#man just imagine desmond going through a similar shit

[teecupangel]

*gets through the fireplace* Bonjour! Desmond in the Uncharted games! Because I find it funny if he would meet Nathan, thanks to them having the same VA. Adios! *uses the smoke bomb and runs*

So, for this one, we’re going for the Uncharted series is part of the AC series because plot bunny just hit me right at the face.

And yes.

Nathan Drake is absolutely a descendant of the Auditore-Kenway line. (Spoilers to the Uncharted series), it’s heavily implied Nate isn’t really related to Francis Drake and we’ll make use of that setup.

The church Nate grew up in was actually a front of the Brotherhood. His family doesn’t have ties with the Brotherhood, not really, but Sam did learn of the Brotherhood during his stay in the orphanage and is recruited.

Now, Sam isn’t exactly loyal to the Creed. More often than not, he was more in it to get the skills necessary to survive. He kept it a secret from Nate though because he didn’t want him dealing with anything related to the Templars and the Assassins. To keep Nate away from the Templars and the Assassins, Sam tells Nate that they’re last name is Drake.

Samuel Morgan was an Assassin.

Sam Drake was Nathan Drake’s older brother.

So things happened…

Nate meets Sully while Sam was in prison (an undercover mission for the Brotherhood).

Later on, Nate joins Sam in adventuring but Sam keeps any thing connected to the Assassins and the Brotherhood away from Nate.

Sam is an Assassin who is only known by very few other Assassins but Nate has some inkling that something fishy was going on, he just wasn’t sure what it was.

There were specific artifacts that Sam wanted and was okay parting with more lucrative stuff just to get it.

But then…

They teamed up with Rafe…

Sam supposedly died…

Even in the eyes of the Brotherhood.

And that is how Samuel Morgan died and Sam Drake survived the Great Purge that would happen two years from his apparent death.

.

So we have different points in Uncharted that we can catapult Desmond to.

2008 – A 21 year old Desmond is employed by Elena Fisher as her cameraman as they join Nathan Drake in finding Francis Drake’s coffin. This ends with them being part of the whole quest for El Dorado (the corpse of which is an Isu that contracted some kind of deadly virus that is severely dangerous to humans but Desmond and Nate have immunity due to their Isu genes). In this one, Nate actually acts more like an older big brother to Desmond and Elena joked about how they sound a lot alike.

2010 – A 23 year old Desmond gets roped into Chloe and Harry’s plan with Nate because he’s been fired from Bad Weather due to an altercation and has been sidelining as a thief using the training he received from the Farm. He also may or may not have had a fling with Harry Flynn (according to Chloe) and Nate is absolutely questioning Desmond’s taste.

2012 – Desmond escaped Abstergo before the Assassins got him and he is absolutely suffering from Altaïr’s Bleeding Effect. It’s by chance that he is in Yemen at the same time Nate and Sully are there to meet up with Elena. Maybe you can even add in that Desmond used to be Elena’s cameraman for a bit. Anyway, he joins the group because he feels like he knows the Atlantis of Sands that they are looking for. To be more exact… his Bleed of Altaïr knows of it.

2015 – Desmond survived the Solar Flare and has been working for the Brotherhood. He’s tasked with looking into a man named Sam Drake because he sounded a lot like the late Samuel Morgan and they needed to check if he is (1) alive and (2) faked his own death because he was a Templar mole like Daniel Cross. He gets roped into the search of Avery’s treasure and ends up Bleeding as Edward more than once because Edward knows a bit about this supposed treasure.

.

And, just to be clear, Nate does not have the exact same ancestors as Desmond. He’s Haytham Kenway’s descendant from a fling he had in England so they have the same ancestors from the Auditore-Kenway line until Haytham Kenway.

[shortpirateking]

So uh-

Assassin Creed x Stanley parable swap?

More likely than you think!

I truly can't help but find quite a few similarities with Stanley and Desmond- as well as a certain overlooked employee turned timekeeper and Clay(subject 16). I couldn't just NOT doodle a swap.

Also enjoy a silly comic of Desmond after being isekaid into the parable as Stanley. (And a few little headcanons afterwards)

So bonus little headcanons/ideas for this very very silly crossover/switch.

Desmond and Clay are thrown into the parable during the events of Revelations (most likely by some shenanigans involving the black room and code leftover from the original Isu device they based the animus upon... but instead of being *transported* there as themselves, they end up swapping identities with two certain employees... as such, everyone in their universes see them *as* those characters.

- the parable in this Au would most likely be some isu prototype to see if they could create an ai that was all powerful but also very human (possibly simulate what may happen if humans gained free will?). Going by this, the Narrator would be the sentient Ai meant to run the parable over and over again.. but before the Isu could end it, they were all near completely wiped out and leaving the Narrator to constantly run his parable again...and again...and again.

The Nareator is no longer aware that was his original purpose- having been so long ago. As such he is fully sentient even *if* he doesn't actually have a form(a headcanon I have for my actual Narrator).

Stanley, as well as all the other employees, were humans whose minds were uploaded to the parable.

Desmond has a hard time getting used to the Narrator - and unlike Stanley, he isn't afraid to call him out on it (also freak him out with 'Stanley's' sudden Parkour abilities)... but will often just follow alone until he and Clay cam figure out how to get back to their 'real' world...

Clay however... well, let's just say he absolutely *enjoys* messing with the narrator as the new timekeeper. In his life he was a hacker, and months in the blackroom made that even *easier*. So imagine a man with too much time on his hands finally able to something in retaliation for all the shit he went through.

Poor Narrator is the punching bag given he is a creation of the Isu and reminds Clay way too much of Juno sometimes.

(I'm planning on doing one for Stanley and employee 432 as well- but I need to work on my Stanley design and actually make one for 432)

[falcongumba]

Nick Grinder

Photo by Desmond White

Nick Grinder is a Trombonist and composer living in NYC by way of the Bay Area. In this first installment of the blog I wanted to interview someone that I know well, I met Nick in my first year of college back in 2009, we were roommates for three out of four years of school and I’ve played with him more times than I can remember, he’s also one of my best friends and an important peer in the community. So I didn’t have to do much research to feel prepared for this interview. 

Since moving to NYC, Nick has managed to maintain a busy schedule as a freelance trombonist and participate in an ever-growing list of ensembles, secure positions in Broadway orchestras, play in recording sessions. Most recently, he has started to get some notice for his own work: His most recent album, Farallon (in which I play guitar), has been very well received. 

I wanted to get some insight into Nick’s professional development in the last few years as well as into his creative process. 

JT: So Farallon has been well received, I know it was a lot of work for you over a few years to get it done. How does it feel now that you are on the other side and the outcome has been mostly positive? 

NG: It feels good. I was really happy with how everyone interpreted the music, and the studio experience was really relaxed and natural. Just the sound Chris at Big Orange Sheep (studio in Brooklyn) got was really beautiful, and sort of was a perfect match for the music if that makes sense. In a way, it almost informed how we played over those two days, and I think vice versa. I didn’t go into the album as being a motive piece on The Farallon islands, it was really just a collection of tunes I had written over the years that made the cut, so to speak. It feels good to have moved on from that music, as I think it will free me up to write more in the present. I think if we don’t have markers, it’s hard to move on as an artist. I find myself writing the same tune over and over if I don’t record or perform enough to get it out of my system.

JT: That makes sense, so in that regard, how do you see Farallon in contrast to Ten Minutes (Nick’s first release)? Do you see it as an expansion on stuff you were working on back then or a departure from it? 

NG: I think it’s....an evolution, and in a way, I think Farallon is much less compositionally complex, but a bit more cohesive. I thought back on Ten Minutes the other day, and how some of the tunes were actually pretty good, and more in the “jazz” idiom, whatever that means nowadays. Sometimes I feel that writing harmony can box in creativity in a way, partially because pianistic interpretations can harken back to so much other music. I feel harmonically, Ten Minutes was a bit more complex than Farallon, but Farallon is more open. Part of that was you, Juan, and the fact that the guitar is such a different instrument than piano and doesn’t dominate the texture as much. So, to answer your question...I think it’s an extension and evolution. For the next one, it would be nice to really change things up. We’ll see. I try not to have a directive like that when I create, or at least not listen to it so much. It can be a good spark to start writing, but once things flow, you have to follow that.

JT: Yeah that’s definitely true. I’m really envious of how pianists have this power of making everything sound fully orchestrated and just make so much color with harmony. But lately, I think that what I like about playing the guitar is sort of embracing that it won’t make everything sound as full as a piano but that in a lot of other ways it can kinda expand the scope of the music by just filling a variety of roles

NG: Yeah, I think it’s one of the real positives of guitar, and in a way, I’d imagine that while that is a bit more limiting, there’s probably more musical freedom in that. Kind of an interesting catch-22 maybe?

JT: Well your limitations are as much a part of what you end up making as your abilities, even if you play the piano.

I know you’ve always played the piano is this still the main way you write music? Can you tell me a bit about how that process works for you? I’ve played a lot of your tunes over the years but I’ve never actually seen how you compose. 

NG: Right, I don’t mean anything I’ve said as a dig on piano or piano players -  it’s just interesting as a concept as you said - too much freedom of choice can sometimes box one in. 

I write music any way that works....at the piano, at the trombone, or just with paper or Sibelius. Usually, I try to write harmonically complex music at the piano, just to hear and expand on what I’m hearing in that way, but that can sometimes be limited by my piano playing, and tendencies my piano playing has. I wrote the tune Farallon completely at the piano, and actually think it works better without any horns. My ear isn’t fantastic, so usually what I write on paper ends up being rhythmic ideas that I sus out on the horn or the piano. Sometimes I sing ideas into my phone on the train. Writing with Sibelius can be nice because you can hear what you write immediately, but the danger of that is you start writing for the computer - what sounds good on a machine might not sound good with people and vice versa.

I’ve definitely thought that something I wrote with Sibelius was the hippest shit ever, and after hearing people play it I realized something was missing, and I think it was sort of a casualty of that process.

JT: I understand that completely. It can be very convenient but that’s totally a risk of it. How do you think your own compositions have impacted your playing? Do you see these two things as being related? Are you writing to maybe expand what you can play on the horn or your horn playing is evolving because of what you write?

NG: I’d like to think it’s both. One of the things about writing outside of your instrument is that you have to learn what you wrote, which was the case for 5 Steps and some of the other note-y heads I’ve written. Rarely do I do those on the trombone. That head specifically was really hard for me to learn and ended up being a great thing to practice. I definitely remember writing harmony that I felt comfortable with improvising over, but it’s something I don’t consciously do often because I don’t feel I have a ton of skills in that arena I can showcase. Farallon, for example, is really difficult to improvise on, at least for me.  I really try to let the song do its thing when I’m writing it, and not impose my own will on it too much.

JT: That’s interesting, and it makes sense to me. One of the things that I love about the album is that it doesn’t seem like you wrote the music with the intent to “showcase” the trombone, or actually anyone else. That’s really mature and I don’t think you made a conscious effort to do that, am I wrong? 

NG: Thanks. That wasn’t intentional, but that also might have something to do with my relative lack of skills like that on the instrument...

JT: Oh Come on (laughs) You do make a living playing the Trombone…

NG: Ha, but the skills needed for that are different than the virtuosic stuff so many people are doing!

JT: Ok so that makes me wonder, how are you structuring your instrumental practice? what are some of the things you are going after in your playing? I know that it must be a difficult balance to find with all the different things that you have to do

NG: I’m thinking really broadly about my sound and when I attack the note and how clear that is - lining up my best sound with an attack that is in time, and clear. I do a lot of work relating to that with a metronome and tuner, and kind of just start from square one every day. Breathing, buzzing, long tones, slurs, those all help with that “prime directive” I have about time and attack.  There’s a lot of that sort of work needed with the trombone, at least I find that it helps. I am though, always trying to find ways to make that sort of maintenance musical - sometimes I start the day just improvising, really trying to feel what my chops require to be in a good place, to have that immediacy. Sometimes those are my best days on the horn. 

I need about 45 minutes to an hour to feel good for the day, and if I’m getting a good session in, I can do about 3-4 hours before I really need a break. A lot of that is exercises, scales, and patterns with a metronome and drone, and then improvising. I’ll take a tune or a set of changes through a few different keys and tempos, then work on Rochut or Bach. By then it will be about 3 hours, especially considering that I do a lot of similar exercises on bass trombone as well.

JT: The trombone is an instrument (just like any brass) that without that sense of keeping up with a regime of calisthenics your sort of starting baseline for just being able to play kinda goes away no? I remember a while back we were hanging with a saxophone player friend of ours and he was talking about all this advanced stuff he was working on, and you saying "I'm just trying to play in time man!" haha. I guess where I'm going with this is that in a way to me there's something really great and beautiful about that challenge of being confronted with the basics constantly, but I wonder if that's exhausting or mentally taxing for you and you wanna be working on some other stuff?

NG: Yeah, it absolutely is humbling and can be frustrating at times. And I think it was playing in tune! But playing in tune and in time is so challenging. When I came to New York I realized how dialed in older more experienced people was with just the “basics,” and how particular that sort of thing can be. I had a recording session a few months ago with some heavy people, I had no business being there really, and it happened to start at 7 am on a Sunday! From the first notes, the band of 18 people was just locked in. There was no question as to where time and pitch was, and I thought I was sticking out like a sore thumb. This was very “easy” music, but to play it at such a high level was really challenging. That instance is sort of a micro chasm for my attitude towards practicing. I sometimes go too far with “basics” stuff and feel I should be pushing myself more, at times, but the bread and butter of what I do I feel lay with that stuff.

JT: I understand that and, as an observer, I think that your work ethic in that regard is precisely why you’ve been finding yourself in so-called “places you have no business being in” more and more. I think that people know that you will take those things seriously even if you think that in some ways you are falling short. After all, we all want the music to sound great but finding people who are gonna take your project seriously and work at it is as important as finding someone who can play the music.

NG: I totally agree with what you’ve said. I think there’s a lot of luck and knowing when to talk and when not to talk. The whole thing about “not being an asshole” is really prescient! I remember talking to a really great musician about finding the right band, and he said it was so much more about finding that fit and people who care about your music than things like fame, etc. The more comfortable you are the better the music will sound. That’s what was so nice about being in the studio with you guys - it was really comfortable and while we got a ton done, it didn’t feel taxing because it was so relaxed and efficient.

JT: Same here. I wanted to ask you how you are managing all the different things you have to do these days? On top of being a busy freelancer, you have a pretty steady schedule on Broadway now. (The Broadway show Nick was playing, “Beautiful,” has since closed.)

NG: I’m trying to figure it out, but mostly still flying by the seat of my pants. The show has finally given a bit of financial stability, which is almost unheard of for freelance musician types, so I’m trying to capitalize on that to have designated creative time. I have managed to write a bit more since I got the show, and I have also been taking days off just to go hear music, which was something I was always felt too burnt out to do.  I still do everything I can to put creatively fulfilling gigs at the front and center, and I’m hoping that the show can actually help with that.  If I can get through every day having practiced, and through each week doing some creative listening/writing, I’ll be in a good place. That’s the goal for now with a lot of room for expansion.

JT: What are some of your goals for this next phase after this album? I know that you have some new music for a quartet that played recently

NG: I actually had a gig with interesting instrumentation shortly after we recorded the album - violin, flute, and trombone with rhythm section. I want to write some music for that group, and really get some orchestrations happening that highlight the “softer” iterations of the trombone, especially with mutes. There are so many different colors and textures one can get with mutes and other instruments.

And yes, we had a gig with a new quartet. That was a lot of fun. I might want to add a piano to that at some point, I’ve been hearing that for my next thing.

JT: That's great and I look forward to hearing all those projects. I think we did it! Unless you wanna add anything. But, I just wanted to say that it has been really great to see you grow and thrive over the years cause at this point you are one of the very few people I have around that I really came up with, very proud and happy for you!

NG: Man, thank you! I hope you know you have been a huge driver of creativity for me and an enormously positive influence on my music-making ever since we met. I think you’ve been like that for most people you’ve known who are musicians! So thank you for that. I admire your commitment to your sound and how you are always creating. It really is inspiring. 

There is one thing I’d like to add: The jazz world is very small, but even amongst its size, I worry we aren’t realizing how expensive it is to record and promote music, and how that can kind of skew who gets to make music and have it recognized. My relative success in the commercial field of music (and my willingness to accept massive amounts of credit card debt) really made the album a reality. So many truly amazing musicians and composers aren’t in that position, and their work really deserves to be heard. 

Releasing music is a massive amount of sacrifice and work no matter how much money you have, but I think it would behoove the art form and especially the gatekeepers of “fame/recognition” to consider even those recordings not on a label, not with a “big name” sideman and not in CD form. It’s understandable that there’s a ton of music to wade through, but there are stories that deserve to be heard and promoted that under the current model fall by the wayside. 

Ok, rant over. Thank you Juan!

JT: Yes!!! Amen and thank you. Love ya 

You can learn more about Nick on his website: https://www.nickgrinder.com/

Both of Nick’s releases are available in his Bandcamp page: https://nickgrinder.bandcamp.com/ 

[whatmoredoyouwant]

I was tagged by @laufire (okay like, not really, but it said whoever wants to do it! lol)

Rules: choose any three fandoms (in random order) and answer the questions, then tag some friends

Fandoms:

The 100

Grey’s Anatomy

Lost

The First Character You Loved:

Oh wow. Hard one. Hmm...it’s especially hard cause I just rewatched the whole show, so my “first impressions” are a little skewed. I don’t know if it’s more Octavia Blake or Clarke Griffin tbh. I’m like horribly in love with Eliza Taylor, so that’s a big factor, but Octavia’s character is so dynamic and fun. I loved her from that first, “We’re back, bitches!”

This is even harder because the characters have changed so much! I think it would have to be Cristina Yang, even though she’s not in the show anymore. I miss her so much!

100% without a doubt, Charlie Pace. When I watched the show when I was younger, when it was still on TV, I bawled my friggin’ eyes out every near-death and then his eventual death. It’s funny because now I don’t like him nearly as much.

The Character You Never Expected To Love So Much:

Just based on how she was first introduced, Lexa kom Trikru. We get introduced to this badass warrior Commander, twirling a knife and ordering the deaths of Skaikru for burning her warriors, and she turns out to be the biggest gay softie in the world.

A L E X K A R E V. Holy shit, dude. If you told me that Alex Karev would be one of my favourite characters of all time during the first few seasons, I would have laughed. He’s such an asshole, he doesn’t care about anyone, he’s all about machismo and sleeping with the ladies. And then all of a sudden he does this 180 and the whole macho tough guy is just an act, and he’s just this SWEET SOFT TEDDY BEAR UNDERNEATH.

It’s actually crazy how much of a Sun-Hwa Kwon stan I became after rewatching. She’s just such a fucking badass??? Like, nothing gets her down. And the people that disagree with me that Sun is a Slytherin are just WRONG. Like, the woman learns an entirely different language to get away from her murderous, tyrannical father and arguably abusive husband, and plans to just disappear off into a different country. And then, in the flash forwards, she BUYS OUT HER FATHER’S COMPANY? Slytherin. SUCH a Slytherin.

The Character You Relate To The Most:

Hmm...it’s hard to relate to characters in a post-apocalyptic setting, to be honest, cause I just don’t deal with their issues lol. I feel like I would have to say Clarke Griffin, if only for the fact that she’s a headstrong, stubborn bisexual who tries her best to do the right thing, even if sometimes she’s wrong. That’s the closest similarity I can draw from the characters.

Hands down, Cristina Yang. The commitment issues, the aversion to having a baby, the total 100% dedication and obsession with her job and working? Oh, please, I AM Cristina Yang.

Let’s see, Kate’s a runaway, Claire’s pregnant, Shannon’s a rich kid, Sun is too, I don’t know that I can necessarily relate to any of the women. And the men, like, not at all. Everyone seems to have daddy issues and I don’t have those lol. I have “mommy issues.” Does anyone have mom issues? Ooh ooh! Ana Lucia Cortez! Totally had mom issues. Again, that’s really the closest similarity that I can draw from these characters.

The Character You’d Slap:

Ooh man, so many. Thelonious Jaha, for starters. Like, why are you even here anymore? All you do is cause chaos. They should have locked him out of the bunker.

I don’t know that I’d necessarily slap him, but I really don’t like Richard Webber. He has such anger issues and I feel like he just causes unnecessary tension and drama all the time. And his and Catherine Avery’s relationship is so tumultuous and at times, borderline toxic, I’m just sick of seeing the two of them.

Haha, I feel like my first instinct is James Ford aka Sawyer, just because he’s an ass most of the time, but I love him too much. So I’m saying John Locke, because holy shit, dude, can you cause any more trouble?? Just like I said with Jaha, ALL YOU CAUSE IS CHAOS.

Three Favourite Characters (In Order Of Preference):

Raven Reyes, Clarke Griffin, and John Murphy.

Cristina Yang, Stephanie Edwards, and April Kepner

Desmond Hume, Juliet Burke, and Sun-Hwa Kwon

A Character You Liked At First But Don’t Anymore:

Jasper Jordan. This show did you so dirty, my poor child. They should have made him go up in the rocket into space with the rest of them. Can you imagine, crazy alcoholic Jasper Jordan, basically being forced into rehab and made to face his demons? Anyway, yeah, he just went a little too crazy for me, and then he just became a nuisance.

I can’t really think of a character that I liked but don’t anymore. If I had to pick someone, maybe Izzy Stevens? I think she got kind of selfish after living through her cancer death, and then she treated Alex really horribly. I was really happy when he told her he deserved more. But like, it’s honestly me nitpicking a character. I certainly don’t hate Izzy, not even close, I just have to pick SOMEONE.

I already mentioned her, but Ana Lucia Cortez was my first girl crush. When I was young, when the show first came out, I was nine years old and didn’t have any idea I was bisexual. I was IN LOVE with Ana Lucia, I was so upset when she died. Years later, when I rewatched it, it dawned on me just how much I hated her character, and I was like, “Why was she my favourite??” And my gay ass was like, “Ohhhh, it’s cause she’s hot as fuck. Got it.”

A Character You Did Not Like At First But Now Do:

They kind of already asked this? But well, I guess it’s a little bit different. For this one, I’ll say John Murphy. He was SUCH an ass, and I mean, he still is, but now he’s a little more human. And even when you watch him being an ass in the first season, you kind of understand it a little bit more now. Certain things can’t be excused, obviously, but at least they’re better explained.

Ooh, wait, another good one! I couldn’t STAND Arizona Robbins when she was introduced. My boss at the time, Ricky, I was talking to him when I first started watching it (when we were in season 12 I think) and he kept asking me to tell him when I’d met Arizona. And when I finally did, I didn’t get it at all. I was like, “Why do you like her? She’s awful??” And now I LOVE HER SO MUCH.

Benjamin Linus. God, I HATED him when I first watched the show, because obviously, he was the “big bad guy.” Now...well, he’s still a bad guy, but I appreciate his character so much more. Especially in the last few episodes! He really redeems himself.

Three OTPs: (I decided to read this as 3 OTPs for each fandom because I can) (I’m following suit, 3 OTPS per show!)

Oh man. Don’t even get me staaaaarted. Linctavia will forever be like, my most painful OTP. Followed of course, by Clexa. The third one is hard though? Honestly, I just wanted to ship Roan with someone, just cause I found him so effing hot. Any time he was on screen with someone, anyone at all, I went, “I ship it.” But realistically, like a real ship, I guess I would say Memori. Even though Emori is hard for me to like. I’m hoping she’ll be more likeable in season 5.

This is so painful. Mark Sloan/Lexie Grey, again, my most painful OTP and oh GOD, I miss them so much. Alex Karev/Meredith Grey, don’t JUDGE ME OKAY? And again, the last one is hard. I think it’s a tie between Calzona and Japril. Calzona really fell apart, and fell apart hard, whereas Japril is still kind of being hinted at? (Even though this awful Maggie/Jackson thing is being pushed now, I can’t staaaand this.) 

I was a total Sawyer/Kate shipper as opposed to Jack/Kate, and I stand by that. But on that note, Sawyer/Juliet is my I WILL GO DOWN WITH THIS SHIP ship. THEY BELONGED TOGETHER. When I was younger, I shipped the hell out of Claire and Charlie but now I kind of hate them together. And now I ship the hell out of Desmond/Charlie lol. Oh, and of course Desmond and Penny, but still, the Desmond/Charlie ship has sailed and I am the captain.

I don’t think I really have any friends on this site who would actually do this if I tagged them...so I’m just gonna say anyone who wants to do it should, just tag @sassybrowsreyes in your post!