#selling Aideen lights

[mmhberry]

sso listen you can take anything you want idc but you CANNOT take away the SEEDS IN THE PATH OF TERRA GARDEN…… NERFING THE SEEDS….. NOT THAT………. ANYTHING BUT THAT 💔

[horsegamergirl]

Updated February 12th 2025

Known Issues:

The second Star (collection) event at Aideen's Plaza is still active even if the player has already collected it before - affects all players, all platforms

Red squirrel, black squireel and white Mistfall chipmunk are deformed - affects all players, all platforms

Lisa missing during "Aideen's song at first light" for some players - affects some players, all platforms

The app version for the Ardennes can't change the mane style - affects all players, all platforms

Some players are not receiving all lore books during Soul Riding - affects all players, all platforms

Horses without a special trick may get stuck if the space bar is pressed while standing still - affects all players, desktop only

The hotkey to interact with objects in-game ("E") sometimes appears in the sky. If the player presses "E" while this prompt is visible, they are teleported back to their home stable and become stuck - affects all players, desktop only

Saddle girths are clipping through the belly on Ryume and Keima - affects all players, all platforms

--------------------

Fixed issues February 10th-16th

Resolved slight clipping with the name sign when using the Medieval stalls mesh.

The Zony display horse now correctly displays its mane and tail.

Paddock props no longer disappear when the rider gets close to the the corners of the riding hall.

Quests set in the Druid Prison in Valedale now show the correct location name in the quest log instead of “Area Unknown” or an incorrect location name.

The "Map Icons" button now responds correctly across its entire area, preventing accidental clicks on HUD buttons behind the button.

The jump speed for the Ardennes (Gen 3) and the Selle Français (Gen 3) has been adjusted to match the speed of other breeds. Previously, these breeds were slightly slower than other horses.

Fixed an issue where random broken textures were applied to some horses in the wardrobe window. Please reach out to support if it's still happening after today.

[ssojack]

magical realism in sso

okay, seriously, all i want right now is magical realism set in the star stable universe, so i wrote down a few headcanons! you can’t tell me that the various magic users of jorvik only pop out the rituals and rune wands when they’re being threatened by a giant tentacle monster, so. here we go!

mrs. holdsworth stores extra potions in organized mason jars and hangs the glittery and flourescent ones in her cottage as decoration. she IS a witch and you can’t convince me otherwise.

speaking of which, mrs. holdsworth is also the unofficial groundskeeper of moorland stables and keeps the grass lush and flowers blooming with the help of magic, even when they’re constantly being trampled by horses and their riders.

whenever she has to travel long distances, anne skips the trains and planes and simply opens dimensional portals to travel from jorvik to different parts of the world. sun circle, bitch.

lisa often volunteers at animal shelters and hospitals, where the sick patients she visits frequently make miraculous recoveries. what’s the point of being able to use the star circle if she keeps her healing powers to herself?

linda learns how to pause time for brief periods with the moon circle so she can spend more time reading, researching, and sleeping. she can’t do it under duress, but it’s convenient when there’s not enough hours of the day to work at her job and complete soul rider duties.

as she’s technically a seer, linda learns to scry and sometimes offers readings and fortune tellings to jorvegians as a novelty at festivals. she’s not as mysterious as ydris so she doesn’t get a lot of customers, but her predictions, while vague, always come true in one way or another.

one of the reasons alex has learned to love the lightning circle is because she has a built-in lighter. need some extra light? done. need to light a candle or a cigarette? you got it. want to burn random shit and commit arson? alex is your girl.

after helping out jasper with his scarecrow issue, pi starts a business selling eco-friendly moving scarecrows to farmers. the harvests in jorvik have never been so plentiful (and pi is able to use the money to fix up the swamp!).

to continue on that note, the idea of witches in sso is unfortunately so unexplored...give me witch-druid rivalries, spells vs. the powers of the four circles. give me magical markets with potions and witches’ services for sale. give me both friendly and morally ambiguous witches who, like ydris, are neutral in the keepers of aideen/dark core conflict. witches in sso!

some magic users, particularly druids, have rune tattoos! these allow for body/power/ability-altering spells to perpetually affect the person in question. they can deplete stamina and sometimes cause pandorian sickness, though, since you’re infusing your body with pandorian rune magic. i just love the idea of magical folk covered in glowing violet rune tattoos.

just imagine black magic, blood magic, demonic summoning, and possession in the sso universe...i’m all for the idea of jorvik’s magical community coexisting peacefully, but with the amount of pandorians and witches potentially living in the country, you’re going to have some chaotic magic users with dubious morals. many pandorians aren’t able to cross over to the human world, so they often have to settle for possession...and many witches will do anything for jorvik shillings.

the very existence of jorvik wild horses is so cool to picture, too. imagine you’re going on a nice walk through hollow woods and you see a fucking horse made of birch bark. there’s so much crazy shit in jorvik that even for regular humans this kind of thing is commonplace.

if anyone has any more headcanons, feel free to add them on!

[zdusk]

10-14 and 18 for Zelda ~Shadow

Thanks, Shadow!

10. Fears/phobias

Zelda is actually pretty scared of insects; they gross her out to no end. She’s also incredibly afraid of rejection from her friends and family.

11. Bad or petty habits

She throws herself headfirst into potentially dangerous situations without thinking - especially if it concerns the well being of a loved one. As a complete opposite, she has the habit of overthinking small, less trivial problems.

12. Grudges and vendettas

She will forever hate Dark Core for what happened with Justin, and will never forgive herself or them for getting him involved with the mess that is Jorvik’s darkest secret. She does try to push her disdain for Darko down a notch for the sake of her friend, Esmeralda Shadowlord.

13. What gets them flustered

Romantic gestures get Zelda terribly flustered, but she still appreciates them to no end. It’s always nice to be reminded of how much someone loves you.

14. Ingrained habits/forces of habit

She always keeps her rune wand and Aideen’s Light on her person - after carrying them around a lot in the past, it’s sort of second nature to her to take them with her whenever she goes anywhere. She also sings in the shower.

18. Things they’ll never admit

When Justin was gone, Zelda bought his jacket off of the woman who was selling it (just about refraining from asking where she got it and why exactly she was selling it) and kept it until he was rescued from Dark Core, upon which she promptly returned it to him - claiming to have “found it just lying around” one day.

[ginnyzero]

Completely Harmless Ch. 61

Completely Harmless An SSO SilverGlade Re-imagining Story (Or Fix it Fan Salt fic) By Ginny O.

When Lily and her friends wanted to buy horses and were directed to the Silverglade Manor and its myriad of problems, they didn’t expect to start a revolution. They were just a bunch a stable girls. Completely harmless. Right?

A/N: Things are only canon if I say they’re canon. Pre-Saving the Moorland Stables compliant for the most part. Posted in its entirety on my website. Posted in 2000 to 4000 word bits here. Rated T for Swearing Word Count 177,577

Chapter Sixty-One Forging a Rune Stone

Riley texted Lily that Pi was having them run around all over the swamp and the county to get the ingredients she needed for her potions. She’d text when things were complete. It might take a couple days. Apparently, Pi and Frederik had hit it off in the potions department. Much to Hayden’s grumpy disgust.

They had those couple days. It was day four of blacksmithing their new horseshoes. And Conrad had promised seven. She, Linda, and Alex focused on training and going over the plan. Lily and Alex practiced being evil in various forms until they were all laughing clutching their stomachs and trying to breathe.

On the sixth day, Riley called. “We’re ready. Meet us in the Forgotten Fields.”

They gathered in the Forgotten Fields around the huge stump that had once been a primeval tree.

The president of the Snoop Dogz leaned against a shovel. “Nothing we’ve done has made a dent,” she said.

Pi brushed down her dress. She’d forsaken the black dress she’d worn as a witch for something more colorful and in the Cape West’s new theme of “pirate” town theme. “That’s why I’m here,” she said. Reaching into the basket looped over one arm, she pulled out a glass bottle. “Behold magic. Or in this case, science,” she half smiled and shrugged. “That’s half of witchery, chemistry.”

Uncorking the bottle, she jumped up onto the stump and poured it into the middle of it quickly jumping back off.

The stump shuddered and bubbled.

A soft whump and it collapsed in on itself.

“Have at it girls, it’ll make good compost for the seeds,” Pi said.

Wielding their shovels like swords, the stable girls went after the now softened stump with a vengeance. It broke apart easily now. Crumbling into small chunks and finer granules.

Pi grinned as the stump turned into a good soil and compost mulch. “Now to stop it, pour some water on it.”

They dumped buckets of water onto the dirt to keep it from degrading anymore.

Lily dug the apple core out of her saddlebag. “Right,” she said.

Riley added a decaying fish from Cape West. And Lily put the apple core in on top of it. They covered it up and added a layer of sand. They stuck a flag in it so they’d know where it was.

“Now what? Wait?” Alex asked crossing her arms.

“Maybe not?” Lily bit her lip. “Linda do you still have those Tears of Aideen.”

Linda brightened. “Good idea!” She dug into her saddlebag and brought out the special bottle. She came over and knelt by the little mound where they’d planted the tree. She opened the bottle and one drop at a time covered the sand with the Tears of Aideen.

Lily rummaged in her pack and brought out the Sun Fragment.

Linda got up and wiped off her knees. “There,” she said.

Lily held up the Sun Fragment.

It glowed, and the rays spread out at first, then concentrated on where the apple core lay buried.

Little orbs of magic flickered. The sand moved and a tiny twig burst out of the ground. Two leaves burst out of it unfurling in the sun and it grew and grew until it was a good two feet tall with half a dozen more twigs and leaves on it.

A ring of mushrooms popped out of the ground around it.

The Sun Fragment faded.

Lily lowered her hand.

“We’ll build a fence,” the Snoop Dogz president said rapidly. “Got to protect it.”

“Right,” one of the others said. “We don’t want any stray beasts to come and nibble it up.”

“It may take years, but the Weeping Widow will have a mate again,” Linda murmured. Her eyes glowing slightly with the light of the Aideen’s power. She blinked and the light faded. Tears trickled from her eyes.

Lily and Alex hugged her.

Linda sniffled.

Pi passed the package of tissues back to her. “I hear these were originally yours.”

Linda giggled as she took them. “Thanks.”

They all stood around and looked at the tree for a while, reveling in the warm feelings it produced. This was one thing where they all knew they’d done something good.

--

After shoeing their horses with the new shoes, Tin Can sighing and prancing in place he was so happy about them, they went directly to the Stonecutter’s Vault to see Magnus Steiner.

“You have returned,” Magnus said.

“Did you think a little farrier work was going to put us off?” Lily crossed her arms.

“Hmm, you are made of sterner stuff than others of old who care not how to make what they use, only about the results.” Magnus faded in and out of view. “Before we begin, we’ll need to have the proper materials.”

“You do realize that we are on a time limit here?” Alex waved her arms. “We could have been gathering your materials while we were learning to forge.”

Magnus paid them no attention. He started reciting ingredients and Lily scrambled for her phone.

“Okay, once we return with the ingredients. Then will you tell us how to forge a keystone?” Alex asked.

“Once you start forging, you cannot stop,” Magnus said.

“Okay, essence of icenthistle,” Lily murmured. “A barrel, distillation of Red Lichen, grape wine vinegar, copper salts, and oak leaves?” She nudged Alex. “I’ll get an old barrel. We’re probably going to ruin it.”

Alex waved a hand at Magnus as they marched out. “I don’t know why he couldn’t tell us earlier. Justin is on that rig. Our friends are in Pandoria! And he doubts our dedication.”

They gathered up icenthistle and red lichen making sure to leave enough for the Icelandic horses. Then they left the Valley of the Hidden Dinosaur. The Hollow Woods was full of oak leaves.

“Maybe we should use the ancient oaks. He’s an ancient kind of guy,” Lily bit her lip.

Alex laughed. So, they gathered leaves on the east side of the river. They got an old barrel from the winery and the baroness gave them some of the wine that’d gone off into vinegar. She didn’t have a use for it. It was bad vinegar. She couldn’t even sell it. Then Bjorn had copper salts. (No one asked.)

Pi and Frederik helped them turn their icenthistles and red lichen into essences and distllations. By then, it was dark.

“I’m not going back today,” Alex shook her head. “No way. He’s creepy enough in the daytime. I’m not meeting him at night.”

Lily agreed. They stored their things in the locked tack room and agreed to meet again the next morning.

--

Magnus regarded their equipment with approval. “Mine has long grown rusted.”

They mixed the wine vinegar and the oak leaves into the barrel. The concoction turned green and bubbled. There had to be a reason. They didn’t know what it was and Magnus didn’t seem inclined to share.

“Together,” Lily said and held out her hand palm down.

Alex put her hand on top of it. “Together.”

“Two? In my day,” Magnus said.

“This isn’t your day. And we’re in this together to rescue our friends.” Lily glowered at him.

“We’re stronger together than apart. That’s the power of friendship. That’s the gift of Aideen.”

Magnus thought about it. “Very well. We shall begin.”

They placed the raw Pandorium on the pedestal in front of the tree. Alex grabbed it with the tongs.

“There’s probably some rule against forging in an inch of water,” Lily remarked idly.

Magnus gave his orders. First, they needed to get the Pandorium into proper shape. The crystal should cleave off flat on both sides.

“This would be better with a grinder.” Lily grabbed the chisel and her hammer.

Alex stood it up on its side. “This takes two people, and don’t tell me it doesn’t.”

“A grinder would overheat the Pandorium, causing it to explode,” Magnus explained.

“Did you use clamps?” Alex asked.

Magnus didn’t say anything.

“You hypocrite,” Alex muttered. “He used clamps.”

“Hold it still,” Lily said and set the chisel. She hit it hard. The crystal split off flat. She went to the other side. “You aren’t supposed to do it like this,” she sang and cleaved off the other side.

“Now stick it in the barrel of tempering acid,” Magnus said.

Alex stuck it in the barrel. It hissed.

She brought it back, the Pandorium now had a bit of a shine to it.

Lily took the tongs.

“Now, take your awl, and inscribe the runes that I shall show you,” Magnus ordered.

“We might have to switch this up,” Alex muttered.

Magnus used light to show where the rune was to go and Alex used the awl and her hammer to carefully gouge them into the crystal.

Between each rune, they had to temper it in the acid. They changed off carving to give their hands rest from the feedback vibrations.

Magnus warned them when the stone was getting too hot so they would add a few drops of the essence of icenthistle to the stone. After the last rune was set and the stone tempered, they added the last of the icenthistle to the acid to cool the stone completely. It turned the acid a pale blue.

Magnus cleared his throat. “Now you must align the energy with the runes by striking it with the hammer.

They used two set of tongs now and hit it in turns.

“Excellent, add the distillation of lichen to the acid and then temper the stone to lock the energies into place.”

They did so.

“And now, we must activate the stone by striking it to awaken it.”

“No wonder they’re so temperamental,” Lily muttered.

They struck it again.

“A perfect keystone,” Magnus breathed. “I could not have done better myself. You two are worthy of becoming apprentices.”

“Friends to rescue,” Lily reminded him.

“Maybe after,” Alex said.

“Yes, of course,” Magnus agreed.

They compared the keystones. They were slightly different shapes, but the runes were the same. They wrapped them separately.

“Thank you, Magnus,” Lily said. “It’s been an honor.”

“May Aideen’s Light guide you to victory,” Magnus said and vanished.

Lily checked her phone. “Well, that took less time and more time than I thought.” She held it out to Alex.

“Six hours and counting until we are go.” Alex held up her fist.

They bumped knuckles.

“We haven’t named this operation,” Lily observed. “It’s bad luck to not have a name.”

“Hmm,” Alex tilted her head back. “Operation Stick it to Garnok.”

Lily laughed. “Probably too literal.”

They debated names on their way out of the Valley and into Valedale.

They didn’t realize they were being observed.

--

“Alex,” Theresa scolded. “If you want to be evil, it’s all in the eyeliner. Sit still.”

“Do you know how much I hate makeup?”

“We didn’t go to all this trouble to find you and Lily the perfect evil outfits for you to not play the part and wear the makeup.” Theresa tapped her foot.

Linda laughed.

Rubbing a black paste into Nimbus’ coat, Lily rolled her eyes.

Stacy hummed an Eartha Kitt song about wanting to be evil.

Alex slumped in the chair and sighed. “It’s just not me,” she muttered.

“Alex will you stop complaining about powders and pastes and pay attention?” Linda tapped her foot. “This lip balm will break the mind control on Justin.”

“You mean I have to kiss him in front of people.”

“Or you can be sneaky and apply it to his lips another way.” Linda put a hand to her forehead.

“You’re supposed to be being evil. Evil doesn’t care about public displays of lewdness,” Tracy said as she made Alex close her eyes.

Alex grumbled.

“And then we have potions to break the enchantments on all the Dark Horses. Just pour it on them and let it soak in. It will take a good ten minutes. So, make sure you give yourself some time. Then you’ll be able to talk to them and have them follow you,” Linda continued. “We’ve got extra just in case you drop any.”

“I’m not that clumsy.”

“Alex, this isn’t about you being clumsy. Things happen.”

Lily muttered at Nimbus that you didn’t realize how much horse there was until you had to cover said horse with goo.

Nimbus whuffled.

The Master Ranger tugged her hat at them as she strode into the Manor. They waved back at her.

“This potion, Lily, will make it so that it looks like your horse is breathing smoke,” Linda said. “We packaged it differently so nothing gets mixed up. He will have to drink it. But it tastes like mint. Pi is interesting. Pi and Fredrik together are scary.”

“Well, then we can’t lose. We’ve got a reformed witch and a botanist on our side,” Lily said.

“Don’t mess with botany,” Elsa said in her flat way.

“Plants rule the earth you know. We only think we do. But you go up against mint or kudzu or berry brambles,” Theresa said.

Stacy switched songs. “When the devil is too busy…”

Lily didn’t know that one. It didn’t seem anyone else did either. They let her sing and struggled against chortles and giggles.

“And it’s so easy when you’re evil,” Stacy danced about clicking her heels. “This is the life you see, the devil tips his hat to me.”

It was such a silly song it distracted Alex from getting the makeup done on her face.

Lily stepped back from Nimbus and grimaced. Once the paste was dry she was going to have the brush the excess out. “No rolling,” she told him.

He laid his ears back and sulked.

“Lily! Your turn!” Tracy waved her makeup brushes.

Lily sighed and peeled off the gloves.

Alex peered in a mirror. “This is so not me.”

“This is evil!Alex,” Tracy said. “Evil!” She waved her hands and twirled on her toes.

“Justin better not like this, I mean, in his right mind.”

“What about his left mind?” Elsa asked and fluttered her eyelashes.

Alex glared at her.

FOR THE ACCOMPANYING IMAGES PLEASE DO NOT REMOVE MY WATERMARK AND CONTACT INFORMATION. THANK YOU. I get it. Some of you might get excited and want to see this stuff in the game, especially the clothes, tack, and pets. However, the only way I want to see this in the game is if I get paid for it. If I see it in the game and I’m not paid for it, there will be hell to pay. You think I’m salty. I’d be angry. Personally, I’m not going to send this info to SSO. If you do, leave my contact information there! Don’t give them any excuses to steal.

Now, I’ll know you haven’t read this note if you leave me comments about how ‘salty’ I am about the game and if I hate it so much I should do something else. I am doing something else. It’s called Mystic Riders MMORPG Project. Mystic Riders however is a very baby phase game. You can check out our plans on the game dev blog. (Skills, Factions, Professions, Crafting, Mini-Games, 25+ horse breeds!) If you know anyone who would be interested and has money or contacts about game making, direct them to the blog.

[londontheatre]

Nadia Clifford (Jane Eyre) NT Jane Eyre Tour 2017. Photo by BrinkhoffMögenburg

Sally Cookson’s adaptation of Charlotte Brontë’s masterpiece Jane Eyre returns to the NT’s Lyttelton Theatre from 26th September to 21st October 2017 following a critically acclaimed season at the National Theatre and a major UK tour.

2017 marks the 170th anniversary of the first publication of Jane Eyre and Charlotte Brontë’s story of the trailblazing Jane is as inspiring as ever.

This bold and dynamic production tells the story of one woman’s fight for freedom and fulfilment. From her beginnings as a destitute orphan, Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Nadia Clifford plays Jane Eyre with Tim Delap as Rochester. They are joined by Hannah Bristow (Helen Burns/Adele/Diana/Grace Poole/Abbot), Matthew Churcher (Musician), Alex Heane (Musician), Melanie Marshall (Bertha Mason), Paul Mundell (Mr Brocklehurst/Pilot/Mason), David Ridley (Musician), Evelyn Miller (Bessie/Blanche Ingram/St John) and Lynda Rooke (Mrs Reed/Mrs Fairfax). The cast is completed by Ben Cutler, Jenny Johns, Dami Olukoya, Francesca Tomlinson and Phoebe Vigor.

The production was devised by the original company, with set design by Michael Vale, costumes by Katie Sykes, lighting by Aideen Malone, music by Benji Bower, sound by Dominic Bilkey, movement by Dan Canham and dramaturgy by Mike Akers. Jane Eyre is a co-production between the National Theatre and Bristol Old Vic.

Director Sally Cookson, said about her production: ‘Adapting a novel for the stage is a challenging prospect – especially when that novel is cited as many people’s favourite of all time. It is always daunting when you’re working on a story which everyone knows so well, because you want to surprise and maybe challenge people’s expectations, without losing any of the things which make them like the story in the first place.’

‘I chose this particular title because it’s a story that I love and have enjoyed a close relationship with ever since I was intrigued, as a child, by Orson Welles’ black and white melodrama with fabulous music by Bernard Herrmann.’

[See image gallery at http://ift.tt/1FpwFUw]

  ‘I didn’t actually read the novel until I was in my early twenties and I remember thinking while I read it: ‘this is a clarion cry for equal opportunities for women, not a story about a passive female who will do anything for her hunky boss’. I was struck by how modern Jane seemed – her spirit and strong will, her peculiar and brilliant mind striving for personal freedom to be who she is, lashing out against any constraint that prevents her from being herself. She was exactly the sort of person I wanted to be.’

Sally Cookson is an Associate Artist of Bristol Old Vic, where her productions include Treasure Island and Peter Pan; and elsewhere, Boing! (Sadler’s Wells), Cinderella (St James Theatre), an adaptation of Jacqueline Wilson’s Hetty Feather (West End and UK tour), and Romeo and Juliet (Rose Theatre, Kingston). Sally’s production of Peter Pan, devised by the original Company, based on the works of JM Barrie, a co-production with the Bristol Old Vic ran in the NT’s Olivier Theatre in 2016. Her production of The Lion,The Witch and The Wardrobe will be performed at West Yorkshire Playhouse this autumn.

Nadia Clifford previously appeared at the National Theatre in Alistair McDowell’s sell-out production of Pomona.

This new stage version of Jane Eyre was originally presented in two parts at Bristol Old Vic, and then transferred to the National Theatre, re-imagined as a single performance, playing to sold out houses at the NT’s Lyttelton Theatre in 2015.

Listings information Jane Eyre National Theatre, Lyttelton Theatre Tuesday 26th September – Saturday 21st October 2017 Press night: Wednesday 27th September at 7pm

Lyttelton Theatre, National South Bank, London, SE1 9PX

Access performances: Captioned Performance Saturday 14 October at 1.30pm Audio Described Performance Saturday 21 October at 1.30pm Touch Tour at 12pm

http://ift.tt/2hOiLsD LondonTheatre1.com

[mmhberry]

there's something kinda funny how one of the main ways to farm jorvik shillings in this game now is through the path of terra, and more generally by selling lights from hollow woods

you're selling aideen's light. The Goddess Aideen offers you Her blessed light to aid you in your progress through the ancestral druidic arts. and you trade it for money.

you gather 2192418 lights, enough blinding lights to dissipate all the haunting darkness and push garnok back from whence he came. aideen looks upon you from above with pride.

but you shove the lights in your closet, as if but mere clothing

and mutter, "there's a festival very soon and i want the pretty medieval gears, i'll sell all those lights lol"

aideen save us for your chosen one is corrupted

[ginnyzero]

Completely Harmless Ch. 48

Completely Harmless An SSO SilverGlade Re-imagining Story (Or Fix it Fan Salt fic) By Ginny O.

When Lily and her friends wanted to buy horses and were directed to the Silverglade Manor and its myriad of problems, they didn’t expect to start a revolution. They were just a bunch a stable girls. Completely harmless. Right?

A/N: Things are only canon if I say they’re canon. Pre-Saving the Moorland Stables compliant for the most part. Posted in its entirety on my website. Posted in 2000 to 4000 word bits here. Rated T for Swearing Word Count 177,577

Chapter Forty-Eight The Evergray Nights of Midsummer

The Baroness declared to them that she liked the cloud light displays in her stable better than the bubbles and jelly fish. However, she seemed amused rather than annoyed, so they took it well and promised it’d be down at the end of the week.

They all went over to the opening ceremony for the Midsummer Festival. There was a huge maypole, traditional music played, there was a special shop with traditional Jorvigian dresses in all color combinations and gear to go with them. Everyone cheered as the Master Ranger from Goldcroft and Loretta lit the bonfire that was to last all week together. There was food from the Summer family spread out all over the tables, traditional Jorvigian fare including a large pot of crawfish boil.

They ran around and gathered the flowers so they could try the dream tent. No one was willing to say who’d they’d seen when they came out flushed and giggling. They fished for prize tokens at the fishing tent. (They’d have to come back every day to get them all.)

The table had a map of the South New Jorvik County and the locations where they could find the flowers for all the different wreathes they could make around the county.

There was also the schedule of the Dew Family Race Challenge.

Because there wasn’t as much to do except to visit the parties to get vials of sand and make wreathes, it felt like a much more relaxed event than Rainbow Week. It helped that there weren’t rainbows crashing everywhere and leprechauns to chase around. They were able to take their time and enjoy it more.

The artists had come back and set up more art in Fort Pinta square. It was all beach themed, of course. Tim wanted help with selling beach balls and setting out towels and collecting the dirty ones. He also needed help mixing the drinks.

One of the girls asked him why he was making them one at a time? Multiple drinks! Multiple. You didn’t shake any of them with the soda in it. You put the soda in last. Really, the drinks didn’t need shaking but if that’s how he was going to be with the ice.

But he did have streams of customers and people were tearing up on the floor under the pale yellow and green cabana to the tunes of DJ Kai. (Apparently hearing she was being broadcast around to the different parties, she and Syntax had agreed to move to a new party each day.)

People were having fun and that’s all that mattered.

They did have to take a couple hours each day in the evening to make more food for the parties. And run around and refill the snack buckets. (Loretta had definitely come through with snacks and bread, and the things for sausages and s’mores.) It was a good thing they had extra shells and crystals and beads. People wanted to make their own embellished shells rather than take the ones that were decorations. (And the lace sailboats too.) So they set up a crafting center in the Baroness’ new Pavilion and announced it on Jorvikgram.

At least they’d decorated it!

Elsa stared at the happy tourists gluing rhinestone trim onto sea shells with glue guns. “We should have predicted this.”

“We can’t think of everything,” Linn chided.

Elsa gave her a flat look.

“We can’t!”

Elsa raised her hands above her head, waved them around, and stomped away.

--

They’d invited Linda and Alex to join them on their rounds. Though there were times Alex had made some rather thin excuses.

“Just admit you’re off to run races with Justin!” Lily shouted after the retreating Alex.

Alex waved at her and flushed but didn’t respond.

“Go dance with the idiot!” Linda shouted.

The two girls laughed as Tin Can broke into a flat out run at Alex’s urging.

“They fool no one,” Lily said as the two continued to trot through New Hillcrest.

A cough interrupted them from a man standing near the bus stop. “Excuse me,” he said and coughed again.

They stopped.

He was definitely an odd looking gentleman. He wore odd dark grey robes, and carried a staff with a couple of mysterious blue stones dangling from it. His black hair was a mess and in the lines of the left side of his face there was the distinctive pink glow of pandoric energy. “I am Evergray. I’ve come from the Evermist Forest in the far north in search of the Soul Riders and a girl named Lily. Some girls told me that they’d be here today. Have you seen them?” His sentences were punctuated by coughs.

Linda and Lily looked at each other.

“Well, we are them,” Lily said.

“You just missed Alex. I’m Linda,” Linda said. “Um, we can protect ourselves.”

Evergray leaned against his stick and laughed. It devolved into a coughing fit. Squatting down his coughed until he could barely breathe.

Lily and Linda got off their horses. Linda reaching into her saddlebag, pulled out a water.

“Here, take a drink,” she held it out to him when he was breathing again.

Evergray wiped his sweating forehead on his robe. “Thank you. You’re most kind.” He took a sip.

Lily rubbed his back. “What happened to you?”

“I have Pandoria sickness. This is what happens when you spend too much time in Pandoria. Yes, I am a great explorer of Pandoria. So much it’s like a second home. I once longed to be a Soul Rider and weild magic instead of keeping it, protecting it. I studied more of the ancient secrets than any other druid before they kicked me out. And I’ve come to talk to you, tell you what the Druids may not.”

“You aren’t a druid.”

Evergray stood. “I was. They exiled me.”

“Exiled you?” Linda blinked. “For what?”

“Asking too many questions.”

“That’d do it.” Lily stood and brushed off her knees. “They don’t seem the type to like those who ask questions.” She glanced at Linda.

“She always shuts me down.” Linda shrugged.

“Ms. Sunbeam, she’d tell you not to trust me.” Evergray half smiled. “Peh.”

“If you’re exiled. You aren’t supposed to be here.” Lily gestured around. “I mean, exile is just saying ‘eh, you’re someone else’s problem now.’”

Evergray grinned and coughed again. “I have heard tales of a rebellious leader of stable girls who is causing quite a ruckus.” He touched Lily’s chest with the head of his staff.

She cocked her hip. “Have the squirrels been talking? Or the chipmunks?”

“Both. They are great gossips squirrels and chipmunks. They know I’m trustworthy to tell things that might upset the druids. They’re very loyal to you. Made me swear many oaths I wouldn’t harm you in any way.”

Lily had been being sarcastic given she didn’t quite believe the squirrels and chipmunks had enough intelligence to actually spy. But if he was being serious, she had to go along with it now. “Well, you’ve found me, now what?”

“I’d like to show you someplace,” Evergray said. “It’s where I’m going to stay, tucked out of the way, where no one would think to look for me. Would you help me there? I brought some luggage.”

Lily took Evergray and texted the rest of the club she’d met a friend and be a bit late. Linda took his luggage. He directed them through the Mirror Marsh.

He coughed. “I don’t remember it being this tidy.”

“The Bulldogz have been doing trail rides around it and cleaned up the roads. Apparently one of the delivery carts got into a wreck and Bernadette finally saw reason and let them take ropes and at least get the logs out of the road.”

Evergray grunted in approval and coughed again.

They went through the Eastern Expanse. Evergray could see the beach. “What’s going on down there?”

“More counter insurgency against G.E.D.,” Lily explained. “One of our club leaders had the idea to do a charity race event. People get sponsors, and depending on how many races they run, they get money. The money goes to the Dew family to pull them out of foreclosure so they can have their farm back.”

Evergray coughed again. “How out of hand has it gotten around here since I’ve been gone? Leave a place five minutes and it becomes a mess.”

“I don’t know how long you’ve been gone.”

“Take the dirt track above the road,” Evergray instructed and didn’t answer her question. At the top of the track overlooking the hills down to the sea was a campsite. “We can leave my luggage here,” Evergray said. “Yes. This will do nicely. But do continue onwards.”

Alex rode up over the ridge panting. “I’d just met with Justin and you said I need to be here on Soul Rider business.”

“This is Evergray, former druid,” Lily introduced the man on the back of her horse. “He’s going to show us something.”

Whickering, Starshine came over the hill too.

“Ahh, and where are the others?”

“In Pandoria, all three of them,” Alex said grimly.

Evergray nodded. “Continue along the track. You’ll know where we’re going when you see it.”

The trail twisted back and forth with trees and bushes. The rocks close in above them making it dark. They pulled out their cameras for light holding them above their heads.

The trail opened up into a huge dale in the mountains. Above them, a small crack let in light.

To either side of them were four huge statues of horses. They rode through them to where there was a set of steps and on platform in front of those steps broken off rocks of what could have been more hooves.

Evergray jumped off the back of Lily’s horse. “Have a look around,” he said. “This is Guardians Dale, a place of great significance for the Keepers of Aideen. Or should be.”

They dismounted and wandered from statue to statue trying to take them in.

“Are these supposed to be the Soul Horses, the original Starbreeds?” Linda asked snapping pictures. Each of the horses lit up with the purple pink of pandoria with designs on their sides. Designs that were the symbols of the four circles. The star horse had a horn. The one with the sun had wings. The one with lightning bolts had cloven hooves. And lastly, the one with the moon had a beard.

Starshine huffed.

“He doesn’t see the resemblance,” Linda translated.

Lily leaned back to look at the horned horse statue. “I do,” she said.

Starshine struck a pose. Clearly, he was far more handsome.

“Well, this was you back then when you didn’t have so many other horse lines influencing your bloodlines.” Lily gestured. “It’s still you.”

Starshine huffed again and tossed his flowing mane.

Lily went over to the winged horse. “So, this must be Concorde.”

Meteor nodded rapidly.

“Interesting.” She spun on her toe and returned to Evergray. “It’s certainly impressive enough.”

Evergray coughed and eyed her. “You aren’t impressed.”

Lily looked down her nose at him. “You have your reasons.” She shrugged.

“This place is a gateway to Pandoria.” Evergray gestured at the stairway going up and ending in the side of the mountain. “A gate that Aideen can use to enter the final battle with Garnok.”

“Sounds pretty definitive.”

“You need all the Soul Horses, but, as you can see, many years ago the forces of Dark Core destroyed the fifth statue, the horse of Aideen. And now this place has become forgotten, and disregarded by those who haven’t read the ancient histories or know the secrets of the Keepers of Aideen.”

“So, you’re saying it’s not completely useless,” Linda said. She adjusted her glasses and looked around. “It’s awe inspiring. Think of the history.”

“There are other ways to open gates and portals into Pandoria. I would know. I am the one who learned how to seek them out and have travelled many places, many ages, and epochs of that cursed and yet blessed place. I sought a secret so that others could travel Pandoria safely. It was almost in my grasp, but if I return to Pandoria now I would die.” His speech was again punctuated by coughing.

Alex stepped forward. “So, you’re saying if we needed to, we could use this gate to rescue Anne, Lisa, and Concorde.”

“We’d have to know where they are,” Evergray said. “And there is an artifact that the druids wouldn’t hand over to just anyone. I think I know where it is, but, I am missing some of the pieces of the puzzle.”

“Would the Pandoria Codex help?” Linda asked.

Evergray’s eyes widened. “How did?”

“I borrowed it from Fripp. We can make you a copy.” Linda shrugged.

“You would just hand it over to me,” Evergray pointed at his chest with his thumb.

Linda sucked her cheeks in. “You’re the first person who has given us any hope that we could rescue Anne, Lisa, and Concorde. They are in Pandoria and now they’re out of reach of the Weeping Widow.”

Evergray tucked his chin down. “It will be dangerous. There can be consequences. Terrible consequences for Jorvik. The fabric between Pandoria and this world is fragile and tears easily. Rescuing your friends could upset that balance of energy.”

“You came anyways. You gave us this hope.” Linda lifted her chin. “What would you do to save your friends?”

“I find I no longer have many.” Evergray scratched his chin. “If I did, I would travel to any realm they might be in to save them and die by their side if necessary.”

“Any realm?” Lily asked.

“You think Pandoria is the only realm.” Evergray coughed. “How foolish.”

Lily put a hand on his arm. “Thank you, for showing us this place. For giving us hope.”

Evergray coughed. “We still need all four Soul Horses. I only see three. It isn’t much hope.”

“It’s more than we had before,” Linda said firmly.

“Are you sure you don’t want to enjoy the party?”

“I may wander down to see the show,” Evergray said. “But I don’t want the druids to catch wind that I’m here.”

“Understandable,” Alex said and mounted Tin Can.

“We’ll get you a copy of the Pandoria Codex,” Linda added and mounted Meteor.

Lily stared at him. “Could the Star Circle help you with your sickness?”

“They wouldn’t, even if they had the power or knew how,” Evergray said.

“Maybe one day you can lead us to the point where it eluded you and we’ll figure out a cure,” Lily said. She mounted her horse. “Do you need a ride back to the camp site?”

“I’d like to meditate here if you don’t mind. It has been a long time since I’ve been on such a sacred site.”

“Evergray,” Lily paused. “Do you worship Aideen?”

Evergray coughed again. “No. Why would I?”

“I was simply curious. I know nothing of this land. Aideen may have been an extraterrestrial person, but to me, that makes her a person still. Not an infallible being. It would seem she is more like the gods of the ancient Greeks and Egyptians, rather than, say, the god of Jews and Christians.”

Evergray tilted his head.

“She can make mistakes,” Lily explained.

“You have been thinking a lot about it,” Evergray said and coughed. “I came to much the same conclusion. Aideen was a person, limited and flawed.”

“But the other druids, ones like Elizabeth, they worship her?”

“Some do, others mostly desire the knowledge that the druids possess.” Evergray shrugged. “But they are not so willing to ask questions.”

“I don’t think Moses or Abraham got as far as they did without asking questions and arguing with god,” Lily said dryly. “It was like god approved.”

Evergray eyed her. “I don’t know of these men or the god of which you speak.”

“Not really important. I don’t think I would be part of a religion or organization where asking questions isn’t allowed. Asking questions is how we learn. Babies and children ask questions and do things because they’re exploring their environment and learning. We aren’t supposed to ever stop learning. Keep asking your questions, Evergray. I’d dearly love to hear the answers one day.” Lily nudged her horse around. “If you can’t ask questions, it sounds more like a cult.”

Evergray stared after her.

“But what do I know, I’m just a stable girl, completely harmless,” Lily called over her shoulder.

Evergray coughed again and snorted.

FOR THE ACCOMPANYING IMAGES PLEASE DO NOT REMOVE MY WATERMARK AND CONTACT INFORMATION. THANK YOU. I get it. Some of you might get excited and want to see this stuff in the game, especially the clothes, tack, and pets. However, the only way I want to see this in the game is if I get paid for it. If I see it in the game and I’m not paid for it, there will be hell to pay. You think I’m salty. I’d be angry. Personally, I’m not going to send this info to SSO. If you do, leave my contact information there! Don’t give them any excuses to steal.

Now, I’ll know you haven’t read this note if you leave me comments about how ‘salty’ I am about the game and if I hate it so much I should do something else. I am doing something else. It’s called Mystic Riders MMORPG Project. Mystic Riders however is a very baby phase game. You can check out our plans on the game dev blog. (Skills, Factions, Professions, Crafting, Mini-Games, 25+ horse breeds!) If you know anyone who would be interested and has money or contacts about game making, direct them to the blog.

[ginnyzero]

Completely Harmless Ch. 14

Completely Harmless An SSO SilverGlade Re-imagining Story (Or Fix it Fan Salt fic) By Ginny O.

When Lily and her friends wanted to buy horses and were directed to the Silverglade Manor and its myriad of problems, they didn’t expect to start a revolution. They were just a bunch a stable girls. Completely harmless. Right?

A/N: Things are only canon if I say they’re canon. Pre-Saving the Moorland Stables compliant for the most part. Posted in its entirety on my website. Posted in 2000 to 4000 word bits here. Rated T for Swearing Word Count 177,577

Chapter Fourteen Anastasia in Charge

They finished the front gardens and the reflecting pool/waterfall just in time, because the next day Antonia sent Lily a frantic text that she had a meeting with Anastasia in Jorvik City at Leonardo’s with Aaron Silverglade.

Lily wasn’t sure why the tough sounding woman needed her and Pauline but if it reassured her, then Lily was willing to join the meeting. Plus, ice cream.

Anastasia made a small noise about their outfits when they arrived. But it wasn’t like they had anything better than the Silverglade Clan outfit! But she didn’t say anything else. They all ordered ice cream.

Antonia shuffled her papers. She had a pile of her recipes and suppliers along with a trial layout of the menu and some pictures of different ceramic and glassware.

Anastasia raved about the food. “Classic and flavorful, and light, perfect for a summer menu. The cardamom in the rizogallo was the perfect touch. And you say you got everything locally, my mother is so proud of the resources in the Silverglade area. You are perfect for this position.”

Antonia smiled, pleased. “Local and fresh is essentially for a quality restaurant.”

Anastasia raised her hands. “I believe I have the perfect name, darlings; The Silver Glade, Fine Mediterranean Cuisine.”

“You’re the boss,” Lily said.

Antonia nodded. “My vision for the upstairs and downstairs dining areas is modern, fresh and young,” she said and laid out her photographs. “Upstairs the most important way to convey this will be with the place settings. I’ve brought several choices.”

“Going up and down those stairs, the servers are going to want comfortable shoes,” Pauline made a face.

Lily put a finger on a photograph. “What about those? They’re sufficiently modern and the white won’t interfere with the food.” The dishes in question had white on white Greek keys done intaglio style around the edges.

“That would be the Wedgewood set,” Antonia said with a wince.

Anastasia pounced. “Wedgewood is classic. Yes, I believe that will be perfect.”

Lily and Pauline rolled their eyes at each other.

“Now, Aaron has a plan to use the birches around the property to make birch syrup. The Silver Glade itself has a lot of birches we could tap as well.” Anastasia said. “Once we get that going, we’ll want to find ways to use it in the restaurant as well as, do you have a name for your little ice cream bar yet, brother dear?”

“I’m working on it,” Aaron fidgeted.

“I’m sure we can find something to use birch syrup in, such as the drinks or the ice creams and desserts,” Antonia reassured him. “That sounds fascinating.”

Aaron smiled at her and looked at his hands.

Antonia gave Anastasia a mild glare. Aaron was trying.

“And it will be something to sell at the Farmer’s Market,” Lily said.

“Farmer’s Market,” Antonia pounced.

“Yes, um,” Lily pulled out her phone. “We have a sister club called the Summer Chipmunks based in Silverglade Village. They have claimed the four local tenant farmers, Landon is a sheep farmer, Marley does potatoes, Steve grows grains and keeps dairy cows and Barney also has crop fields such as carrots, beets, and turnips. They found an area that’s relatively centralized to put in a farmer’s market. They’ll be using the pavilion we used for the taste testing. It’s near the Golden Fields.”

“Really? That’s wonderful.”

“They’re hoping to get farmers from all over the county, like MoonRiver honey and the Sunfield’s dairy,” Pauline said. “They’re looking into finding who owns the apple orchard in Firgrove.”

“The spot is near the Golden Fields, but they can’t figure out why they’re called that. I don’t know why the Silver Fields are called that either, they’re just useless expanses of grass that rich people call lawns,” Lily drawled out.

“Buttercups?” Pauline asked with a shrug. “I don’t know.”

“Maybe it was dandelions.”

“Mrs. Holdsworth would like that and dandelions are at least useful,” Pauline tilted her head. “You can eat the flowers, the leaves are good for salads, the roots make a bitter tea and can be added to coffee, I think it was dandelions.”

“It’s probably not important,” Antonia said.

Lily texted the President of the Summer Chipmunks a message. “Oh, they looked into it, they used to be canola fields. It doesn’t seem right that the Silver Fields aren’t silver. I suppose if we must, we can do something about it ourselves.” She sent another text.

Pauline gave her an odd look.

Lily put her phone away. “How did you want to decorate?” She asked Antonia. “We have plenty of miniature roses left over for the upstairs restaurant if you want them.

“I was thinking round tables and roman style chairs? If there is such a thing. And of course, we’d want candles in the middle with flowers from the gardens. Or even table lamps we could put flowers around. I don’t want it too fussy.”

Pauline brightened. “Agnetha has had globe style lamps made for the gardens already and commissioned benches.” She pulled out her phone. “Okay, Linda has been posting pictures on her Jorvikgram and I took a bunch.” She passed the phone over. “So, similar to that?”

“Yes, yes,” Antonia looked relieved. “Maybe a bit more modern. But we could do something similar for the interior, that is, I don’t know how much your mother wants to make over for a downstairs rainy and cold day dining area.”

“Mother has given me free reign to make this a success.” Anastasia waved a hand. “Aaron, where is your computer, let’s have a better look at these pictures.”

Aaron retrieved his computer and chicken pecked in his password. He nudged it towards Pauline.

Pauline input Linda’s JorvikGram and scrolled through the pictures and the pictures were captioned with who had actually done the pieces.

“Linda believes in fair attribution for the artists,” Pauline explained. “She wants them to get more business.”

“And they will,” Anastasia said.

By the end of the session, they at the very least had some ideas for lamps, place settings and silverware. The Wedgewood sets even had flower vases.

Lily and Pauline were sent off with orders to leave at different businesses to be shipped to Silverglade. (Where Lily knew that they’d have to pick them up and bring them to the Manor.)

Anastasia also made one more request. She needed the measurements of all of the girls. She had plans it appeared. Lily and Pauline promised to get them for her.

Aaron was still dithering over what to call everything. “I’m not that inventive,” he said plaintively. The girls promised to think about it for him.

“Anastasia went the easy route,” Lily told Pauline on the name for the restaurant as they left for Aideen’s Plaza.

Pauline snorted. “You’re up to something.”

“Really?” Lily batted her eyes at Pauline.

“Why do you care so much about the Baroness’ lawn anyways,” Pauline twisted to look at her on the trolley.

Lily shrugged. “It seems like a waste. I mean, lawns are all about conspicuous consumption. They came to be because rich people had so much land and money that they could afford to have large swaths of it doing nothing. See my big tracts of grass that doesn’t grow food or flowers or feed animals. Lawns are dumb. And, the grass isn’t silver, so the name only makes sense if you know it’s the property of the Silverglade’s and, maybe I have something against grass.”

Pauline giggled.

So Pauline pretended not to notice that Lily and Iris had a furtive exchange at Iris’ shop. They placed the orders they needed with the artisans Agnetha had found. They weren’t too surprised. Rumors were rampant about things happening out around the Baroness’ Manor.

No doubt many of them were created by Anastasia herself.

They returned back to the Manor to report to the others who were washing a new set of ducks. Brittany was frantic over a black one.

“Uh, Brit, I think he’s supposed to be that color.”

Brittany held the black duck upwards, it reflected purple in the sun. “Are you sure?” She sounded panicked.

“Okay, vet time!”

They took the duck to the vet.

“It’s a Jorvegian Aubergine Black Duck,” the vet reassured her. “It’s supposed to be black.”

“Some poor fool named this duck after an eggplant,” Regina moaned.

They giggled.

Brittany cuddled the duck. “Okay, as long as he’s supposed to be this way.”

“They’re known for their deep black feathers, orchid sheen and purple bills and feet,” the vet explained.

“We have added a rather large water feature to the manor,” Regina told her.

“It may be attracting other Jorvegian duck species. The South Silver Waters also border the Baroness’ lands and many wild ducks like to swim in the shallows. Keep your eyes open for Jorvegian Purple Mallards and Jorvegian Purplebills. They’re both native wild species.” The vet said. “But don’t be surprised if others turn up if you’re making the Manor hospitable to them.”

The girls nodded.

“Thanks!” Brittany called out to her as they left, the duck safely tucked in her saddlebag.

They returned to the manor and since all the chores were done for the day, they rode around with Pauline trying to decide on races.

“I’m not sure I like this, we’ve been so busy and doing nothing is boring,” Melody said.

“Don’t say that,” Grace groaned. “You’ll jinx it.”

“Well, Antonia the Chef is going to be moving to Silverglade from New Hillcrest soon. She owns a Scooter, so she might need help moving. And well, the restaurant is going to need to be decorated and everything.”

So, they decided to poke their noses around to see what was going on with the restaurant and kitchen.

They tramped up to the roof of the manor again and spread out.

“Well, this is fine and all for a warm summer day,” Elsa observed. “But there has to be a room that we can use in the Winter. You can’t let it sit for most the year wasting money. You don’t want to lose employees!”

“It doesn’t look like it needs that much sprucing up.” Jennifer added. “If there was furniture you could start tomorrow.”

“If,” Tyra said. “There is a room downstairs for the restaurant, I think. I mean, it’s past the stairs.”

“Forward is the library,” Lily said as they went back downstairs. “That leads to the Baroness’ dining room.”

“I think her kitchen is supposed to serve both places,” Linn scratched her neck.

“That’d actually make sense,” Stacy said.

“So, it’s this door here,” Lily said and put her hand on the handle. She cracked it open. It was a big empty room. “Yeah, I think this is it.” She opened it more and they filed inside to look around.

“It isn’t very,” Abigail shrugged. “Memorable.”

Lily took pictures and sent them to Anastasia and Antonia, asking Anastasia if this was the room in question.

They checked the door leading into the house. “Okay, yeah, that’s the kitchen,” Tyra said after peeking inside. “I don’t think there is anyone there.”

“Doesn’t her butler do most the cooking?”

“Maybe she has a private chef.”

Lily put a finger to her lips, ducked inside and took more pictures for Antonia. She left without touching anything. It wasn’t a huge space. It didn’t have to be.

“Just a big empty room,” Regina bit her lip.

“What does a stylish Mediterranean Restaurant look like anyways?” Linn asked.

“That sounds like an internet search!” Elsa said.

They retreated to the library and took out their phones and searched. They showed each other different pictures.

“I think this is the closest we can do with the room,” Regina said and brandished her phone to show them pictures of the Le George restaurant at the George Four Seasons Hotel in Paris.

They did all agree. They didn’t have quite the same type of architecture, because the Le George definitely had a glass sunroom type area. So, again, Lily forwarded the pictures to Antonia and Anastasia mentioning something similar could work for the Silver Glade and that surely they could use the Roses instead of orchids.

But they didn’t want to copy it exactly.

That and if there wasn’t purple, the Baronness would be upset. Anastasia knew a decorator and informed Lily that she’d be there tomorrow with materials and that they better be available to her.

They all rolled their eyes and agreed.

“Better warn Agnetha,” Lily mumbled and went to do just that.

Then, they went for a ride in the Silver Fields. Lily passed out a bunch of seed packets from Iris for them to scatter of wild Carnations. They didn’t grow more than three to five inches high and were colored white with bits of pink on the inside or plain white.

Pauline rolled her eyes

The rest of the girls just giggled.

Lily hummed as she scattered seeds. She was sure that Agnetha would agree with her that big lawns of grass, grass, and more grass were nothing but a waste.

FOR THE ACCOMPANYING IMAGES PLEASE DO NOT REMOVE MY WATERMARK AND CONTACT INFORMATION. THANK YOU. I get it. Some of you might get excited and want to see this stuff in the game, especially the clothes, tack, and pets. However, the only way I want to see this in the game is if I get paid for it. If I see it in the game and I’m not paid for it, there will be hell to pay. You think I’m salty. I’d be angry. Personally, I’m not going to send this info to SSO. If you do, leave my contact information there! Don’t give them any excuses to steal.

Now, I’ll know you haven’t read this note if you leave me comments about how ‘salty’ I am about the game and if I hate it so much I should do something else. I am doing something else. It’s called Mystic Riders MMORPG Project. Mystic Riders however is a very baby phase game. You can check out our plans on the game dev blog. (Skills, Factions, Professions, Crafting, Mini-Games, 25+ horse breeds!) If you know anyone who would be interested and has money or contacts about game making, direct them to the blog.

[ginnyzero]

Completely Harmless Appendix 3

Appendix 3: Silverglade Winery Inspiration

This is all specifically for my story called Completely Harmless that you can find on my blog under the Completely Harmless Tag. Okay, I’m not great at drawing landscapes, however, I can make moodboards. The story will go into further detail of how everything works/looks.

I decided to stick with the Italian/Greek Mediterranean theme they started with the Manor. The Manor I changed (at least in my head) to look more like the Villa Capra, known as the “The Rotunda.” It’s a Neo-Classical house outside of Vincenza in Italy (and the irony here is Vincenza is my middle name.) It looks very similar to the manor in Game already, but grander. The wine cave I decided to go with a ancient Greek temple look like you’d find in the Valley of Temples in Sicily. The temple pictured is the Temple of Hephiatos. The other two smaller buildings are also based on different Greek temple designs. Also, an actual Birch Forest for “the Silver Glade.”

Thus, if I was going with Neo-Classical Greek/Roman for main buildings the rest had to follow suit including the stable. That means the stable no longer fits the “cookie cutter” mold. Sorry, you’ll have to use your imagination here, but I created a more “Cross shaped” style stable with a breezeway where the smaller side is the “sell stable” and the longer side is the “Player stable.” And there is a rotunda in the breezeway. The the player character inn is a bunch of small neoclassical style houses squished together.

Err... designer duck coops. Duck coops need to have large openings that they can get in and out and ducks like barrels. So, little buildings that look like tiny temples and a big round tower w/ a rotunda and metal cages that they can wander at night and be safe!

Statue ideas for the garden, a rose tunnel for the gully area and an arch inspiration for the Cliffside County overlook down to the riding arena and some ideas for statues in the garden and a bandstand. (Because if you’re going to have a big garden, you might as well have a pagoda/bandstand.)

Inspiration photos for the terrace style fountain that Agnetha wants to put in beside and in front of the Wine Cave. This is based on a fountain I believe in Austin Texas, where they have created a green space with evergreens in concrete urns basically. (Evergreens have very shallow root systems.)

The Riding Arena can remain much the same at least in size and the way it’s built. Mostly I’d “Greek” it up a bit by changing the textures to match the manor and adding a triptych over the airlock doors and columns between the windows. 

The Right of the picture is the basic idea for a large “event” style pavilion. Something that’s big and can be enclosed if necessary to hold weddings and large parties inside.

Basic ideas for how to make the jumps more winery themed. Make them green, give them flowers, have purple painted bars and spiral like horse and duck themed shapes on the sides. Make the area special.

A quick change to the main ironwork arches already in the game. With some ideas on the flowers for the urns using the new roses and some hanging planters.

Lighting ideas for the area, using globe lamps instead of Victorian shaped lamps to keep on theme. Having a horse on the base of the lamp and roses growing on it. Single and double armed sconce style lamps. The lamps could be hung downwards on chains or created on groupings for tables.

Ideas for the Race track. Having a huge more modern interpretation of Neo-Classical for the entrance, and allowing for a inside/outside restaurant and ticket area. Classic female column statues that could be Aideen and former Moon Riders. Covered seating areas along the raceway and a curved column section for the ends of the track.

The upper left pool shape can give you the idea of how the buildings might be arranged around the track. Then the upper right is some ideas for chairs and benches for the gardens, the bottom left are more bandstands how seating could work for the racetrack and decorating the columns and roofs with flowers and the bottom right is ideas for the fences so they’re sturdy and pretty with greek motifs and folk painted flowers.

And lots of different purple and white flowers and decorative grasses for the gardens, including a large selection of roses from ground shrubs to climbers.

Anyways, I wish I could draw better, but I hope these mood board style images can give you an idea of the “brand” I’m trying to convey for Silverglade.

FOR THE ACCOMPANYING IMAGES PLEASE DO NOT REMOVE MY WATERMARK AND CONTACT INFORMATION. THANK YOU. I get it. Some of you might get excited and want to see this stuff in the game, especially the clothes, tack, and pets. However, the only way I want to see this in the game is if I get paid for it. If I see it in the game and I’m not paid for it, there will be hell to pay. You think I’m salty. I’d be angry. Personally, I’m not going to send this info to SSO. If you do, leave my contact information there! Don’t give them any excuses to steal.

Now, I’ll know you haven’t read this note if you leave me comments about how ‘salty’ I am about the game and if I hate it so much I should do something else. I am doing something else. It’s called Mystic Riders MMORPG Project. Mystic Riders however is a very baby phase game. You can check out our plans on the game dev blog. (Skills, Factions, Professions, Crafting, Mini-Games, 25+ horse breeds!) If you know anyone who would be interested and has money or contacts about game making, direct them to the blog.

[londontheatre]

Tickets go on sale for Network, with Bryan Cranston making his UK stage debut

John Tiffany directs Pinocchio, with half-price tickets available for under-18s

Casting announced for world premieres of Pinocchio, Saint George and the Dragon and Beginning

Tony Award-winning play Oslo opens in the Lyttelton

Following its current sold out run Barber Shop Chronicles returns to the Dorfman in November

Five new NT Live broadcasts in 700 venues across the UK and 60 countries around the world

Download the pdf

NT entrance Feb 2015 photo by Philip Vile

OLIVIER THEATRE FOLLIES book by James Goldman music and lyrics by Stephen Sondheim Previews from 22 August, press night 6 September, continuing in the repertoire until 3 January 2018

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong (Christine Donovan), Norma Atallah (Emily Whitman), Josephine Barstow (Heidi Schiller), Jeremy Batt (Chorus Boy) Tracie Bennett (Carlotta Campion), Di Botcher (Hattie Walker), Billy Boyle (Theodore Whitman), Janie Dee (Phyllis Rogers Stone), Anouska Eaton (Young Emily), Liz Ewing (Company), Geraldine Fitzgerald (Solange LaFitte), Peter Forbes (Buddy Plummer), Emily Goodenough (Showgirl), Bruce Graham (Roscoe), Adrian Grove (Sam Deems), Fred Haig (Young Buddy), Aimee Hodnett (Young Hattie), Dawn Hope (Stella Deems), Liz Izen (DeeDee West), Alison Langer (Young Heidi), Emily Langham (Young Carlotta), Sarah-Marie Maxwell (Young Solange), Ian McLarnon (Company), Leisha Mollyneaux (Young Stella), Gemma Page (Sandra Crane), Kate Parr (Young Sandra), Philip Quast (Ben Stone), Edwin Ray (Chorus Boy), Gary Raymond (Dimitri Weismann), Adam Rhys-Charles (Young Ben), Jordan Shaw (Kevin), Imelda Staunton (Sally Durant Plummer), Zizi Strallen (Young Phyllis), Barnaby Thompson (Chorus Boy), Christine Tucker (Young DeeDee), Michael Vinsen (Chorus Boy) and Alex Young (Young Sally). Design by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Supported by the Follies production syndicate.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey Previews from 4 October, press night 11 October, continuing in the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George; the cast also includes Paul Brennen, Richard Goulding, Tamzin Griffin, Conor Neaves, Amaka Okafor, Daniel Ryan and Grace Saif.

Making his National Theatre debut, Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January. On sale up to 17 February, further dates to be announced Following a sell-out run last year, Amadeus returns to the Olivier in 2018.

Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God.

Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Further casting to be announced.

Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, and supported by the Amadeus production syndicate.

LYTTELTON THEATRE QUEER THEATRE: LGBT+ STORIES & SOCIAL CHANGE In partnership with Pride in London To mark 50 years since the partial decriminalisation of homosexuality in England and Wales, the NT looks at how theatre has charted the LGBT+ experience. Events include a debate on LGBT+ rights, talks on Queer Stages, Trans Culture and Drag as an Art Form, and film screenings of Paris was a Woman, Bette Bourne: It Goes with the Shoes and Tangerine. The series features rehearsed readings in the Lyttelton Theatre with full casting to be announced. Post show talks will follow each of the readings.

Neaptide by Sarah Daniels, directed by Sarah Frankcom | Thu 6 July, 7.30pm Wig Out! written and directed by Tarell Alvin McCraney | Fri 7 July, 7.30pm Certain Young Men written and directed by Peter Gill | Sat 8 July, 7.30pm Bent by Martin Sherman, directed by Stephen Daldry | Sun 9 July, 2.30pm The Drag by Mae West, directed by Polly Stenham | Mon 10 July, 7.30pm

OSLO a new play by J.T. Rogers The Lincoln Center Theater production Previews 5 September, press nights 15, 16 and 18 September (under embargo) Continuing in repertoire until 23 September (limited ticket availability) Transferring to the Harold Pinter Theatre in the West End from 30 September – 30 December Winner, Best Play 2017: Tony Awards, New York Drama Critics’ Circle Awards In 1993, in front of the world’s press, the leaders of Israel and Palestine shook hands on the lawn of the White House. Few watching would have guessed that the negotiations leading up to this iconic moment started secretly in a castle in the middle of a forest outside Oslo.

Oslo tells the true story of two maverick Norwegian diplomats who coordinated top-secret talks and inspired seemingly impossible friendships. Their quiet heroics led to the ground-breaking Oslo Peace Accords. Bartlett Sher’s acclaimed production of this new play by J.T. Rogers (Blood & Gifts, The Overwhelming) sets a deeply personal story against an epic historical landscape. This darkly funny political thriller comes to the National Theatre following a sell-out run in New York, prior to a West End run later this autumn. Cast to be announced. Set design by Michael Yeargan, costume design by Catherine Zuber, lighting design by Donald Holder, sound design by Peter John Still and projections by 59 Productions.

JANE EYRE based on the novel by Charlotte Brontë devised by the original company a co-production with Bristol Old Vic Previews from 26 September, continuing in the repertoire until 21 October Following a critically acclaimed season at the National Theatre and a 21 city UK tour, Jane Eyre returns this September to the NT. This innovative reimagining of Charlotte Brontë’s masterpiece is a collaboration between the National Theatre and Bristol Old Vic and is directed by Sally Cookson. The classic story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms. Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Cast includes: Hannah Bristow, Matthew Churcher, Nadia Clifford, Ben Cutler, Tim Delap, Alex Heane, Jenny Johns, Melanie Marshall, Evelyn Miller, Paul Mundell, Dami Olukoya, David Ridley, Lynda Rooke, Francesca Tomlinson and Phoebe Vigor.

Dramaturgy by Mike Akers, set design by Michael Vale, costume design by Katie Sykes, lighting design by Aideen Malone, music by Benji Bower, sound design by Dominic Bilkey and movement by Dan Canham.

NETWORK adapted by Lee Hall based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV.

Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring his masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) in the role of Howard Beale. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music and sound design by Eric Sleichim.

A very limited number of additional on stage seats will be released in the autumn – see the NT website for more information.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Generously supported by Marcia Grand for the memory of Richard Grand.

PINOCCHIO by Dennis Kelly With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith adapted by Martin Lowe Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including I’ve Got No Strings, Give a Little Whistle and When You Wish upon a Star in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Chris Jarman (Stromboli) together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J. Smith newly adapted by Martin Lowe. With design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision and orchestrations by Martin Lowe, choreography by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). Additional family tickets for the run will be released in a ballot closer to the performance dates – see the NT website for more information. There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions.

DORFMAN THEATRE MOSQUITOES by Lucy Kirkwood Previews from 18 July, press night 25 July continuing in repertoire until 28 September Alice is a scientist. She lives in Geneva. As the Large Hadron Collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs boson particle. Jenny is her sister. She lives in Luton. She spends a lot of time Googling. When tragedy throws them together, the collision threatens them all with chaos. Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris directs this new play about families and particle physics with Olivia Williams in the role of Alice and Olivia Colman as her sister Jenny. Cast also includes: Amanda Boxer, Cait Davis, Vanessa Emme, Yoli Fuller, Paul Hilton, Joseph Quinn and Sofia Stuart.

Design by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross and Ian William Galloway.

Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award.

The production is currently sold out. There are day tickets available and every Friday at 1pm an allocation of £20 tickets will be released for the following week’s performances, as part of Friday Rush. Friday Rush tickets are available to book online only and are limited to two per customer.

THE MAJORITY a new play by Rob Drummond Previews from 11 August, press night 14 August, continuing until 28 August Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. The Majority charts Rob’s journey as he navigates the Scottish independence referendum, Brexit, Trump…and whatever today brings. So take your seat and push the button. Yes or No. Can you change the show with your votes? Every night will be different depending on the majority. Directed by David Overend, design by Jemima Robinson, lighting design by Michael Harpur, music and sound by Scott Twynholm, video associate Mogzi Bromley-Morgans. Originally co-commissioned with The Arches, Glasgow.

BEGINNING a new play by David Eldridge Previews from 5 October, press night 12 October, continuing in the repertoire until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Currently in repertoire until 8th July, returning in November Following a sell-out run at the Dorfman this summer, Inua Ellams’ play about stories from barber shops across the globe returns to the National Theatre in November. Tickets go on sale online and by phone from 1pm on Monday 19 June.

Newsroom, political platform, local hot-spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world. This dynamic play journeys from a barber shop in London, to Johannesburg, Harare, Kampala, Lagos and Accra. These are places where the banter can be barbed and the truth is always telling. Barber Shop Chronicles is Inua Ellams’ third play at the National, following the exhilarating The 14th Tale and Black T-shirt Collection.

The current cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh.

Casting for November to be confirmed in due course. Directed by Bijan Sheibani, design by Rae Smith, lighting design by Jack Knowles, movement direction by Aline David and sound design by Gareth Fry. Barber Shop Chronicles will play at West Yorkshire Playhouse 12 – 29 July.

CURRENT PRODUCTIONS IN REPERTOIRE AT THE NATIONAL THEATRE OLIVIER THEATRE SALOMÉ a new play by Yaël Farber Continuing in the repertoire until 15 July An occupied desert nation. A radical from the wilderness on hunger strike. A girl whose mysterious dance will change the course of the world. This charged retelling turns the infamous biblical tale on its head, placing the girl we call Salomé at the centre of a revolution.

Internationally acclaimed director Yaël Farber (Les Blancs) draws on multiple accounts to create her urgent, hypnotic production on the Olivier stage.

Designed by Susan Hilferty, lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Lloyd Hutchinson, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Nefar, Lubana al Quntar, and Raad Rawi. Hundreds of Travelex tickets at £15 available per performance. This production is supported by Laura Pels International Foundation for Theater. Broadcast to cinemas by NT Live on 22 June.

COMMON a new play by DC Moore a co-production with Headlong Continuing in the repertoire until 5 August Mary’s the best liar, rogue, thief and faker in this whole septic isle. And she’s back. As the factory smoke of the industrial revolution belches out from the cities, Mary is swept up in the battle of her former home. The common land, belonging to all, is disappearing. D C Moore’s dark and funny new play is an epic tale of unsavoury action and England’s lost land.

Headlong’s Artistic Director, Jeremy Herrin, (People, Places and Things, This House) directs Anne-Marie Duff as Mary. Cast also includes Ian-Lloyd Anderson, Lois Chimimba, Peta Cornish, Anna Crichlow, John Dagleish, Brian Doherty, Amy Downham, Trevor Fox, Hannah Hutch, Cush Jumbo, Tim McMullan, John O’Dowd, Ian Shaw and Edward Wolstenholme.

Design by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck, sound design by Ian Dickinson, movement direction by Joseph Alford, dance by Siân Williams, puppetry by Laura Cubitt and fight Directors Rachel Bown-Williams and Ruth Cooper-Brown of RC-ANNIE Ltd. Hundreds of Travelex tickets at £15 available per performance.

LYTTELTON THEATRE ANGELS IN AMERICA: A Gay Fantasia on National Themes Continuing in the repertoire until 19 August America in the mid-1980s. In the midst of the AIDS crisis, and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. This new staging of Tony Kushner’s multi-award-winning two-part play is directed by Olivier and Tony award-winning director Marianne Elliott (The Curious Incident of the Dog in the Night-Time and War Horse). Part One: Millennium Approaches was first performed at the NT in 1992, and was joined by Perestroika in a double-bill the following year. 2017 marks the 25th anniversary of the shows.

Set design by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, choreography and movement by Robby Graham, music by Adrian Sutton, sound design by Ian Dickinson, puppetry direction and movement by Finn Caldwell, puppetry design by Finn Caldwell and Nick Barnes, illusions by Chris Fisher, aerial direction by Gwen Hales and fight direction by Kate Waters.

The cast is Stuart Angell, Mark Arnold, Arun Blair-Mangat, Susan Brown, Laura Caldow, Andrew Garfield, Denise Gough, Kate Harper, John Hastings, Claire Lambert, Nathan Lane, Amanda Lawrence, James McArdle, Becky Namgauds, Nathan Stewart-Jarrett, Russell Tovey, Paksie Vernon, Stan West and Lewis Wilkins. The Angels in America ballot presented by Delta Air Lines – hundreds of £20 tickets will be released in the final two ballots, the last closing on 26 July.

Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July NATIONAL THEATRE LIVE NT Live will be broadcasting five productions to 700 venues across the UK and 60 countries around the world Salomé – a radical retelling of the Biblical story of one young woman’s political awakening. Written and directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Angels in America – Marianne Elliott’s new production of Tony Kushner’s Angels in America will be broadcast live from the NT in two parts. Part 1: Millennium Approaches on Thursday 20 July and Part 2: Perestroika on Thursday 27 July.

Yerma – Billie Piper stars in Yerma as a woman driven to the unthinkable by her desperate desire to have a child. Simon Stone creates a radical production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on Thursday 31 August (international screenings from 21 September).

Young Marx – Rory Kinnear plays Marx and Oliver Chris, Engels, in this new comedy about Marx’s time as a 32-year-old revolutionary in 1850 London. Written by Richard Bean and Clive Coleman and directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 7 December.

Julius Caesar – Ben Whishaw and Michelle Fairley play Brutus and Cassius, leaders of the coup, David Calder plays Caesar and David Morrissey is Mark Antony, who brings Rome back under control after the conspirators’ defeat in this production of Shakespeare’s classic. Directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 22 March 2018.

Sky Arts is the UK sponsor for National Theatre Live. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 49 venues in 37 towns and cities across the UK in 2017-18 OSLO

Winner of the 2017 Tony Award for Best Play, the acclaimed Lincoln Center Theater production of Oslo transfers to the Harold Pinter Theatre in the West End from 30 September until 30 December 2017 following a limited run at the NT.

This gripping new play by JT Rogers, directed by Bartlett Sher, tells the true story of how one young couple, Norwegian diplomat Mona Juul and her husband, social scientist Terje Rød-Larsen planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com

PEOPLE, PLACES AND THINGS The National Theatre, Headlong and St Ann’s Warehouse in association with Bryan Singer Productions will present the National Theatre/Headlong production of People, Places and Things by Duncan Macmillan at St Ann’s Warehouse in New York from 19 October to 19 November 2017.

Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to Wyndham’s Theatre in March 2016 where it became the ‘must-see’ show of the season. Denise Gough will reprise her award-winning role as Emma. Gough’s raw and heart-breaking performance as an actress whose life has spun recklessly out of control because of her addiction to drink and drugs was unanimously acclaimed by critics and audiences alike, earning her the 2016 Olivier Award and the Critics’ Circle Award for Best Actress. Further cast details to be announced.

Generous support to the National Theatre for People, Places and Things from: Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE.

Duncan Macmillan’s People, Places and Things will also begin a major UK tour with a new cast this autumn, in a co-production between the National Theatre, Headlong, HOME and Exeter Northcott Theatre. Full casting to be announced shortly. The tour begins at HOME, Manchester (22 September – 7 October), and continues to Oxford Playhouse (11 – 14 October), Theatre Royal Bath (17 – 21 October), Bristol Old Vic (24 – 28 October), Exeter Northcott Theatre (31 October – 4 November), Nuffield Southampton Theatres (7 – 11 November) and finish at Liverpool Playhouse Theatre (14 – 18 November).

Set design by Bunny Christie, the Olivier and Tony Award winning designer of the NT’s production of The Curious Incident of the Dog in the Night-Time. Costume design by Christina Cunningham, lighting by James Farncombe, video by Andrzej Goulding and music is composed by Matthew Herbert with Olivier Award-winning sound design by Tom Gibbons.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME The Curious Incident of the Dog in the Night-Time, adapted by Simon Stephens from Mark Haddon’s bestselling book and directed by Marianne Elliott, had its final West End performance on Saturday 3 June 2017, having been seen by over one million people in London. Curious Incident has won seven Olivier Awards, including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design – as well as five Tony Awards during its run on Broadway. Its preferred card partner is American Express.

The Curious Incident of the Dog in the Night-Time continues a major tour of the UK and Ireland until September 2017, with upcoming visits to the Theatre Royal, Plymouth (26 June – 1 July), Birmingham Hippodrome (4 – 8 July), Venue Cymru, Llandudno (11 – 15 July), Cliffs Pavilion, Southend (18 – 22 July), Liverpool Empire Theatre (25 – 29 July), Alhambra Theatre, Bradford (31 July – 5 August), His Majesty’s Theatre, Aberdeen (8 – 12 August), King’s Theatre, Glasgow (14 – 19 August), Theatre Royal, Norwich (29 August – 2 September) and Milton Keynes Theatre (4 – 16 September 2017). curiousonstage.com

The Curious Incident of the Dog in the Night-Time will continue on an international tour, visiting the Koninklijk Theater Carré in Amsterdam, Holland (20 September – 1 October 2017) and the Princess of Wales Theatre in Toronto, Canada (10 Oct – 19 November 2017), with further dates and venues to be announced.

MY COUNTRY; A WORK IN PROGRESS My Country; a work in progress, created by Rufus Norris and Carol Ann Duffy and based on the words of people from around the UK, will complete a UK tour at Theatre Royal, Stratford East, London on 24 June. It has been adapted for TV by the BBC and is due to be broadcast in the autumn.

JANE EYRE Jane Eyre, Sally Cookson’s energetic and imaginative new adaptation of Charlotte Brontë’s masterpiece, a co-production between the NT and Bristol Old Vic, continues to tour until 23 September, with upcoming visits to the Marlowe Theatre, Canterbury (19 – 24 June), Wales Millennium Centre, Cardiff (27 June – 1 July), Theatre Royal, Newcastle-upon-Tyne (3 – 8 July), Milton Keynes Theatre (10 – 15 July), Theatre Royal, Norwich (17 – 22 July), Brighton Theatre Royal (24 – 29 July), Grand Theatre, Leeds (31 July – 5 August), Grand Opera House, Belfast (21 – 26 August), His Majesty’s Theatre, Aberdeen (28 August – 2 September), Birmingham REP (4 – 16 September) and Hull New Theatre (18 – 23 September) before returning to Lyttelton Theatre from 26 September to 21 October. janeeyreonstage.co.uk

WAR HORSE The NT’s acclaimed production of War Horse based on Michael Morpurgo’s novel, and directed by Marianne Elliott and Tom Morris begins its second major tour of the UK on 15 September 2017 at the Marlowe Theatre in Canterbury, where it will run until 14 October 2017. The tour continues its journey around the UK to Bristol Hippodrome (18 October – 11 November 2017), the Empire Theatre, Liverpool (15 November – 2 December 2017), New Theatre, Oxford (13 December 2017 – 6 January 2018), Brighton Centre (25 January – 10 February 2018), Bradford Alhambra Theatre (14 February – 10 March 2018) and the Nottingham Royal Concert Hall (14 March – 7 April 2018), Edinburgh Festival Theatre (18 April – 12 May 2018), Mayflower Theatre, Southampton (16 May – 9 June 2018), The Lowry, Salford (13 – 30 June 2018), Wales Millennium Centre, Cardiff (4 – 28 July 2018), New Victoria Theatre, Woking (1 – 18 August 2018), Plymouth Theatre Royal (29 August – 15 September), Milton Keynes Theatre (19 September – 6 October 2018) and Glasgow SEC (15 January – 2 February 2019). Further dates and venues will be announced. warhorseonstage.com

HEDDA GABLER Following its acclaimed run at the NT’s Lyttelton Theatre, Patrick Marber’s vital new version of Ibsen’s masterpiece Hedda Gabler directed by Ivo van Hove and with Lizzy Watts in the title role, begins a UK tour at Theatre Royal Plymouth (2 – 7 October). The tour will then go to the Edinburgh Festival Theatre (17 – 21 October), Leicester Curve (23 – 28 October), The Lowry Salford (30 October – 4 November), Norwich Theatre Royal (7 – 11 November), Hull New Theatre (13 – 18 November), His Majesty’s Theatre Aberdeen (21 – 25 November), Northampton Royal & Derngate (28 November – 2 December), Glasgow Thetare Royal (15 – 20 January 2018), Grand Theatre, Wolverhampton (23 – 27 January), New Victoria Woking (29 January – 3 February), Nottingham Theatre Royal (5 – 10 February) , Newcastle Theatre Royal (12 – 17 February), Grand Opera House York (20 – 24 February) and Milton Keynes Theatre (27 February – 3 March). Further casting to be announced. heddagableronstage.com

RIVER STAGE Back by popular demand, this summer sees the return of the free outdoor River Stage Festival. The festival runs for five weekends with take-overs from East London’s The Glory, HOME Manchester, WOMAD, Rambert and the National Theatre itself bringing audiences an eclectic mix of performances that include the very best dance acts, DJ’s and outdoor performances.

Rufus Norris, Director of the National Theatre said, ‘It’s brilliant to welcome back the River Stage Festival. I’m delighted that this range of partners from across the country have decided to join us this year, and the assortment of performance, music, dance and workshops free for all ages is a vibrant and vital part of the National Theatre programme this summer.’

The festival is a collaborative partnership showcasing world-class programming and presenting new and diverse artists and acts, with something for everyone to enjoy. It takes place on the River Stage, in front of the NT, with events every Friday evening and all day on Saturday and Sunday from 28 July to 28 August. Join us this summer for theatre, guest DJs, family fun, vibrant dance and the very best in live music acts – this free summer festival is not to be missed.

LEARNING AT THE NATIONAL THEATRE NT Learning opens up theatre to people of all ages and supports theatre education across the UK with a wide range of projects and events.

CONNECTIONS 2017 Connections, the largest youth theatre festival in the UK celebrates brilliant new writing for young people aged 13 – 19. This year’s festival at the National Theatre will see performances by ten companies, chosen from over 250 school and youth theatre companies from 28 June to 3 July.

Over the year 4,000 young people from every corner of the UK have worked with 28 partner theatres and performed ten brand new plays, commissioned from some of the country’s most exciting writers. The result is an unforgettable feast of theatre made by and for young people.

The productions invited to appear at the NT in the culminating week of this year’s Connections Festival are;

Wednesday 28 June the Dorfman Theatre 7pm – The Snow Dragons by Lizzie Nunnery, performed by Lymm High School (Warrington, Cheshire) 8.30pm – Extremism by Anders Lustgarten, performed by Theatre Royal Stratford East Youth Theatre + (Stratford, London) Thursday 29 June the Dorfman Theatre 7pm – Musical Differences by Robin French, performed by NCN Actors (Nottingham) 8.30pm – Three by Harriet Braun, performed by Kindred KYT (Peterborough, Cambridgeshire) Friday 30 June the Dorfman Theatre 7pm – The School Film by Patrick Marber, performed by Kingsley Bideford Community Theatre Company (Bideford, Devon) 8.30pm – The Monstrum by Kellie Smith, performed by The Marlowe Youth Theatre (Canterbury, Kent) Saturday 1 July in the Dorfman Theatre 7pm – #YOLO by Matthew Bulgo, performed by West Glamorgan Youth Theatre Company (Port Tennant, Swansea) 8.30pm – Status Update by Tim Etchells, performed by Rotherham College (Rotherham, South Yorkshire) Monday 3 July in the Olivier Theatre 7pm – Zero for Young Dudes! by Alistair McDowall, performed by Orange Tree Theatre Connections Company (Richmond, London) 8.30pm – FOMO by Suhayla El-Bushra, performed by CASTEnsemble (Shardlow, Derbyshire) To book tickets go to the NT website Be part of Connections 2018 To be part of next year’s festival, sign up now to Connections 2018. The National Theatre is looking for 300 youth theatre and school companies across the UK to take part. Applications are now open http://ift.tt/2rvaD4s

Connections is supported by: The Buffini Chao Foundation, Andrew Lloyd Webber Foundation, Delta Air Lines, Jacqueline and Richard Worswick, The EBM Charitable Trust, Samantha and Richard Campbell-Breeden, The Garvey Family Trust, Susan Miller and Byron Grote, Hays Travel Foundation, Faithorn Farrell Timms and supporters of the Connections Appeal

FREE EXHIBITIONS A changing programme of free exhibitions taking inspiration from the work on our stages, the NT Archive and our national programme. In Visible Ink: Tracing LGBT+ stories at the NT, follows some of the changes for the LGBT+ community over the past 25 years, Lyttelton Lounge from 23 June. We’re here because we’re here – the story of the project as it happened across the UK is in the Wolfson Gallery until 31 August. The project was conceived and created by Turner Prize-winning artist Jeremy Deller in collaboration with Rufus Norris, Director of the National Theatre. National Theatre Posters is in the Wolfson Gallery from October 2017. Curated by design critic and writer Rick Poynor, the exhibition explores poster design from 1963 to the present. From November in the Lyttelton Lounge, The Linbury Prize for Stage Design showcases work by 12 emerging designers working with some of the UK’s leading theatre, opera and dance companies. NEW VIEWS 2017

The NT’s annual playwriting programme and competition for 15 – 19 year-olds.

The 2017 New Views winning play is Dead Don’t Floss, by 17 year-old Beattie Green from St Marylebone School in London.

Beattie Green’s play was chosen out of over 300 entries which came from 62 schools across the UK, as well as a partner theatre programme at the West Yorkshire Playhouse. The winning play was selected from a shortlist of ten by a panel of judges including NT Senior Dramaturg Nina Steiger, playwrights Simon Stephens (The Curious Incident of the Dog in the Night-Time) and Anupama Chandrasekhar (NT writer in residence) and actor Tamara Lawrance. Dead Don’t Floss will be performed in the Dorfman Theatre at 4.30pm and 7.30pm on Tuesday 4 July.

Rehearsed readings of shortlisted plays will take place in the Duffield Studio on Wednesday 5 and Thursday 6 July at 11.30am and 2pm.

For more information, to book tickets or to sign up to New Views 2017/2018 visit http://ift.tt/2seGp2Z

New Views is supported by Old Possum’s Practical Trust, Chapman Charitable Trust, Golsoncott Foundation, The Steel Charitable Trust and Unity Theatre Trust.

The National Theatre’s Partner for Learning is Bank of America Merrill Lynch. ENTRY PASS Entry Pass, the NT’s scheme which offers low-price tickets to under-25-year-olds, is now in its tenth year. To encourage even more young people to see our productions, and with the support of Delta Air Lines, the National has doubled the amount of amount of tickets available to Entry Pass members this year to 25,000. Salomé and Common were the first shows with double the amount of Entry Pass tickets available to book. Tickets are £7.50 for Entry Pass members and £10 for their friends. Entry Pass is part of the NT’s ongoing commitment to offering low-price tickets: this year, 30% of all seats on the South Bank will be available at £20 or under. Entry Pass is supported by Delta Air Lines.

ACCESS The NT is dedicated to making the best theatre and sharing it with as many people as possible. Access facilities include captioned, audio-described, British Sign Language and relaxed performances, as well as touch tours, braille and large print cast lists and infrared audio headsets. For more information visit http://ift.tt/2rvq4tt or call Box Office: 020 7452 3000.

SPONSORS The National Theatre would appreciate an acknowledgement in the body of the text and/or as a separate footnote following editorial copy. Travelex £15 Tickets sponsored by Travelex The National Theatre is working in partnership with American Express The National Theatre’s Partner for Learning is Bank of America Merrill Lynch The National Theatre’s Partner for Connectivity is Cisco The National Theatre’s Outdoor Media Partner is Clear Channel The National Theatre’s Official Airline is Delta Air Lines The Official Hotel Partner of the National Theatre is Edwardian Hotels London The National Theatre’s Workshops Partner is Flints Theatrical Chandlers The National Theatre’s International Hotel Partner is Intercontinental Hotels Group New writing at the National Theatre is supported by ITV plc The National Theatre’s Pouring Partner is Nyetimber The National Theatre’s Partner for Lighting and Energy is Philips Amadeus is generously supported by the Amadeus Production Syndicate Network is generously supported by Marcia Grand for the memory of Richard Grand People, Places and Things is generously supported by Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE Follies is supported by the Follies production syndicate Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award Sky Arts is the UK sponsor for National Theatre Live The National Theatre wishes to acknowledge its partner National Angels Limited The National Theatre is supported using public funding by Arts Council England

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[calamitymoonmoon]

In the original game intro it was implied that we might be Aideen reborn, and I still subscribe to that so I think we're well within our rights to sell light that we created ourselves 😂 screw the druids and their quest against Garnok, they're shady af anyway, let's live it up in this incarnation!

there's something kinda funny how one of the main ways to farm jorvik shillings in this game now is through the path of terra, and more generally by selling lights from hollow woods

you're selling aideen's light. The Goddess Aideen offers you Her blessed light to aid you in your progress through the ancestral druidic arts. and you trade it for money.

you gather 2192418 lights, enough blinding lights to dissipate all the haunting darkness and push garnok back from whence he came. aideen looks upon you from above with pride.

but you shove the lights in your closet, as if but mere clothing

and mutter, "there's a festival very soon and i want the pretty medieval gears, i'll sell all those lights lol"

aideen save us for your chosen one is corrupted