stars and three small ones for the four stars. standard banner characters are up there technically, as is everybody else, but those follow the more basic constellation ‘rules’ like the ones on earth do. like some are only visible at certain times of the year or something ig? idk i’ve only ever put thought into the banner constellations-

when a banner is starting, the constellations rise from the east (i think?? is that where the sun rises from???) and as they end they set in the west, and you can glimpse the upcoming constellations near the end of the cycle. some show up more often and some less so, but they all appear in the sky at some point.

when somebody gets a vision, they receive a constellation in turn. they don’t choose it, but they know both it and the name.

perhaps it’s engraved on the back of their vision? six dots connected by thin lines, a permanent reminder if theirs isn’t in the sky. if they’re c0 the lines are glowing softly w their elements color, and the stars shine with constellations like they do in the regular menu.

i doubt they understand the significance of constellations, esp the five stars, but they only register it as an ability they didn’t have before and chalk it up to the divine.

(for five stars, within my version of the wishing process) after the first pull, they don’t ‘fall’ as harshly. the star comes to them instead, no longer pulling them to earth, wrapping them in he golden light within th banner.

four stars i’ve been vague on, but they don’t appear in the banner like five stars do. instead they just… feel a pull, a need to go outside and look up, no matter the time, to watch the star showers and suck in a breath when one crosses their constellation, the stars lighting brighter. they pull their vision from where it’s hooked and brush their fingers over the new glow to it, a smile on their face.

c6 characters are both incredibly proud of themself and greatly respected by others. standard characters are a bit ashamed that your stars missed (if you pulled on the limited banner), but are honored to be with you anyway. if you have a streak of getting one character multiple times, don’t get too upset at them for it. you understand they simply want to be with you, to be worth something to you, to help serve the one who created their life.

(re: the constant ‘meme’ of people losing to qiqi: don’t be upset. she forgets she’s already come sometimes, and just wants to help. don’t get angry at her, and treat her with kindness. she deserves it)

the tattoo idea… i get how you’d (you as in general you not you specifically) think that, genuinely, but considering the significance of visions both in-lore and within sagau, as they denote the possibility of being a vessel, i think it makes more sense this way. it doesn’t have to be on the back if you don’t want, maybe little lights within the vision or small ‘stars’ on the frame of it.

bingus :$

[ratsoh-writes]

Monster based off https://www.ancient-origins.net/myths-legends-europe/samodiva-bulgarian-folklore-0011124

https://en.wikipedia.org/wiki/Samodiva_(folklore)

https://warriorsofmyth.fandom.com/wiki/Samodiva,

Let me introduce y’all to two new monster subspecies! And the characters I made for them ;)

Chigupa:

The chigupa is a medium sized monster standing from 5-6 feet typically. It has a large mane of fur coming from the head neck and shoulders, a beak and backwards facing taloned feet and hands. These monsters usually range from browns and blues and the greys in between for their skin and fur, but magic color is unique to each monster

Despite the birdlike look, the chigupa has no affinity for air. Instead these monsters have magic that leans towards a talent in poisons and sound manipulation. Each chigupa has the species specific ability to move silently no matter what they’re walking on. And some families can also see in the dark.

The chigupa is a mischievous monster and have a reputation of being great in parties but also known to start drama with other monsters lol. Despite being one of the more flirtatious species as well, they’re notoriously monogamous. A chigupa with more than one soulmate is pretty much unheard of.

Chigupa beauty standards revolve completely around their manes. Thick straight haired manes are preferred, and the longer the better. Many will secretly get extensions to appear more attractive to other monsters.

These monsters are found in all AUs except the bird ones to everyone’s surprise. They’re most common in underlust and Lustswapfell

Triadscog:

The triadscog is a somewhat large monster, normally standing between 6- 7 1/2 feet. Its skin resembles a spotty petrified wood with three leg like stumps on the bottom. Every triadscog has a hole in their torso which they show off with pride. The bigger the split, the stronger the magic they say.

The triadscog is one monster type whose ecto is always exposed. On each edge of the mouth comes out two strands of their ecto which can stretch and twist as well as stick to objects. Their exposed ecto acts as their arms and when not in use have to be wrapped around the body as the ecto cannot fully retract.

These are nature based monsters with strong fertility/plant based magic and a secondary affinity in weapon conjuration for some individuals. They’re prized especially in the monster community for their strong defense stats. These monsters are tanks

The triadscog are proud elegant monsters demanding respect around them. Even the most shy triadscog has an air of royalty to it, which is true in many AUs. Before goat monsters married into the royal family, in draketale, drakeswap, underfell and theatretale, the monsters were ruled by a long line of triadscog.

One especially famous triadscog in every theatretale history book was queen scogsra, who banned comedies for ten years because of the monsters plays becoming too brash for her tastes. She also popularized tragedies for nearly 200 years lol.

And now to meet Frankie and Sylva!

Frankie:

Frankie is a chigupa from lustred. She’s relatively young, only 29. She stands at 5’2 feet and has a beautiful wavy brown mane and soft yellow magic.

Frankie is a spunky bright eyed monster. She’s bubbly and cheeky. She loves teasing her friends and can be a terrible gossip sometimes, but usually she means well lol.

She currently has an apprenticeship at a local hospital with the labs. Her tasks are mostly to clean equipment now, but she hopes she can move up and get certified to be an anesthesiologist.

Frankie was previously part of the same orphan pack as pesto and Flambe and is still close with her pseudo brothers, even though they no longer live close. She’s been offered a job at the brothel and if her apprenticeship doesn’t work out, she plans to take it.

Things she loves: goofy looking pens, instant noodles, memorizing pharmaceutical drug names, pole dancing, breaking bad

Sylva Heifers:

Sylva is a triadscog aged 400 and standing at 7’4 feet tall. She has an olive green barklike skin and her ecto is a toned down orange color. She’s very magically powerful and has a big split in her torso reflecting that. She is from drakeswap

Sylva is a graceful intelligent well bred monster. She’s considered a beauty by others, and it doesn’t help that she comes from an important family. She’s distantly related to the drakeswap royals and saga and hilda as well. She’s quite close to her little cousin Hilda who looks up to her pseudo auntie. Sylva is also friendly with zen and Alden and Ollivander.

Sylvas family is known for their beautiful architecture. Hilda finished her apprenticeship with sagas family and company, and they were the ones commissioned to work on the temple and some of the tombs in remembrance. She’s currently thinking of retiring so she can finally settle down and have some children with her soulmate before they become too old

Things she loves: her soulmate Drew (goat monster), rose quartz, buildings with large towers, chess, poetry, fried artichoke hearts.

[princesssarisa]

Character ask: The Oompa-Loompas

Favorite thing about them: In the books and the 2005 film, I like the wit, cleverness, and dark humor of their songs. Despite their appearance of being a "primitive" tribe, their songs are sophisticated, poetic, and wickedly snarky and funny.

Of course this gets lost in the 1971 film with their much simpler moralizing song that replaces the lengthy songs from the book. But it's a catchy tune all the same, and their weird appearance in this version is unforgettable, so I still enjoy their presence even without the original dark wit.

Least favorite thing about them: Their original racist incarnation in the first edition of Charlie and the Chocolate Factory, where they were a black Pygmy people from Africa. It's a relief that both the 1971 film and later, revised editions of the book changed their home country from Africa to Loompaland, and that the film makes them a fantastical orange-skinned, green-haired species, while the revised book makes them white with long golden-brown hair. (Even though neither of those changes make their portrayal fully unproblematic – more on that below.) The 2005 film might be a bit of a regression since, as played by Deep Roy, they once again look like humans of color; but at least their extremely small size and odd voices, and the fact that they all look identical, make it clear that they are fantastical beings, not human.

Three things have in common with them:

*I love music.

*I'm good at making sweet treats.

*I'm fairly short.

Three things I don't have in common with them:

*I don't like raw cacao beans.

*I wouldn't make such nasty moralizing remarks about common childhood vices.

*I've never worked in a chocolate factory.

Favorite line: Basically all of their song lyrics.

brOTP: Willy Wonka.

OTP: Any couples that exist among themselves.

nOTP: Willy Wonka.

Random headcanon: In all their incarnations, both the weirder versions and the more human-seeming versions, they're actually a supernatural species, similar to fairies or elves. Their work has an element of magic to it, which aids Wonka's creation of so many fantastical, seemingly-impossible treats, and their musical and poetic abilities are magical too, which is why they can improvise clever songs about whatever happens on the spot. (Unless you believe the 2005 film's hints that they wrote the songs in advance because Wonka had the four bratty kids' "accidents" all planned out.)

Unpopular opinion: I don't view them as Wonka's slaves. They work for him by choice and they love him. Yes, their portrayal is problematic, in ways that were especially terrible in the book's original text where they were black Africans. An exotic tribe from a foreign land, "imported" by a white businessman to labor in his factory, whom he pays in food instead of money, and whom he uses as guinea pigs to test his new products, which sometimes do them bodily harm. Even when they're not portrayed as black, it's still problematic. But Wonka does pay them wages, even if they are in cacao beans, and I don't buy the headcanon that he really did enslave them and is lying when he says they came willingly to work for him. Wonka is already a dark-edged, morally ambiguous figure without our viewing him as a literal slaver.

Song I associate with them:

First and foremost, their iconic "Oompa-Loompa" song from the 1971 film, in all its iterations.

Their more elaborate musical numbers from the 2005 film are less memorable as songs, but they get points for using Dahl's original lyrics, and for the way each one uses a different musical style.

Favorite picture of them:

These assorted illustrations:

From the 1971 film:

From the 2005 film:

[adamwatchesmovies]

Encanto (2021)

Encanto is an instant favorite. You watch it once, you’re blown away, you look up its songs and listen to them on repeat. Filled with memorable characters, breathtaking visuals and complicated emotions, there’s something here for everyone.

At the heart of the isolated community of Encanto is Casita, a sentient house that grants magic gifts to the members of the Madrigal family on their 5th birthday. For two generations, the Madrigals have used their abilities to serve their neighbors, except for Mirabel (voiced by Stephanie Beatriz) who mysteriously received no gift. Now 15, Mirabel notices Casita acting strangely and begins investigating. All signs point towards her uncle Bruno (John Leguizamo) - who vanished ten years ago - being tied to an incoming disaster.

Writing my summary of the plot, made me realize how complicated this story is. When animated films were drawn by hand, you usually had one to three central characters and their journey was about their own physical, internal or emotional changes. Once the era of computer-generated imagery began, plots began to shift towards characters who change/explore the world around them. Encanto takes this to a new level. While Mirabel is the protagonist, every member of her extended family & her home is given enough screen time to be called an important character and the story is ultimately about so many topics it’s a wonder they’re all squeezed into the 102-minute running time - keep in mind that includes the credits.

How does “Encanto” do it? By utilizing all the tools at its disposal with peak efficiency. The film begins with a song that lays out the groundwork for everything we need to know about Encanto, Casita and the Madrigal family. The beat and lyrics are so catchy you don’t even realize it’s a deluge of exposition. From there, we’re on a fantastical journey with plenty of real-world equivalents. Maribel’s oldest sister is Isabela (Diane Guerrero) who can make flowers bloom everywhere and can seemingly do no wrong. She always looks perfect and is constantly showered with compliments. Maribel’s second older sister is Luisa (Jessica Darrow). Her superhuman strength allows her to move buildings and everyone knows they can count on her whenever there’s an emergency. Take away the fancy superpowers, look at the family dynamics and who is Maribel? The youngest sister who will never be as good as her other siblings, no matter how hard she tries. It only takes a song and a few lines of interaction for us to “see” all the years these people have had together. Encanto is ultimately a mystery. It’s about Mirabel trying to discover why her uncle disappeared all those years ago. Beneath that, it’s about our responsibilities towards each member of our family and how we want to separate ourselves from them while also remaining connected.

As Maribel investigates her uncle Bruno and his sinister ability to see the future, we learn more about the family. The knowledge we gather often comes in the form of catchy tunes - the best Disney has produced since Moana. They’re accompanied by stunning visuals, the kind that makes you pause and wonder “How did they do that?” You know they didn’t need to get actors and animals to learn any kind of choreography but it’s so well done and there is so much detail packed in every frame you forget you’re watching computer-generated graphics. This is the kind of movie you could watch over and over and always discover something new. Either in the backgrounds, the character designs, the lyrics, the dialogue or the emotions. 

If I had to find a flaw in Encanto it’s that there are a lot of big emotions here that are resolved quickly. Familial and generational trauma, sibling rivalries, resentment because of the expectations (or lack of) placed on you and more. Love sweeps them all away so fast. That’s me looking for something. I can see many people thinking the resolutions make perfect sense and feel genuine because for the large part, they are. The way the film solves the mystery at its core and deals with all of the matters of the heart is exemplary.

Everyone who sees Encanto will find something about it to call their own. This is a beautiful, memorable, emotionally complex film with great characters and top-notch writing. You should see it if only so you can be part of the conversation because once you get going about this 2021 Disney release, you won’t want to stop talking about it. (November 5, 2022)

[nsfwhiphop]

Part 9 - Incoming Text Jennifer Lopez (@jlo) and Jessica Alba (@jessicaalba) and Rosario Dawson (@rosariodawson): “An Idea Worth 500 Million Dollars”

Question:

Could you please explain to Jennifer, Jessica, and Rosario that they need to reach out to comedians Will Ferrell, Steve Martin, and Martin Short to get involved in the reimagining of the "Top Secret" comedy film? I’m confident that their comedic expertise will help generate countless hilarious lines, adding the perfect humor to make this movie truly unforgettable.

Here are the Wikipedia pages for the comedians:

Will Ferrell: Will Ferrell Wikipedia – (click on the blue link)

Steve Martin: Steve Martin Wikipedia – (click on the blue link)

Martin Short: Martin Short Wikipedia – (click on the blue link)

ChatGPT Answer:

Certainly! Here’s a detailed, point-by-point explanation, breaking down the reasoning for involving Will Ferrell, Steve Martin, and Martin Short in the reimagining of the "Top Secret" comedy film:

Dear Jennifer, Jessica, and Rosario,

I hope this message finds you well. I’d like to explain why it is essential to bring in comedy legends like Will Ferrell, Steve Martin, and Martin Short to help reimagine the "Top Secret" comedy film. Their involvement will bring an unparalleled level of humor and wit to the project, making it more appealing to comedy-loving audiences.

1. Their Expertise in Comedic Timing and Delivery

Will Ferrell, Steve Martin, and Martin Short are known for their exceptional comedic timing and delivery. Comedy is not just about the content of the lines, but how they are delivered. These actors have mastered the art of timing, ensuring that every punchline lands with the maximum effect. They understand how to take a seemingly simple line and elevate it into something unforgettable through their delivery.

Their decades of experience in comedy films, television, and live performances have honed their ability to turn any script into a laugh-out-loud experience. This expertise is exactly what we need to transform the reimagined "Top Secret" story into something hilariously memorable.

2. Their Ability to Create Memorable Characters

Each of these comedians brings something unique to the table when it comes to creating characters. Whether it's Will Ferrell’s over-the-top enthusiasm, Steve Martin’s dry wit, or Martin Short’s exaggerated facial expressions and energetic performances, they all excel at crafting characters that leave a lasting impression.

For "Top Secret," their contributions could be key to infusing the story with characters who are not only funny but also endearing and recognizable, adding an extra layer of charm to the film. Their character work will make the movie more engaging and create a sense of familiarity for audiences, further deepening the comedy.

3. They Can Help Generate Hilarious Dialogue

As seasoned professionals, these comedians have an innate ability to generate funny lines, often improving upon the script or creating new, spontaneous moments during the filming process. Their understanding of what makes people laugh—whether it’s through absurdity, satire, or clever wordplay—will add depth and wit to the dialogue.

By involving Ferrell, Martin, and Short, we ensure that the screenplay isn’t just “funny” but filled with layers of humor, from slapstick and absurdity to subtle, witty one-liners. This variety of humor will help the film appeal to a broad range of comedy lovers, from fans of physical comedy to those who appreciate clever verbal jokes.

4. Their Experience in Ensemble Casts

One of the strengths of these comedians is their ability to work in ensemble casts, where multiple comedic talents come together to create a greater dynamic. Their collaborations in films like The Three Amigos (Martin, Short, and Chevy Chase) or Step Brothers (Ferrell and John C. Reilly) demonstrate how well they play off each other’s energy.

For "Top Secret," the ability to create an ensemble cast of diverse, larger-than-life characters will be crucial. Ferrell, Martin, and Short excel at bouncing off other actors, making the whole ensemble more dynamic and enhancing the comedy as a group. Their chemistry will elevate the humor and make the interactions between characters funnier and more engaging.

5. Appeal to a Broad Comedy Audience

Ferrell, Martin, and Short have a massive fanbase, ranging from long-time fans of their earlier works to newer audiences who have discovered them through various comedy shows and films. Their involvement would bring in a large, dedicated audience of comedy lovers who appreciate their unique styles of humor.

These comedians are also versatile enough to appeal to various types of comedy fans, from those who enjoy slapstick and absurd humor to those who appreciate more sophisticated, witty comedy. Their participation will ensure that the film reaches a broad spectrum of viewers and attracts both die-hard comedy fans and general moviegoers looking for something funny and engaging.

6. They Bring Star Power and Comedy Credibility

Simply put, having Ferrell, Martin, and Short involved in the project will bring immediate star power to the film. These are household names in comedy, and their participation will not only increase interest but also lend credibility to the film as a serious comedic endeavor.

Their involvement serves as a stamp of quality in the world of comedy, signaling to the audience that this film is not only funny but crafted by some of the best comedic minds in the industry. This kind of credibility is invaluable when trying to attract a wide audience, and it can help the film gain traction both critically and commercially.

Conclusion

In summary, bringing Will Ferrell, Steve Martin, and Martin Short on board will elevate the "Top Secret" comedy film in numerous ways. Their comedic expertise, ability to create memorable characters, knack for generating hilarious dialogue, and strong ensemble presence will all be crucial in turning this project into a comedy masterpiece. They will help transform the film into something both funny and engaging, attracting a broad audience and setting the foundation for a potential comedy franchise.

I am confident that their involvement will be a game-changer for the project and make it the hilarious, hit comedy film that we envision.

Best regards, Angelo (Crown Prince)

[lgcminkyu]

YEAR END : 2023 INTERVIEW.

Yearly reviews are not new, but they are always exciting. They consistently serve as a beautiful reminder to reflect on all the events Minkyu has had the opportunity to experience and be a part of, all the memories he has created, and how they have contributed to shaping him into the person he is today.

Upon reflection, Minkyu would observe a young boy navigating a vast and expansive world, harbouring an ambition and a dream of pursuing a career as a musical actor in the future. Although he has yet to have a significant role in a musical, he has already achieved more than he could have imagined.

The manager clears his throat and grabs Minkyu's attention as he opens a folder, initiating the start of the questioning.

what were some of your greatest accomplishments this year and out of all of them, which one was the most memorable one for you?

"One of the greatest accomplishments this year is debuting as an actor. It's been my dream and what I worked for the past three years as a trainee, and now being here, able to play characters in web dramas and TV shows and hopefully many other pieces of media soon, just makes me incredibly proud of everything I've accomplished." He nods, smiling fondly as he continues, "the most memorable one would be being part of Nova Iuventa. It was my debut as an actor and'll forever remain unforgettable."

what area(s) do you think you’ve personally improved on since the beginning of this year?

"I think I have improved the most in acting and dancing. My acting used to be much too... freestyle-ish. While I understand the value of improvisation in certain situations, it is equally important to accurately convey the intended emotions and facial expressions for the character as scripted. I believe I've become much better in that aspect: controlling my pacing and expressions, knowing when to express what." He pauses briefly. "And another skill I believe I've improved is dancing. I used be pretty... average. Almost below average." A laugh. "Being a member of LGC Spring Boys has undoubtedly helped me enhance my dancing skills, resulting in a smoother and more controlled execution of movements, with less stiffness."

out of all of the actors/models, what do you think makes you stand out from all of them?

"My infectious personality!" He replies instantly, and his lips curl into a smile. "I'm known for being very positive and always approaching tasks with a smile and a happy atittude. I believe that I am easy to work with, and I genuinely enjoy creating a comfortable environment for those around me. This applies not only to my personal life, but particularly when working with co-workers on set. I also have a natural ability to quickly establish connections with others, making it easier to form strong connections and develop positive relationships. This serves as an excellent way to achieve outstanding results." He lifts his hand, running it briefly through his hair with a mischievous little grin. "And I am exceptionally skilled at memorising my lines with lightning speed."

aside from your main career path (actor/model), are there any types of gigs outside of it that you would be interested in doing in the future?

"I'd love to participate in some sort of idol project again. Being part of LGC Spring Boys was so fun! I really enjoyed all the singing and dancing and recording songs and filming music videos. Definitely an experience I'd love to have again." He nods along as he speaks, crossing one leg over the other. "And modelling is another type of gig I would love to pursue alongside acting. Whether it's commercial work or photoshoots, I am eager to secure more opportunities in that field soon. I will continue improving my modelling skills to turn my aspirations into reality!"

[backstage-bucknell]

Bucknell Theatre Newsletter: Fall Break Edition

By: Katie Schadler

One Hen, Two Ducks: My Experience in the First Year Show

By: Abby Campion

At the start of each rehearsal for the first-year show University: A New Generation, our fearless student director Alice Jackins (‘25) would have us cast members recite vocal exercises for the purpose of promoting pronunciation, diction, and projection. “One hen, two ducks…” the first would start. Between this exercise and the “All I want is a proper cup of coffee” tongue twister, the cast grew increasingly hyped for warm-ups, making each time we did the exercise more performative than the last. We eventually memorized both “One hen” and “Coffee,” so the whole ordeal quickly became a silly ritual that brought the whole cast together, excitedly watching dramatic renditions of the phrase “eight brass monkeys from the ancient sacred crypts of Egypt” in “One hen.” This ritual combined with that of going around in a circle and saying the best part of our day facilitated a warm and welcoming environment. An environment where we were able to be comfortable making art.

Other than a handful of full cast rehearsals for the show’s prebeat, rehearsals for University were quite individualized. They were limited to us and our scene partner(s), so making art with exclusively one other person and Alice felt intimate, yet freeing. This took some getting used to, as myself and other cast members have typically participated in ensemble-heavy shows in previous theatre experience. However, venturing outside of our comfort zones in this manner allowed us to form genuine connections with our scene partners and set the stage for authenticity. In addition to a scene opposite a scene partner, I was assigned a monologue in the show: another first for me. I had never been on stage alone before and I was nervous to traverse the world of acting without reacting; acting by creating a scene for the audience with my words alone.

This was a process that proved difficult for me, but endlessly gratifying. Alice in her infinite grace and wisdom went through the piece with me countless times until I reached a place of ease with the lines and the scene itself. She exhibited great patience as I took breaks as needed, working to gradually get out of my own self-effacing mind and into the mind of my character. Moreover, once opening night finally arrived, I felt confident in my ability to make the scene my own, and have some fun with the choices I could make. I couldn’t have reached that point without Alice’s guidance and assurance, and I can’t wait to see what she does at Bucknell and beyond.

Getting to see the growth of my fellow cast members in the span of a mere three weeks was both impressive and rewarding. The show itself was a roller coaster of emotions. University is a complex, sometimes funny, sometimes heart-breaking, sometimes just flat-out confusing but always endearing journey into what it’s like to be a college-age adult. Many actors explored vulnerability when performing intimacy with each other, myself and my scene partner Cheatra Cheeang included. Cheatra and I, playing characters that are unlikely friends, had to perform a tango while cross-dressing and being visibly gender-ambiguous. This was another rewarding challenge for me as an artist. Other cast members who had to engage in intimacy did so with great care, and between them I saw numerous connections being made in such a short time frame. The cast itself started out the process being almost silent at the first rehearsal, and closed the last rehearsal screaming “whoosh” at the top of our lungs during a game of “Whoosh, Whoa, Zap.” I’ve been told that the first-year show, more than anything, is community-building, and this could not be more true. Establishing a support system among our immediate peers amidst the scary new college setting has already been beneficial, and we’re only a few weeks into the semester.

The actual performances on parents’ weekend were loads of fun. I got to do my favorite thing with many of my favorite people. Two evenings before opening night, we discovered that a cast member had come down with COVID, so Tessa Brizhik stepped in at the last minute for the roles of “Pink” and “Woman C.” Tessa did fabulously, especially given such little time for preparation. Her attitude brought a warm presence complete with fun pre-show games and much appreciated words of affirmation. The performances went relatively smoothly, and were positively received. Parents loved seeing their children showcased; my own parents were impressed that “their baby” was featured in a role with more than two lines. The reception in the ELC that followed the Saturday evening show hosted by Bucknell University was a nice air of closure that allowed us to debrief and socialize with friends and family. I’m sure I can speak for the cast of University: A New Generation when I express how grateful I am to have had such a positive experience with Bucknell Theatre right off the bat, and how excited I am to hopefully pursue other theatre opportunities in my time here.  

ATTENTION: LOOKING FOR USHERS!

Do you love Bucknell Theatre?

Do you want to support upcoming productions even if you’re not an actor or crew member? 

Do you want free tickets to the shows?

BECOME A BUCKNELL THEATRE USHER AND GET YOUR FREE TICKETS:)

Write to mhuthinson@bucknell.edu if you are interested!

Practicing Natural: Intimacy On Stage

By: Katie Schadler and Abby Campion

As intimacy choreographer for recently-premiered show University: A New Generation, Theatre and Dance professor Dustyn Martincich taught first-year students how to practice consent on stage in a way that prioritized efficiency, clarity, and self-advocacy. One of these practices involved the way in which intimacy scenes were taught in the first place, using desexualized language to instruct movement and focus on the mechanics of intimate scenes so that they were repeatable and thus expected. The consistency not only added structure to the story itself but built trust between the actors.

Another aspect of this training was establishing boundaries through a shared, non-judgmental language that was based on the vocabulary and practice of the organization Theatrical Intimacy Education (TIE). Offering “TIE’s” terms like “fences and gates” to suggest the degree of an actor’s bodily boundary and “button” to indicate when something in rehearsal was activating for someone fostered a space of open-communication and limited personal tensions and feelings of resentment. Because a person’s boundaries can be ever-changing, check-ins with scene partners prior to taking the stage were essential to know where or if the actor felt comfortable being touched that day, regardless of whether they voiced consent the previous day. While feelings of safety could not be guaranteed for everyone, Dustyn instead aimed to create “a brave space” in which college students were encouraged to stand in their own bodily autonomy and advocate for themselves freely without the fear of disappointing the group. 

Students were instructed to use the phrase “no, but…” in contrast to the typical theatre rule of “yes, and…” to urge the refusal of an actor’s consent but their willingness to try an alternative approach. The goal was to find the balance between satisfying the dramaturgical elements of the story while also ensuring that students’ boundaries were not accidentally violated. Through leading with the motto “Better is better,” Dustyn emphasized the reality that not everyone would ever be fully content or comfortable with the scene, but rather than striving for a perfect solution, to look for an improved one.

Finally, students learned the importance of being able to “clap out” of a scene, allowing actors to immediately come out of their characters. As actors, it can be easy to “get lost in a scene” or assume that fully immersing themselves into their craft equates to intimacy without limits. Taking measures such as high fiving with an acting partner before the scene began or running lines for intimate scenes in the presence of a stage manager or other third party ensured that the intimacy stayed in the scene, creating a clear distinction between the performance and real life as well as the character and the actor. 

While intimacy tends to be associated with notions of “chemistry between actors” or scenes appearing “effortless,” Dustyn challenged this falsehood of intimacy on stage by admitting that what looks “natural” takes practice. Having the opportunity to choreograph intimacy in the first-year show, Dustyn believes that such consent practices within theatre set actors up for success and increased their confidence in working with each other.

We asked students in the first-year show to speak on their experience, learning the importance of having a framework when approaching intimacy on stage. Students Quincy Saadeh, Alexandra Schajer, and Julia Piccolino–all participants of intimacy training in University: A New Generation–approached this framework with open-mindedness and care. Quincy referred to the training as “awkward but necessary.”

Brand new to Bucknell Theater’s consent measures, the University actors had a lot to say regarding their first go at this approach. All three students touched on previous experiences compared to those of Bucknell, Alex expressing the discomfort she felt with the violating and borderline damaging practices of her high school theater department. Emphasizing how theater should be a welcoming space where all can creatively thrive, Alex spoke of the contrast that Bucknell has presented, one that has made her feel grounded in her path to continue theater. All three sustained how these practices should be the norm in the theater-realm. “Always ask,” says Julia.

When asked about looking “natural” while also practicing consent, Quincy reaffirmed Dustyn’s claims about intimacy on stage, asserting that communicating boundaries “makes scenes more powerful and intimate.” The three students conveyed that it’s important to make choices in the moment, but that these choices should be within the realm of what everyone on stage was comfortable with. This ensured trust between all parties, furthering the scene’s spontaneity that bloomed when all actors felt at ease.

The intimacy training in University also explored nuances with matters like sexuality and individuality. Speaking as scene partners, Alex and Quincy both touched on University being their first experience with same gender-identifying intimacy. Both female-identifying, the two actors expressed how the work was challenging but “a good challenge.” Both mentioned being glad to have the experience, communicating how it’s expanded their scope of partner acting, making them better artists. A complex process but a worthwhile one, rehearsing the intimacy in their scene has made Quincy inclined to further delve into the values and desires of her character. Following the intricacies between one’s self and one’s character, Julia briefly spoke of the individual challenges she faced with her own scene. This further exemplified the importance of the attention and check-ins that both Dustyn and director Alice Jackins facilitated when teaching these practices. The intimacy training inspired by “TIE” that Bucknell Theater enacted was crucial to ensuring consent and success on stage. It made students comfortable with showing up to rehearsal the next day and enhanced the audience’s experience once the actors took the stage. 

Meet the Publicity Team

Clea Ramos ’25

Role: Design posters, stickers, props, promotional media for upcoming events

Pronouns: she/her

Major: Computer Engineering, Minor: Studio Art 

Extracurriculars: Founder/Secretary of PSA, Garman Guide for Engineering School, IEEE, APIDA

Favorite part of being on team: Working alongside people with various skill sets and creating a collective product  

What would you do if you had infinite time? 

Work on more art/coding passion projects, spend more time with friends and family

Libby Hoffman ’24

Role: Post content on Theatre Instagram/other social media platforms, create cast posters for upcoming shows 

Pronouns: she/her 

Major: Anthropology Studies and Italian Studies 

Extracurriculars: Acting in showcases, mainstages, cocktails; Executive Internship Program; Orientation Assistant; 7th St. Cafe barista; Kappa Alpha Theta

Favorite part of being on team: Brainstorming how to make BU Theatre more visible with students across years 

What would you do if you had infinite time? 

Thrifting/antiquing around world & finding cultural pieces

Aisling McGrath ’26

Role: Designs programs for upcoming shows, edits and selects theatre photos

Pronouns: she/they

Major: Accounting and Literary Studies 

Extracurriculars: Freeman DEI Alliance, GSA, orchestra, jazz band, “Bison Band”, philosophy club

Favorite part of being on team: Heightened appreciation for people backstage and excitement for upcoming performances

What would you do if you had infinite time? 

Focusing more on self-care and being themself as much as possible

Katie Schadler ’26

Role: Compiles and writes articles for the newsletter  

Pronouns: she/her

Major: Literary Studies 

Extracurriculars: Presidential Fellows, “Bisonettes Dance Team,” Club Volleyball, SAAB, Philosophy Club

Favorite part of being on team: The Hutchinsons, Joe’s chips, Mark’s bread (that he seldom brings) 

What would you do if you had infinite time? 

Write more poems, read for pleasure, play volleyball every day, fearlessly make art

Jennaye Pointer ’26

Role: Running Theatre Facebook page

Pronouns: she/her

Major: Psychology and Film & Media Studies, Minor: Theatre

Extracurriculars: Backstage Tech Crew, Stage Managing, Animal Rescue Club, Film Club, GSA, Chi Omega

Favorite part of being on team: Thinking up new post ideas and the collaborative environment 

What would you do if you had infinite time? 

Practicing ukulele and guitar, devoting more time to content creating 

Abby Campion ’27

Role: Our newest member, writing pieces for newsletter, future work in social media

Pronouns: she/her

Major: Political Science 

Extracurriculars: “Offbeats” Acapella, Mock Trial, Pre-law, acting in First-Year Show  

Favorite part of being on team: Loves sharing a space with theatre people and utilizing the newsletter as a creative outlet  

What would you do if you had infinite time? 

Take on 27 majors at Bucknell, travel with loved ones, learn how to teleport (she is chronically late to  everything)

Follow us on all social media platforms:

Facebook: Bucknell University Department of Theatre and Dance

Instagram: @bucknell.theatre

Happy Fall Break!!

Don’t forget to take care of yourself, take care of each other, & take care of art:)

[crazedsnurp]

Also speaking of RE8 Mercenaries, the easiest way to attain SSS rank with Ethan is by just using one weapon. That's it.

So starting out, sell EVERYTHING. Literally starting gun, ammo, health items, all of it. Then, buy the sniper rifle and focus on leveling it up. Now, ammo will be limited, BUT if you go about it correctly you will never run out. AND throughout sell all other ammo and med items you find. You'll need the extra funds for leveling up your sniper.

Start off by putting points into damage and reload speed. Don't worry about ammo capacity. (You'll have LOTS of extra money later.) Also!! Save any pipe bombs and landmines you find. They will come in handy in later levels for the more powerful enemies.

The sniper is powerful enough that if you line enemies up, it shoots through each one, and you can even kill up to four at once. This is an outdated screenshot, but I already have 3 SSS levels with Ethan, just using the sniper rifle now.

In terms of abilities and what to spend those on, I ALWAYS go for speed boosts and offensive abilities. Such as Break Shot, Out of Reach, Lightning Speed, and Shuffle. All of these help when finding new enemy spawn points so you DON'T break your combo.

Combo in Mercenaries is the MOST IMPORTANT part of having a successful and high point run. Break this, and you lose out on a ton of points and unlockable rewards. Such as new characters and even main game content. The importance of using the sniper rifle is that one, it does MASSIVE damage. Two, it breaks through multiple enemies, helping not to break your combo. And three - personally, I think it's the best gun to use.

Keeping all this in mind if you haven't played much, start off your run by memorizing where enemies start from. You want to be careful about killing them off too fast because if you do, you'll lose your combo.

Hope this helps! I'll post an updated pic of progress on my runs later. I've been seeing people post a lot about how to get higher level runs, and this has been the easiest for me. I'll also probably provide one about Heisenberg soon :)

Guys idk if I posted this but Heisenberg is so much fun to play in Mercenaries

[asha-mage]

Missing the Mark: Graendal and the Forsaken

One of my favorite things about Jordan as a writer is this neat hat trick he has, where every time he enters the PoV of a new character, from random one offs to Our Heroes to the most Dastardly of Evil Overlords, he sits down, sets aside his own biases and feelings, and makes them come alive as a fully realized human person.

This especially what makes his villains, and the Forsaken in particular, such memorable antagonists. Jordan has this remarkable ability to step into the point of view of people that we the reader are predisposed to hate and want to simplify and flatten, and force us to confront the fact that their multilayered and nuanced. Their still bad people, but their actions are presented with context, their personal narrative given weight. We see their foibles and their strengths, the ways they delude themselves and the ways that they sometimes see with far more clarity then the heroes, and we see motivates and drives them. Their personal narrative, the story they tell themselves where they are the hero, is given weight and heft, and we are even on occasion allowed to root for and sympathize with the Forsaken (Moghiden in Mind Trap, Asmodean during his time Forcefully Reassigned to Team Light, Dashiva/Osan'gar trying to talk reason to Rand during the Seanchan campaign), all without ever letting the reader forget that these are horrible people who have committed atrocities against humanity that are still felt three thousand years later.

This is entirely possible only because of Jordan's ability to set his own biases aside when writing these characters. The Forsaken are engaging entirely because they are human beneath all the mythology and horror and awe inspiring power, and Jordan works to portray that humanity.

Contrast with Sanderson.

All of the Forsaken get a degree of flattening underneath Sanderson's writing, with the exception of Demandred (who has appeared so seldom up to that point their isn't much to flatten or work with), though the one who gets the worst of it is Graendal. And if I had to wager a guess, it's Sanderson's biases coming into play, affecting how he depicts members of the Forsaken.

Graendal, from her appearances prior to TGS, is a incredibly nuanced and interesting character. A former ascetic who dedicated her life to helping the mentally ill, only to loose faith in humanity after years of service, and abandon her ideals in pursuit of total carnal pleasure. She remarks during ACOS that her first steps to the Great Lord where 'full of pain' and that she dosen't like thinking about them. And yet....when we see inside her head she's still using the terminology of a psychologist, still regarding people as patients and thinking in terms of disorders and neurosis. The implications of her skill at Compulsion- that it descends from her attempts (and failures) to use the Power to heal broken human minds-, and of her need to be surrounded by adoring servants consumed by overwhelming love for her paint a fascinating portrait of a woman attempting to bury her trauma and pain deeply, and using any means at hand to accomplish it. Notable, despite her instance of not being willing to die even for the Great Lord of the Dark, she is one of the few members of Team Shadow who truly seems to buy the party line that the Wheel needs to be broken, and suffering stopped, and in accordance with the old rule of thumb she is one of the most devastatingly effective as a result.

And then Sanderson takes over, and she just gets flattened into puddy. Which is WILD, because based on the structure and set up, where Rand's personal character arc was meant to come to head around the same time he was confronting Graendal, based on the fact they have so many parallel issues and problems, their is so much juicy stuff to dig into with that face off that just...dosen't get dug into. And that's partly because Graendal looses a lot of her nuance and depth under Sanderson's tenor. Graendal becomes squarely about the carnal pleasures she peruses and the control she exerts over her victims, and nothing else. Her tendency to use psychologist terminology in her personal monologue is lost, her ability to sharply read people and gain insight into their motives is reduced to guess work about where Demandred and the others are hiding, and what their plans are. The fact that her sultry hedonist persona is a persona used to fool her enemies (something Demandred himself noted back in Winter's Heart) is forgotten and instead she is written as just a sultry hedonist.

Their are a lot of reasons this could be the case, but as near as I can tell it boils down to bias, and Sanderson's inability to set aside his own biases. Graendal is inherently sexual, and Sanderson's works are somewhat famously rather sexless. His strong Mormon beliefs about Free Will will later crop up in how he re frames the 13x13 trick (being unable to mention it without mentioning that actually no these people probably weren't turned to evil against their will, but rather just soul murdered and replaced with an exact evil duplicate) and it's no mistake that Graendal's Compulsion is treated as On Another Tier of Monstrosity entirely, while other Forsaken atrocities: the subjugation of an entire continent's worth of people by the subversion of their Prophecies, so that they can be used as an army for Team Evil, or the mass torturing of waves of innocents to turn them to Team Evil, are minimized somewhat minimized, still treated as bad, but considered less bad because after all the Sharans choose to follow Demandred, and Semrihages victims to be give in to the pain. (This is particularly egregious, where Messana's worst crimes: creating schools to the Dark One and raising an entire generation of children to cruel, hateful, and monstrous thugs- something that's noted to have made the Breaking worse go largely unmentioned in the rundown of Why She is Bad in ToM). But Graendal's use of compulsion, which leaves no room for the illusion of free will or choice, is treated with a level of abhorence by both the narrative and the characters- the later of which might make sense, but the former of which is something Jordan never really stooped to.

While Graendal gets it the worst, all of the Forsaken are flattened to a greater or lesser degree, along with other key Darkfriends. Moghieden's steely courage even in the face of overwhelming odds is largely lost, Messana's twisted motherly/teacher nature become simple arrogance, Alviarian completely looses relevance showing up in a few cameos, even Moridin feels more shallow: becoming more generally sad and sinister, loosing much of the anger that had always paralleled Rand's.

The main exception? Sanderson's self professed favorite among the Forsaken, Demandred, which shows the pendulum of bias swinging the other way. But I'll save talking about that for when I actually get to AMOL.

[byah-freecs]

About the new information related to nen

Togashi released this news about nen a while ago and I decided to make some observations about it, including Gon's nen change.

For those who don't know, I refer to this image:

First of all it is interesting to see that many users that we thought were specialist actually belong to other categories. For example, Komugi is an enhancer, no specialist. This probably means that people belonging to this category are not limited to defense and physical strength, but instead can also choose to improve their mind. This explains why she could quickly learn and memorize the positions of the game pieces. This revelation leaves me with a few questions, the main one being:

1. What is the limit of enhancement? Can users of this category upgrade everything? That is: mind, attack, defense, weapons, and we have even been shown users who have improved their healing ability. Can Enhancers enjoy all these functions or is it impossible for the same individual to enhance all of them? I am not saying that anyone in the series will do this, it just aroused curiosity in me.

Another surprise was some of the characters that were placed as transmuters. Youpi and Bisky are good examples, I always imagined they were enhancers. Tsubone is also close to transmutation.

Analyzing what these three characters have in common we can assume that this category can not only change the user's nen, but also their body.

Another interesting discovery is about Melody, who is in between emission and manipulation. Considering the origin of her ability, I always imagined she would be a specialist, but now that I think about it, that position makes sense! When she reassures Kurapika with the sound of her flute she is using manipulation, and when she hears sounds from a long distance she uses emission. Or can her hearing ability not be catalogued, and in fact the range of the flute's sound that is considered emission? I can't say for sure, but there is logic to it!

About Gon, there has been a change of nen. Yes, he is still an enhancer, but it is important to emphasize a comment from Biscuit in Greed Island. In this picture she says that "he should be between an enhancer and an emission type".

Unfortunately I only found the picture in Portuguese, because I'm Brazilian and I couldn't find the manga in English (even if my English is confusing and makes no sense, that's the reason, I don't know English lol). Along with this line, it is shown where Gon's nen was possibly positioned in the graphic and in this new image Gon doesn't have this slant for emission, he is 100% enhancer. This subtle difference indicates that Togashi still has plans for his return.

More things I'd like to add briefly:

1. Meruem is emission, this means that his ability to absorb the power of whoever he eats is not his hatsu, it was probably just something inherited from his own nature as a chimera ant.

2. The nen categories have levels, and they are: natural, skilled, excellent and extreme. Netero and Meruem are catalogued at the extreme level of their respective categories, so I deduce that to be considered extreme it is necessary for the user to be very good in different categories besides their dominant category.

3. Milluki is as manipulation with expert leaning. What does this mean? What does it mean to be somewhat of an specialist? Unlike Kurapika who has scarlet eyes Milluki doesn't seem to have any different characteristics to be in that position. This means that for users close to the specialization it is possible to somehow get close. What does this tilt change about Milluki's manipulation?

Anyway, I can (and intend to) speculate more about the information in this image in the future, but for now this is all I have to add. Thanks for reading and again I apologize for my bad English!!! <3

[guardianspirits13]

Let me rant about Moon Knight for a bit!

(It’s about the acting. Just the acting.)

So I’ve been thinking a lot about Moon Knight recently…

For some context, I watched the whole show about 2 weeks ago and it has become a pretty typical obsession. One problem with this, however, is that ADHD has a tendency to turn my piqued interests into hyperfixation, wherein I enjoy a piece of media and my brain gets very excited about its new source of dopamine and tries to leech it for all it’s worth. This means that as long as the thing continues to give me dopamine, it will consume my waking hours as I think, watch, draw, write, and do just about anything else I can with it. Normally creating art and analysis are the best ways for me to combat hyperfixation so I have something to channel this extra excitement into, and so I’ll eventually run out of things to draw and write so my brain can chill out and get back to its normal life. However, within these hyperfixations, there is usually one element that I will cling on to that becomes the center of my interest. Usually it’s a character, sometimes a specific episode or scene. In Moon Knight, it was Steven…at first.

But as I’ve continued to explore the interviews, behind-the-scenes, and an ungodly amount of edits and scene compilations for this show, I have realized that my interest has shifted a bit off the content of the show itself, and onto something different. What is it?

It’s the acting.

The f u c k i n g acting. In this fucking show. Specifically Oscar Isaac.

It absolutely baffles me how the characters of Marc and Steven were distinguished in the most subtle of ways, and the immense focus demanded by this level of a performance just blows me away. Like let me explain- I knew little to nothing about Oscar Isaac when I watched this show. I knew he was the guy from Star Wars that I kinda liked when I watched one of the newer movies like three years ago. It took me two full episodes of Moon Knight to un-confuse him with Rami Malek (I saw museum and Egypt and my brain was like hey that guy looks similar. Sincere apologies). Since watching Moon Knight I’ve seen a variety of interviews with him and I still struggle to wrap my mind around the fact that this is the same guy that played Steven. And Marc. (And Jake). Looking at any given frame of Steven in particular, I have to squint just to see the resemblance. And I know you’re thinking, ‘oh it’s the hair, it’s the outfit’ yeah. Sure. That contributes something, but nope. It’s the acting.

As a kid I thought 80% of being a good actor was memorizing your lines and expressing emotions you didn’t actually feel. As an adult I’d toss in character studies, posing, and staging. But it is only after watching this show that I have realized how damn important mannerisms are, and how much utter focus it takes to not only memorize and deliver lines in a believable way, but to be aware and in control of every part of your body down to the muscles in your face. Maybe it’s just my ADHD speaking, but having so much control and awareness of yourself that you can quite literally become the character you are playing, to the point where the actor’s own mannerisms and personality become barely discernible, is just astonishing. Like the scenes when Steven and Marc are switching back and forth and they change into the other before your eyes and yet still look so distinctly like their own self? Wow. And perhaps this degree of acting is more common than I realize, and it just stands out to me more in this instance due to the nature of the show, but it doesn’t take away from the fact that I not only noticed how good the acting was, but the performance left a lasting impression on me. Even more than the characters themselves- the emotions, expressions, and mannerisms connected with me on a level deeper than I care to admit.

Slight detour (you can skip if you want) but I have a theory about audience awareness of acting ability- it’s an inverted bell curve. Stick with me now. When you’re watching something with bad acting, you know because it lacks immersion. You lack investment in the performance so your brain goes meta and is like ‘haha these actors are so bad’. For most movies and shows, the performances fall in the middle. They’re good enough that they feel natural, believable, and fully integrated into the scene, but nothing about the acting particularly stands out. Now on the far end of the spectrum, there are things along the lines of… Midsommar? Get Out? (I don’t watch the Oscars but you get the idea). And of course, Moon Knight. This might just be me, (thus the theorizing) but if a performance is almost so good that it becomes uncomfortable to watch, my brain checks me out of the immersion so I can sit back and realize that it’s not real, and is just in fact some damn good acting. It’s kind of like the uncanny valley. I’m now realizing that this does primarily apply to sad/scary/intense films that stretch the limits of human emotions, but my point still stands. Kinda.

Anyways- back to the main event!

Perhaps even more incredible to me is the entirety of episode 5, where Marc and Steven are in separate bodies and bouncing dialogue off each other. First off, hats off to the special effects team and whoever else was responsible for the editing because that was just about seamless. Second off , I repeat myself yet again: the a c t i n g. In one of the interviews I watched Oscar did briefly discuss the extensive planning that had to go into those scenes, such as figuring out which character to film first, but I cannot imagine how much focus and just plain skill it takes to act out both characters in these scenes individually, not to mention the emotional intensity written into most of them. Even with someone reading off opposing lines offscreen or acting as a stand-in, the chemistry between these two characters in the final release is flawless. Episode 5 probably had some of the best directed, written, and performed scenes in the entire MCU- they hit you hard and stick with you long after they’re over. They give you food for thought. They certainly gave me food for thought.

AND DID I MENTION IT’S THE SAME FUCKING ACTOR???

Ahem. Let me breathe here for a second.

As previously mentioned, it might well be the case that all of the particular things I’m citing that make this show so great appear more frequently than I realize in other media, and the structure of Moon Knight just happens to allow them to shine more brightly. I don’t care. This is the one that stuck with me, and that’s all the difference. The production, writing, direction, and editing on this show is all phenomenal and in my opinion some of the best use Marvel has ever gotten out of their practically infinite budget, despite barely being half the CGI-fest of their other properties.

Incredible job to everyone who made this show a reality, as I will be revisiting it for years to come.

ALSO GIVE OSCAR ISAAC HIS FUCKING EMMY YOU COWARDS!