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miserablesme · 3 years ago

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The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

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st-agatha-city · 3 years ago

Text

I posted 246 times in 2021

214 posts created (87%)

32 posts reblogged (13%)

For every post I created, I reblogged 0.1 posts.

I added 707 tags in 2021

#st agatha city - 196 posts

#dating sim - 143 posts

#visual novel - 136 posts

#game development - 95 posts

#english otome - 29 posts

#pixy burrow - 29 posts

#denver washington - 28 posts

#character intro - 24 posts

#norman west - 14 posts

#ross rorkshed - 13 posts

Longest Tag: 128 characters

#and it let me fantasize even if i’m brief flashes that there might one day be an awful 3d… or claymation 👀… movie of st. agatha

My Top Posts in 2021

It’s all coming together 🌸

So, with things moving along - I’m hoping to have St. Agatha City’s demo out by the end of the year at the latest - which admittedly is a little more difficult with my job (which I am very grateful for, but still) I’d like to talk a bit more about the upcoming features and my creative process! Normally, I kind of worry this sort of thing may be considered, well… with a little ire? I followed the YanDev thing and I do not want to pull a whatever that is.

However, excluding my week long break in July, I have been spending three hours a day, as I promised myself I would, on St. Aggs as usual, and since I have a grand total of 14 followers (ily guys, thank you so much 💕) and have not yet taken anyone’s money, I’m allowed to gush a little about future ideas, right?

I’m going to post concept art, ideas, and my mechanic workshopping a little more, especially during my editing phases of St. Aggs :)) I have a bunch of ideas for the future, both the finished base game, and DLCs, and having your reactions would probably be pretty helpful ^^

As such, please expect:

🎀 A series of posts discussing the purposes of the side characters (Nazir, Bailey, Giv, Eddie, etc. there’s quite a few who will be included in the polished base game that you haven’t met yet! Especially if you aren’t familiar with my characters from my art and daydreaming blog, @maddgicalgirl!)

🎀 Discussing the source materials of the main cast, how that affected them, and how I adapted it for St. Agatha (both art wise and reconciling canon) - as all of the featured characters originate from stories I have written who I decided to throw into a dating sim 💖

🎀 Showcasing and workshopping nonspoiler features, like the inventory and inventory items, as I develop them

🎀 and, of course: Proper character intros as I begin making the required steps in Sprite artwork, CGs, and story progressions!

Thank you again to everyone! Especially my good friend @sugarcoatedsadism who has been helping make this all possible, and @decaykid for being so supportive, and dear mutuals like @dreamyblur @dreaminpeaches @habits-white-rabbit @ivan-the-rat @acircusfullofdemons for your interest, and newcomers who’ve found their way here, who I cannot wait to meet!! You’ve made a world of difference to me! Even those who I have not listed, feel free to message me anytime on this blog - your presence matters to me greatly 💗

18 notes • Posted 2021-08-05 23:21:37 GMT

"GOD FUCKING dammit KRIS where the FUCK are we?"

20 notes • Posted 2021-10-07 22:22:06 GMT

Extraneous CGs

Just wanted to show you guys some of the non-spoiler CGs from St. Agatha City, Chapter 0! Here we have Pixy and a cockroach, and Donny - a clerk at the local taco place :))

39 notes • Posted 2021-07-22 16:01:19 GMT

Thanks for looking at him. My Claggor post is officially my most popular art! This isn’t an Arcane blog (though arguably my main, @chainsawgirlfriend is haha) this is my art and game dev blog where I’m working on developing my visual novel, St. Agatha City. However, I couldn’t not celebrate. So, here’s Powder congratulating Clag on his accomplishment! I loved their dynamic ;-; he is such a good big brother.

83 notes • Posted 2021-11-10 17:41:39 GMT

CLAGGOR ME BOY-

194 notes • Posted 2021-11-09 09:10:23 GMT

Get your Tumblr 2021 Year in Review →

#my 2021 tumblr year in review #your tumblr year in review #st agatha city: sponsored by CLAGGOR #st agatha city #thanks claggor arcane for your service ily bby

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berlinbabylon · 4 years ago

Note

Hi! A few weeks ago, in an answer, you made reference to Volker Bruch's role in Unsere Mütter, Unsere Väter. I've never seen it and had been wanting to (although I'm arguably less motivated now that Volker Bruch has been so ... ugh lately), but would you mind expanding upon what you meant? This whole situation is so disappointing and frustrating (but I say this as someone who only discovered BB/VB in December of last year)!

Oh boy, where to begin! The issues with Unsere Mütter, unsere Väter are so layered. I guess I'll break it down into: (1) Issues with the miniseries itself, and (2) issues with the reception of it.

1) So as to the first point, it's been a long time since I saw and I don't want to be too negative about it. It's well-made and some parts of it are better than others. I remember that I didn't think the writing was great (that's true for many German productions where the scripts tend to be the weak link), like it relied too much on coincidental meetings of characters in unlikely scenarios and so on. But okay, whatever. The actual issue with the miniseries arises from the way in which it was titled and marketed ("our mothers, our fathers" – of course Generation War sounds a bit more oblique in English and obfuscates that the people behind the miniseries wanted to do something that was supposedly representative of what "our" immediate ancestors went through during the war). From a historian's POV, the group of young people that they chose to focus on was really not in any way, shape or form representative of most young German people at the time and you can't blame the Polish for being pissed about the representation they got (which painted the Polish partisans as antisemitic and the issue with that wasn't that antisemitism didn't exist among Polish partisans but rather that the way the miniseries emphasizes their antisemitism while being way too revisionist about the German protagonists in that regard is just not a good look). A history professor put everything into words that I was thinking back then, it's in German but you can put it through DeepL and I highly recommend the read, regardless of how you feel about the miniseries: https://taz.de/Unsere-Muetter-unsere-Vaeter/!5070893/ ("Nazis are always the others" – yes there are some evil German Nazis of course, the cliché ones, the commanding officers, the Gestapo guy and so on but we are not invited to identify with them, we are not invited to consider them part of our ancestry and we are also not invited to consider that most Germans at the time were not victims of circumstance but active participants in the system, unless we're talking about resistance groups which were obviously the exception and not what the miniseries posits as the core 'generation' – one who, we might add, would've been exactly the one to have gone through the whole youth indoctrination unlike older people at the time). So yeah there's a lot to unpack there in terms of how German remembrance culture works and I'll leave it at that, it's a huge topic that would need its own essay. The miniseries is 'fine' TV but it has a certain role in cultural memory production that is, at the very least, questionable and should be considered with some critical distance from its qualities as a drama.

2) There's another issue though and that's more what I was referring to. Basically Volker Bruch playing a Wehrmacht soldier in that miniseries gained him quite a following of wehraboos and in some cases straight up Neonazis. For the longest time, whenever you were searching for posts about him here on Tumblr, they came from accounts that... man, how do I say this. Okay first of all wehraboos are Wehrmacht stans and I came across a big number of them in this context (and in the context of Volker Bruch fandom specifically) where their tumblrs were all about the aesthetic~ of German Wehrmacht soldiers and I just... to say that I found these blogs disturbing is putting it mildly. Often these were run by young women from countries like the Netherlands, Italy or wherever else in the world and my only explanation for this phenomenon is that they grew up with a very stereotypical view of Germans during WWII = evil, so when they discovered that some of them were young (sometimes handsome) men who were also just regular guys, they took this to mean that everyone had been terribly mistaken to lump in 'regular' soldiers with the SS and so they ran in the other direction. I mean, obviously there are distinctions to be made. But the Wehrmacht was also heavily involved in war crimes, so. All that teenage fawning over black and white pictures of real people who may have been involved in real atrocities... well. But that was still comparatively mild. When I first made Babylon Berlin gifs (before it was shown in the US on Netflix, before I made this sideblog, before there was a sizeable interest in these gifs aside from Volker Bruch stans), the accounts that reblogged them... I mean, there were actual Neonazi accounts among those. One I will never forget. Back then I still looked at reblogs to see if people had some commentary in the tags and so I opened this one blog and it was dedicated to Reinhard Heydrich, the "Butcher of Prague". On the front page, there were reblogs of Hitler gifs. Hitler greeting some kids, people doing the Nazi salute. The rest I've blocked from my memory. I had accidentally stumbled across a corner of Tumblr that was entirely sinister. I felt so sick. I ended up blocking and reporting it but this hellsite never gave me a reply so who even knows if anything happened.

So long story short: Ever since then I've resented the fact that Volker Bruch being in Unsere Mütter, unsere Väter gained him Neonazi followers (also tells you something about the miniseries, doesn't it) and I also resented that me just wanting to make Babylon Berlin gifs meant I had to see this stuff. So I stopped making any BB gifs (or at least any containing him) for a while and it's also the reason I never made many gifs of Gereon unless requested. I don't want to say that I feel vindicated after finding out that Volker Bruch is a complete idiot because I never paid much attention to him personally but I was also never his biggest fan, I find his acting range limited, he has a certain vibe and look that goes well with certain period dramas (actually only 20th century ones because he looked rough in the Goethe movie... I actually much prefer Alexander Fehling as an actor but that's neither here nor there). Anyway, there you go.

#ask #reply #anonymous #volker bruch's wife miriam stein is also in the miniseries #(and in the goethe movie)#honestly they both always gave me a vibe #now that i think about it #but i just thought they were hipsters #(also welcome to the babylon berlin fandom!)#(it's actually been a much better place since it's not just volker bruch fans anymore lol)#(also: normal volker bruch fans exist and i mean no offense to them at all)#(this is just about a certain kind of following he acquired through unsere mütter unsere väter)

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zenithastra · 3 years ago

Text

Albedo - Creation

Part two of “stories I want to port over from the old blog”. I’ll post a few more tomorrow.

Albedo was a master of alchemy. It was rare for him to find a problem he couldn’t solve with some ingenuity. Others called him a genius, but Albedo merely thought his work was simple for someone like him.

However, tomorrow was a very special day- the day of your birth- and he had yet to find that perfect gift. The institution of gift-giving was already a foreign enough concept. He’d mostly relied on Sucrose to tell him what to buy for who. But this time, with only a week to prepare, she’d stubbornly put her foot down. “They’re your partner,” Sucrose said. “Figure it out yourself.” So, not one to be deterred by a challenge, decided the solution was simple: if he couldn’t buy the right gift, he’d simply make you one. And at the beginning of the week, he thought it would be simple. He could make anything. It wouldn’t take much to create something perfect for you.

His first instinct had, of course, been alchemy. A new weapon seemed like a good start, and Albedo could make most of the things the blacksmith would need. The ore he’d have to find on his own, but he could break those open without much effort. But about halfway through the process of refining some old Hilichurl scrolls into something usable, Albedo realized this creation wouldn’t really be his. It would be the blacksmith doing all of the work. Therefore, the present wouldn’t be very personal, something Sucrose had drilled into him numerous times since you and he had started an official courtship.

So, his first idea was discarded.

His second plan was to make some jewelry. Albedo was pretty good at fashioning gemstones and other precious materials into various shapes. Retrieving said gems wasn’t particularly hard. Plenty of materials had been left behind by adventurers who didn’t understand exactly what was needed to transmute a gem into one of a larger size. But again, just before he started building this potential gift, he stopped. He realized that he was not creating anything. Just building something out of things that others had left behind. And that just wouldn’t do. He needed something different. Something he could make with only minimal help from others.

So, he continued thinking.

His third idea was arguably the easiest to execute, but it was not something Albedo had done before. You baked for him often, frequently bringing by delicious chocolate or fruity snacks during his long work hours. And you were a natural baker, something that still mystified him. And while he believed you were special, he decided that it couldn’t be that hard to make something for you. Baking was just another form of alchemy, after all. For an extra personal touch, he gathered all of the base ingredients himself and spent an entire day turning his sweet flowers into sugar, his wheat into flour, and procuring everything else he needed. And when all of that had gone off without a hitch, all Albedo had to do was follow a recipe Sucrose had graciously given him and the cupcakes would be ready.

And yet, for some reason, that’s not what happened. And a few hours later, Albedo was left perplexed with two trays of inedible baked goods. When he inquired with Sucrose as to why that happened, she asked him a variety of questions that only confused him more. Yes, he followed the recipe. Yes, he’d set his timers right. No, the ingredients weren’t expired. Yes, he’d been paying attention while they were baking. No, he didn’t have a clue why they turned out that way.

And so, plan number three was quite literally thrown out.

Now there he was with less than a day before your birthday, staring at a small package of rose seeds. He’d purchased them from Flora on a whim and slowly convinced himself that this was the right gift. Flowers rushed to maturity through the use of alchemy. It would have been better if he had somehow gathered the seeds himself, but Albedo knew he was running out of time. Normally, attempting something like this would take days of preparation, experimentation, and lots of research. Albedo had hours at most, and anyone who could have helped him had already gone home for the day.

So, he did the only thing he could do. He got to work.

He started with a single seed, examining it as closely as he could. He detailed its shape, size, and weight. Reviewed everything he knew about cultivating flowers and gathered anything that could possibly be used as a pot. Thankfully, he’d already gathered dirt samples for another experiment, something he could ask Sucrose to replace. After he poured the packet onto the table, he was disheartened to see there were only ten. Even if everything went perfectly, he’d be short the dozen that Sucrose had once told him was a special number.

Six, He decided. If twelve was the perfect number, then six would be just as good. He knew it was a logical leap, but it made him feel better as he planted each seed into their respective pot. For the first one, he tried special alchemy infused water that had worked well on the various Dragonspine flora. And the seed did grow, but it withered almost instantly in the warm air.

One down. Only three more mistakes to go.

The second one was a bit more successful as Albedo fed it a concoction of water from Starfell lake and a growth formula he’d made on a whim a few weeks prior. But that plant didn’t have the shine he wanted. It wasn’t quite as large as he’d seen other roses, nor was it the right color. Instead of a vibrant red, it was a meddling mix of pink and black. He assumed it was the growth formula that had been wrong and moved on without it.

Two down. Two to go.

The third one showed significantly more promise with a concoction that Sucrose had made to help grow imported flora in their camp at Dragonspine. While the color wasn’t quite as bold as Albedo wanted, he accepted that it was beautiful enough and moved on to the next seed with a new mixture. This one failed to grow at all, much to his disappointment. When he tried to use Sucrose’s formula a second time, the plant both grew and died within a few seconds; no better than the first one.

Three down, but he had one success. That might just be good enough.

To ensure that he would have at least a small bouquet, Albedo used the rest of Sucrose’s discovery on four more plants. But for the last one, he wanted something special. Something perfect and as vibrant as you were. So, as the sun dipped lower in the sky, he paced his lab, debating on how exactly to achieve the colors he wanted. His mind raced through possibilities, and he began using other plants he’d gathered to test various mixtures. A few showed promise, but most just withered. But Albedo didn’t get frustrated. Instead, he found himself enjoying the work. Others might have seen it as tedious, but he found it refreshing. It had been a long time since he’d done something just for himself, and even longer since he’d used his alchemy for you.

He was determined to get it right, no matter the time invested.

But then you showed up, much to his surprise, and the entire experiment derailed.

“Albedo?” You said, gazing at the mess the lab had turned into. It was the first time Albedo realized how obsessed he’d become with this little project. He was almost embarrassed at the chaos he’d left behind but knew you’d seen the lab in a similar state before. Such was the nature of his experiments. If anything, the state of his own clothing was much more distressing, as he’d become caked in dirt and other grime moving between all the plants at such a rapid pace.

“You are… here,” He said somewhat awkwardly. “I was not expecting you.”

“It’s almost midnight,” you said, your voice laced with concern. “I was worried about you.”

Albedo glanced outside, genuinely surprised to see how high the moon had gotten. It had only felt like an hour or two had passed, not the entire day. “I apologize,” He said. “It wasn’t my intention to worry you so.”

You looked around, eyebrows raised. “What kind of mess have you gotten yourself into this time?”

Albedo glanced at the roses he’d left behind before looking back at you. “I was almost done with my bouquet.”

“Bouquet?” You echoed. “Of what?”

“Roses,” He said. “Your favorite.”

Your eyes widened. “You mean all of this,” You waved your hands out in front of you. “Is because you were trying to grow roses… for me?”

“Yes.”

Your gaze softened as your smile widened. “You didn’t have to do all this, Albedo. The fact that you were thinking of me at all means a lot.”

“But it’s your birthday,” Albedo said. “I wanted…” He trailed off as, for the first time in a long time, words failed him. He wanted things to be special. Yet here he was, failing again. This whole week had been a mess, and he’d missed you for a majority of it, all trying to make something that would only last a short amount of time.

You stepped up in front of him, brushing your thumb under his eye. Specks of dirt hit the floor as you moved to his cheeks, and his breath hitched when your eyes met. It felt like ages since the two of you had just been together like this. He’d been home so late, and you up so early that you rarely saw each other. And that was partially his fault. He had no reason to stay out so late. He’d simply done so because it was normal. Albedo was still figuring out the whole ‘relationship’ thing. He was still trying to break down the walls around his own heart; the ones that made it difficult to love anyone.

But you were still there. You always were, even when he wasn’t there for you.

“Come home,” You said softly. “Take the day off. We can spend it together.”

Albedo nodded, blushing as you leaned in to give him a chaste yet wonderful kiss. You smiled as you pulled away, taking his hand to lead him out of the mess. He knew he’d have to apologize to Sucrose and the others later, as they wouldn’t be able to work under such conditions. But, as the bell struck midnight and he wandered home with you, Albedo realized that this is where he was really meant to be.

The world could wait for one day. All he wanted to do was spend time with you.

AO3 - Ko-Fi - Master List

#genshin impact #genshin impact x reader #genshin impact albedo #genshin impact reader #genshin impact x gn!reader #reader #albedo #albedo x reader

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trickstercaptain · 4 years ago

Note

Lottie write a scars post challenge

re: this post / @lighthouseborn because hannah is a glutton for punishment apparently sdfksdfs ily

so i’ve written a lot about Jack’s scars over the nearly seven years i’ve been here, but not so much on the new blog ( i say new as if it’s not already a year old lmao ), so i’m gonna try and consolidate as much info as possible from old posts and my own notes into this post and make this my go-to scars meta, particularly as my headcanons on how he got a few of them have changed as my portrayal has grown and developed on this blog. i’m also only going to focus on Jack’s major scars ( so effectively the ones that appear in that gifset along with a couple of others ), because he has a lot and some of the ones he got as a younger man ( i’m thinking of the ones he sustains during TPOF ) would have mostly faded by the time we get to movie-era Jack ( plus i would be here all day if i was to talk about all of them lmao and not all of them have thematic significance to his character anyway )

the eyebrow scar

so starting at the beginning, Jack has a mark extending through his right eyebrow. it’s quite difficult to see at times because of his bandana ( it really kinda depends on the scene as to whether Jack’s bandana is high enough above his eyebrow for it to be visible, and when he has his hat on it’s even more difficult to spot ). while there are all sorts of ways in which he could have sustained that, i tie this specifically to the abuse Jack suffered as a child -- most notably from his grandmother, who he was forced to live with for a couple of years following his mother’s death. they’re kids books, believe it or not, but there is mention in the young Jack Sparrow series as well as the Legends of the Brethren Court series of Jack having lot of difficult memories associated with his grandmother, from her locking him in a brig because another family member had a premonition that Jack would set fire to her ship ( he was eight years old at the time ), to having nightmares about her red tooth, to casually mentioning how she would attack and throw things at him.

with mine and @thecodekeeper’s headcanons trying to stitch all of this together into an upbringing that makes sense for Jack, i find it difficult to believe that he would have gotten out of that situation without any marks to speak of, so he sustained it from her throwing something at him. the sad part is that Jack has blocked out a lot of those memories because of how unhappy he was, so he can’t recall precisely what she threw, only that she threw something and was inches away from blinding him in one eye.

burns on his left arm

the lightning burns that twist around his left arm actually have a canon explanation, and that’s from when he was trapped inside of his cabin on the Wicked Wench after it was set alight by Beckett ( he did climb on board while it was burning, so it is partially his fault but y’know lmao ). in Jack’s desperate attempts to save all his worldly goods, which he kept in a chest in his cabin, he was jolted up against the door and the flames from the weatherdeck leapt through and set his shirt sleeve on fire. Jack uses his right hand to try and stamp the flames out, which also happens to be not just his dominant hand, but the palm he covers up with a leather guard throughout all the movies, so therefore i imagine he has burns there too. the guard likely started as a way to stop him from aggravating the burns as they healed, and then after years passed it just stuck as an accessory and he continued wearing it. even though Jack is somewhat ambidextrous in that he can wield a sword in both hands and aim a pistol effectively in his left despite his right being his dominant, his left arm is his significantly weaker one and he does have lingering numbness in it from time to time.

the brand

we all know how Jack got the brand. i go into a lot more detail about the emotional and psychological effects of being branded in this meta here, but physically-speaking it’s something that causes him discomfort for years afterwards --- in DMC all it takes is for Elizabeth and Gibbs to mention Beckett for Jack to reach for his brand, so while it eventually stops causing him constant pain, the memory of having it inflicted on him and of those involved persists, and it’s probably the scar that bothers him most for the psychological reasons i detail in the other meta above. he has the most complicated relationship with his brand as opposed to the others, and i imagine that is because it is the only one that was deliberately inflicted on him with the intent to leave a mark

scar on his left palm

i don’t have much to say about this one except that, since Jack has to use his blood to help break the Aztec curse ( because he stole a piece of the treasure while fighting Barbossa ), he slices his left palm right before throwing his piece to Will. this is a matching scar that he has with Will and Elizabeth and idk i just like the symbolic significance of the trio having gained the same scar through a shared experience.

powder burns on the right-hand side of his chest

one day i’ll actually be able to tell you precisely what happened here, step by step, and how Jack got shot and who by and the circumstances around it, but it’s the one scar I’ve always kept vague -- i think because it’s the one i want to best demonstrate the point of that deleted scene with Elizabeth: that the truth of Jack’s life as a pirate does not live up to the stories. Jack will tell the story of how he got shot and make it sound daring and dramatic, but i don’t think the truth of it is nearly as exciting or worthy of the legend that surrounds him. i’ve debated the idea that he was shot by an angry husband ( based on a snippet of dialogue that was cut from AWE between Jack and Gibbs ), and i think that’s the closest to the truth that Jack will let me get to exactly what happened

but i can tell you a few other things i know about it for sure. he was shot twice in quick succession, given that both powder burns appear similar to one another and, while it’s his right-hand side of his chest which gives a decent enough distance from his heart ( so it wouldn’t have been fatal by 18th century standards ), it is still in a dangerous enough place that he would have needed medical attention immediately considering the limitations of the era. that’s where Jack’s ship surgeon comes in ( @valorsworn ), because John Watson is a canon part of this franchise idk what you mean when you say he isn’t. anyway it’s my canon that John’s actions saved Jack’s life, but it would have also led to a lengthy recovery period ( you don’t just recover from two gunshot wounds to your chest overnight, particularly not in a century where the risk of infection is arguably even more dangerous than the actual wounds themselves ). so we’re talking weeks of recovery and then probably weeks of rehabilitation as Jack gets his strength back to where it was before he’d gotten shot, and I’d say that this is easily the worst injury he’s probably ever suffered.

#lighthouseborn #&. don’t ever insult captain jack sparrow in front of me ( ooc. )#&. depths few had ever begun to glimpse ( meta tag. )#child abuse tw #here it is here's the manifesto #but honestly i think the best thing about this and jack for me #is that i don't get to invent these scars as purely headcanon #they're /right/ there in the text of the films. most in a deleted scene admittedly but the brand definitely isn't #and the brand is integral to the entire trilogy since they tie it in with beckett in dmc and awe #a lot of butchering was done to jack's character in the later potc instalments but at least they gave him this #and here i am to flesh it all out like the jack sparrow fanatic that i am

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formless-monkeys · 4 years ago

Note

What is your favorite relationship(s) in the show (romantically or platonically, doesn’t matter!)

Anon you will regret opening pandora’s box. Or not. In any case, this post is going to be very long because I’m full of love. Also, anything marked romantic does not need to be romantic for me to lose my shit over them. In no particular order, either. Just in the order I thought of them.

1. The Black-eyed trio

Characters: Otto, Sparx, and Gibson.

Type: Platonic, Romantic,

Explanation: These three are grouped together by virtue of not being obscenely powerful and serving more practical uses on the team. Also, their eyes are all the same color. Besides the poetic connections of the colors of their design, they were alone in the robot together while the other three monkeys were out training.

Sparx and Gibson’s interactions give me life, going from playful jabs to genuine fighting right back to ride-or-die is amazing. The beginning of Night Of Fear, the battles in Brothers In Arms, and a bunch of small moments throughout the series are wonderful for this.

I could write an essay about Otto and Gibson, and someone else already has, but I’ll summarize it as ADHD autism solidarity with a side of Shut The Fuck Up Gibson. They care about each other and learn to respect each other in a way that’s better for both of them. I know a real-life Gibson to my Otto and learning that she’s just pretentious and doesn’t really hate anyone, and figuring out that we’re both equally brilliant and incredibly similar has made life a million times better.

Otto and Sparx don’t have as much development as Gibson with both of them, but their jokes together and general trust is amazing. Sparx is the dumb monkey and Otto supports him in his himbo endeavors.

These three together make an unstoppable technical team, and the only reason they probably couldn’t be a superhero team on their own is because of the raw power and fun dynamics brought by the other half of the team.

Romantically, these three would make the DUMBEST polycule ever. There is no true mediator here. It’s three dumbasses figuring out how they could possibly share a twin-sized bed when they have the ability to just make a bigger bed. Gibson calculates the most efficient 3 monkey makeout and none of them follow the statistics. They all give Chiro equally useless and conflicting advice on homework. Trying to give them a mediator in the polycule just makes me go back to shipping polymonkeys because I literally can’t decide if Antauri or Nova go better with them.

2. Quiet trust and encouragement

Characters: Otto, Antauri

Type: Platonic, Romantic

Explanation: When Otto is being dismissed by the other monkeys, or by the show itself, Antauri is usually the first to say “that’s bullshit, Otto is wonderful”. Circus Of Ooze is a notable example, but there are little moments in other seasons as well.

I just love the idea of the historically MOST SERIOUS and strongest monkey, sometimes even elevated to god-like status by some fanworks... paired with the monkey that has been infantilized and disrespected to no end. I personally like making Antauri have to lean on Otto, just to subvert that even further.

Beyond spite, I ship this simply because I like their dynamic. Antauri needs someone to ground him with more tactile physical things, and Otto needs someone to share his more nebulous thoughts I can’t imagine the others listening to. I love them.

Also, I want Antauri to unlock his true dumbass potential. He has the abilities, but not the will. Be silly with Otto. I want to hear him snort-laugh.

I literally forgot all the silver monkey stuff but I got three fics about that you know I go nuts over mechanic x robot shit.

3. The monkeys and their human son.

Characters: Chiro, Antauri, Nova, Sparx, Gibson, Otto

Type: Familial

Explanation: This family gives me joy. They were forced together through astronomical means and they made the best of it.

Everyone living in the robot is absolutely fucked up. They help each other in the darkest of times. They lift each other up when it’s light. They are a perfect team and nobody can be missing without it feeling wrong. But they can add people!

��Girl Trouble” as a concept is AMAZING to me but my secondhand embarrassment is so strong that I hate the episode. But never once is any of the monkeys resentful of Chiro. Not even Mandarin is like “wow I wish he didn’t take my place” no he’s also struck with the urge to nurture this kid to his fullest potential. Whether you see the team as a bunch of older siblings or 4 dads and a mom doesn’t really matter, they’re a family.

I mean, this also has a sprinkling of shipping all the monkeys in a really domestic way because I like seeing my optimal future in characters I like, but like literally all of these, it doesn’t need to be romantic for me to go nuts. I just think it would be fun to throw just a big monkey wedding or whatever. And funnier for Antauri to go “Chiro I’m having a baby. The baby is you” and holding up adoption papers because on the principle of Toby “Radiation” Fox I love that joke, especially when made much less weird than the original context.

I have a set of characters who is just 5 people in a polycule raising kids and living life because I really love this concept as a family.

4. Evil Coworkers

Characters: Mandarin, Sakko

Type: Romantic, Platonic,

Explanation: Why the hell are these two, in particular, working together? SK could’ve put Mandarin with literally anybody else and he chose what on the surface appears to be the LEAST compatible person on the account that they’re both monkeys. Some bitter asshole who now looks like the epitome of toxic masculinity and this tiny pink pet who used his femininity both as an advantage and a style. They’re different but it ends up working really well for both of them because they’re different in ways that cover each other’s bases. It’s wonderful. Pink and Orange go well together. Green and Purple go well together. Mandarin and Sakko go well together. Also, they clearly trust each other. During almost the entirety of “Hidden Fortress” Sakko was presumably just chilling inside of Mandarin’s armor. Mandarin trusted him enough to have Sakko in a place where he’s able to mess with his cybernetics, and Sakko trusted Mandarin enough to go into the battlefield with him and probably get tossed around.

If they were both human and in a more modern media, then they would definitely be shipped in the straightest way you can get without actually being straight. The Straightest Gay Ship.

5. A Witch and her Accidental Evil Coworker

Characters: Skelemandarin, Valeena.

Type: Platonic, Romantic,

Explanation: These two have been through some shit. Skelemandy was made to serve Skeleton King only to have that purpose yanked away from him. Valeena was groomed to idolize and serve Skeleton King for nearly her entire life. They were forced together by SHEER CHANCE and they both hated it. Arguably they both died at some point.

They both have absolutely NOBODY they can trust so let’s make them trust each other. All hilarity and sweetness comes from that.

Their dynamic is so good that I have them on a blog for a COMPLETELY DIFFERENT FANDOM and people love them with no context.

This is the only cross-species ship I have (besides chinmay and the antauri ships but that doesn’t count), but the fact that Skelemandy isn’t actually a monkey and needs no cybernetic assistance to be human-level sentient makes it a lot less weird. Just put them on equal ground power-wise (like by nerfing Valeena’s magic) and you have the ingredients for bonding.

They have like, no cute moments in canon, but that’s why we have fics and art. They have potential. I want them to help each other figure out who they are without their purpose. I want them to survive this horrible life together. I want them to figure out how to trust again. I want a lot but Valeena is fucking dead.

But she doesn’t have to be.

(Also Valeena is REALLY HOT and Skelemandarin is just me as a monkey)

6. Gay Dads

Characters: The Alchemist, Captain Shuggazoom

Type: Romantic, Platonic

Explanation: Oh my stars. Oh null. Oh me oh my hhougfhfakjghf. These two have the angst of Mantauri but on crack.

They only appeared in about two episodes each and all three episodes are top tier. They call each other “Friend” multiple times in their shared episode. THEY’RE FRIENDS!!!!!!!!! The face Al makes when he realizes that Cap is visiting makes me really happy. The fact that Cap had this whole Batman Double Life thing and he shows the Alchemist BOTH OF THEM is amazing. The alchemist is a hermit living in the woods and he lets Cap into that life.

There isn’t a lot shown, much less than everything else here. But that makes every single fanfic so much richer since they’re almost completely based on headcanons. Friends who have a mutual crush on each other but are No Homo about it? Secret boyfriends? Husbands with 6 monkey kids? An Old man and a grumpy Skeleton making it work? Literally just platonic friends? Dude, you can do whatever you want.

The tragedy of these two losing each other to one big horrible event crushes me. It influences my every move in my creative work. I have an entire character dedicated to reuniting these two in the most astronomical and ridiculous way possible because the alchemist angered the gods but she thinks he needs some company in his eternal punishment.

I want Clayton to unlock Al’s less serious, more fun side. I want them to work together. I want them to hold hands. GHGHGHDFBG UTTHTYE CNAZSNT EBCV ASUA ER

7. The girl power duo

Characters: Nova, Jinmay

Type: Familial

Explanation: These two were my only comfort during the uncomfortable nightmare that is “The Hills Have Five”

Nova was the one who trained Jinmay, and it seems like they hang out a lot offscreen in season 4. They fulfill the early 2000′s cartoon archetypes of girl and Girl, so they’re supposed to get along. If they didn’t I probably wouldn’t like Jinmay.

Nova is a really good big sister/parental figure to Jinmay, who never had any family to speak of.

Anyway, this entry has to be shorter because most of their bonding is in “The Hills Have Five” which is either #1 or #2 in my least favorite episode list. Not because it’s bad, but because it makes me viscerally uncomfortable. I really wish literally any other character than Jinmay was in her role in that episode. Or that the “taken to an offscreen area by an adult man while she screams” just wasn’t there. SHE’S 13!!! Nova did literally all she could to help.

I really like that scene in questionable where Valeena kills almost the entire gang. It’s what they deserve.

Look I just really like Jinmay and I always have. She deserves a good Mom.

8. "My Second In Command”

Characters: Antauri, Mandarin

Type: Theoretical

Explanation: The fandom has really made this ship go from “literally nothing to stand on” to “integral plot point in a lot of fics”. Seriously. I have TWO screenshots that vaguely imply these two ever stood next to each other on the battlefield. This was entirely title-based and fan-made until ProjectAfectivity interviewed Ciro. Yeah he knows Antauri but only as well as the rest of the team. Anyway. Wow. This ship.

This is by far the worst breakup in history. These two, despite what Antauri says, were on equal ground at some point. According to Ciro (and fan speculation), they trained together. This (and other Mandy ship) changes wildly depending on if you think Mandarin was corrupted by the portal or not. Maybe Mandarin was once a kind leader who just crossed the wrong boundaries and paid for it. He could’ve held Antauri gently before battle. He could’ve been the monkey Antauri went to when he needed someone to talk to. He could’ve hyped the team up like Chiro does.

Or maybe, they were constantly fighting against each other in small ways. An incredibly unhealthy relationship, yes, but an interesting story. I like stories where Antauri isn’t this all-knowing pillar of stability. He’s got weaknesses. One of them may have been Mandarin.

Now that’s a good nickname from one to the other.

Imagine Antauri, in a moment of complete trust, declaring Mandarin his weakness. A sweet sentiment. They both know the other is incredibly strong, and trust that the other would never take advantage of that connection. They love each other. Until...

9. "My Closest Ally”

Characters: Otto, Mandarin

Type: Theoretical

Explanation: Okay I'm looking at the screenshot I put for this entry while also having watched Evil Ages recently. My brain is making uncomfortable connections. Combine that with the fandom and the show’s general treatment of Otto and I’m about to slam my head into a wall. I really do not like that, but I feel like there’s somebody out there who does.

Anyway, this is Gibotto and Ottauri but with all the spice that shipping Mandarin with one of the other monkeys brings. When done well, it’s all the respecting Otto that comes with Ottauri and all the intimate partnership of Gibotto. And the Angst of Mantauri, but a lot more grounded.

It paints a lot of stories. A story of a single point of comfort in a world Mandarin thinks is out to get him. A story of powerful validation from the one authority in Otto’s life. Of letting your guard down. Of trust, then breaking that trust.

I’d LOVE to see some things with Mandottotauri because that’s epic and cool and poggers. Don’t see a lot, though.

10.The Hets, I guess.

Characters: Jinmay, Chiro.

Type: Romantic. Platonic. Canon.

Explanation: Look two entries on this list are polyamorous and four of them are mandarin so I have to say SOMETHING for the heteroes following me. Picked this ship over Spova because when I was a young child still suffering from comphet, I never watched the last episode of the show. I only saw up to season 3 at the most. This was the only canon ship for me. And out of all the ships, it’s the most relatable. I’m currently a teenager with black hair who looks really good in eyeliner dating a girl with pink hair who can pick me up and is unbelievably sweet. Except we’re gay and polyam. Wait a second I totally had a crush on Jinmay as a kid and now my gf is the Jinmay in this situation. Oh my god I was going to make this comparison if I did Spova too and I liked Nova.

ANYWAY

These are two LONELY kids. Chiro had bullies during school, and now he doesn’t even go to school. Jinmay hasn’t really had friends at all. Two kids with places in their universe that they aren’t too sure about, and just need someone to lean on. Their date was cute. They instantly bonded over their love of monkeys and I love that.

The super robot is sometimes an analog for Chiro, in the first two season at least, and the way the super robot held Jinmay’s hands to keep her steady on the COB while her head flew in was SO SWEET. Chiro’s instant recognition and reaction to Jinmay’s head being thrown at the team, as well. He really loves her.

I think it’d be interesting if she didn’t love him back, though. I might take a stab at writing that.

#srmthfg #super robot monkey team hyperforce go #srmthg #chinmay #Mandotto #Mantauri #Mandareena #Manokko #Captain Alchemist #Ottauri #Polymonkeys #Gibottarx #Anonymous

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makeyourdeanabi · 4 years ago

Text

Finale Reaction- 2 months later

In the wee hours after the Supernatural Finale, after tossing and turning in my bed, I got up and wrote this... this was before I was actually active on Tumblr and I never thought I would share this because I was too self conscious. I deleted it shortly after I wrote it because it brought me so much pain to relive it. I have since watched the Finale again and have come to terms with it and I felt it was a good time to share my thoughts. I hope that my words may bring other people comfort who feel the same way. Thanks for reading :)

Alisha

P.S. Sorry so long, I was feeling things and the words just kept coming and coming ___________________________________________

I don’t blog. Never in my life have I sat down to tell the world about my feelings in such a manner. I may contribute on message boards and social media comments, but I never thought anything was worth my time to spill my guts into the ether when I am near certain that not a soul will read them. But here I am. I have to write because if I don’t get these thoughts out of my head, I am going to go full on insane.

That ending was bad. It was a disservice to the 15 years of an incredible show that was not only genre bending it was cultural norms bending.

I could mention the various tropes that this ending (and the previous episodes) invoked, but I am not well versed in them and would never want to do anyone a disservice with a comparison that wasn’t apt.

The buildup up of each character arc and then the glaring lack of conclusion for said character arc was laughable.

To say I am disappointed is an understatement.

To say I am heartbroken is an understatement.

I am destroyed.

I am destroyed that the two men who have been with this franchise since day 1 wrote and directed an episode that they thought was the perfect ending. They thought this is what their devoted fandom wanted.

I am destroyed that the lead actors signed off on this script and went so far as to call it their favorite. I realize Jared was the only one calling it his favorite episode. Jensen admitted he had reservations about the episode and needed the wise words of creator Erik Kripke to accept it. I do have to say that taking the word of a man who left the show 10 seasons ago and hasn’t been involved in all the plot lines and inner workings since season 5 is probably not the best idea. I could be mistaken about the extent of Kripke’s involvement, but I am fairly certain that I am right in my assumptions.

Dean spent 15 years (probably more) of his life feeling unloved, unworthy, self-conscious and convinced that his life had but one purpose and that purpose would ultimately be the death of him, and he had made peace with that.

He is given a best friend, potential love interest, who helps him to see that he is more than that, so much more than that. He is selfless, he is caring, he is a lover, not a killer. His friend’s soulmate’s sacrifice is the catalyst for him believing that all these things are true. He even takes the step of admitting out loud that he knows he has changed. He knows that his life is worth living to the fullest and appreciating what he has every day and honoring those they have “lost along the way.”

To then kill him during a routine hunting trip in which the boys are up against a vampire nest they could take down in their sleep. What could possibly have been the purpose for that? To show that once they were no longer God’s little play toys their lives were expendable? WHY?

Dean, arguably the greatest hunter in the SPN universe, was taken out by a fucking rusty piece of rebar, and instead of trying to call for help and get the man to a hospital (not sure it would have helped) he has his final monologue, the one he has been due for the latter half all of Season 15. He died scared, in pain, and sad.

Dean goes to heaven, and its not the heaven we have been told of in the past where you are living in your memories. Its truly life after death and its wonderful. He meets Bobby again and told that various people in Dean’s and Bobby’s life are close by. His parents live down the road. His father, who was never confirmed to be but was most likely an abusive bastard, lives just down the road with his mother. Wonderful. (WTF?) He gets confirmation that Cas is out of the empty and he smiles, nothing more. He sees baby and goes for a drive, not to find Cas and thank him for his ultimate sacrifice, but to just drive. I like this part because we see a happy, content Dean, and we finally get to hear Kansas’s “Carry on Wayward Son” (DONT GET ME STARTED ON THE LACK OF THE ROAD SO FAR AT THE BEGINNING OF THE EPISODE). I just wish Dean’s path to heaven had been a little easier on him.

Dean deserved better.

Castiel, the selfless angel who just wanted to find purpose in his life and ultimately found it in death. He dies never being told that he is loved, after countless times of professing his love to his found family. The angel who sacrificed himself to the Empty, a horrible place of unspeakable torture, to protect the man he loves. A man who, mere days later (in my mind anyway), arrives in heaven after being killed in a gruesome accident, rather than fulfilling his destiny that Cas fought so hard to protect. Some sacrifice. It turns out that Cas is saved by the Empty from Jack, but we don’t get to see his joyful reunion with Dean, the man he loves.

Cas deserved better.

Sam is left to live this life without his brother, and potentially the love of his life because the writers couldn’t be bothered to confirm Eileen’s re-existence after Chuck’s rapture. He has a family, and he grows old (mind you with REALLY bad makeup in a show that is known for their incredible makeup/special effects departments).

He seems to be happy, but you can tell something is missing. We come to see that he raised his son to be a hunter. He raised his son in a life that, at the outset of this show, he was desperate to get out of and live a normal life. Perhaps he no longer believes that anyone can live a normal life knowing what is out there. *EDIT* Looking back I don’t believe he raised his son to be a hunter, just gave him the tattoo in case.

He names his son Dean, because of course he does. He has a wife who we see from a distance and is never given the clarity if it is Eileen or not. He finally dies after what looks like a slow and painful illness and is sent to heaven.

In heaven he meets up with Dean. This was lovely. The two of them meeting again after so long, for Sam, that is. Dean only had to seemingly wait for a few hours.

Sam deserved better.

For a show that had the potential to go out on a historically significant high, this is disappointing, to say the least. The story had the potential to end with 2 brothers who have sacrificed so much and saved so many people, find a happy ending. Not only that but find a happy ending with a deaf partner and a gay angel. If that isn’t breaking barriers and bending norms, I don’t know what is. I really would like to know what prevented this from happening. Be it the CW from restricting them or maybe the absolute lack of originality from the writers, I am curious as to their reasoning. Maybe it was COVID. Maybe because they couldn’t have those two actors physically on set due to protocols, they didn’t want to shortchange them by having them appear otherwise: disembodied voice, phone call (DONT TOUCH ME) or even a flashback… hell STOCK FOOTAGE! I don’t know and I clearly can’t imagine the reason.

I realize that there is nothing that can be done about this episode now and that accepting it and moving on is really the only way forward. But the legacy this show has left, and its lasting impact on me and my life, cannot be ignored. I was looking forward to indulging in past episodes of this show for the rest of my life. It is going to be a long time before I can watch an episode without anger and resentment towards what I know to be their eventual end. That, to me, is unforgiveable.

I don’t expect anyone to actually read this because I do not have any followers. I have never blogged in my entire life and was only recently introduced to the online fandom, but I needed to write this. I needed to share the impact that this episode had on me. I do hope that it does reach those in the fandom that may have similar feelings and are able to use my words to help express how they are feeling. We can move on, and we will move on, but we need to do it together.

I know that there are people who, if they read this, would shake their head in disbelief that I became so emotionally invested in this show that watching a bad ending would take such a toll on my mental health.

To them I say, imagine this… The Pittsburgh Steelers (my favorite team, they can imagine their own) have an incredible season. A season where they saw a myriad of highs and lows. Veteran players making incredible comebacks, rookie players coming in to their own. Season ending injuries that lead to the next man stepping up and contributing in ways they weren’t sure possible. Now imagine they make it to the Superbowl and after 3 tough quarters, in which they played their best, getting better with each quarter, they lose it in the final minutes. All that blood, sweat, and tears for nothing. Now imagine that was their last season and the Pittsburgh Steelers are no longer an NFL team. They are done. No “we’ll get ‘em next season.” No “it’s just a game and there is always another one”. Just done. Their entire franchise, for a brief moment in time, reduced to those final minutes where they failed to win. Devastating. Of course, in the long run that is not what they will be remembered for. I mean, after all, they have won 6 Lombardi trophies, and no one is taking that away from them. But the sting will remain for a while. *EDIT* This was as close to prophecy as I will ever get, the Steelers did all of the above until the playoffs, but THANK GOD, there will be another season.

If I can’t make you understand with a sports metaphor than I will never make you understand.

I love this show and this loss is devastating. I do hope that it is remembered for more than their last-minute loss. I hope it is remembered for the joy and acceptance that their fandom felt with each episode, for the laugher on set and the gag reels. I hope it is remembered for the individual players who gave it their all. I know it will be, but for me personally, this sting is going to last for a while.

#Supernatural #spn #dean winchester #castiel #sam winchester #eileen leahy #series finale #season 15 episode 20 #damn you dabb #damn you singer #destiel #supernatural

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shipsarebeautiful · 4 years ago

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Alright, people. Confession time.

If this sounds weird or not put together well, that’s because it isn’t put together well. It’s 2:02am as I’m writing this and I have no plan, I just wanna kinda vent real quick.

If you’ve seen my blog recently or look at my top tags across this blog, you’ll notice a significant amount of MCYT content being reblogged, especially surrounding the Dream SMP. There is no mistake or exception here, I actively engage in content made by fans of the dsmp all the time, not just on tumblr.

I watch fan made videos (typically short animations and tiktok compilations) on YouTube constantly, and even plan to make some of my own MCYT based animations. My actual tiktok fyp and following feed is full of mcyt based content and cosplayers galore, which to an extent I’ve already taken part in by making my own Dream mask. As mentioned previously, I look through and reblog a ton of art, analysis, AU’s, headcannons, clips etc. about the members of the dsmp, with a good chunk of that revolving around the smp specifically.

However, on the flip side of this, there’s a few major things arguably against my case of being a dsmp fan. The first being that the majority of people I follow on Twitch are on the dsmp, yet a sizeable handful of them are people that I’ve never seen full streams from, only ever clips. The second being how I’ve claimed to be “catching up” on the smp storyline since early October-ish last year, not long before the first festival, yet to this day I’ve only seen Tubbo’s perspective and still haven’t gotten to the initial creation of L’manburg. The third being that I actively avoid watching SAD-ist’s animatics because of spoilers (not that it’s worked because apparently dsmp fans have never heard of spoilers, so I still know about everything that has happened instantly despite having the “dream smp spoilers” tag blocked), which feels like a sin in and of itself because of how much praise SAD-ist constantly gets from MCYT fans to the point where it’s almost illegal to join the fandom if you haven’t seen their animatics.

The longer it takes me to catch up on this storyline, the more stuff I miss. The more stuff I miss, the less motivated I become to actually catch up because new content for it comes out from 30 different POV’s literally every day. But at the same time, the less motivated I feel to catch up the more I feel like I’m missing out.

I’ve already gotten so invested in these content creators to the point where I somewhat actively read fanfiction for them. I understand the references and the jokes constantly being tossed around for the lot of them and join in the jokes myself. I have caught myself on multiple occasions wishing I could get merchandise of multiple of the creators to show my support for them. But it’s never enough.

I’m not caught up on the SMP, and at this point I might never truly be caught up unless I wanna do what everyone recommend at the start, just jump in where the plot is right now and follow along from there. But the thing is that I simply can’t do that. Not in good conscience at least. Whenever I start something new I always start from the very beginning and watch/read through the whole thing at my own pace, this includes the smp.

I’m not bothered if most people are here for the plot and have the ability to not care about what happened in the past. But I do care about it. I want the full experience. I want to witness everything in full detail regardless of it is already been spoiled for me or not. And that’s where I’m falling short.

I’ve seen people say before that the SMP is impossible to catch up on, and those people can use me as an example of that. Not that they ever have an example, since those people were either here from the start, caught up in a more speedy way (like binging Tommy and Wilbur’s highlights), or going from where the plot was when they got into MCYT. I don’t blame or judge anyone who did any of that, but know that I’m not one of those people, nor will I ever be out of pure commitment to the full story.

Taking a step back from all of this and thinking about it all for a minute has made me realise something. I ALWAYS watch the Jackbox streams, the Among Us streams, the Mr Beast challenge streams etc. Basically everything that isn’t involved with the smp, at least not directly. And I love watching them.

I love watching these people be themselves and have fun together. I love taking my time catching up on Tubbo’s POV of the SMP because the streams back then were all so chilled out and a nice way to relax. I love watching the totally unrelated to the SMP minecraft content that people like the Dream Team, Tommy, Wilbur, Purpled, Fundy and more post at least somewhat regularly.

I’m a fan of these people for everything but the role play, which is the biggest thing they’re known for, and frankly I’ve never met another MCYT fan like that unless they’ve just started watching people, and soon enough the server claims another victim. I feel alone here because I can’t relate to anyone. The majority of the content being produced across all platforms is SMP related in some way, which isn’t necessarily a bad thing, but I feel like it alienates me and others like myself who don’t watch the SMP. Not that there are many of us to begin with.

I don’t know what my point is here. Maybe to normalise MCYT fans who don’t watch the SMP and are just here for fun friendships? Maybe to get MCYT fans to understand that not everyone is here for the role play and to try and get them to not play it up too much as if it’s the only thing going on? Could be both. Could be neither. Could be something else entirely. Most likely it just doesn’t have a point. This took me just over an hour to write (it’s 3:11am at this point), and I just felt a need to get this off my chest.

If you actually read this, I don’t know why you did but thanks I guess. Maybe tell me in the notes if you or anyone you know can at least somewhat relate to anything I said here. Or don’t. I don’t control your life.

#mcyt #dream smp #long post #sab actually posts

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slaheir · 4 years ago

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REASONS WHY HISUI WILL BECOME ONE OF THE GREATEST, MOST POWERFUL DEMON SLAYERS EVER - an headcanon post essay by zee

I’ve been thinking a lot lately about horrible writing and what it’s done with what’s arguably, for me at least, one of my favorite characters. Who really has so much going for him it’s a shame the series isn’t doing more with him. So today I spent some time thinking about his character and how - arguably - Hisui will become one of the most powerful demon slayers of all time.

Let’s begin with something YASHAHIME confirmed itself but hasn’t addressed so far in the series. Hisui’s spiritual powers. Yotsume, a shapeshifting demon was shown in the first episode to be watching Kagome, Sango and her children. Twins Kin’u and Gyokuto. Also, at the time Hisui, who was still shown to be a baby. Now thinking back on how much Kagome’s powers would have developed, what point we’re at in time, how long it’s been etc. I still think it’s fair to say that Kagome’s a pretty powerful priestess, even if she is still learning to acclimate to a different time period for good. What sticks out to me as a big shocker is that while she did not sense Yotsume, Hisui did. Because it’s only upon the demon’s appearance that the boy begin’s to cry and try to alert his family that YO. GUYS. HELP. SOMETHING DOESN’T FEEL RIGHT. I SENSE A DEMON. That’s some baby yoda levels of perception and spiritual awareness. So by all accounts, it suggests Hisui’s spiritual powers and sensory awareness not only should surpass his father’s when he’s just a BABY but Kagome’s as well.

Now you may ask - why did he sense Yotsume but not roothead when it was about to barge into the house? I have a few theories about this too. One - he’s a baby. Baby’s get tired and I would imagine like baby yoda is shown to be in the mandalorian, when he over exerts himself his powers aren’t as strong and he actually has to rest. Because he had such a strong reaction to Yotsume, you could say he needed to sleep. He’s shown with his eyes closed in his mother’s arms and thumb in his mouth. Or you could say that he felt at ease given that he sensed SESSHOMARU ON THE ROOF protecting them. Who didn’t do a very good job just letting roothead barge right in I might add, but hey. There’s a lot of problems with the writing in this show.

So if we consider how spiritually powerful Hisui was as a baby, it’d be fair to say that as teenager his powers would only grow (and by Yashahime logic, if children inherit things from both their parents yes I’m looking at you Moroha you beautiful feral child) then it would make sense to me why he’d be so strong. Having Miroku’s bloodline of powerful monks but also, remember, on Sango’s side - that’s distantly related to the famous priestess Midoriko. So reason number one point blank why he’d be a threat to demons and make for a powerful taijiya? His powers. They’re, to put it simply in laments terms, going to be off the charts. I think there really was a missed opportunity by sunrise in the most recent episode where Totetsu was hunting monks to realize it wasn’t Miroku the pearl sensed great spiritual power in, but perhaps instead Miroku’s son. Who was there to protect him. It could have been a grand reveal too. Hisui imbues the hiraikotsu with spiritual energy or throws up a huge barrier to protect the temple grounds. Something he’s never done in front of others before - bam. Plot twist. And a really cool character moment.

Secondly, why will Hisui be a force to be reckoned with? Because his mother AND his uncle are training him. And his father, I would imagine with regards to his spiritual powers - would train him in that too. Hisui’s got an amazing support system and fountain of knowledge in his family that he can learn from and grow into the kind of leadership role I imagine he will one day. Sango and Kohaku are both talented and would pass on their knowledge to Hisui so that the future of the Taijiya Village can be restored. And it will be. Hisui is, like his sisters and the other children that want to learn and become slayers themselves - their future. You can’t tell me he wouldn’t take that seriously. You can’t tell me that every day since he could walk he wasn’t trying to run off to train with his mother’s weapon or asking to follow her and uncle into battles. Because he strikes me as someone who’d be very proud of his family history and all the more eager to make them proud.

With all that being said, I don’t think there’s any question Hisui will do great things. I think a lot of demons will come after him to test him and maybe would even attack the village constantly because like Kikyo, they would see him as a human with too much power. But I also think that’d be one of the reasons the village would remain safe too - because he’d be there to protect it.

I think he’ll be one of the greatest demon slayers of all time. Hands down. But I don’t think the writers will give him enough attention, love, or character development for me to ever see that animated and that’s okay. That’s what I have a rp blog for :P

#*? ?cries easily? ?( ooc )#headcanons

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miserablesme · 3 years ago

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The Les Miserables Changelog Part 4: 1987 Australian Tour

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Unlike previous parts, this one is not focused on any official libretto changes affecting all productions of the musical. Rather, it looks at a set of changes applied specifically to the 1987-1991 Australian tour. While the tour mostly followed the normal 1987 libretto discussed in the last part of this blog, it did add a few unique touches that are worth discussing here. Many would never make it outside of this particular production; however, a few would in fact be used in later productions of the musical too. Without further ado, let's get started!

The first change I am aware of is in the prologue. Usually the Bishop tells Valjean, "Now God's blessings be with you". In the Australian tour, he instead states "May God's blessings be with you". Not a big edit, but an edit nonetheless.

The next change comes at the beginning of "Lovely Ladies". While originally a sailor sings that "seven days at sea will make you hungry for a poke", the Australian tour switches this to "seven weeks at sea". I suppose this would be a more realistic timeframe for a sailor at the time to be away, and it also makes him come across as slightly less desperate. Having said that, the original sense of desperation fits the mood of the number perfectly.

The very next scene, "Fantine's Arrest", also has a very slight change. While usually Valjean requests "A moment of your time, Javert, I do believe this woman's tale", the word order is swapped so that he instead asks "Javert, a moment of your time, I do believe this woman's tale" in the Australian tour. Not a huge change, nor do I quite know what it was supposed to accomplish, but interesting nonetheless.

In "Who Am I?" Valjean usually asks regarding his workers, "How will they live if I am not free?" The Australian tour changes this slightly to "How will they fare if I am not free?" This slightly changes the mood from a life-or-death situation to a more subtle question of looking out for others' well-being, though it's not a huge difference.

Then, after "Who Am I?" a bit of spoken dialog is added for this tour. Perhaps in acknowledgement of the "You know where to find me!" used in the West End at the time, Valjean shouts "You will find me at the hospital St. John!" after his high note. Similar in spirit to the mostly-scrapped original declaration, though now he doesn't actually trust Javert to figure out his location (which makes more sense to me than the original).

The preamble to "Master of the House" mixes up the genders regarding the bar crowd's lines. First off is the opener, which usually goes as follows:

(FEMALE PATRON)

C'mon you old pest

(MALE PATRON)

Fetch a bottle of your best

(MALE PATRON)

What's the nectar of the day?

In the Australian tour, this is how it goes:

(MALE PATRON)

C'mon you old pest

(MALE PATRON)

Fetch a bottle of your best

(FEMALE PATRON)

What's the nectar of the day?

Usually this was how a later part went:

(MALE PATRON)

One more for the road

One more slug of gin

(FEMALE PATRON)

Just one more

Or my old man is gonna do me in

The Australian tour swapped the sexes of some of those lines, leading to a slightly different final lyric:

(MALE PATRON)

Landlord over here

Where's the bloody man

One more for the road

(FEMALE PATRON)

One more slug of gin

(MALE PATRON)

Just one more

Or her old man is gonna do her in

The ending to the "Waltz of Treachery" has an interesting lyrical edit. Usually Valjean proclaims the following:

Yes, Cosette

Yes it's true

There's a castle just waiting for you

However, the Australian tour gave him this line instead:

Yes, Cosette

Yes it's true

A world of surprises is waiting for you

This gives a much more general promise to Cosette, and is a less direct response to her "Will there be children and castles to see?" question. I'm not sure which I prefer to be honest.

A very small change occurs during "Look Down"; namely, a line originally sung by the ensemble is now sung by just one person. Originally this is how the sequence goes:

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

However, for the Australian tour, "Something for a crust of bread in Holy Jesus' name" is sung by one single beggar woman (who is distinct from the beggar woman who sings "In the Lord's holy name"). This change would be adapted into the official libretto much later to account for a staging change in which the beggar singing the line walks by Marius and Enjolras to ask them specifically for some extra cash (as opposed to asking for help more rhetorically, as was originally the implication). I'm curious as to whether or not the Australian tour used a similar staging difference earlier on, or if there was some other reason to make the line an individual one.

A few changes are made to "The Robbery". First off, Thenardier tells Valjean "God rewards all the things that you do" as opposed to the normal line, "God rewards all the good that you do". I slightly prefer the original, though it's not a huge difference.

Finally, Eponine's "It's the p'lice, disappear, run for it, it's Javert!" is bizarrely changed to the rather repetitive "It's the p'lice, disappear, it's the p'lice, it's Javert!" I have no clue what this was supposed to accomplish, because it makes the line far messier than it was before. Perhaps this was the intention, in order to highlight Eponine's unrefined self? Though that doesn't seem particularly relevant to the scene... who knows.

Some significant changes occur during "Stars". Not long after the song's start, Javert's declaration is changed from its original:

A fugitive running

Fallen from grace, fallen from grace

Into the less repetitive:

A fugitive running

Fallen from God, fallen from grace

Personally, I have a soft spot for the original repetition, but i do understand why some would prefer the Lord's name being used instead of the vaguer concept of grace.

Soon afterwards, a few conjunctions are removed. Originally Javert declares:

He knows his way in the dark

But mine is the way of the Lord

And those who follow the path of the righteous will have their reward

However, the Australian production (and the London production not long afterwards) simplified the sequence to:

He knows his way in the dark

Mine is the way of the Lord

Those who follow the path of the righteous will have their reward

I suppose the conjunction-free variant is likely to be easier to sing, since the lyrics are a little less rushed. This variant also separates the lines so that they come across as separate sentences, instead of one long run-on one. However, it does slightly bug me that the later line "And each in its season returns..." maintains its conjunction while the opening verse does not. That strikes me as somewhat inconsistent.

By far my favorite change to "Stars" happens towards the end. Originally, Javert sings:

And so it has been

And so it is written

On the doorway to paradise...

However, the Australian production changes the first line in the sequence:

And so it must be

For so it is written

On the doorway to paradise...

The revised line is much more dramatic and forceful, and makes Javert's final promise all the more powerful. It also sounds less passive, which seems more appropriate for Javert's character.

Philip Quast, who originated the role of Javert in Australia and later returned in 1991, changed the line "We'll be ready for these schoolboys" into "I will join these little schoolboys" during "One Day More". This line arguably makes his intentions a bit clearer, though it carries less threatening implications than the original lyric. Interestingly, however, Quast's replacements in the tour revert to the original line.

A very slight change occurs in "Drink with Me". Instead of Grantaire's "Can it be your death means nothing at all?" he asks "Could it be your death means nothing at all?"

Something weird happens during "Dog Eats Dog". For whatever reason, instead of the usual musical interlude that plays as Valjean carries Marius through the sewers, a similar but slightly different (and in my opinion inferior) variant plays instead. It sounds quite messy in my opinion. I wonder whether or not there was some difference in staging to inspire this different version of the music, or if someone inexplicably just thought it sounded better?

Similarly, the usual music that plays as the Thenardiers awkwardly feign sophistication during the wedding scene is given another in my opinion less polished edit. Nothing much to say here that I haven't said in the context of the last change.

One of the more impactful changes in the long run comes in the epilogue. Originally Fantine and Eponine sung the following line together:

Take my hand

And lead me to salvation

However, the Australian tour gave them the following line instead:

Take my hand

I'll lead you to salvation

This makes a lot more sense, since they have been dead for years and only now is Valjean joining them. Some have argued that because Valjean has become the epitome of good, an almost Christ-like figure, it ends up that he continues to save people even after they have passed away, hence the original lyric. I personally don't buy this at all. I think Fantine and Eponine were clearly good people doing the best they could, and if they still need an outside influence to be considered worthy of salvation that speaks quite poorly of whatever God may exist! The revised line is far better in my opinion, and fortunately it would become the standard worldwide in a few years.

And that just about sums this part up! (Man, it feels good to make such a short, easy post after the hours that went into the last one!) If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

Until the turntable puts me at the forefront again, good-bye…

#les mis #the les miserables changelog #les miserables #valjean #javert #changelog #1989 #australian tour #fantine #marius #cosette #eponine #enjolras #thenardier #gavroche #musical

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