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mollyrealized · 11 months ago

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How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"

We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

#neil gaiman #michael sheen #david tennant does a podcast with...#good omens #aziraphale #crowley #sushi #whale #the cove #oscars 2010 #coraline #mini secret compartments #howneilmetmichael #howmichaelmetneil

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blackpearlblast · 9 months ago

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ezzideen's recounting of eid during the genocide, translated and put together by boshra. all sides have alt text and full transcript under the cut.

link to ezzideen's facebook page / donate to ezzideen's campaign

slide 1: A picture of a lit candle in the darkness.

Title: Story of Eid Through the Eyes of Ezzideen Translated from Ezzideen's Facebook page

slide 2: For ten consecutive years, the arrival of Eid brought a lump to my throat, a lump with many meanings for me (exile from my country, being away from my mother, my beloved, and my family and relatives, in a country where no one else knew of Eid's arrival but me). Before coming here, I thought long and hard about what I should do during the Eid days. I imagined thousands of scenarios: How would Eid pass?

slide 3: Which house would we visit first? Should I give out Eidi (gifts to children, like my uncle's grandchildren and my cousin Abu Bilal's children)? Would the first house we visit be my grandmother's? How would my mother react when I give her the Eidi? What would be our first breakfast? Should I go to the Eid prayer in jeans or in traditional clothes? Where would I and the young men of the family spend Eid night? And many, many more details, from where we would spend the first night of Eid to what kind of nuts we would buy for the guests.

slide 4: And today, on Eid day, here I am writing this text without needing to know answers to any questions, because Eid has passed like this: My big uncle's house was destroyed (no need to visit it), my uncle's grandchildren and my cousin's children have died (there is no one to give Eidi to), my grandmother also has died (no reason to visit her house, as it suffers in silence as we do), there is nothing in the markets fitting for the luxury of an Eid breakfast (and if found, no one in the country can afford it),

slide 5: Abboud, Bilal, Ahmed, Mohammed, and Yusuf were killed (the adornment of our family's youth) so there is no need to think about where to spend the first night of Eid, no need to choose what I wear for the Eid prayer (as no prayers are held and no mosques are in this country), and my mother? My beloved, I am ashamed to even mention to you that it is Eid! As for the rituals of Eid, there is no ritual but to cry in imposed silence, for even God wept silently for the martyrs this morning as the rain fell.

slide 6: Screenshot of a post from Ezzideen's Facebook page.

Caption: Main post from Ezzideen's Facebook page. Link in bio.

#eid #eid mubarak #eid 2024 #gaza #north gaza #free gaza #palestine #free palestine #EndIsraelsGenocide

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raayllum · 4 months ago

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Transcript of Aaron Ehasz Interview (Sept 2024)

Podcast link here. Transcript down below with bulk under a read more.

R: Alright so welcome back to the Wordswithdragons podcast, and today I’m joined by a very special guest, the co-creator of The Dragon Prince, Aaron Ehasz.

A: Hello, thank you for having me today. Glad to be here.

R: Thank you so much for being here. Um, yeah, so, as we semi touched on, it is the 6 year anniversary of The Dragon Prince this September 14th.

A: Yeah.

R: Do you have any thoughts, reflections, feelings about the show having gone on for this long and being such a big part of people’s lives?

A: I mean for starters, it’s really hard to believe it’s been on for six years. Like that seems insane to me. Cause it seemed like we had — Justin and I had been working on it for so long before it finally came out because we had worked on the story and then gotten feedback, and help in improving that pitch and bringing it out and we had it set up at Netflix, and we had to — we wrote the pilot obviously, and we didn’t know where we were gonna produce it, and found Bardel. So there was so much time between even just starting to think about it and when it came out.

R: Yeah, cause that was like 2015, right?

A: Yeah, I guess we started the journey in 2015 and we got with Bardel by the end of 2016, and it got released evidently in 2018, so... Yeah, yeah, cause I remember even we were writing kind of the end of season 3 when we had that panel with Marco and named the character after Marco.

R: Oh yeah.

A: The character [chuckles] from the first episode, we only had an opportunity for him to say his name out loud in that last episode because we were writing the ending while we were showing the episodes for first time, so. Anyway, that’s my reflection, it’s great it’s been six years.

R: Yeah. I know The Dragon Prince has been a really like — both life changing and I think, like, life affirming experience for a lot of people, myself included. So we just really appreciate everybody’s hard work on the show and are very excited for season 7 and hopefully beyond as well. As well for any future projects that Wonderstorm comes out with, like Bonders sounds amazing.

A: I feel — well first of all, thank you for saying that it’s life affirming, that’s such a nice thing to hear about something you’ve worked on, but I also agree that Justin and I feel a ton of gratitude for the whole team and the work and heart that everyone put into making this. I think people wanted it to be meaningful and special and that takes a certain kind of energy and vulnerability to build something like that, that you share, and our whole team really did give that in building the show.

R: Yeah. I think for sure. I think that’s like, um, I was even — I was rewatching some of the show earlier for — for a parallel, and it was the scene between Avizandum and Zubeia when she goes to him in like her kind of corruption dream semi-nightmare, and obviously that’s such a heartfelt, touching scene, and it’s always so strange. Because on the one hand, you should hate Avizandum, he killed Sarai and Rex Igneous has rightful criticism of him, but then you watch that scene of him and he really did love his family, so I think the show being able to draw out those strong, conflicting emotions for so many of the characters is one of the reasons why it connects with people to the degree that it does.

A: And that’s one of the themes you probably see in the show — just gonna make a quick —

R: Yeah, yeah for sure.

A: Avizandum, which is that being a good dad can make up for awful lot of [R laughs] monstrosities, as long as you’re doing it in the name of being a good dad. I’m joking, uh. Of course, yeah, Avizandum was always meant to be a complicated figure like many of our characters.

R: You mentioned that you guys have been working on — I think season three during this panel with Marco, or Marcos, and I remember, I think you’ve said before that the seasons get worked on concurrently, that there’s a decent amount of overlap.

A: Yeah.

R: I’ve always wondered, because we know — obviously, I’m a big Rayllum fan — but I’ve always wondered, cause I know they weren’t originally planned, and then you guys were boarding season two when you were like, “Hey, maybe this should be a thing,” and then probably like shifted and tweaked things or changed things to write more towards that in the future... Um, I’ve always wondered, if there was time, like at that time, to go back and change anything in season one for them, or the season one that we see was just like that?

A: I don’t recall there was time to change season 1 — that does happen because we are working on things in parallel because we are working on something in the script and then some time later we are working on the later stage of production, like an animatic, and we’ll be able to kind of give notes or even make changes with the knowledge of what’s coming, so that has happened. But in the case of Rayllum, I don’t think so. I mean, I think — again, I remember...

R: It was a while ago, yeah.

A: We were rekindling, or when we were realizing that something was being kindled between them, it was watching an animatic so that shouldn’t have informed our writing of season one, but our later stage stuff. But we weren’t trying to force anything so it got in there naturally and I don’t think we went back and changed anything.

R: Yeah, that’s what I’ve always — they had those kind of vibes to me from like episode two and three, obviously season two brought a lot more people on board, but I was always curious. Cause in season one, like, I think, it feels so natural, it feels so organic, and like I’ve shown — one of the things I love about Dragon Prince is it’s a great way to connect with friends and family and you kind of catch up with each other like through the show, of “oh have you seen the new season yet?” and that sort of stuff. And so when I’ve shown the show to like my brother-in-law, who is not plugged in at all, he also kind of picked up on it in season one, so I’ve always been curious.

A: You know, what else, I’ll even say, I think we initially, intentionally planned they weren’t going to be a couple. We were like “Oh yeah, no, they’re—”

R: Friends, yeah.

A: Friends, with different views of the world and they journey together, and we don’t want them to be a couple. We’re not — we’re definitely not targeting it. I think we were intentionally not targeting it, and then it was “too bad creators! [R laughs] We’re going to fall in love despite everything you’re planning.”

R: Well, that very much I think even fits what they represent to each other, of like you don’t have to do this path that you think you have to do...

A: Yeah.

R: You can be something new. I always kind of felt like Ezran and Zym were — felt very kind of like designed as foils, as like a pair, of like through Zym, Ezran learns more so like how to grow up, and they’re both like the princes who will be king, and then Callum and Rayla also kind of felt sort of like developed as a pair, in terms of like — he needs to gain more confidence, she’s pretty confident on the surface.

A: Yeah.

R: She needs to learn how to open up, he’s really good at being open especially in the beginning.

A: Right.

R: So I was always like...

A: He needs to be murdered, she needs to learn how to murder someone.

R: Yeah! They complete each other, yeah. Uh... Some other questions that I had [rapid typing]. So I guess, maybe, I have some questions that are more season specific, in respect to time, but I also had like more general questions.

A: Okay.

R: So, one of the things I’ve always love in general and really love about The Dragon Prince is its like use of philosophy and like its deeply interested in ethical and moral questions, and presenting some answers for some of them, but like are those the right answers? We don’t know.

A: Right.

R: So I know King Harrow’s choosing of Lady Justice’s blindfold is a pretty apt comparison to John Rawls’ Veil of Ignorance—

A: Yes.

R: Of, you know, you strip away everything that you could have, like advantages, disadvantages, and think, would the system work for me? Which has been useful when I’ve like, had to tutor students in philosophy actually, but I was curious, were there any like philosophical concepts or ideas that people really, or you really, wanted to work into the series? ‘Cause we have a lot of trolley problems.

A: Right. Um, probably. I mean like, I should say, I was a philosophy concentrator in college so I absorbed a lot. Things like Rawls, I had a class with John Rawls, and thought that was a really interesting concept and I liked including it, and I thought we can include it in a fun way, the idea of justice. So other philosophy probably makes its way in, it can makes its way in accidentally or subconsciously, so nothing specific right now comes to mind. I will say, as with kind of Avatar before this, I don’t like to have — I’m not trying to have a right answer, ever. I’m trying to have the characters have a deeper understanding of what they’re struggling with, and y’know, move in a direction of deeper understanding, so if anything, it’s more interesting to me to see conflicts between maybe philosophical approaches that are different and see how — Oh well, this has these kinds of results, and positives and negatives, and this has... so that the audience can have a chance to say, “Oh well okay, I have some thoughts on that,” or “here’s what I feel,” and that’s why sometimes I think we see the fandom actually kind of go back and forth—

R: Yeah.

A: On — around characters and people’s choices, and things like dark magic or Viren, which are controversial, are things where like, I do not have a strong point of view on... the kind of binary right or wrong of... Viren in the long term. He’s made a lot of wrong choices and he’s made a lot of choices for good.

R: Yeah.

A: He is an arrogant and power hungry person and he’s also a caring and loving father and someone who wants to have a positive impact on the world, right, like?

R: Yeah.

A: So those conflicts play out in him. But similarly, I think with maybe most of the philosophical ideas I can think of, I’d rather get to like a place where everyone just has a chance to entertain those thoughts and ideas and struggle with them, or hold them in an authentic way, and then can come to their own conclusions and feelings. I mean, I have some deep feelings about like, the world, and how can people be optimistic or not pessimistic or—y’know, what it means to hold onto hope or what it means to try to move past conflict, and I have beliefs that there are conflicts that get so you know, kind of sewn in, that they feel they are impossible to untangle, and especially if the game you’re playing is who started it, or who did the worst thing, where you can’t just ever untangle it. You can’t ever find a right or wrong, so how do you get past that? That’s one of the questions I was hoping Rayla, Callum, and Ezran would try to—

R: Figure it out.

A: Struggle with. Anyway, I’m giving a very long winded answer—

R: No, no.

A: That’s the philosophy that comes to mind. If something comes to mind for you, you can bring it up and I can go, “Oh yeah, that was probably influenced by so-and-so.” [R laughs] Or maybe not.

R: Well, one of the things I loved about season six was kind of — you see, even... One of the things I thought was really interesting was we see, not quite like that return to trolley problems, but we see Aaravos at the end of season 5 is telling Viren you have to make the sacrifice so that you can live, and then we see Rayla tell Callum, “Hey, if the choice ever happens, you also have to sacrifice me,” for — so Callum can live, but also for like the greater good and that sort of stuff. And then you have Kpp’Ar, who — I love Kpp’Ar, I think he’s terrible and interesting and I love him.

A: Awesome. He is — we’ll learn a little more about him in the future, but yes.

R: And obviously when Viren’s like, “A child will die,” and this is a kid that Kpp’Ar would’ve known, and we see in The Puzzle House that he loved these kids, and whatever is up with the Staff is bad enough that Kpp’Ar’s like, “Okay. I’ll make that sacrifice.” Which feels very much in a way like he’s given up on dark magic, and to a certain degree he’s both given up on the mindset of dark magic, and maybe also hasn’t given it up in the same way. Like I love that — Claudia, you know, obviously, puts Viren above all else, is she always right to do so? Maybe not, but we get why she’s doing it, that’s a hard thing to say. And then we have Callum, who also seems inclined to put Rayla above all else, and because we like Rayla more, we’re like “Yeah, he can do that, it’s okay for him to do dark magic for her, that’s fine,” even if there’s also like, consequences. Cause most characters in the show, like you said, everybody kind of wants the same thing, they wanna have a positive impact on the world, they want to protect their loved ones, but what constitutes that world, what they think is a positive impact, or who they want — how they protect those people, that’s all very malleable and can fluctuate. Viren says “Claudia, you’re on the wrong path,” and we’re like yeah, he’s right, and Karim says the same thing about Janai, like the exact same thing, and we’re like, well he’s wrong.

A: Yeah. I mean a lot of things come to mind when you’re talking through that, but one is there’s often a conflict between rigidity and rules and some kind of compassion, or emotional decision, and those decisions are hard, right? Like I dunno, maybe Kpp’Ar should’ve said, “Okay just this once, it’s Soren,” or not, I don’t know. I mean obviously Kpp’Ar had taken himself to some deep horrible place and he really had, actually. And was like, “Okay, dark magic is just corruption when you start and keep going down this path, but this Viren’s kid so I don’t know.” One of the things here, I think there’s a relationship between — you know, sacrifice plays a role here. Sacrifice and thinking about generations and generational conflict and thinking you know maybe in a way I think is interesting. I think about the beginning of season 6 when Claudia has done all of this and sacrificed another life but also sacrifices some of her soul or whatever to save her dad and he’s like “No no! This is not the way! A parent is supposed to do this for a child but never the other way around,” right? And there’s something to that I find interesting which is — it’s almost the inverse of children having the opportunity to start anew and break cycles, parents potentially have the opportunity to make sacrifices that don’t pass by burdens onto their kids, but sort of like that’s the mirror I see a little bit, in terms of how do you have generational change and evolution? It’s somewhere in younger generations being able to not get stuck on conflicts and burdens, but also the older generations recognizing that they may have to be the one to take the — and this is I think a natural... I dunno, it’s something I think about a little bit and came to mind when you were talking. So we’ll see more about what is the meaning of sacrifice and when — when do you... trade? Yeah.

R: Yeah.

A: Side note on sacrifice. You’re familiar with Game of Thrones? You’ve watched all of Game of Thrones?

R: I’m decently familiar, yeah.

A: Okay.

R: And if not, I can have Kuno explain it to me later, so.

A: One of the things I love about the sacrifice Ned made, that we didn’t realize he’d made until I think the very end of the series, we realize — a sacrifice to his kind of reputation, right? And I’m talking about him representing Jon Snow as his bastard to protect him, right? Think about that, that’s a sacrifice, he had to go through the anger — he didn’t tell his wife the truth, he didn’t tell anyone, because it was the only way to protect the child, and as a result he lived with — even though the truth is that he was a really honest, good, or evidently he didn’t go cheat on his wife, he sacrificed that part of his reputation to protect Jon, at least how I see it. I think things like that are kind of interesting. I dunno.

R: Yeah. Yeah, I think it speaks to that idea of — one of the things I love about Dragon Prince is it’s so much about choices.

A: Yeah.

R: Like one of the things I really really liked about season 6 was that, you know, Callum is like, “Okay, I’m going to get myself purified, healed of dark magic,” and Rayla was his light, which was very validating, cause I had noticed in season two there was like some framing so I was like well “Maybe, maybe” you know? And then slowburn buildup but it was — I think that was a great moment that really paid off. And he’s told “if you ever do this again, it’ll corrupt you completely.” And whether he will or won’t — I personally think that he will, but spoilers, you know — but whether he will or won’t, I think it’s really nice because now whatever choice he makes, he’s making with the full context, of what this would do to him.

A: Yeah.

R: Whereas in season two, yes he was making his choice to do dark magic then, and I don’t necessarily think he would make a fundamentally different one if he had known what it would lead to, but there’s a different kind of awareness. Like I always of it would’ve been so easy to have Harrow not know that Viren was going to kill Zym, cause that’s such an easy way to kind of let Harrow off the hook of well Viren went off and did this on his own, and Harrow had no idea, and blah blah blah, right? Cause we like Harrow, he’s a — again, he’s a good dad, we’ll forgive a lot. And instead, it’s not his idea but he’s fully aware, he signs off on it. And I think constantly pushing characters to make hard choices — kind of like what Ezran says, “these aren’t dreams, these are choices.”

A: Yeah.

R: You can choose love, you can choose to make... It’s something that makes all the characters feel so fully developed and interesting, so I always appreciate that you guys push them to make the hard choice.

A: Yeah. Cool. Thank you.

R: One question I did have is, uh, Karim is one of my favourite characters.

A: Okay. Unusual person. A lot of people hate — or love to hate...? I love him too.

R: I also love Kasef, so I think I just kind of love everyone, because I’m like well, they’re really interesting. I feel like [Karim’s] arc was one of the things I loved most about season 4 because you can see him really wrestling with his choices and I love watching him fail, cause that’s kind of all he does, so that’s always fun. But I am really curious obviously now he’s been betrayed by Sol Regem, Katolis is in ashes and maybe they’ll blame Karim for that cause Sol Regem is like — dead, and now, presumably his only hope is going to be that his sister doesn’t execute him on the spot?

A: Yeah.

R: So is there anything you can tease about Karim’s arc in season 7?

A: Yeah, so — so it’s not just Karim, there’s an army of people who betrayed Janai, and — and...

R: What do we do?

A: Yeah, what do we do? That will be something we’ll have to see them grapple with pretty much right away in the season. Especially cause [Karim’s army] showed up for this battle where they were never even — they were just planning to sweep up the ashes afterwards, so when they didn’t get the dragon support they needed, I suspect they lost really quickly.

R: Yes, yeah.

A: So uh... Yeah, but basically as of the start of season 7 — all of them are prisoners of Queen Janai and the question is — what do you do with that? What do you do when you have an entire army and your own brother who betrayed you? And so that’s — we’ll find out.

R: Yeah. [Laughs]

A: But yeah.

R: Yeah. Another question I had going forward was Terry and Claudia obviously I thought had a really beautiful relationship arc, particularly in season 6, and we saw in season 4 the lengths he’s willing to go to for her, and how Terry, I think, is a great example of how there’s a lot of character traits where we think “oh, if you’re a selfless, helpful, accepting person, you’re a good person,” and I feel like Dragon Prince does a really good job of how, Rayla’s selflessness can be great but it can also be kinda bad, or, um, Terry can be super accepting, maybe a little too—

A: Yeah.

R: —accepting sometimes, right? So I feel like at the end of season 6, it will presumably be him, Claudia, and Aaravos for a little bit now that he’s out of the prison. And it feels like maybe Terry might hit a breaking point?

A: Here’s what I will say — Terry is a really special character and if you watched him, he’s so good, and what we’ll find out is, he is — there is an episode called TRUE HEART and he is someone who has a true heart.

R: Oh that’s so sweet.

A: It’s very impossibly rare and special — but also we all understand what a true heart is in some way and we’ll learn a little more about that. But yeah, the question of what will Terry do, what can he do, is difficult because he has a very strong sense of right and wrong, but he has a very deep capacity for love and he loves Claudia with all of his heart. Where does that present an impossible conflict, it may... we’ll see a challenge.

R: Yeah. Yeah, for sure.

A: I’ll also throw in like I sometimes see some parallels between Terry and Uncle Iroh—

R: Yes.

A: Though Uncle Iroh I think has a very different journey. Iroh is kind of a recovered problematic person who now has some wisdom and enlightenment, so in terms of the difference between the purity of a true heart versus where Iroh is more of a later stage enlightenment, the love that they have for the kind of complicated person that they are with is similar to me. And the way that they both sometimes have to, or don’t have to but...

R: Choose to?

A: You have to give that person the space — you can’t force them to choose right or wrong, you can be there with them, you can try to guide them, you can — but ultimately you have to give them the space to fail, and eventually, you may have to turn your back on them.

R: Yeah.

A: At some point. I don’t know. But um yeah — I still see them as connected characters in my mind.

R: I think I can even see some of that with even the way Callum is with Rayla, like season five onwards, of like “I’ve hit my turning point, I’m not mad at you anymore, and you can steal my key, you can lie to me, and I’m not going to have you open up to me out of guilt or obligation, I want you to tell me what’s going on when you want to tell me what’s going on, and I’m going to give you the space for that.” So I think it speaks to that unconditional love that I think—

A: Yeah.

R: —a lot of the characters are blessed to have. But I do see the Terry Iroh connection. So another thing that I thought was really interesting was — obviously next season is dark magic, and I’m very hopeful that maybe we’ll learn more about the origins of dark magic or Elarion, even.

A: Great.

R: Because I know when I was watching Sol Regem burn down Katolis, it made me think of what might’ve either happened or almost happened to Elarion in the past, you know?

A: Yeah.

R: Even down to Ziard and Viren both die, kind of deflecting and trying to save people, with the same staff, you know, and how the cycle continues to just always repeat itself over and over again. And if there was like — yeah, cause burning down Katolis was a massive shakeup, you know?

A: Yup.

R: And what maybe the process was there, with the — Aaravos seems like he’s trying to repeat the cycle of like “Oh I’m going to take down the dragon monarchy or I’m gonna use that vacancy to my advantage, and mess with the Sunfire elves.”

A: He has a specific vendetta against Sol Regem, obviously, but it’s one where he has played it out in... What’s certainly meant to be implied, even though we’ll find out more later, is that one of the great mysteries of Sol Regem’s life is that his mate disappeared and he never found her. He’s the freaking Dragon King, and she disappeared. And though we don’t know how or what happened, while she was buried alive. He killed her. He didn’t even realize it, somehow. Somehow, Aaravos manipulated him into killing her, and he doesn’t — I dunno, I assume Sol Regem does understand when it must have happened, but that moment, it’s like an impossible — it’s meant to be just...

R: Awful.

A: He’s tortured him for 1000 years or whatever, without him knowing he was being tortured by Aaravos, and now he’s given him the mercy/cruelty of knowing the resolution to the mystery was that he killed her. And one of the things that worked well with that was that, we had sort of said Sol Regem can smell the truth from a lie, so he has the horrible curse of being able to know this is the deep dark truth. So I dunno, I think um, are we going to find out more about that? So, if we can eventually get the Book Three novel out [R laughs], we will find out more about that.

R: I did wonder, I was like “Maybe this is something that was gonna be in the book three novelization.”

A: Yes, we will find out more in the book three novel, it may be a year or so before unfortunately. And then I don’t think we’re gonna get too deep into that in season seven, that’s part of — it is involved in what we’re thinking about as the third arc, understanding and resolving the third arc, is gonna go a little deeper into...

R: Some of the history, yeah.

A: Some of the stuff that happened with Sol Regem. But yeah, no, I — it’s enjoyable to have these figures like Aaravos and Sol Regem who are ancient and operate over the course of centuries and are incredibly powerful, yet they can’t — or at least Aaravos, they can’t conflict directly as easily, and so Aaravos has played this really complicated game. Anyway, but yes Sol Regem is part of that, but there’s — there’s more, there’s more people who — beings that took from him. He feels that Leola was unfairly punished and that that was — you know, he sees a future and he has something... All this time, a burning — it’s the twisted form of his love, in which he’s full of hate right now to the beings who brought this about. Obviously, Sol Regem played a role because he’s a rules dragon.

R: Yeah, yeah.

A: He is the one who betrayed her to the Cosmic Council ultimately — but how do you punish the Cosmic Council? That’s a bit more complicated.

R: Yeah. No, I remember finishing season six and just being so impressed with the story. Like, taking that direction, and almost doing a lot of recontextualization, because it’s one thing to have like your worldbuilding where “magic in the story works like this” and it’s just very kind of like hand of God, you know? Like oh — cause the magic system has always been unfair, that’s why we have Callum, you know? It’s another thing to say we’re going to have characters in the story who are responsible for it being unfair. And now we’re just going to have that in terms of conflict and themes of destiny. We have about seven, ten-ish minutes left I think.

A: Probably seven, if that’s okay?

R: Yeah. Of course.

A: I’ll throw one other thing in there, which is that — cause characters experience things that change them: has Aaravos experienced — I’ll phrase it as a question, even though probably the answer is here, has Aaravos experienced much that has changed him in the last — since the death of Leola? I mean certainly some things, and is what’s happening now changing him in any way? Is it satisfaction, is it the relationship with Claudia, and what does that mean to someone? That’s a question that I think we’ll have to watch play out a little bit.

R: [Intrigued] Okay. Yeah. One thing that I really liked about Leola’s character was I felt like she had pieces of each of the main trio in her? Of this very helpful innocent well meaning child, kind of like Ezran — and I have also always seen Ezran as autistic as well cause I know that Leola canonically is — and then you also kind of have the whole oh she gave / helped humans have primal magic, which obviously Callum has. And even just being this young elven girl punished for her compassion and mercy, that felt a lot like Rayla. And when making the choice for Leola to be Leola, was that something intentional or like the choice for it to be a child rather than another loved one?

A: It was very intentional that it was a child... And we talked through other versions of Leola that could’ve been, in other ages, genders, relationships with Aaravos that an important person was lost. Some of the things I liked about the way, Leola both as a child, children are the cycle breakers.

R: Yes, yeah. I think it was the strongest choice.

A: And in particular also, the idea of coding her autistic was a little bit like not as cued to kind of accept the social order and the order of things, but actually more open in a way to in what some people see as like — something that’s broken which is not taking those cues, something else about that — not being bound by it that allowed her to have compassion that crossed the line in terms of the perceptions of what the Cosmic Order needed to be in it — but it made her more, both as a child and an autistic person, to make that choice and do what she did that changed everything.

R: Makes a lot of sense.

A: [Her being a child] also frames it with some innocence obviously right? It’s not calculated, it’s kind.

R: Yeah.

A: So I dunno.

R: Yeah. Yeah, I’ve been curious about how Ezran might be challenged now that Runaan is back in the picture.

A: That’s a great question. That’s a great question. I mean, it’s so weird, it’s like no one even asks that, it’s like “Cool,” Rayla’s like “I’m gonna go get him. Awesome! Runaan’s back.”

R: Yeah I’m like either — either Callum is like “Ezran will be totally fine with it,” and Ezran is probably not going to be fine with it, or maybe Callum knew that maybe it wouldn’t be great, and kept it under wraps. Yeah, I’m so excited for that like trio, potential broyals conflict, so...

A: Well, I mean, Ezran is a very special kid and he’s very positive and kind and forgiving and all of this. But we’re talking about, Runaan is back.

R: Castle’s destroyed.

A: Katolis is rubble. Where does that leave him?

R: Yeah.

A: You know? I mean — so I’m excited about that part of Ezran.

R: I know the fandom is really, really excited for Ezran to get to be — not that he hasn’t always been complex, but to get to be like messier, of letting his emotions maybe get the better of him and that sort of thing. So people are definitely hype for that, for — cause I feel like season six really brought home a lot of things for Soren, and it seems like season seven is going to do a similar thing for Ezran, so that’s — that’s really exciting. Um, with our final couple minutes, I wanted to see — do you have any questions that you want fans to ponder or to be thinking about?

A: Um... Gosh. I don’t think I have anything specific that we haven’t talked about, but you know. On some level, like, you know how do you take the tragedies and conflicts that we all inevitably face repetitively and relentlessly and kind of learn to move forward in hope and optimism? I think that’s more of a question of like how do you personally learn to process — all the kind of bullshit in the world, and process it, and still move forward as a kind, connected—

R: Measured person.

A: —hopeful person? That’s a challenge we all face in our lives, so that’s like...

R: Yeah. Well, I think the show does a good — really good job at asking and challenging that — that question. Uh, yeah, I think — I think that’s our time for today, uh. Thank you so much, this was...

A: It was my pleasure.

R: This was a lot of fun.

A: It’s always my pleasure reading your theories and your—

R: [Gasps] Oh my gosh.

A: Honestly, I came on today and to tell the truth [R laughs] a little bit intimidated.

R: Oh my God.

A: You’re so—

R: I also felt intimidated [laughing] so don’t worry.

A: You’re so insightful and articulate, that I almost am like [R laughs] what if they catch me that there’s something not as smart in the show as I thought it was?

R: Oh my gosh, no, you’re fine.

A: [Overlapping] So anyway, I really enjoy what you write—

R: [Overlapping] I’m also a writer so I know what it’s like to be like “I did this subconsciously,” it’s — yeah.

A: I love what you instigate in the fandom and the kind of conversations you support and engage in. I’m a huge fan of yours, so.

R: Oh! Thank you so much, that’s so sweet. Um. And I am a huge fan of yours.

A: Yay. That’s a great way to end a podcast.

R: That is a great way. Okay. Alright, well thank you so much, hope you have a great day, great week, uh, and — yeah. Okay.

A: Alright, and I’ll see you soon, we’ll do this again sometime, I hope.

R: Yes! Yeah. Okay.

A: Alright. Thanks again. Alright, bye.

#tdp #the dragon prince #podcast #cast and crew #wordswithdragons #aaron ehasz #transcripts #interviews #s6 #arc 2 #transcription

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puckpocketed · 1 month ago

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Trying to absorb everything there is to know about ice hockey within the shortest amount of time possible really does strange things to a person. You come up against questions such as what do defensemen even do aside from skate backwards and do tummy time to protect their goalie? (Broadcasts aren’t the most informative) What the hell makes defensemen effective? What do the casters mean when they say “gap”? What are defensive details?

I love watching games back, I love trying to understand the game. I love hockey <3 But sometimes it’s nice to have help, and sometimes my favourite writers/podcasters collaborate!!

Here is part 1/3 of a podcast mini-series about defending, putting it here so I can have a copy of it in case it ever gets taken down + wanted to share with everyone some of my findings! (All episodes are available if anyone just wants to listen to them!) Transcript + edits done by me, all mistakes are mine.

Published 6th November 2024, Hockey IQ Podcast: Modern Defensemen (with Will Scouch) Ep #1 - by Hockey's Arsenal, hosted by Greg Revak (apple / spotify / youtube / bonus substack link)

part 2

[START Transcript]

Greg Revak: On the Hockey IQ Podcast today, we open up a new segment: we’re bringing back our favourite Will Scouch. If you’re on the Hockey IQ Newsletter you know his work by now.

Will, good morning. Earlier than most of us probably normally get up, but it’s a good day.

Will Scouch: Yeah, Greg, thanks for having me, it’s a lot of fun. Me and Greg go way back. We’re boys from years ago and I’m excited to hop on the show. I’m a keen listener, keen reader.

[They exchange pleasantries]

GR: Beautiful. Well, today we’re gonna talk about three concepts. We’re gonna break it into three spots though, so everyone’s gotta come back next week and the week after that.

We’re gonna talk about defensemen, because everyone knows they’re important but how do we actually play the position well?

WS: Yeah, I mean, it’s a position that’s still, to me, being explored; both by, I’d say youth and junior coaches and pro coaches alike. There’s a lot of different ways that you can do it.

I mean, I watch a lot of hockey from around the world, all kinds of different levels. I’ve watched guys develop from 15 to 24 at this point, and just seeing how their games evolve and everything, and how effective various versions of this position is. And I think it’s a very interesting area that’s still being explored in a lot of really interesting ways, for sure.

GR: Yeah, I think back to David Savard; he comes out of the [QMJHL] as this high-flying offensive defenseman, and if we just forgot about the rest of his career and you just saw him today as this great shutdown, defense-first player, you’d be absolutely shocked.

I mean, you think about Rasmus Dahlin — kid didn’t even play full time defenseman until his actual draft year, he was still playing forward a ton. There’s so much to be explored here.

I feel like [to get a lot of] — for you NHL fans — to get a lot of value in the later rounds out of your defensemen, take those offensive players first, and we can find a lot of hidden gems later.

WS: Well, yeah. I mean, actually, I’ve said this a few times but your listeners probably don’t know, but I did a presentation during the pandemic at the Ottawa Hockey Analytics Conference about this topic exactly; how, when you look at the numbers and the defensive value of players in the NHL, I found that there were just as many in the top 50 defensive value of players in the NHL, there were just as many undrafted players as there were second round picks, second and third round picks combined.

So the draft isn’t really a great historical gauge on defensive ability. Offense is a different story from defensive players, which we could probably get into a little bit.

But I find, personally, that evaluating defensemen and projecting defense to the NHL is still really spotty and questionable. And I don’t know, in my line of work, watching a lot of defensemen, a lot of the ones who I think are some of the better defenders kind of go a little unheralded, because a lot of the time you don’t need to be particularly noticeable to be a good defenseman, but scouts are always looking for the noticeable guys.

So it’s a very interesting world and it’s a very interesting thing to pick through, but there’s definitely a lot of case studies you could dig into, and a lot of players you could look at as cases of, “Oh yeah, nobody was really paying a whole lot of attention to them!” or maybe people were thinking about them the wrong way. But if you think about things a little bit outside the box, you might be able to see something really interesting there.

GR: Yeah, so let's dive into why that may be. Classic example would be Lane Hutson, so maybe we'll pick on him a little bit, but I definitely want to talk about Rasmus Ristolainen, because he is an interesting case study that we wrote about on the newsletter.

So where I want to start with this is just modern day defending. How are defensemen defending today versus old times? A lot of times it was the big hit, separate the head from body. The puck’s somewhere, but let's separate the head from the body, and we’ll worry about the puck later — that is going bye-bye.

Every coach I talk to now, they prefer having the puck rather than having a head on a stake. So for me, it comes back to this old saying of, “position before possession.” We're gaining body positioning, we're not so much separating head from body, but puck from player.

All right, so we've got position before possession. It's super valuable in gaining the space that you need to have first whack in a puck or put the puck where you want it, or just push it to a teammate. Just having the idea of owning space and there's no better league at this and no league that values it more than the NHL. If you don't do this well in the NHL, sooner or later, you're going to find yourself out of a job making a heck of a lot less money in a league that probably no one really cares that much about. You want to be in the show, the big lights: you have to value this more than anything.

And this is actually the one thing that I noticed about Hunter McDonald. He's in the Flyers’ system now — he was an overager, but I was like, “This guy is unbelievable!” He’s a huge frame, you can’t miss him out there. He would just get the positioning before possession, and I was like, “Okay, that’s interesting, let me watch him further.”

And I feel like he’s going to be one of those bottom of the lineup guys who, unlikely, made it out of being an overager in the [United States Hockey League], going to college for a few years, but has those little details of a defenseman that you see in modern day play, which is positioning overall, which is an NHL trait to the nth degree.

WS: No, I know. I think I would definitely agree. Those are the players that are always really, really fascinating to me because you look at a guy like Hunter McDonald and the production just isn't amazing. But it doesn't — to me, when you look at defensemen, it almost doesn't really matter. That's kind of a very secondary-slash-bonus style of thing that comes with a player.

I see a lot of defenders every year and it seems like a thing where a lot of them, maybe at the lower levels, there is a little bit more of that “separate the head from the body”-type of player. And I think there are NHL scouts who still gravitate towards those guys but, at the end of the day when it all comes out in the wash, it's a lot of the time the guys that are kind of, I hate to say ”boring”, but just very effective, and just they're always in a good position.

The guy I always reference as a young defenseman who, I think, is just a really, really high-end defensive guy is Kaiden Guhle in Montreal. We're going to talk a little bit about Lane Hutson in a second, but Kaiden Guhle is a guy who, when he was in the junior level, just played such a great, balanced style of defense.

He was a good skater, but he had really good length. He was a guy who didn't just lay the body every single time, but he certainly could if he needed to. It was about his lateral mobility, it was about tracking rushes, keeping inside the dot lines, and preventing chances from inside and leading with his stick, but then finishing with the body if he had the opportunity or the need to do so. And he seemed to have a really good read of just how to do his job really, really well.

And so that's been a lesson for me for sure. He was a really interesting case study a few years ago, and he's become a pretty solid NHL defenseman. I mean, on a team this year that’s kind of struggling defensively I think he’s been one of the brighter spots on that defense group there, [he’s] doing a pretty good job at least suppressing chances against.

GR: I don’t watch as much as you do, prospects, but Guhle I did catch. For me, the play style wasn’t very good. He had elements of it, you could see the flashes, but he was just really brash. His decision making and his reads were quite poor. But the tools were there, and it was like, “Can he adjust?” Which I think he’s done a phenomenal job [of], and I think Montreal is probably the perfect place for him to develop a lot of that.

So I think you're spot on like, “Okay, how does he actually apply?“ Having assets is one thing, having the tools is one thing, but how do we properly apply those assets, those tools that you have in a good way? So I think another piece, for me, is if you do have the speed, is just making sure that you're controlling speed and then you're also keeping small gaps.

And just knowing with my high school team that no one knows what a gap is, let's define that real quick, which is: the difference in space between the forwards and the defensemen. So the space in between, “How much space are you [allowing]?” in hockey term slang. It's underneath you versus on the other side, which is above you or behind you. So, “How much space, what's that gap between D and O?”

(Editor’s note: He says O instead of F here, I assume because the person attacking isn’t always a forward. As in, “How much space between the defenseman and offenceman?”)

So you got the speed, shrink that gap as much as possible. Don't give them the space to operate or work in, or, I even call it the space to think, which [it often becomes] for forwards, especially unsophisticated ones.

WS: Yeah, I mean, that's really the bread and butter of a lot of the position. It's so much of this, like you said, gap control. I actually just did a bit of video work for a really high end player, [an] NHL draft pick playing in Sweden this year, who is producing really well.

But in terms of the defending side of the game, he's not the most incredible skater you've ever seen, he's not the biggest guy in the world. And a big thing that I noticed, that even at the professional level that was kind of a bit of a work in progress, was that gap management. Especially because the footwork wasn't amazing, [he was] keeping his feet a little too stationary, gliding backwards and sort of allowing that gap.

And when you watch the NHL that's the point of the whole exercise, watching the NHL and how they play. Forwards are fast and they're smart, largely. The guys who can score are the guys who know how to get through soft defensive pressure, the guys who know how to find lanes and cross up defensemen, and if you don't have the footwork or the mobility or the reach or all of it — all of the above — to track all that and manage it, then it's going to be a lot tougher to do your job.

But the interesting thing, though, is that there's a lot of different ways that you can get defensive jobs done. That's always been very interesting to me; seeing how different players approach the position in different ways and seeing the efficacy of that come out in the wash, and how their offense balances with their defensive ability. It's a very interesting world to dig into, for sure.

GR: Yeah, I think you've got a rabbit hole there. You just kind of opened up around defensive skating. What do clean feet look like? What does defensive posture look like, that actually allows you to have that kind of mobility?

So we'll leave that for another day. If anyone wants to go check it out on the Hockey IQ Newsletter, they can do so. Just look up defenseman skating development. We've got two good pieces there talking about building and maintaining defensive posture and keeping clean feet, which — actually massive base for anyone.

It allows you to have the proper gap that allows you to kill plays early, and ultimately, it's a lot about just controlling speed. You don't want McDavid building up to full speed. You don't want MacKinnon building up to full speed. You don't want anyone coming up to you at full speed. It's very hard to maintain that kind of speed going backwards [that we] even generate in the first place.

How do you kill it early? How do you get a hand on someone? Or, my favorite example is just proper pivoting. A guy dumps a puck on you, how are you going back? What does that pivot look like?

I'll let you open that up because at the NHL it's almost too good, where you can't see what a bad example looks like, but you can see it's everywhere.

WS: Yeah, I mean, it's a make or break skill in the NHL. It's where a lot of defensemen die. I mean, it's a cliche at this point to talk about pucks in deep, to talk about [getting] pucks deep in the offensive zone, get below the goal line, dump and chase. People make fun of dump-and-chase kind of stuff. But if your team is built to do it, you can do it.

You can take advantage of defensemen in the NHL who just don't have the speed or the agility or the skating ability that some of your forwards might have. It is a lot easier to skate forwards than it is to skate backwards. That's just, you know, anecdotal, but also pretty factual — you're naturally going forwards.

I think an interesting trend that you're seeing a little bit more of [is] what they would call ‘scooting’. You're the coach; I don't know if that's exactly what the terminology would be, but [it’s getting] your defensemen in the neutral zone, kind of pinching a little bit more and having them skate forwards, tracking play towards the boards.

So it's not necessarily that they're doing their backwards crossovers, it's not necessarily that they're entirely skating backwards, but you see guys who are really talented skaters or do have a lot of quickness driving play to the boards in a more aggressive way than having the play in front of them. It's about them sort of tracking that play laterally, which is an interesting thing I think you're seeing more of now.

I think there are definitely coaches and systems that love to play their defensemen more that way, and the weak side defense can sort of fill between the dot lines for them and sort of leave the weaker side of the ice a little bit more open. That's kind of what I mean. There's a lot of different ways to achieve these kinds of goals, and I think you're seeing a lot of different things popping up to adapt to this.

In situations where you have a dump and chase or something like that, or just getting pucks in deep or whatever you say, when you have a defenseman who has trouble with their footwork and turning around… Trust me, I'm a defenseman, when I play hockey, I strap on the skates — I play defense myself and that's where I fall apart, when I do fall apart. Which is often. But definitely, when play turns around and I’ve got to change directions or change my area of flow, it can be tricky. And in the NHL, I can only imagine how tricky it can be there.

GR: Yeah. I mean, a good pivot you're looking at three steps total, like boom-boom-bam and you're there. You watch an amateur game and it could be like five, six, seven, eight chops before [they] finally get going and [it’s] looking like a proper forward stride again. [Or just] getting into a good defensive posture and positioning. It's total scramble mode.

A big one for me, too, is just the direction that you pivot. Do you wait for that offensive player to commit to their lane? It's just a great defensive habit in general, letting the offenceman make the first move. If you're making the first move, you're the one showing your cards. It's kind of like showing your cards first in Poker.

Let them make the decision and then you can pivot into them. Now you can get that position before possession, or at least get a chip on them, slow them down. You can either make it easier for yourself or your partner. So one, there's the clean footwork on the pivot, and two is making sure that we're controlling the speed and we're pivoting properly in the direction that we want to pivot.

There's a ton of times where I see, especially the lower levels, players coming up, they're in a bad spot, they're skating forward, defenseman skating backwards and they just chip it off the boards. And the defenseman is like a dog just following the puck and it ends up in the middle of the ice where the forward actually went. Again, the NHL is the best at this so it's really hard to see bad examples of pivoting into and controlling the space of the opponent.

WS: Yeah. I do a lot of work outside the NHL, and the biggest thing I notice is not necessarily the number of chops it takes, but the amount of time. You can see guys taking two seconds, maybe more, to get themselves turned around, tracking pucks below the goal line.

To me hockey is a game of milliseconds a lot of the time, right? I was working with someone years ago who really shared the idea with me that, in the NHL, generally goals are not scored if you have the puck on your stick for more than either half a second or a second.

I can't remember off the top of my head, but it's so fast in terms of; when you score goals in the NHL, it's when you touch the puck for a very short amount of time in the offensive zone and get a puck on net. And so, if you have guys who take too long — and “too long” might not be very long… If the difference is relatively short at the time you're making those pivots or those changes, but the [opponent has] got a lot more speed than you and you're [taking more] time to then start generating that speed to match the opponent, you're in trouble.

And in my opinion, I think that you want your defensemen to be more assertive. I always fall back on the strategy of; make them make a decision, make them commit. That might imply that you do the committing first, but that's where the importance of footwork and tactics come into question.

You have to have strong support, whether it's from backchecking forwards or your partner. You want to be able to adapt to quick players who might fake one way, go another, and be able to use your stick or use your feet or both to be a factor regardless of what happens.

It's very interesting to watch defensemen play. I find it really, really interesting to see the different approaches of different players and especially how they evolve and get into the NHL.

But yeah, I mean, [it’s so pivotal], the skating ability; defensemen who can skate, it unlocks so many doors for their career. If you're an elite level skating defenseman, it just unlocks so many doors that interest me. If you're not, and if that's not a strength of your game, then it can be a big struggle, especially against faster opponents. Even if you're big and physical and pretty good throwing the body or whatever, there's a lot more of the game in the NHL these days. Very, very interesting stuff.

GR: I think that's actually the perfect segue into someone who, early in his career, threw the body too much and sold out too much on plays that he probably shouldn't: Rasmus Ristolainen.

Great case study, great case study from when [John Tortorella] started working with him to where he is now. Will, I'll send in the link here from the Hockey IQ newsletter so we can track a little bit better with each other.

I found him to be a fascinating player. High draft pick, 8th overall in 2013. Really pretty, smooth skating, big body — has all of the tools that you would traditionally say, “Yep, that checks [out].” And then you looked at his stat profile and it was just abysmal. His micro stats were terrible. I think the only thing he was good at was D-Zone Retrievals, which, being able to take contact, it was kind of an easy thing for him.

WS: Yeah. I remember watching Ristolainen when he was in junior hockey, because that was the earliest years of me being kind of curious about that side of the game, and I did not really recall that being a premier area of his game.

I remember him being big, but pretty mobile, and has some skill to play around with. He did have a bit of a physical edge to him, but it feels like it was that tail end of an era in the NHL where those big, mean, physical guys were kind of in vogue, and people were kind of curious and needing guys like that. And I guess that's what Buffalo drafted him to be.

I remember being very surprised that he was in the NHL the year he was drafted. It just did not look like it was really working out there. And Buffalo just seems to have been not a great fit for him, they kind of turned him into something that he wasn't, but I do think that he's turned into some sort of serviceable defenseman.

But he, to me, is a great example of one that I always look back on and go, “Man, what if?” Like, what if things went a little bit differently for him? Because there was good stuff there, it's just I feel like the development was focused in the wrong areas.

To me, 65% of the work [is] scouting, and developing — the easy part is drafting good players, the hard part is developing them and bringing them along into being good NHL players.

So to me, if you can find the most amount of things that get in the way of that process being easy, then you're doing a really good job. And with Ristolainen, I feel like in his case they inserted more things to make that journey more difficult and sort of turned him into something that he wasn't, which is always a scary thing for me to think about doing to a player.

But it's not over for him, obviously. He figured it out. Obviously, Tortorella found something for him to do, and he has shown a little bit better. But yeah, he's always been a what-if guy for me.

GR: I always liked how Tortorella, after the 2022-2023 season, was doing his media stuff and he was like “Yeah, he's our most improved player.” You're a guy who's getting paid big bucks — I think he was making five million plus that year, still is, probably — and even him, he was like, “I was just bad the first half. And then around Christmas break, I started getting going. The second half was much better.”

Basically, the first half, they were just trying to rebuild his defensive game, and this is true for anything. Zach Benson's another good example of this. If you can't play defense in the NHL, you're going to be out quick. Benson can play defense despite being — I think they list them at five foot 10, but there's no way.

WS: Yeah, no, no. I know. He's a little guy, but he's another great example of a player where I, in my work, I do not care how big you are. I just care about how you play. Even in the NHL. And I feel like Benson's a really, really good example of that; a guy who, just forechecking alone is a really… The easiest way to defend is if he can cause turnovers in the opposing team's offensive zone, a guy like Zach Benson does that extremely well.

And if he needs to track guys through the neutral zone and backcheck, he'll do it, and he does it really well, and he does it at a speed that I found to be projectable to the NHL. And again, that's another one where I was a little surprised to see him in the NHL so fast, but he didn't really look out of place there.

He's had a bit of a slow start this season, but just a really, really talented player, and one where you kind of do look at and go, “Yeah, these smaller guys can definitely defend.” They just — the expectations are a little bit higher, and maybe for good reason, but he checks all the boxes for sure.

GR: Yeah. So for Rasmus (Ristolainen), there's two big things that, when I dug into this, that Torts was working at. At this point, I was so intrigued [that] I was tracking every single time Torts spoke and Rasmus spoke to the media. So I was like, “I wonder what they're actually doing?” Which, Torts can be tight-lipped, but he gives it away if you follow long enough.

The big one was just inside, like too much, he was finding himself, Rasmus was finding himself on the outside. So whether that be outside the dots, outside on bad ice, for whatever reason, or just finding yourself outside, like losing defensive side positioning to the offensive player.

If you finish contact, but now you're on the wall and your player's got to step to the net, that's trouble. There's a great, great clip the other night featuring, I think it was (Aliaksei) Protas [who] ended up scoring the goal and K’Andre Miller of the New York Islanders. So Caps — Rangers, not Islanders — Rangers… Where [Miller] went in soft, didn't really take positioning, got beat back to net, and Protas just put out a stick and just tapped it in, Igor Shesterkin never had a chance.

A similar idea of; okay, good, maybe you got some contact, you tried to make the stop, but you still need to maintain defensive side positioning. You still need to finish on the inside. So if you're doing contact, you can't overreach.

You just can't do that. You have to stay in good positioning.

And the second piece was just, finishing with contact to get stops, like stopping movement. Offensive play is a lot about movement, and defensive play is about stopping movement, AKA getting stops. So he would maybe make a play, or get a poke check, but the puck was still moving and could be easily on the other team's stick.

So how do you make sure you're always staying in good positioning? Staying on the inside, as Torts put it. Or the other piece, which is getting stops, or finishing with contact — but smartly, not chasing the contact for contact’s sake? Being tactful in your play.

I feel like Risto really just learned how to play defense smartly. He was actually thinking and being intentional about what he was doing, rather than like, “I see a puck and a player, I'm going to go end that!” And then, boom, in the big scheme of things, it’s a net negative. Even though at the moment, it may have, especially to him — otherwise he wouldn't make the play — seemed like a positive, really it was a negative for the team.

WS: Well, that's the interesting thing too, going back to talking about junior players and the context in the draft and how defensive players might go a little bit underreported or undervalued in a sense.

I see this all the time, especially with North American defensemen, especially with Canadian ones, but there are definitely players who everybody talks about how good they are defensively, everybody talks about how solid they are. They're big, they're physical, they're mean, blah, blah, blah. But then when you watch things in detail, it's this sort of Ristolainen-style thing. You're talking about K’Andre Miller where it's like, they're along the boards, they're doing the thing along the boards, but they're losing.

They're allowing guys to get low on them, get through them, and even in the junior level, right? What good is it if you're trying to pin a guy against the boards and they give you a little shove, crouch down a little bit, chip the puck three feet out from you, you don't adapt to that, they get three feet of space on you, throw it out in front of the net, and boom, you got yourself a scoring chance, right? I see that all the time.

It's the focus on the body and not focus on the turnover, turning that possession back over, that really seems to be a tough lesson for a lot of defensemen to get over. I find that a lot of defensemen from the age of 18 to 23, in the grand scheme of things, their style of play doesn't drastically shift all that often.

And so, when I see things like that happening, I'm going, okay, I gotta either hope that this guy puts in the time in the gym and becomes, just, a strength nut, and pins that guy to the boards so they can't do anything, or they figure out a way to get into those situations, take a step back, chip at the puck. Really battle for the puck rather than focus on the guy.

Because I've seen it so many times with guys who are bigger and more physical, they apply it in a way where I feel like coaches will go, “Wow, look at you go, you're playing hard, you're playing the thing!” But then they escape, this opponent might escape, and create a little bit of space for themselves. And again, this is a game of inches, it's a game of a couple of feet, and every inch matters.

So in some cases, yeah, you get those situations where guys like Ristolainen, yeah, you're doing the thing, people clip the hits, people clip the physical play, but then five seconds later, someone's got some space on you and they generate a scoring chance. And so what do you really value, right? Personally, fewer scoring chances would be ideal.

GR: I love it. Last piece to wrap this up, because I think it'll go well into our next piece, which is point play. Shorting the zone.

I was able to find some phenomenal clips and do some photos of this for the newsletter. But the concept of; if you're watching a game in the NHL, if you can see all five of the people trying to break the puck out, low in the zone… A lot of it, you think about the NHL today, is like a swarm. We're going to do close support. I'm going to try to crowd the puck out.

A good way to respond to that is to short the zone, which basically means your defensemen, instead of hanging out at the blue line, are going to go into the offensive zone. And they're going to start with small gaps, they're going to be [at the] top of the circles, if not a little bit lower.

Tortorella is another big fan of this, so you can see it with the Flyers a lot, too. I would say [Sheldon] Keefe is another example of a coach who does this a ton. So you saw a lot in Toronto, now you'll see a lot more in New Jersey, which is the perfect d-core to make all of this work. So I think Devils are going to be good for — that's going to be a great fit.

But just the idea of crowding in the space, setting small gaps, so when you do start defending, you can either cut a play off early — it's an easy pinch there if you don't have to go very far — you can cut it off. Or, 2; create a turnover in a much better spot than what is in your own zone. Why not make it in the o-zone? So from a positioning standpoint, phenomenal place to start, good way to kill plays early.

Before they can get going, before the team can build speed, and just being able to put yourself in a good spot to take advantage both from a defensive standpoint, but offensive standpoint.

WS: Yeah, I love when I see this being deployed. I think, again, I'm a geek, like I'm a math guy, and even just thinking about the numbers here, it makes such a difference if you think about it.

The offensive zone from blue line to goal line is 64 feet. So you're looking at the difference between a guy standing at the blue line being maybe 75 feet from the net or at the top of the face-off circle where you might be 20 feet closer, maybe 20, 25 feet closer. So you're cutting down the time at which you give the defense to adapt, the goaltender to adapt. You're cutting that time down by a third-ish, a quarter to a third. I'm ballparking here, but that automatically is just based on where you are on the ice.

If you can compress the offensive zone on your opponent, you're laughing. The second thing I wanted to mention here is this is, again, why skating ability and quickness and speed are so important to me. Because it is objectively a better position to be in when you're in that position — closer to the top of the face-off circles for your defensemen.

But if you do have a situation where the opponent has possession of the puck you have to get set up, you have to cover that gap, you have to cover for yourself, or you have to have some sort of system in place where a winger can cover for you if you're caught in the offensive zone. Ideally, you have your defensemen who can wheel up, get some speed going, get positioned well to counter that attack, and have a system that can swarm whoever has that puck in the offensive zone.

I think it's a really interesting trend for sure. It's a simple little thing, it's a concept that you see definitely a lot more now than you used to, but I'm all about it. It just makes sense mathematically, and it plays into exactly the styles of player that I always look for: guys who do pinch a little bit more aggressively, but have the mobility and the skating ability to cover for themselves.

I would rather have a player who tries something creative, or tries some sort of play that could lead to a high scoring chance, but may relinquish some space on the ice, but has the ability to cover for themselves.

And I can at least as a coach, rely on them — not that I'm a coach — but rely on them to cover for themselves. To go, okay, I can rely on them to try these things, because I know that if it doesn't maybe go their way, which happens in hockey all the time, I'm not going to be upset at this player, but I know that I want them to backcheck, cover for it, because I know they're capable of it.

I think that that's sort of the trade off that you have to live with, but I'm totally cool with it.

GR: All right, so we're going to call this end of the day on some modern day defending, and we'll pick up on point play in episode two.

[END Transcript.]

part 2 <- convenient link at the bottom <3

#puck!script #puck!research #p!res:defenders #p!res:archiving #proud of this one. took ages and definitely not perfect but very important to me !! <3 #please read if you have an interest in dmen and understanding dmen... there's a few mentions of specific NHL players ->#rasmus ristolainen #<- features heavily here. there's a lot of flyers talk actually and I found it super interesting!!#Parts 2 + 3 transcribing... soonish. as soon as I get a bit more time on my hands.

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justanotherflemethstan · 2 months ago

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this is not a drill, this is a thread on the creation of Flemeth from David Gaider!! as kind of the self professed Flemeth stan blog around here, I had to reshare

(alt text and full text transcript of the images included)

Link to the original post

Full text from the images below the cut:

CHARACTERS - DAY THREE: Flemeth

I have a type. I admit it. There are certain wells I can return to repeatedly and always find something new to explore.

One of them is older female characters. Mike used to rib me about it. Consider Wynne. Meredith. Genevieve. And, of course, the biggie: Flemeth.

Why are they a type? I... don't know, honestly.

I guess I have a feeling that older men fade, they strive to regain their youth or establish a legacy and we've seen that story a thousand times, but older women? They become free to become something new. I guess I see so many possibilities in that.

I had a conception of who Flemeth was, and why, right from the very start. Her creation went hand in hand with Morrigan, as a being whose thirst for retribution hundreds of years ago attracted an entity (slight confession: I didn't know Mythal specifically, at the time, "an elven god" was enough).

I also knew where Morrigan was right and very wrong about her. Misconceptions of the truth are built into DA's foundation, and they were fundamental to this mother-daughter relationship I was building.

Like many seeds I'd put in the world, however, I had no idea whether I'd ever get to explore it.

Knowing that she was a character of possible future importance, if not a major player in DAO, I wasn't much surprised when she was one of the first cuts the art team made in terms of getting a unique appearance. Thus the "batty old woman" players met in DAO. Not as hard a cut as the Qunari, though.

Going into DA2, I wanted both Morrigan and Flemeth, but we could only have one. So I picked Flemeth. This was the game where she really got to come into her own.

I remember the art team coming and asking if it was OK if she got a new model, as it'd be a retcon of sorts. I didn't care. I wanted it.

I honestly don't remember whether Kate Mulgrew was cast before or after Claudia. After, I think? All I recall is that Cab came into my office one day and asked if Kate might be a good fit

The squeal I made was un-manly. Cab took that as a "yes". 😅

I didn't get to talk to Kate until DA2, however. Schedules being what they were, we had a tight window to record Flemeth... so I had to write all her scenes before almost anything else in DA2 was written, before I even had a team! Ack!

It was OK, though, for the most part. I knew where I wanted to take her, and a big part of it was going to explain her transition - to set her up for the future. So I whipped up a script in, like, two days and off we went. Kate was a marvel in the booth. She adored Flemeth and you could really tell.

I didn't get to meet Kate in person, however, until DAI. This came pretty late in its development, compared to when we recorded her for DA2, and we flew down to Virginia (to accommodate her schedule - she was writing her memoir at the time, I think) for a single session. It was going to be *tight*.

I was a mess. I was finally going to meet Captain Janeway... and yes yes, I know she's also more than that. But come ON.

When we sat down, I figured I'd have to talk her through the character all over again. It'd been years since that one session at the start of DA2, right? And even more since DAO.

But, no. Kate remembered Flemeth perfectly.

I remember sitting there as she told me how much she loved the character, how rare it was to get one with so much texture and possibility. She called out my writing - my writing! - and waxed poetic about how she viewed Flemeth's arc. I... I was floored. 🫠

Then we began recording. One issue that quickly reared its head was how Caroline had to speed through the lines if we hoped to finish. Kate was a trooper, and most takes she'd get it in one (which is rare), but I was alarmed because we weren't giving Kate time to read the VO comments on each line.

I brought it up, as there were some lines (so much sarcasm) that required nuance - Kate was getting them, oddly, but I was worried.

"Oh, it's fine," Kate said. "I read the comments as we go."

"How could you? We're going so fast!"

"I'm a speed reader."

Oh. OK, then. That certainly explained it. 😁

We got to the confrontation scene with Morrigan and she nailed it. Over and over. More than once, Caroline would make a call and, before I could even interject and say "no, Kate had it right, actually" Kate would explain exactly why she did it that way and why it worked for Flemeth. I was in love.

She did the "I will see her avenged!" section all in one go. I got chills. Then we got to the final scene.

You know the one. With Solas.

It was this beautiful moment. She took it somewhere quiet and sad... and when she got to that last line, we all felt it: Flemeth was dead. Everyone was in tears.

I suppose I could talk more about the process. How she started off aligned with Morrigan's original Delirium inspiration, but I didn't pull back her loopy way of talking as much (bet you wondered).

I still don't know why it was so easy to slip into her voice, but I'm grateful I got the chance. ❤️

#flemeth #flemeth dragon age #dragon age #dragon age origins #dragon age 2 #dragon age inqusition #dao #da2 #dai #morrigan dragon age #david gaider

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imonthemoonitsmadeofcheese · 1 month ago

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Surgery

In which the Drifter requests medical assistance from Eris Morn.

Now with art from @h3xxthev3xx !!!

Link to Ao3 if you prefer to read it there

ACCESS: RESTRICTED DECRYPTION KEY: 7CP9SXMO2G$IKO-006 REP#: 062-DERELICT-AUDIO AGENT(S): AUN-326 SUBJ: RECENT VIP#1316 and ERI-223 INTERACTIONS - MULTIPLE RECORDINGS

RECORDING 77455.8 [BEGIN TRANSCRIPT]

“Hey, Moondust!”

“What is it, Rat?”

“Serious question for you. I’ve been thinkin’-”

“A challenge for you, I’m sure.”

“Aww… you ruined it.”

“Ruined what?”

“Can’t tell you now. Maybe later.”

“Clearly it wasn’t that important.”

“Oh it was, but it can wait.”

“Speak plainly. What do you want?”

“Nope. Not telling you now. The moment is gone.”

[END TRANSCRIPT]

...

RECORDING 77456.4 [BEGIN TRANSCRIPT]

“Hey, Three-Eyes.”

“I am returning your call. Your message said it was important.”

“Yeah, so, um… you do dissections, right? Cutting stuff up, like, medically? For science?”

“Generally, yes.”

“So you’d be good at using tweezers to pull bits of shrapnel out from being embedded in human flesh, right?”

“What have you done?”

“I was working on a grenade idea, more of a mine, really, and it worked! It worked real well, actually. I’m proud of it. Misjudged the range a bit, though. Made myself into a bit of a pincushion. Was wondering if you’d be willing to help me out.”

“You have a ghost. Use it.”

“Nope. Not gonna happen. But, if you’re busy, that’s fine. I’ll deal.”

“I… do you even have antiseptic there? Bandages?”

“Yeah, a bright light and tweezers too, just need you to be the hands.”

“I am on my way.”

[END TRANSCRIPT]

...

RECORDING 77456.5 [BEGIN TRANSCRIPT]

“Ow.”

Plink.

“Do you prefer I stop?”

“Nope I prefer you keep going.”

“Then stop squirming.”

“It hurts.”

“You have punctured over one third of your body with foreign objects. Of course it hurts.”

“Ow.”

Plink.

“Upon cursory examination, that appears to be a shell casing.”

“Yeah I threw some in there. Ow.”

Plink.

“And this one… a finishing nail? From carpentry?”

“Yeah, tossed that in there too, whatever I had lying around, really. Ow.”

“A metal screw. Not pointed. For fastening metal, most likely, but rather small. From electronics, perhaps?”

Plink.

“Probably. I wasn’t paying much attention when I stuffed the thing. Oh dammit.”

“This one is curved and deeply embedded. I am trying to be gentle but if I do not pull it out, it is just going to work its way in deeper. It looks like broken glass.”

“Yeah I put some of that in there too. Ah shit. Fuck!”

“I have extracted it.”

Plink.

“That was probably the worst one. Just a few more and this leg will be done. Do you need a break?”

“Nope. Let’s get it over with.”

“I would let you squeeze my hand through the pain, but I need both of mine to remove what you’ve done to yourself.”

“Yeah, I know, thought’s real sweet though. Sweeter than you normally are. You must feel sorry for me. Ugh.”

Plink.

“Have you decided whether or not you will ask me what you were going to ask me before?”

“Nope. Now is definitely not the time. Ow.”

Plink.

“I am curious as to what has you so reserved. You are not normally bashful.”

“Ow.”

Plink.

“I don’t… I don’t even know what that means. But that hurts.”

“I spoke too soon. This one is another that is much deeper than expected. You are bleeding quite a bit. I recommend we stop.”

“Is that the last one?”

“In this leg, yes. I have not yet examined the rest of you.”

“Get it outta me.”

“Can I convince you to reconsider your ghost?”

“No. You take it out or I will.”

“The cleanest way to remove this will be to cut it out of you.”

“Then do that.”

“Why are you so stubborn about this?”

“Because I am.”

“Will you at least get your ghost to give you something for the pain? I am hurting you considerably.”

“No.”

“What about alcohol?”

“I have plenty of that, yeah.”

“Where is it?”

“Second door on the left, back cupboard up high has the strong stuff.”

“Do you have a preference?”

“Whiskey.”

“In a glass?”

“Nah. This ain’t a glass kinda situation.”

“I will return.”

[END TRANSCRIPT]

...

RECORDING 77456.6 [BEGIN TRANSCRIPT]

“I told you I didn’t need a glass, Moondust.”

“This is for me, when I’m done. The rest of the bottle is yours.”

“I mean, the whole thing is mine, but fine, Doctor Three-Eyes, you can take your cut.”

“I shall, and the alcohol too. Now drink some of that while I clean up the rest of you and prepare the incision site.”

“You say such sexy things when you’re working. What? What’s that look for?”

“You are not normally this careless. What actually happened?”

“I am not in the habit of lying to you, Moondust. In fact, I don’t even know if I can. You see through everything. I do not think I have ever successfully convinced you something was true when it was not.”

“You are not in the habit of lying to anyone. You simply do not state the full truth, constantly deflect conversations, and allow people to believe whatever they want to be true without ever correcting them. It is what makes your methods of deception so effective.”

“You… you really do know me, Moondust. Ain’t no one ever been able to get in my head like you. Ow!”

“Drink more. You are still too sensitive for me to proceed.”

“Get me drunk, in a compromising position, and then stick things into me. I see how it is.”

“Keep insinuating that I’d behave in such a manner as to take advantage of you and you will be left to extract this distorted… spring? on your own.”

“I’m sorry. That was actually out of line. I trust you more than anyone. You know that. I was trying to make a joke and worded that way wrong. Didn't come out as flirty as it did in my head.”

“You are in considerable pain. “

“Don't forget the blood loss.”

“Drink more alcohol you… clumsy fool.”

“That has to be one of the gentlest insults you’ve ever thrown at me. You are being nice to me. What I was trying to say before was more that you are at this point literally trying to get me drunk. I might say anything.”

“Any confessions of undying love will not be held against you when you are sober.”

“Well there goes that plan out the window. How am I supposed to tell you of my undying love so you won't believe me when I'm drunk and I can deny it later if you don't feel the same way so it isn't awkward?”

“I have faith in your ability to be forthright and lewd without chemical assistance. And you have yet to show any reservations about being awkward in my presence so I doubt that is an issue. Also, drink.”

“Yes ma'am. Oh shit that stings.”

“Disinfectant usually does.”

“So let's say, hypothetically, I was truly madly deeply hopelessly in love with you, what would be the best way to go about getting you to love me back? Hypothetically.”

“Let me see the bottle. Not enough. Drink. Hypothetically, your premise is flawed, rendering the logic of the entire question unanswerable.”

“Come again?”

“There is an inherent assumption in what you have asked, hypothetically, which would itself be, again hypothetically, incorrect.”

“And what's that?”

“The assumption that I do not care for you already.”

“Wait what?”

“More. Drink.”

“Did you just say what I think you just said?”

“I said nothing. We were speaking hypothetically.”

“Ah, because I could have sworn you said you love me. Totally am starting to feel a buzz though so that may have been wishful thinking on my part.”

“Clearly someone who shows up in the middle of the night to remove foreign objects from your flesh because you are too stubborn to get help from your ghost does not have any affection for you in the slightest. You obviously imagined that. Do you have scissors?”

“Yeah, why?”

“I'm cutting off your pants.”

“Now I know I'm dreaming.”

“Hmmm…”

[END TRANSCRIPT]

...

RECORDING 77456.8 [BEGIN TRANSCRIPT]

“Are you ready?”

“Ready as I'll ever be to have a beautiful woman scar me for life.”

“You have more than one life. This is a non-issue.”

“Point.”

“I am beginning now.”

“Fuck.”

“Pausing for a moment here. I've got the object. I have a mostly clear path to pull it free.”

“Ok.”

“I'm going to have to wiggle it. This will be painful.”

“Eris Morn, mistress of pain, I submit to your will. Hurt me you beautiful three eyed witch.”

“Is it the alcohol or the pain that's making you so eloquent?”

“Probably both, plus that undying love.”

“Hold on to something that is not me. Three… two… one...”

[INTERMITTENT SCREAMING 43 SECONDS]

“Did you just freeze my ass with stasis?”

“To stop the bleeding, yes. You have needle and thread?”

“Yeah desk over there, bottom drawer.”

“And I'll find a pot within which to boil water within your kitchen area?”

“Yeah.”

“A clean pot?”

“I ain’t the one that leaves a burned wok lying around unusable for a month. I use my pots. They’re all clean. Trust.”

“Be still until I return.”

“You’ve got me frozen to the table. I couldn't move if I wanted to.”

“You're a resourceful creature. I'm sure you'd find a way if you wished to be free, but please don't.”

“I'm staying put. You say stay, I stay.”

[END TRANSCRIPT]

...

RECORDING 77456.8 [BEGIN TRANSCRIPT]

“You keep doin sweet gentle stuff like brushing your chin against the top of my head like that I’m gonna start thinking you like me or something.”

“It is difficult to express reassurance to you any other way when my hands are coated in your blood.”

“If I’m good will you nuzzle my head again? Or is it if I wiggle? What gets me more head nuzzles, Moondust?”

“Be still, Rat. You are messing up my stitches.”

“Anyone ever tell you that you’re weirdly good at sewing human flesh?”

“No, but I accept the compliment.”

“It barely even hurts where you’re sewing. You really are good.”

“Thank the alcohol.”

“I’m thanking you.”

“You’re welcome.”

“You know, there ain’t no one else I trust like this.”

“I know. It is an honour to have your trust. One I do not take lightly. I know how rarely it is given.”

“If by rarely, you mean pretty much not at all, yeah.”

“Are you going to tell me what you were going to ask me?”

“Now’s really not the time.”

“I think we have cleansed the last of your blood off of most surfaces and ourselves.”

“You patched me up real good. You make a fine surgeon.”

“Usually my subjects are not still alive.”

“You gonna stay and finish that drink?”

“I had forgotten. Yes. I shall. But first would you like help to your bed?”

“You and me in my bed? I like this.”

“Avoid putting weight on that side. You can, and will, rip the stitches if you exert it too much before you’ve healed.”

“I like this side of you, all sweet and nurturing. If I’d known you’d be this nice to me I’d… nah that was stupid and I won’t be doing that again.”

“Thank you.“

“Still proud of how well it exploded though. Gonna give some of them to Devrim to put around the farm. Should very effectively shred anything that comes to mess with the civilians. I really didn’t think I was in range. You know how careful I am.”

“I know. Sit. I will return.”

“You gonna come back and cuddle me? I’d like that.”

“No, but if you wish, I will sit with you while I finish my drink.”

“I’ll take what I can get.”

"I'd expect nothing less"

[SILENCE 8.25 MINUTES]

“Woman of my dreams, bringing me the bottle after putting me to bed. You really are the best, Three-Eyes.”

“Sit up.”

“Ok. Oh hello. You let me lie in your lap like this, you must feel sorry for me.”

“No. There is nowhere else to sit.”

“I disagree, this is half-way to cuddling right here. You like me. Ain’t no one sit like this with someone they don’t like.”

“I sewed your skin. That’s considerably more testament to me liking you than this, and this is at least comfortable for both of us.”

“It’s real nice. ‘Specially when you touch my face like that.”

“Hmmm…”

“I propose a toast.”

“To?”

“Why, to the most excruciating and intimate experience you and I have shared to date. The night Eris Morn sewed up the Drifter after he blew himself up.”

Clink.

“Hmmm…”

“You like it?”

“It tastes like… wood and paint thinner.”

“That’s just the first few sips. Flavour changes as you go.”

“Hmmm…”

“You should visit my bed more often, Moondust, it’s nice.”

“If you wish I will return tomorrow and change the bandages to make sure you aren’t getting infected.”

“I’d like that. You know… you could… stay.”

“And sleep with you in your bed?”

“Yeah. Don’t tell me that doesn’t sound real nice to you too. Not when you’re running your fingertips through my hair like that, like you’re already considering it.”

“Perhaps now is the time to ask me what you were going to ask me?”

“You sure those eyes don’t give you mind reading powers?”

“One does not need to read your mind, when they can read your body language, and between the lines of what comes out of your lips. You have not been discrete.”

“No, I have not. But, if you already know what I was going to ask you, what’s your answer then?”

[SILENCE 3.75 MINUTES]

“That… is worth getting blowed up for.”

“Please do not. Multiple lacerations and shrapnel from improvised explosive devices are not a prerequisite for my affection.”

“Can you let me know what the pre-”

“The pre-”

“The p-”

“You know, Moondust, it’s been a very long time, literally longer than I can remember, since someone was able to make my head spin with just a few kisses.”

“That is more likely being caused by a combination of shock, blood loss and alcohol.”

“Nah. Had all three lots of times. This is all you.”

“You’re trembling.”

“Yeah, it happens.”

“Let me get you under the blankets.”

“I ain’t cold. It’s just you feel so good. You feel so fucking good. Wait, where you going?”

“To take off my boots. Move over and get under the covers so that I may join you.”

“Oh hell yeah, you’re just making all my dreams come true right now.”

“Be careful of your stitches or you’ll bleed all over both of us and your bed.”

“Worth it.”

“Behave yourself or I will leave.”

“Yes ma’am. Ah shit, Eris, I can’t handle how soft and warm you are when I’m this drunk. I’m gonna cry.”

“You are inebriated and injured and I am choosing to stay. Alcohol induced emotional outbursts are to be expected and are a reflection of your trust, which is precious to me. I consider it an honour to hold you as you cry.”

[END TRANSCRIPT]

#destiny 2 #the drifter #eris morn #moonrat #drifteris #the drifter/eris morn #drifter/eris #ao3 #fanfiction #writing #moonrat radio #surgery #imonthemoonitsmadeofcheese #cs member writing

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waaow · 1 month ago

Text

Chara undertale how I hate you (affectionate). The fandom has endless arguments about your nature and purpose to the story of undertale. I am going to regurgitate information I have stewing in my mind and put down my theory/interpretation.

This isn't very refined. None of it is unique, and I have read/watched so much Chara and genocide route analysis that I can't recall where parts of it originally came from, but I will link to the most notable instances at the end.

The actual theory that gets repeated midway through the post: You are Chara. Chara is the actual player character of Undertale. This wasn't originally here, but I think it's best to have the theory in mind when reading the first bits of evidence.

The player names them, and most players will name them after themselves for the first playthrough, this seems to be intended. Using "Chara" results in the response "The True Name." The term "True Name" has various definitions that could apply to this situation, but the one that seems the most accurate is "the name of a thing or being that expresses, or is somehow identical with, its true nature." Chara is short for "Character," which would mean Chara's true nature is that of a character of some kind.

Chara's fall date is marked as 201X, with the X being a stand-in for the game's release year of 2015 (alternatively, the demo's release year of 2013).

Similar to Gaster for Deltarune, when Undertale came out, messages from Flowey were posted by the official Undertale Twitter account. They're directed at "you," which in this case appears to be Chara. Here's the transcription: "Hee hee hee...I've been waiting for you to get here. How long has it been...? How many years...? ... It doesn't matter. I KNEW you would come back. ... So. What do you say? Won't you play with me again? =)"

Chara's name appears on Frisk's stats/save menu and the battle screen. In Deltarune, we see something similar, but it only occurs on Kris' save file with the player name.

Throughout the game, you will occasionally see some of Chara's memories. This occurs in the intro and when Frisk dies, falls asleep under specific circumstances in Toriel's home in the ruins, or falls into the garbage dump. Something similar happens in Asriel's boss fight, but we know that comes from Asriel himself due to the name of the code and Temmie's FAQ describing it as Asriel regaining his memories.

Here's some quotes from Flowey/Asriel describing his motivations:

"If you leave the underground satisfied, you'll "win" the game. If you "win," you won't want to "play" with me anymore. [...] But this game between us will NEVER end."

"I just want to reset everything. All your progress... Everyone's memories. I'll bring them all back to zero! Then we can do everything ALL over again."

"Do you know why I'm doing this...? Why I keep fighting to keep you around...? I'm doing this... Because you're special, [Name]. You're the only one that understands me. You're the only one who's any fun to play with anymore. I'm not ready for this to end. I'm not ready for you to leave. I'm not ready to say goodbye to someone like you again..."

Asriel's motivations are very odd to read from an in-universe perspective. If he broke the barrier, he could still play with Frisk (who he thinks is Chara), but instead, he seems to think that if they leave the Underground satisfied (if the game is won), he'll have to say goodbye to them again. To stop "the game" from ending, he wants to reset it and force you to do it again.

Flowey's post pacifist monologue reveals a lot. It is directed at the one being with control of the Save/Load system, which means he became aware of them and their presence at some point. He begs the being in question to not reset and describes it as "the power you were fighting to stop [...] The power that I wanted to use," referring to his plan as Asriel to keep the game going. He begs this being to let Frisk and the monsters live out their lives, separating this being and Frisk. The speech places extra emphasis on the word "you" twice by fully capitalizing it. Flowey addresses the being he's talking to as the name you gave Chara. An extra note to add here is after this scene and before true resetting, the menu theme is replaced with an extremely slowed down version of the regular menu theme (extremely slowed down music is associated with Chara by the genocide route).

Before moving onto the genocide route, I'm going to put down one more piece of information that I think is important, and follow it up with the interpretation/theory that I personally think explains all of these details rather cohesively:

Toby seems to see and portray the relationship between the player character and the player as the two being mostly one and the same entity. This goes all the way back to his Earthbound Halloween Hack days, and you can see it in his statements all of the time, such as here when he refers to Kris' room and family using second person pronouns. But I think you can see it most clearly in Skies Forever Blue's lyrics (which were written by Toby), in which the singer conflates the player character "Two friends started just as neighbors" and the player "When you made my name the same just as the one you love, then I knew. Maybe to your view, I'm just a faintly colored hue, that's alright," and falls in love with them.

The interpretation/theory: You are Chara, alternatively, Chara is the actual player character of Undertale. This leads to a nesting doll situation with Frisk.

Why is Chara's name on Frisk's save file? Because Chara/you are the being who is actually in control of it. Why is Chara's name in Frisk's stats? Because you're not directly playing as Frisk, you're playing as Chara, who is then playing as/controlling Frisk. Why does Asriel not want the barrier to be broken/not want the game to be beaten? Because you (Chara) as the player can't exist in Undertale's world when the game is over.

Just from the evidence in neutral/pacifist, this seems to be what Toby was trying to portray. While the genocide route does complicate this, I think it also reinforces it a lot too.

As a pre-emptive note, I do not believe in NarraChara and think it is not intentional. While it is a cool headcanon, I think most of the fanbase thinking it's canon has actually damaged analysis of the genocide route and Chara as a character permanently. To me, there is a general narrator that Chara occasionally speaks over in the genocide route. Before their monologue, Chara consistently speaks in a very contrasting tone with regular narration and always in first person. The closest to normal narration they speak is the "Strongly felt [x] left. Shouldn't proceed yet" waterfall geno-abort prevention dialogue, which dodges any pronouns and is still likely Chara describing their own emotions in first person perspective. The genocide route takes many ques from classic video game creepypasta tropes. The player character speaking directly to the player is one of them, and it is purposefully portrayed in contrast to be eerie.

Chara's enhanced presence in the genocide route is first made known when the kill counter in the ruins is exhausted. Dialogue/narration from them then appears in Toriel's house. "Where are the knives?" in the kitchen and "It's me, [Name]" in the mirror.

The second line, in particular, begins a running trend throughout the route, Chara claiming ownership of Frisk's body/actions and speaking as if they ARE Frisk. The second case of this is actually during Glad Dummy, which despite using second person pronouns, is clearly directed at the Dummy itself which would make sense if they were facing her personally "Wipe that smile off your face." The third case is when facing Monster Kid, with their encounter text "In my way." The line "It's me, [Name]" reappears in both the lab camera and Asgore's mirrors. The Hotland Guards have their check text "I see two lovers [...] I couldn't stop laughing." The final notable instance is "(I unlocked the chain)."

The behavior of out-of-player-control actions starting in Snowdin is vastly different in this route, and the implication is that this is Chara's doing. Rushing through introductions/cutscenes with Sans and Papyrus and refusing to do puzzles. Starting in Waterfall, the surprised encounter icon is replaced with a smile (associated with them by that being their sprite's default expression). Threatening Monster Kid & Flowey (with a "creepy face" associated with them by the True lab tapes). Slashing Sans and Asgore. Mercilessly & Sadistically cutting down Flowey. In the demo, this actually starts right before Toriel's boss fight with her getting cut off before she can finish her speech. (Additionally, we see more Chara dialogue that I think goes underappreciated in the form of "That was fun. Let's finish the job.)

Chara claiming ownership of Frisk's body/actions seems very similar to how Toby portrays the relationship between a player character and their player. While Chara is OUR player character, Frisk would basically be Chara's player character. Frisk as a character does not change uniquely in the genocide route when compared to violent neutrals. The only thing causing their drastically different behavior is Chara's active participation upon becoming partially disconnected from the player.

Chara's monologues are often the subject of the debate of "Who is Chara talking to?" I personally think its pretty clear that they're talking to the player. Nothing they say makes sense in-universe. The idea that they're talking to Frisk also runs into a problem when they suggest doing a different route if you recreate the world again. Frisk, just like Flowey, does not remember True Resets or completed genocide routes (unlike Chara who on the steam release can technically remember things from other installs of Undertale which further ties them and the player together, as Flowey/Asriel's dialogue implies that True Resets erase the memories/deja vu of everyone besides the one preforming them). Also, why would you be talking as if you were equals to a person you've been controlling the entire time? That feels a bit odd to me.

Chara's monologues do contain lines that present a problem to this theory/interpretation. The first one is "Since when were you the one in control?" The second one is "But. You and I are not the same, are we?" Both could be more metaphorical as most if not all of Chara's dialogue isn't strictly literal and there are other explanations of Chara that don't contradict this one and could help cover up these weak points.

Even with those two lines, I think this interpretation is extremely strong and seems to at least be close to Toby's intent. It also keeps getting reinforced:

The Important person shirt is in both Undertale and Deltarune's sections on fangamer's merch site, and while it is clearly Kris' shirt in design, its description should also apply to Chara because it's being sold as a shirt for them as well. This description of it from the newsletter is what added the "It will make you look like someone with an important connection to you." The "You" also gets replaced by whatever name you subscribed to the newsletter with.

While the shirt has been used to argue about Kris' DR counterpart, I don't think the description is referring to that topic at all, as it focuses on specifically the connection the shirt's bearers share with the player. The only connection I can think of is that both Chara and Kris are player characters. If you think Frisk is the player character of Undertale and Chara is a third party, they don't have any connection to the player at all. We also don't name Kris, unlike Chara. I would actually like to see other interpretations of this because I genuinely cannot think of any other possible "important connection" Kris and Chara could both individually share with the player.

This Twitter thread by Wandydoodles is where I got the Flowey/Asriel motivations from. Additionally, despite how much I dislike Oblivion theory's conclusions regarding Deltarune, I think its Undertale/Chara analysis is really great and deserves a read.

This Youtube video by Grim Dreamer. While it is primarily a NarraChara debunk video, the creator proposes Chara as a mirror to/representation of the player, which is basically the same theory and may actually be more coherent than my drivel.

#Chara #chara undertale #undertale theory #Undertale #frisk

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rowanyx · 1 year ago

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There is something so deep about Laerryn's choice in the finale, and Brennan's phrasing of the decision to be made.

To clarify, this scene (copied and pasted from the CR wiki transcripts):

BRENNAN: On a 16, you must make a tough decision. Do you want to further limit the release of energy and make the release of energy safer for the physical environs of Avalir and Cathmoíra, or do you want to ensure that Rau'shan and Ka'Mort will be permanently banished from Exandria?

TRAVIS: Impossible.

AABRIA: Laerryn's little joke to herself was always that the Heart of Avalir was the thing she inherited, but it was too small. She made it bigger, she improved it. She improved the Etheric Net and built this and that she was the Heart of Avalir, and she gave everything to this city. But I know what people are fighting to protect and I remember what Quay said about going down with the ship. So we will ensure it. This will work. Avalir be damned.

or this timestamp of the episode (in case the link doesn't work for the timestamp, the first comment's list has it labelled Laerryn's Tough Decision):

youtube

As we were first introduced to her, Laerryn Coramar-Seelie is the Architect Arcane. As Aabria herself even put, her whole life, all her work, is about taking the city and making it better. Building more. Expansion is the name of the game. So when Brennan specifies that the limiting of energy output will save the physical environs rather than the people, that holds weight.

Just, in a mechanics aspect, there is the fact she is an Abjurer. The whole point of her magic is exactly this choice. To stop things from being destroyed. Her wards that take the damage so that she or others will not. She is not built to bring destruction, leave the fight to others. She will be there to soften the blows that come her allies' ways. She is the one one deciding this, and it feels right, because she's spent her studies dedicated to figuring out how she will prevent the destruction that comes her way.

But that isn't all.

Because any other hero, any other party member, every other soul faced with this question could so easily think that it is a useless decision. A city can be rebuilt, but only if the Betrayer Gods are stopped before they kill all the people that can do so.

But Laerryn, who has dedicated her years to this, the position of Architect Arcane, knows this city and her structures far more intimately. She has been there, step by step, as she forged them. Designed them. Watched over their construction. It is by her hand it was built.

Asking her, specifically, is asking her to choose between everything she's done, or let it all burn. Asking her to make this decision is asking her to decide her legacy. Will she live on as the maker of the land that survived such devastation, but not the people, or will she go down as the one who helped stop the Calamity?

Her choice boiled down to this: Limiting the energy, their work, the libraries and churches, the colleges, grand towers and hallowed halls, stone and mortar, it all can go on unshattered. Or, stopping the Betrayers, the people may continue on.

Was her work more important than the lives she was surrounded by?

Aabria mentions Laerryn was given the Heart of Avalir, jokes how she improved it. But the Heart of Avalir, while magical, is only an engine. It was made, and can be again. So in this moment, I think Laerryn maybe realizes that the true heart of a city comes from the people. Always thinking, thoughts speed by her, whether or not she ever had time to really process the revelations before her demise.

Evandrin is already gone due her hubris. Who else would she lose? Would it have felt like home, without Loqautious there by her side? Would it truly feel like her city, without Patia keeping up with her? What would she cause, without Nydas to hold her back? What is Avalir, without her Brass Ring?

Her assistant, probably still waiting for her, in their offices, and the choice of which will see tomorrow?

How many will feel the heat of Rau'shan's flames as they die? How many will fall to Ka'Mort's earth?

None, she decides. Her friends and neighbors, the kinsmen of her home, will not feel these pains.

I think it is also a moment that beautifully showcases her accepting her death. She will not be here to heal her city. She's going down with the ship. Maybe her blueprints will be found and used, and Avalir will be as it once was. Maybe they won't, and they'll construct it all anew. But she won't see it, so it is their turn to take what was given and build on.

Of course, Rau'shan and Ka'Mort were not the only assets of the Calamity, and damage and destruction was still wrought across Exandria. But there are enough hands to clear the ruins and make their own stories. And that is because of the greatest Architect of them all.

She gave them a chance indeed.

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soapiemomorphine · 2 years ago

Text

My Rottmnt Separated Au!// Masterpost

(*Dj Khalid voice *: Another one ) (scroll to bottom for links to other posts)

This one’s called:

How I Met Our Brothers

And it’s an au of my own inspired by all the greats, like @daedelweiss @dianagj-art @trubblegumm @red-rover-au and more! (Seriously go follow their blogs)

Mainly by @trubblegumm and by the feral Leo from @cupcakeslushie , and you’ll soon why

With out further ado;

DRUMROLL PLEASE DUN DUNNUNUUUUHHHHH

(Also dont worry ab my chicken scratch I have it all written down lol)

(Click for better quality lol)

Since my writing’s shit (lol) here’s the transcript for what I wrote: the character descriptions first, then the pluses from top to bottom

Donatello Hamato:

Raised by Splinter/Hamato Yoshi/Lou Jitsu in the sewers under Brooklyn

Started looking for his bros after his dad told him about them

Met April when he was 9 (she was 11)

He met Leo when they were both 11

Baron Michelangelo:

(I hc that Baron is a title, not a name; like Lord or Lady, so Mikey inherited Draxum’s title)

He’s been training to be a mystic warrior since he was born

Muninn (the one with a larger body and the underbite) wanted him to be named Angel, Huginn (the one with a larger head and overbite) wanted him to be Michael, so they compromised with the perfect name (don’t tell Draxum they saw it in a human pamphlet )

Raised by Draxum alone until he was seven

At 7 y/o he met Raph and ever since both Big Mama and Baron Draxum have joint custody over them

BM and BD raise them like a divorced couple, they alternate houses weekly and they celebrate each holiday twice, (Big Mama and Draxum only come together for their b-days)

Besties with Raph and Cass, (met Cass when he was 10, she was 13)

Rapheal Jitsu :

Training to be a mystic warrior since he was 9

Big Mama named him what she and Splinter would have named their first son; (he proposed to her, you can’t tell me that they didn’t talk ab baby names)

Big Mama was not the only secretive one in the relationship, she didn’t know what Splinter’s real last name was, (and as a gang leader she doesn’t use her name anymore) so yes, Jitsu is Raph’s legal last name

Met Mikey when he was 9 y/o

BM and BD raise them like a divorced couple, they alternate houses weekly and they celebrate each holiday twice, (Big Mama and Draxum only come together for their b-days)

Besties with Mike and Cass, (met Cass when he was 12, she was 13)

??????? —> Leonardo Hamato:

He grew up in the sewers in Staten Island, the one who brought him there was *REDACTED*

Staten Island is full on awful people, so nobody took him in, and he learned to fear people

Donnie found him, and named him Leonardo and gave him his birthday, making him 11

Other Info:

+ because Leonardo was hella malnourished as a growing young lad, Donnie ended up being the 2nd tallest by the time of the movie

+Splinter became more proactive in Donnie’s life ever since he lost sight of the other three brothers and became more proactive in his training when he met April because he’s more paranoid than he is in the show

+Don didn’t really care for Leo (he was comfortable as an only child and Leo changed his routine), until Leo got deathly sick and nearly died

+Big Mama and Draxum (somewhat) reformed only b/c Mikey and Raph would cry and throw tantrums (they won the moral argument slay) when they would talk ab their plans and beliefs (Draxum loves his children more that he hates humanity, and Big Mama finally learned how to love with Raph)

+Mama truly loved Splinter, but was insecure about him loving her as a Yokai (she had trust issues) and b/c her morals are hella skewed, it seemed like a great idea to keep him the only way she knew how, by putting him in Battle Nexus (and she makes bank with him there! In her mind it seemed like a win-win)

(Note: Big Mama’s and Splinter’s relationship will solely be as exes, because it would be hella unhealthy for Splints to trust her after she betrayed it like it. (They both lied to eachother during their relationship in this au) Their relationship in my comics and fanfics in this au will solely be as estranged exes, they will not be getting back together)

If this post gets like, at least 30 notes then ill post a comic on how Leo and Donnie met! (Edit: oh wow. U guys did it)

Lists of HIMOB Posts:

Disaster twins post

Sunset duo post

HIMOB Donnie meets the Canon Mad Dogs // Bonus Comic

Donnie and the Stranger: Part 1 // Part 2

The name Rapheal: Part 1 // Part 2

The Caretaker: Part 1 // TBC . . .

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jgroffdaily · 1 month ago

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A video of the full panel is available at the link, including an edited transcript. Some quotes:

A decade ago, in a very different San Francisco and a very different television landscape, Patrick Murray and his friends first stumbled onto HBO — literally, the pilot starts with Jonathan Groff ineptly cruising in a public park. Looking was a low-key, intentionally under-glamorous depiction of the lives of a few gay male friends played by Groff, future White Lotus employee Murray Bartlett, and Frankie J. Alvarez, as well as their token straight-woman-friend Doris (Lauren Weedman) and Patrick’s pair of love interests, played by Raúl Castillo and Russell Tovey. Created by Michael Lannan with the close involvement of director Andrew Haigh (of All of Us Strangers), Looking intentionally tacked away from the soap-operatics of gay dramas like the American Queer As Folk while still wrestling with the hot topics of gay life during the second Obama administration: PrEP, Grindr, marriage equality. In its two-season run plus a wrap-up film, the show was never a ratings smash — its time slot, right next to Girls, may have led some audiences to expect satire where Looking bent toward sweet earnestness — though it became the subject of furious discussion on social media, perhaps also a novel dynamic at the time. Looking lives on as a cult favorite, discovered and revisited by new fans online, and it remains a beloved project for its cast and crew.

Jonathan Groff: I auditioned in L.A. I had seen Weekend, and I was a puddle after that movie was over. I was so blown away and had never seen a gay movie or show that felt so relatable. And then when I heard the director of that was directing this pilot, I got really excited. It was the scene with Richie when he’s hitting on Patrick on the train in the pilot. I remember blushing for real, because until that moment in that room, I had never actually played “gay” in that way before, and it was such a confronting, scary, exciting experience. I was like, Whoa. I felt actually hot.

Frankie Alvarez: That’s because you weren’t playing, you were revealing.

J.G.: Yeah, exactly! I kind of left on a high from that audition. It felt a little scary to … It’s one thing to be out, but then it’s another thing to, like, douche on-camera. [Laughs] And it’s like, “Wow, I guess if I do this show, it’s really like G-A-Y across my forehead.” At that time, there was this notion that if you were gay and you played gay, that was all that you were going to be able to do. But I felt it so deeply that I ended up not caring as much about that and wanting to play the role.

F.A.: That reminds me of a story. When you came out to your parents, you told your mom, “I’m never gonna be the grand marshal at the Gay Pride Parade.”

J.G.: And then we were in the Pride Parade together! I came out in 2009, and by 2013, we were at the front of the parade!

John Hoffman: …That whole first season was magic. Michael and Andrew were so open and kind and generous. And then I made Jonathan douche! I wanted everyone to get naked more! I was the one in the room going, “Guys, we need more people watching, so everybody has to be naked a lot more and having more sex!”

Lauren Weedman: If you’ve got an ass, get a fork! We’re eating!

Michael Lannan: Well, when I was rewatching it recently, I was like, “Man, there’s a lot of desire and kissing and sex!” I was like, “Oh my God, we did that!”

J.H.: Everywhere I could! Although, I later became friends with Shirley MacLaine, who’s now 90-something. I got her to watch Looking, and she said, “That is quite a show. I really enjoyed it. One note — too much kissing.” [Laughs]

L.W.: No kissing, just fucking. Is that the show’s point?

F.A.: Straight to the bottom-ing!

In an oral history about the show, one of the things that came up, alongside John being the one who really wanted douching onscreen, was how much the characters started to mold around the actors. I think one of you said, “We didn’t want to tell too much to Michael and Andrew because it might just appear onscreen.” Did you feel the sense of these characters becoming expressions of yourselves?

J.G.: To me, almost to an embarrassing point. I was figuring it out as I went along and offering up vulnerable truths. I remember being in a diner with Andrew, and he was like, “Tell me about your last breakup” and then writing down in the notes for the fight for me and Kevin at the end of the season, where we’re moving in with each other. And then I got to act that out! And the boyfriend who it was kind of about was like, “Wow, okay, so … did you tell them about it?” It was a great gift. For the actors to offer up tidbits and whatever, and then to have the writers and the directors make it artfully a part of the story, it was incredible. It was like actual therapy.

L.W.: I remember we were at the Paley Center and people were getting up and going, “I don’t see myself represented!” I thought it was beautiful, because it mattered! There’s one little morsel out there of some show that maybe you have a chance to see yourself, and people are like, “I want to be seen on this!” Of course, I’m not the writer. Much worse to be the writer. [Laughs] The reaction — it felt like it really mattered.

J.G.: I was shocked to see our gentleness attacked in such an aggressive way by what people were typing. It made me, what you were saying, Lauren, feel like, Wow, I guess this is way more meaningful than I ever anticipated. That people are actually upset and angry and furious and bored, or whatever it was they were feeling that they felt they had to kind of shout it from the rooftops. It’s a testament to the point of view of Michael and Andrew that they held fast to what they wanted to do. They heard criticism and they applied it, but they didn’t change what the core of the show was. And I think that’s why we’re here, because you had such a specific point of view. It’s such a lesson in digging in and connecting to your truth, and not letting negative noise affect that. But it was so hard for you guys! I remember it was coming from every angle.

Do you have memories of favorite places you got to film in San Francisco? Especially in that moment in time, because that city has changed so much.

M.L.: We filmed Patrick and Richie dancing at the Stud, and they kiss at the exact spot where I had my first kiss. It was crazy and beautiful. When that happened, I was like, “Wow, this really is a simulation.”

J.G.: That’s the one that came to my mind, too, because I remember you being there, and I remember us dancing. It was so hot, by the way. Super-hot.

M.L.: Temperature-wise?

J.G.: No, sexual tension! [Laughs] It was in this cool gay bar in San Francisco, and I remember you saying to the director of that episode, “Please push the camera in,” because it was a faraway shot. It was like your heart and your soul knew that we gotta go in on this. I remember feeling that and feeling you and really feeling like, “Oh, wow, I’m inside of somebody’s brain and heart right now, and I’m with this guy.” It felt like an artistic, transcendent moment. It was such a special thing to be inside of your memory of your first kiss. You were channeling something. The storytelling thing was happening.

#jonathan groff #Michael Lannan #Frankie j Alvarez #Lauren weedman #looking hbo

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jokeroutsubs · 6 months ago

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[ENG SUB] Bojan Cvjetićanin for the podcast To je moja muska ('This is my music')

youtube

To je moja muska ('This is my music') is a podcast of the Val202 radio programme in which each guest provides the song selection, explaining their choices during the interview. The original interview was published on 1.07.2022 and can be found at this link.

Transcript and translation by drumbeat, proofread by a member of JokerOutSubs and X klamstrakur, subtitles by drumbeat.

The audio version of this interview is also available with Italian, French and Serbian subtitles. Translated respectively by @varianestoroff, X Yoda_Bor and IG marija_rocen.

Transcript below the cut 👇

To je moja muska. ('This is my music'.)

Host: Bojan Cvjetićanin, welcome to 'This is my music'! The show where the guests choose the music that has defined a particular time in their lives, or that they just like, or that is linked to an event in their lives. Can I try to guess what you've chosen? Usually my guests tell me upfront, but you didn't.

Bojan: You can try.

Videosex? As locals?¹ I just gave you an idea, didn't I, you'll change it. Then Elvis Costello and ABBA.

Bojan: ABBA is spot on.

Okay.

Bojan: ABBA is spot on.

To je moja muska.

How much has your taste in music changed over the years? Were you, I don't know, rebellious, did you belong to a subculture?

Bojan: It hasn't really, honestly, it hasn't changed, I've just been adding new artists to the repertoire, so to speak. But my taste hasn't changed.

Did you have any posters in your room?

Bojan: I had posters, and in fact I still have them, in my old room, all over the room, from Green Day.

How often do you go back to the old music, let's say very old music, and how much do you stay up to date with the contemporary and which one inspires you more?

Bojan: Now I don't know what you mean by old, but let's say 60's, 70's, okay. Yeah, I really like listening to music from that era. I would say it inspires me quite a lot, and if it doesn't, it's an influence for sure. Otherwise, I also really like new music, especially Slovenian. So my Slovenian selection will be very contemporary.

Tell me, what is your local selection?

Bojan: My local selection is 'Angeli' by MRFY.

Why?

Bojan: Because it's a song that I really like to put on at times when I'm not thinking about it, and then it pops into my head, like, 'Ah!' Spur of the moment, let's go! A great song.

Is there any rivalry between you?

Bojan: Absolutely. There's major rivalry between MRFY and Joker Out, which makes sense, because we're peers. But this is one healthy rivalry. I don't think either of us hates the other, except Štras² hates me, and I hate him back. (laughs) But no, I think we have a very healthy relationship.

To je moja muska.

You're not just a singer, you've got a few acting roles and event hostings under your belt. I've heard in one of your interviews, you said that you compared yourself to Val Fürst³ and realised that maybe you are not as talented, but still. How interested are you still in other artistic areas?

Bojan: I am very excited by and interested in acting. I know and understand that I am not a world class actor, but I feel that for these roles I've been cast in, I'm suitable and that I am good at what I do. At this point I feel that I don't want to stand on a theatre stage or go to AGRFT⁴ first and study for it. That is what I meant by Val Fürst being superior. Somehow I felt that Val really had it, that certain X factor, as far as acting is concerned. But yes, I am interested in acting.

Okay. Hosting?

Bojan: I like hosting. I found EMA incredibly stressful, incredibly enlightening, but I wouldn't do it again.⁵

What makes a frontman of a band, in your opinion? What are those traits, qualities?

Bojan: Yeah, a frontman just has to be very willing to share all of himself with everybody, that on stage he leaves nothing behind.

For example, Damiano David, Måneskin, who you also portrayed with Maja Keuc in the song 'Zitti e buoni'⁶, said that he learned this interaction with the audience on the street, where people don't show up to your concert, but you have to win their attention. How did you master it?

Bojan: I worked on graduation trips, as MC, so that was my job, to get the 500 graduates who were all very different, motivated to hang out, to have fun, to dance, to do all those sports activities or whatever. So I actually met a lot of different types of people and interacted with them and those things have just come in very handy for me now.

Second track?

Bojan: Track two I would say, because it was the first one that came into my head when you said that to me, 'The Winner Takes It All' by ABBA.

Any particular story behind it? Since when, I mean, when did you hear ABBA for the first time? Why do you still like it? How come it doesn't get on your nerves?

Bojan: ABBA is one of those artists, where whenever I'm listening to them, I feel really good. Usually in the morning, if I'm making eggs for breakfast, I put ABBA on and the day is better. So there aren't many, there's really no specific reason, but ABBA is a really feel-good band for me plus 'Mamma Mia' the movie, right. I don't know, people can hate, but if you watch it, and you don't feel good, there I really don't know what's wrong with you.

To je moja muska.

Let's talk a little bit about success, being recognisable, fame, do you feel it? Of course you do. Can you go somewhere without being recognised?

Bojan: Yes, I can go places where I'm not recognised, like EXIT.⁷ And even today, they…

At home, I mean.

Bojan: No, it's not ultra extreme though, but it's extreme enough, that it actually happens very rarely, that I go out and I don't take pictures or sign autographs or something.

Yeah, I was surprised at the 50th anniversary of Val 202⁸, that especially older ladies wanted to take a picture with you.

Bojan: Thank you for busting that myth, right, that only young girls listen to us. Because slightly older girls like to listen to us too, and the male companions as well.

One last thing, the third track.

Bojan: 'I Bet You Look Good on the Dance Floor' by Arctic Monkeys. Because I hope can transfer this song, or rather the energy of this song onto the stage today.

To je moja muska.

Notes:

¹Videosex were a Yugoslav synth-pop band formed in Ljubljana in 1982. The band was one of the most important groups in the Yugoslav synth-pop scene.

²Gregor Strasbergar, aka Štras, is a Slovenian musician, singer, guitarist and author for the Slovenian band MRFY, formed in 2013.

³Val Fürst is a Slovenian actor and musician who went to high school together with Bojan. Bojan talks about him in his interview.

⁴The AGRFT is the Academy of Theatre, Radio, Film and Television in Ljubljana.

⁵Evrovizijska Melodija (EMA) is the selection programme for Slovenia's representative in the Eurovision Song Contest. Bojan hosted its 26th edition, held from 5 to 19 February 2022.

⁶During the EMA 2022 final, Bojan and special guest Maja Keuc paid tribute to the reigning ESC champions, Maneskin, by performing their winning song, 'Zitti e Buoni'. The video can be found here.

⁷This interview was recorded before Joker Out performed for the first time at EXIT, a festival held annually in Novi Sad, Serbia.

⁸On June 16, 2022, radio station Val 202 celebrated its 50th anniversary by broadcasting 'Dan 202', a concert of Slovenian folk music live from Križanke, in which Bojan Cvjetićanin also participated. The concert is available in full here.

#joker out #bojan cvjetićanin #jokeroutsubs #Youtube

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lesbianchemicalplant · 1 month ago

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youtube

The Rise of Competitive Giant Melee (Documentary) Super Smash Bros. Melee has seen over two decades of competitive play, but while the world of Melee singles has been sharpened into something highly optimized and technical, it only represents a percentage of what the game has to offer, even when factoring in competitive play. In this video, we will explore the oft-misunderstood game mode Giant Melee, the game mode where characters are more big and meet the players who have helped push the mode to new heights in recent years. [...]

Join the Giant Melee Discord: https://discord.com/invite/KzWxj4BFZM song list: https://pastebin.com/1ThcUX9h twitter: ‪wusstunes‬ alt channel: ‪@Wuss2ns‬ donate and get new stuff early: ko-fi.com/wusstunes random streams: twitch.tv/wusstunes [by wusstunes, April 2024. See full video description for more information and links]

This is so fascinating. There's actually a whole array of movement/attribute/scaling changes that come with being Giant—not everything scales how you would expect—so when both players are Giant, what works or doesn't work turns out to be pretty different. And the meta has been developed a bit now, but it's still in its infancy compared with normal Melee singles

The video is 90 minutes, but the section 5:12 To Be Big goes over the basic changes in Giant Melee and some of their implications. I've copied over the transcription for that part below if you'd prefer to just read/skim:

So what does it mean to become big? [...] According to Smash Wiki, in Melee, Giant characters are 1.7 times larger in size and 1.6 times heavier—their attacks, however, are 1.2 times stronger Giant characters also take less knockback from attacks, although they will still be put in hit stun by strong moves Movement for giant characters is for the most part adjusted in proportion to character size

Characters who jump while giant will all land after the same amount of frames as if they were at their regular size—this is in part because Giant characters also have increased fall speeds

The changes that come to a character when they become giant are not all positive, however. While some moves are scaled around characters' increased sizes, recovery moves for the most part are not In Giant Melee, Giant characters will also suffer from increased Jump Squat—the time spent waiting before leaving the ground when executing a jump—and they also suffer from increased Landing Lag—the time spent while landing on the ground when a player is not yet actionable With the power of attack scaled up at a lower percentage than character's weight, and with fall speeds also increased in this mode, New Jersey players soon found that some of the fundamental assumptions between many matchups simply no longer applied in Giant Melee.

most obviously these implications would be seen in the way Giant Melee impacted characters combo games [DarkGenex:] I think pipsqueak made a tweet about it where it was like, everyone just has an Armada-level punish game in Giant Melee

So how do all these mechanic alter Melee's metagame when you put them all together? Well according to Giant Melee Understander ycz, a high-level Melee Samus player who I consulted for this section, 1. Giant Melee's higher fall speeds and lower knockback makes floaties easier to combo, fast-fallers easier to gimp [kill early], and moves that kill off the top generally worse 2. Longer Jump Squat and Landing Lag nerfs characters that have to jump and land a lot, but it buffs characters that can either stay grounded, or stay in the air 3. Finally, stages are smaller relative to character size, and platforms and recovery play very differently

Put all of these aspects together and you find that all of them benefit A Single Character: [Miffee, Giant Melee Understander:] A lot the thing about giant melee is people ask “who's good in Giant Melee” and my answer I like to give is, “whoever you think it is”....and then it's like “Peach?” Yeah, it's Peach. Peach yeah

(if you watch the rest of the video though, this isn't as totally Peach-dominated as it sounds!)

#smash bros #melee #giant melee #my uploads #my uploads (jank)#Youtube

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nicofan57 · 9 months ago

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i wanted to talk about this clip so here’s my thoughts on it and the entire situation from yesterday (rest is under the cut)

(transcript:

minute: oh but why wemmbu, why, we- clown you and i were against him before, why-

clown: i didn’t like it either, okay, let me- you know why-

minute: ill tell you better- ill tell you better than anyone he’s just gonna use you and spit you out whenever it’s convenient. or whenever you’re no longer convenient for him. i know it better than anyone!

clown: i think we can handle wemmbu.

minute: he can't die!

clown: oh but he could drop- (?)

minute: he's just gonna sit tens of thousands of blocks out and wait for everyone to kill each other until he's the last one. i know this better than anyone! why didn't you talk to me?)

so first let’s dissect this clip. minute saying "i know this better than anyone" brings me back to kings s1 . they worked together to take down the other team that had the mythics and when wemmbu finally got a hold of the lifestealer (i can’t remember the exact details.. time for a rewatch) he threw minute out, saying there could only be one king. which sucks more when you think about at the start of the server, minute was open to teaming with wemmbu because he genuinely thought they were friends like he was not seeing that coming. someone warned him wemmbu is not trustworthy and he went “wemmbus my boy he wouldnt do that" (or something along those lines). and it’s like. well he did end up doing that. and minute realized he was being used all along.

fast forward to foundation when wemmbu literally said something along the lines of (again, sorry this might not be accurate) he’d team with minute because

- minute is powerful

- he has gear sets

- he would give him stuff

and most of all because he’s too kind for his own good. he wants peace even with his enemies, which we all know from the current arc right now. and wemmbu knows that all too well he knows he wouldnt refuse siding with him even considering their history on kings. anyway we all know how the abyss arc turned out for them with the orbital

so here is this clip i posted a while ago (linked here, because i cant put more than one video in a post apparently) where minute talks about how wemmbu's betrayed him a million times and how he says it hurts but he moves past it (this guy....) well clearly he’s not going to move past it now. because behind his back wemmbu has been working with zam, the person trying to break him mentally, and wemmbu’s stolen his position of power and is going to undo everything he’s worked towards. and the worst part about it is that he even convinced minutes teammates from day one to vote for him.

it’s pretty clear that wemmbu knows minute more and is able to get to him better than zam, he knows how to get into his head, he knows what actually fucks minute up, and no offense to zam because zam did end up winning… he achieved his goal by employing wemmbu! but i noticed minute isnt worried about zam that much anymore, or any of the players at all. it’s wemmbu because he knows what wemmbu can do and he knows how fucked up the server is going to be under his presidency. worst of all he knows what’s going to happen to his friends, he’s been in their shoes before, he knows they’re going to be left for dead when all is said and done, and even though they betrayed him and voted for wemmbu he still wants to save them because he knows it all too well (i think he also did say this). he still has some good left in him, even after the betrayal.

though the players are using wemmbu's presidency term to get what they want, it’s always going to end up being minute against wemmbu, it’s a cycle that ive noticed keeps repeating lately . thank you all forcoming to my ted talk

(p.s. i copied and pasted this from my twitter thread sorry if theres any weird formatting. or typos. or bad english pleabse be nice to me smiles)

#zam dont look #lifesteal spoilers #minutetech #wemmbu #tanya yaps #long post!!!! long post!!!!#my friends convinced me to put this here c:#lifesteal smp

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vampylily · 1 year ago

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Transcription of Fall Out Boy's interview with Rock Sound

Since I was going to read the article anyways, I thought I'd transcribe in case it'll be more accessible to read for others. The interview with Pete and Patrick goes in depth on the topics of tourdust, evolving as a band, So Much (For) Stardust, working with Neal Avron, and more.

Thank you to @nomaptomyowntreasure who kindly shared the photos of the article! Their post is linked here.

PDF link here. (more readable format & font size)

article in text below (and warning for long post.)

Rock Sound Issue #300

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH, CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER.

WORDS: James Wilson-Taylor

PHOTOS: Elliott Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We've been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There's a new energy to it. There was something that I could hear live that I couldn't hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren't a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era.

PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there.

PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that's probably the one I would listen to. But I just never wanted it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally. I think that’s fucking awesome.

PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly.

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this,’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band.

PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout the record where you got these little inklings of who the band really was. We really explored that on ‘From Under the Cork Tree’’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t playing on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the tour of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’. I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal.

PETE: It’s a little bit like when you return to your parents’ house for the holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy.

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From the Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and I want to keep shaping and changing.

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from “Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it one such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And going that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day.

PETE: There's irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s almost no secret that the sound you became most known for in the md-2000s is having something of a commercial revival right now But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it.

PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing.

PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you realise that the fans over there are real fans of music It’s really awesome and pretty beautiful.

PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour…

PETE: This is why me and Patrick work so well together (laughs).

PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UL, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home.

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen

#fall out boy #fob #tourdust #pete wentz #patrick stump #fob interview #so much for stardust #smfs era #your unemployed friend at 2pm on a monday:#anyways. hope this is helpful i loved the interview!

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