#since it's a revival of that production

[conjuringturns]

sara sandgren as victoria in the 2009 stockholm production of cats (x)

[galacticrain]

Au I might as well post before the finale, Cobs uses the contestants data to make his new meeple-ified contestants

[toki-toro]

Riddle me this cats fanatics. Why is there such a sudden change in wig quality recently compared to how they looked in the 80s-2000s

[ardate]

sniffs. man. i really want this job :(

[muppetjackrackham]

day two of sweeney todd previews is going very well thank you for asking

[unproduciblesmackdown]

ft. kiko laureano comments

[howdy-folks-its-showtime]

April Update!

Howdy! Cobalt here, as many of your guys know It’s Showtime and its characters/story are gonna be turned into a horror game by the same title. So for both Gamejolt and this blog I am gonna start trying to do monthly updates on development. I think it’ll be a good way to put into perspective how much progress is being made each month and keep you guys in the know about how things are going. These are gonna be formatted with work made that month going first and then afterwards any other small announcements or thoughts we’d like to share on development. That or things that weren’t created that month that I basically keep stored in case we have months where progress is slow or I can’t show much behind the scenes stuff. These logs will likely contain personal stuff too, since with me and my partner being the main heads of the project. Our well-being or IRL goals are relevant to how much work is being done. Also while developing Showtime I intend to create other games similar to it, to sort of learn and test the waters + Since those ones aren’t tied to an IP I can actually make money off of them. Something I can’t [or at least not without Mike n Meatly’s permission I suppose] with Showtime or its characters.

April was sadly, not my month, I found out I was vitamin D deficient and got a slight fever. So I spent a lot of days tired and recovering from that. Progress has still been made though, mostly on learning 3D modeling more, I’m almost done with a model I’m making for someone else actually and while it is not perfect by any means… I think it looks really awesome for being my maybe fourth or third model and it’ll be my first truly finished model as well. I also have made good progress on writing both dialogue and summaries of Showtime’s story. I did particularly get ideas for a good chunk of Showy's campaign however, which involves a character I was on the fence about including in Encore!... Until very recently... Art wise not too much has been done specifically this month besides some concept art for cycle designs and some progress on textures for the studio. But that’s okay cause we’re not really at a spot where major progress can be made art wise yet. There’s so much more I want to share but I’ll be doing my best to space out those things out between updates. So no update is too long or too short with nothing interesting in there. Also sorry this is all so vague and non-specific I’m gonna try and get in the habit of actually documenting what work is being done on Showtime monthly from now on, so I’ll be able to be more specific about what parts are being chipped away at.

So onto something that didn’t happen this month but is important we have decided to switch to Unity instead of Unreal Engine 4. I’d like to take some time to explain why and also make sure nobodies too anxious over the change. For one thing, not a lot of progress was made on Unreal Engine, you could hear footsteps as you walked, use a buggy animation to enter a miracle station and the map was just a room full of lights. This is due to the fact while working in Unreal Engine was interesting and I learned quite a bit, I found myself often feeling it was not a good fit for Showtime and that trying to make it so was fighting against the engine as opposed to working with it. Unreal Engine seems to be built for realistic, open world or multiplayer FPS type games. That’s not to say you can’t make anything else with it, but finding tutorials for things I wanted to do was. Basically a nightmare because youtube was flooded with videos on how to make those games specifically. Another big aspect however was the general style. Unreal Engine is great if you want very realistic lighting and have a computer that can tank the sort of weight of that too. Neither is true for me however, Showtime’s characters are all very stylized, our humans are cartoony have clear shapes and most of all, I just want Showtime’s overall style to pay loving homage to 1930’s and general 2D Animation. I think both are really underappreciated and god do I love them. Also I’m making this on literally a laptop, a new one and not a janky one by any means, but still not a desktop. Unreal Engine works great for those who know how to use it and want to create the games it was optimized for, but it’s not ideal for my purposes, Godot seems promising but Unity is just great at specifically doing what I want to do with Showtime. It’s great for beginners to Game Development, has plenty of tutorials for all kinds of games and is very flexible in style. Sadly nothing is better at being Unity than Unity right now. I’m still mad about what the CEO did, and I’m glad for those who were able to switch engines to those with better management but it’s not really an option for us currently. Of course, this will put things back a bit but I’ve already been learning how to build a basic map in Unity and so far have only run into a few issues. Still I would love any advice on how to do this, esp from those who had made games similar to BATIM and other mascot horrors. [I have been thinking of building the maps inside Blender first and then importing them into Unity, to see if that’s easier or practical, but mostly I would love to hear what others commonly do to build such intricate interior design in Unity.] Either way while this month wasn’t terribly exciting by no means was no work done, just nothing too fun to show off yet.

[supercantaloupe]

genuinely except for maybe a passing interest in seeing camelot (which is closing too soon for me to do anything about anyway) i haven't wanted to actually Go To New York to see smth on broadway since the music man. i am going to do everything in my power however to go see this cabaret tho

[real-reulbbr-band]

🔥

In terms of the development of actual relationships between characters, particularly when it comes to ships like Platoria and Demestrap, the revival and US tours offer a more comprehensive and coherent narrative. ( long post)

Having these characters interact and establish some form of connection before their defining moments as a couple significantly enhances the authenticity of their relationship. When there are prior interactions, it becomes easier for the audience to invest in the idea of these characters being together.

For instance, Platoria's lack of interactions beyond their Pas de deux left me feeling disconnected from their dynamic. Without a foundation of shared moments, their pas de deux might have been more impactful for Victoria as an individual rather than for her and Plato as a couple. The absence of interaction before or after the defining moment lead me to the impression that their relationship is somewhat one-dimensional.

Similarly, with Demestrap, the transition from a relationship that could be perceived as platonic to a romantic one feels abrupt and unexpected without sufficient prior interactions.

The light scene, while significant, could have been more effectively built upon if there were earlier instances where their bond hinted at a deeper connection. (but hey atleast they interact after their moment)

Comparing this with other ships, even those with debatable canon-ocity, we can observe that they often benefit from the more nuanced development in the revival. Tuggoffelees, for instance, share moments time together during Tugger's song and (in the bootleg I saw atleast) in peke & pollicles, creating a foundation for their relationship to grow and giving the audience a chance to witness the natural progression of their connection. I.e Mistoffelees's number.

For Demestrap, the inclusion of pairing them in "romantical cats" line at the beginning of the show serves as a foundation, hinting at their connection from the outset. This groundwork is then built upon by moments like the adorable nuzzle in the "Skimbleshanks" scene, which adds layers to their relationship and allows the audience to witness their affection in action. These interactions contribute to a sense of gradual development and authenticity.

Similarly, Platoria benefits from a consistent presence throughout key moments in the revival. Dancing together during Tugger's song and remaining close during the "Old Deuteronomy" scene showcase their bond in various contexts. These instances, among others, not only establish their connection but also provide opportunities for the audience to see how their relationship evolves and responds to different situations.

In essence, the inclusion of pre-established interactions between characters can pave the way for a more organic and believable development of relationships, making them feel less like they emerged out of thin air and more like a natural evolution of the characters' connections. This approach not only enhances the emotional resonance of the relationships but also provides the audience with a more satisfying and immersive storytelling experience.

[princessmyriad]

.

[notimminent]

starter call ;; @depictedblue

“ have you ever thought about ideas and products being tied to public lexicon? like, ” emma, who had been aimlessly doodling on the page of notes in front of her that she was supposed to be studying with her friend, placed her pencil down and stared seriously at her friend, “bandaids being a trademarked brand name but we as a society have associated the brand name to the idea of the item. they’re actually adhesive bandages. or, like kleenex being used as a synonym for all tissues.”

she was going somewhere with this, right?

“ the same thing can happen in anything. like, take the musical cabaret for instance. it didn’t have the full-on world war two ending before the twenty-fourteen revival that ended with the emcee stripping at the end to prisoner garb showing that the company had been captured. since then, everyone associates the musical with that ending and expects it. why is that? is it shock factor? familiarity? expectation? ”

[skimblestrap]

need to see cats live again so bad actually

[tepkunset]

Marvel Studios is an American film and television production company. Marvel Comics is an American comic book publisher.

As of the current date, the official BDS Movement has called for a Boycott of Marvel Studios upcoming Captain America film that features a zionist Israeli character who supports apartheid. There has been zero mention of Marvel Comics - or anything else Marvel - in either of their two statements I can currently find mentioning "Marvel" on their website, unless something is missing from that tag.

April 27, 2023: "Palestinians call for widespread boycotts of Marvel’s 2024 film, Captain America: New World Order, unless it drops Sabra/Ruth Bat-Seraph, its “superhero” that personifies the apartheid state of Israel. ... We encourage creative, peaceful protests to challenge Marvel Studios’ – and its owner Disney’s – complicity in anti-Palestinian racism, Israeli propaganda, and the glorification of settler-colonial violence against Indigenous people. ... We urge conscientious audiences worldwide to join us in boycotting Captain America: New World Order, and standing up for freedom, justice and equality."

November 23, 2023: "Marvel’s next Captain America film features Sabra/Ruth Bat-Seraph, a “superhero” personifying apartheid Israel. The character’s backstory includes working for the genocidal Israeli government and its occupation forces. By reviving this racist character in any form, Marvel is promoting Israel’s oppression of Palestinians. It is complicit in anti-Palestinian racism, Israeli propaganda, and glorifying settler-colonial violence. Tell Marvel you won’t buy its toys, clothes or accessories."

It is my understanding that the only way a boycott will work is if it's organized and targeted - thus the reason for BDS in the first place. The demand was that Marvel Studios remove the Israeli character from the film. Since the demand has not been met, then the boycott remains in place. But boycotting some random comic book writer's work and some comic book shop that makes pennies, with nothing to do with the MCU, is not what is being organized at this time.

The character in question hasn't even been featured in comics in 10 years - though of course she never should have been created in the first place. But Marvel Studios is choosing to pull her out of nowhere, when they have thousands and thousands of characters they could adapt instead. Please boycott Captain America: Brave New World (formerly titled New World Order) set to come out February, 2025, even if you're a Sam Wilson fan.

[oflgtfol]

the ig-11 shit was stupid also. sorry

[reasonsforhope]

"The transformation of ancestral lands into intensive monoculture plantations has led to the destruction of Guatemala’s native forests and traditional practices, as well as loss of livelihoods and damage to local health and the environment.

A network of more than 40 Indigenous and local communities and farmer associations are developing agroecology schools across the country to promote the recovery of ancestral practices, educate communities on agroecology and teach them how to build their own local economies.

Based on the traditional “campesino a campesino” (from farmer to farmer) method, the organization says it has improved the livelihoods of 33,000 families who use only organic farming techniques and collectively protect 74,000 hectares (182,858 acres) of forest across Guatemala.

Every Friday at 7:30 a.m., María Isabel Aguilar sells her organic produce in an artisanal market in Totonicapán, a city located in the western highlands of Guatemala. Presented on a handwoven multicolor blanket, her broccoli, cabbage, potatoes and fruits are neatly organized into handmade baskets.

Aguilar is in a cohort of campesinos, or small-scale farmers, who took part in farmer-led agroecology schools in her community. As a way out of the cycle of hunger and poverty, she learned ecological principles of sowing, soil conservation, seed storage, propagation and other agroecological practices that have provided her with greater autonomy, self-sufficiency and improved health.

“We learned how to develop insecticides to fend off pests,” she said. The process, she explained, involves a purely organic cocktail of garlic, chile, horsetail and other weeds and leaves, depending on what type of insecticide is needed. “You want to put this all together and let it settle for several days before applying it, and then the pests won’t come.”

“We also learned how to prepare fertilizer that helps improve the health of our plants,” she added. “Using leaves from trees or medicinal plants we have in our gardens, we apply this to our crops and trees so they give us good fruit.”

The expansion of large-scale agriculture has transformed Guatemala’s ancestral lands into intensive monoculture plantations, leading to the destruction of forests and traditional practices. The use of harmful chemical fertilizers, including glyphosate, which is prohibited in many countries, has destroyed some livelihoods and resulted in serious health and environmental damage.

To combat these trends, organizations across the country have been building a practice called campesino a campesino (from farmer to farmer) to revive the ancient traditions of peasant families in Guatemala. Through the implementation of agroecology schools in communities, they have helped Indigenous and local communities tackle modern-day rural development issues by exchanging wisdom, experiences and resources with other farmers participating in the program.

Keeping ancestral traditions alive

The agroecology schools are organized by a network of more than 40 Indigenous and local communities and farmer associations operating under the Utz Che’ Community Forestry Association. Since 2006, they have spread across several departments, including Totonicapán, Quiché, Quetzaltenango, Sololá and Huehuetenango, representing about 200,000 people — 90% of them Indigenous.

“An important part of this process is the economic autonomy and productive capacity installed in the communities,” said Ilse De León Gramajo, project coordinator at Utz Che’. “How we generate this capacity and knowledge is through the schools and the exchange of experiences that are facilitated by the network.”

Utz Che’, which means “good tree” in the K’iche’ Mayan language, identifies communities in need of support and sends a representative to set up the schools. Around 30-35 people participate in each school, including women and men of all ages. The aim is to facilitate co-learning rather than invite an “expert” to lead the classes.

The purpose of these schools is to help farmers identify problems and opportunities, propose possible solutions and receive technical support that can later be shared with other farmers.

The participants decide what they want to learn. Together, they exchange knowledge and experiment with different solutions to thorny problems. If no one in the class knows how to deal with a certain issue, Utz Che’ will invite someone from another community to come in and teach...

Part of what Utz Che’ does is document ancestral practices to disseminate among schools. Over time, the group has compiled a list of basics that it considers to be fundamental to all the farming communities, most of which respond to the needs and requests that have surfaced in the schools.

Agroecology schools transform lives

Claudia Irene Calderón, based at the University of Wisconsin-Madison, is an expert in agroecology and sustainable food systems in Guatemala. She said she believes the co-creation of knowledge is “key to balance the decision-making power that corporations have, which focus on profit maximization and not on climate change mitigation and adaptation.”

“The recovery and, I would add, revalorization of ancestral practices is essential to diversify fields and diets and to enhance planetary health,” she said. “Recognizing the value of ancestral practices that are rooted in communality and that foster solidarity and mutual aid is instrumental to strengthen the social fabric of Indigenous and small-scale farmers in Guatemala.”

Through the implementation of agroecology schools across the country, Utz Che’ says it has improved the livelihoods of 33,000 families. In total, these farmers also report that they collectively protect 74,000 hectares (182,858 acres) of forest across Guatemala by fighting fires, monitoring illegal logging and practicing reforestation.

In 2022, Utz Che’ surveyed 32 women who had taken part in the agroecology school. All the women had become fully responsible for the production, distribution and commercialization of their products, which was taught to them in agroecology schools. Today, they sell their produce at the artisanal market in Totonicapán.

The findings, which highlight the many ways the schools helped them improve their knowledge, also demonstrate the power and potential of these schools to increase opportunities and strengthen the independence of women producers across the country...

The schools are centered around the idea that people are responsible for protecting their natural resources and, through the revitalization of ancestral practices, can help safeguard the environment and strengthen livelihoods."

-via Mongabay News, July 7, 2023

[simplydnp]

be honest with me. what are the chances of a hard launch in june

anon this question goes back years. and the thing is. we have been right once before.

you ask me this this time last year? fuck no. i might even quip that dapg would come back before dnp would hard launch. well. look at us now.

and even then, you look back on the content they started with in the revival--it honestly kind of felt exactly like where we left off, only a lot more explicitly queer (we stan). and then... trying to see without my glasses 2. and bang, spooky week happened. and that shifted the balance. we suddenly got slo-mo replays of handholds. day, after day, after day, finishing with the absolute masterpiece of halloween baking cinnamon rolls. in all honesty it was so much more than i'd've ever expected from them. truly another post-baking universe.

and it never really slowed down. suddenly we had cat prom photos, catboy butlers, catboy dan w/ phil photography credit, theyre 'wrestling' --running us full throttle into gamingmas, the first since 2017. and every day we had a new thing to freak out over: standing close. golf jokes. and then... pinof reacts. i don't know what compelled them to do it but i do have speculations. genuinely, i think they wanted to defang a lot of their history. we treated pinof 1, especially, with this... reverance. and it wasn't talked about too publicly--and dnp didnt do it either. so if they really wanted to move on, to bring down the walls, open the floodgates, define this new era: they had to throw the first stone. and they did. quite heartily too. suddenly this almost taboo part of their history--almost too intimate to be perceived--was on the table. and we were talking about it. joking about it. giving clear signals of 'we see it, it's okay.' and suddenly we existed in a post-pinof reacts world. of anything, i would've never predicted they would've done that. absolutely wild. follow that with it takes two being so chill and fond. incohearant being so blatant and heartfelt. trombone champ being unhinged and chaotic. the genuine and sweet complimenting of each other in the red carpet video. devan wedding... happilyphoreverafter... we crashed forward in time. never knowing what would be next. where is the line? how far will they go.

they teased us with japhan honeymoon and we knew 2024 would be wild. but we didn't know how much. from wdapteo 2023, to specific reminiscing about japan w/ devan, WAD happening, and phil playing a huge role in it all--from the orange carpet hosting, to 'ive been in *sex noises* with phil from the start!', to 'remote crisis manager phil lester', to dan saying he can stay during the thank you.

one of the biggest videos so far this year was the tiktok likes one. i will be forever haunted by the dog eating cheeseburger and willy wonka tiktoks--theres some things i was never meant to know. and yet. they tell us. explicitly.

every single video on amazingphil since the return of dapg has mentioned or featured dan. there's been a palpable shift in the way they interact. have you seen the way phil has been glowing in videos lately? this guy is on cloud nine all the time. it's really not hard to see why.

the energy of keep or yeet w/ dan... the absolute Lack of pretense of it all. phan twitter... watch your step baby girl...

dan and phil fucking crafts. talk about an unexpected return. legacy defining, one might even say. we're still in this tailspin of what everything means and they drop this insanely iconic video on us. from the storytelling to the production to the aesthetic--and its all capped off by explicit handholding. yes, it was part of the sacrifice. but hand in hand, the heart dan ripped from phils chest in one, and the knife that did it in the other... oh boy. we're really in it now. and then they put it on fucking merch. genius. truly no one does it like them.

and the foot has been on the accelerator since. dan and phil connections, shuffleboard & mocktails, getting deep slumber party, acknowledgement & approval of fics (yes previously given but never like this)--hell, even the sims today was wild for 'is their love language horrible banter 👀'.

you didn't ask for an essay but i gave you one. all of this to say, they've been moving the line. quite intentionally so. they intentionally revived their joint branding. they are 'dan and phil' again, and seem happier than ever about it, and i think that means something. they're saying things they never would have before--out of the closet or not.

as for june... 5 years since coming out is a big deal. so is this year being 15 years of dnp. hell, so is this year for being the first out pride month where they're explicitly a duo and regularly making content together. they're sentimental, there will be something.

my craziest idea is reacting to their coming out videos ✌️😔 --but i don't think it'll actually happen. as for more realistic, i could see pride merch. and however that goes will be significant, in my opinion. i'm excited and curious.

i don't know if they'll hard launch. it's hard to put all of the implications, complications, and speculations back into the box once it's opened. dan's talked about it before--wanting to be able to fuck up and not be publically executed, instead, being able to learn and grow and work it out. i think that's a very understandable stance to have. very grounded. we'd have to ask him if tour/dapg has changed that now. i do think he's had some sort of life epiphany--whether it's about that specifically, only he can say. but i think it's there.

even if i portray a lot of level-headedness, i wear my clown nose with pride. sometimes the only option is to go with whatever is funniest at the time. they're both jokesters, so they could commit to a bit like that. but it's also like, it can be too serious for them to want to joke about. i don't know. i think we're in this almost beautiful state right now--the we know you know of it all. there's no expectations, no demands to be met, no obligations of types of content. they're happy. we're happy. it depends on if they feel ready. if they want to. we'll be here, always.