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paledoptera · 4 months ago

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SHADOWFELL SAGA CONTENT ARCHIVE (POST 2/2)

welcome back to the shadowfell content archive!

this is going to be the second (and hopefully last) post! keep in mind the "parts" are going to be a lot more brief than the first post, the early game was pretty fleshed out but the rest was pretty much just vague ideas.

in addition to content that would have eventually come out, i'm also gonna be showing off a couple of early drafts and ideas that got cut!!!

SO:

INTERMISSION: BATTLE TIME!!!

so this was the original draft shiiv sent me for "smackdown". for the two tracks they contributed to the game (smackdown & pasta la vista, which you can hear in the last content archive post) they basically made a full song with temporary instrumentation, then i went back and remade the song with more toby fox-y instrumentation. they are FANTASTIC at music writing and i actually kinda love this original version of smackdown, it has some unique charm in how bitcrushed it is

i don't really have much to comment about the battle system, but i'll quickly run through how it would've worked:

basically, it'd be the mario & luigi battle system but with a few small changes.

solo attacks would be weak attacks that cost little BP (bone power)

bros attacks would be strong attacks that cost lots of BP

you can skip your turn and regain BP by using a "pass" action command. this would be the main way to recover BP

i think one flaw in mario & luigi is that BP being a somewhat limited resource kind of force you to use solo (jump/hammer) moves rather than your COOL and hard to master bros moves. i feel like BP being an UNlimited resource would kind of remedy that

here are some ideas we had for bros attacks

(in bone blast, papyrus' gaster blaster would have been FRANK from papyrus belief <3)

yaboinando made this amazing concept for an attack based off of an old "dark darker yet darker" fan animation

last thing i have to say about the battle system: we actually had another form of "bros move" planned out. the whole game is food themed, so i figured it was only natural that a cooking move would be in the game!

PART 4: MOUNT CERAMIA

this area's name actually hovered between "mount ceramic" and "mount ceramia" for a while. i ended up choosing ceramia cuz i thought it sounded more mountain-y the theme is pretty unfinished, but i really like how it sounds anyways. i wanted to establish "our maiden voyage" as the overarching "area theme" for the whole game, but i thought a more percussive and tribal-sounding version of it would be cool for the mountain area

mount ceramia is a giant mountain made of plates and mugs. who would've thought!! i wanted to make a joke about "tectonic plates" here. i liked the section in superstar saga where you climb a giant mountain, which is prob the biggest inspiration of this area.

early on in the area, you meet IMPACT, a skeleton oc with a giant bone club

he was mostly a joke character, but i liked him. he was kinda like a big dumb caveman-y guy. funnily enough, i never envisioned him as a boss or villain. he was always going to be an ally.

(i didn't make it very far in the writing process of his theme song!!)

i can't be bothered to make a whole google doc for his short introduction script, so i'll just copy-paste it to here. (his text was going to be comedically large)

Impact: IMPACT!!! Impact: I AM IMPACT Impact: THE ONE WHO BONKS Papyrus: HELLO IMPACT! IT'S NICE TO- Impact: IMPACT PLAGUED BY Impact: TERRIBLE EGGPLANTS Impact: THEY HARD LIKE ROCKS Impact: AND RUIN MY GARDEN Papyrus: AH, A SKELETON IN DISTRESS! Papyrus: NO MATTER, THE GREAT PAPYRUS IS HERE TO HELP! (papyrus materializes a bone in his hand) Papyrus: I'LL SMASH THESE EGGPLANTS VALIANTLY LIKE- (papyrus swings his bone at the eggplant, it bounces off. he keeps trying) Papyrus: …LIKE SO!! Papyrus: LIKE SO!!! (the bone he's holding cracks) sans: you're cracking me up. Papyrus: SHUT IT SANS! Impact: YOU ARE BABBY BONES. Impact: WEAK LIKE TWIG! Impact: NEED MORE CALCIUM Impact: VITAMINS ARE GOOD. (impact tosses a heavy bone club at papyrus) Impact: THESE ARE REAL BONES. Impact: BONE CLUBS. Impact: IMPACT MADE THEM MYSELF. Impact: THESE ARE REAL BONKABLE. Impact: HELP ME BONK THE EGGPLANTS Impact: AND THEY ARE YOURS. the bone clubs would have basically been this game's replacement for the hammers in m&l. i liked the idea of papyrus and sans just hitting shit with comedically large bones like cavemen

this area was very egg-centric for some reason. i think it's because i got the whole "smashing-plates" thing into my head and wanted to smash other stuff.

PART 5: CARRION ISLES

in earlier versions of the game, the brightwater floats were actually called the carrion isles. i thought that name was too grim for such a brightly colored area though, so i pushed it forward!!!

i don't have any concept art for carrion, but i'd picture it as a collection of super stormy scary piers with constant thunder and scary intense music. it'd have that core-thing going where it'd have really intense area music that keeps playing in the battles.

(enemy designs by the fantastic yaboinando!)

this area was very fuzzy in my head. i wasn't really sure what to do with it, but i wanted some kind of semi sheriff minigame or battle at the end of this. the basic idea i had was that there'd be a "pirate king" and that semi would ally with them, maybe there'd be some kind of silly cannon battle between you on ferryperson's (now repaired) ship and them. another idea i had was that the "pirate king" could have been undyne, who fell into the dark world way after sans and papyrus did. they'd initially be allied with semi, but as soon as she sees her "enemies" are sans and papyrus she jumps ship and joins you on your adventure. i'm not sure how that would work with the rest of the game though!!!

one thing for certain is that after the silly battle, there'd be a big intense betrayal scene where ferryperson fights you. i SWEAR i had some concept art of this but i can't find this. it'd have ferryperson on a giant wave while papyrus and sans are floating on the collapsed remains of their boat though. kinda like this.

this theme was somewhat inspired by alphys takes action, funnily enough. i like how it sounds, though it is very unfinished

(edit) FOUND IT!!!!

this is VERY very early concept art, back when the game had more of an undertale-y UI. originally sans was actually going to be the only one in this battle since papyrus was held hostage, it'd be the thing to push him into finally fighting properly

PART 6: STEEL CALDERA & ZARELLA RESORT

quick warning!!! everything beyond this point is very fuzzy. we had NONE of this solidly planned out

this is the closest thing we have to a theme for steel caldera. it would've been a magma-y volcano area! originally this area was actually called "steamworks" and was a purple-pinkish retro-futuristic city, but undertale yellow came out and i thought it'd look like a ripoff so i trashed that idea lol

in the original script, caldera was also called "mt zarella" but i thought that sounded lame

i had a brief idea for a skeleton in undyne's knight armor called "ROMAN OF STEEL" who was gonna be the main villain for this arc, sort of a big egotistical tough-guy character.

zarella resort was gonna be the part-2 to this area, a fancy italian resort next to the volcano with heavy mafia connections.

r.v pine made some fantastic designs for the cheese mafia that i still LOVE

there was gonna be a meta joke in the resort where papyrus & sans expect to get firehand and thunderhand, but the ancient sites that those powers come from were knocked down and turned into a tourist attraction. some mafia employee goes "I'm sorry, but hand powers have been privatized."

the arc ends with papyrus getting a neverending bottle of hot sauce that he just kind of carries around and uses as a "fire" attack

INTERMISSION: MID-GAME SEMI FIGHT

early on i envisioned some kind of semi-emotional moment where sans and papyrus meet another skeleton with this big western wagon, then they sit by a campfire and talk, then go to sleep. when they wake up, semi sheriff is chasing them with his own wagon, and there'd be this massive battle. i swear i have concept art of this too but i ACTUALLY can't find it this time

PART 7: CAPRESE JUNGLE

this was a very weird area. it was gonna be a jungle based on salad i swear everything i came up with for this area came from some schizo hallucination because i don't remember coming up with any of this.

here are some iterations this strange area went through:

the area was ruled by a fancy skeleton with a fancy feathered hat called "Arial Noire". she spoke french and was a necromancer

the area was ruled by dinosaurs, like papyrus' dino egg oatmeal. there would be a part where semi tries to ambush you, but accidentally shoots a baby dino in its egg and then the baby dino gets pissed and fights papyrus and sans

the area was ruled by a flowey knockoff called "Peppermint".

PART 8: QUICK ROUNDUP OF OTHER AREAS

here are some other area ideas i had for the late-game:

sugarspice peaks, an area with cliffs and moths and stuff. i didn't actually put much thought into this area, i just wanted moths in the game. in the light world this would have been a cupboard

the badlands. this area would have started as a return to flavortown, that ends in a giant journey to catch the IMPASTA, the bandit who framed papyrus & sans and caused semi sheriff to hunt you down throughout the entire game. after you catch impasta, semi sheriff joins your party.

steampunk glacier, basically just the fridge in the light world. this would have been a heavy parallel to "joke's end" in superstar saga. i think paps & sans would have been seperated from semi sheriff (and possibly undyne) for the first half of this section, then they all meet back up near the end. sans also gets a shitty hand power, being a few cubes of dry ice that he just throws at people's eyes

PART 9: WATERFALL PALACE & FINAL BOSS

so, this is something that's oddly personal to me because the stupid, STUPID idea i had for the final boss was my entire motivation to create this game.

the waterfall palace area would be a standard area-before-final-boss-area. in the light world it would be the comedically tall kitchen sink.

at the top of the tower, there'd be a giant faucet with running water and the "dark lord", the overarching villain for this whole thing. you find the "dark lord" and fight him. a theme similar to "in the final" from bowser's inside story would play, but then the boss would be incredibly underwhelming. he'd die in like 3 hits... at which point he reveals he's not the ACTUAL dark lord, and he was just pretending to do so for status. he'd turn off the faucet... and then a giant door would reveal itself behind the great waterfall.

papyrus, sans and semi sheriff would walk through the door... and see a japanese temple.

and then, the ground rumbles.

the FINAL BOSS of this entire adventure would have been a GIGANTIC ANNOYING DOG WITH THREE HEADS. an ANNOYING CERBERUS if you will

you don't understand. the idea of this is so fucking hilarious to me. imagine going on this entire adventure just for the final boss to be an annoying dog joke. this is the first ever idea i thought of for this fucking fangame and i worked backwards from there and thought up EVERYTHING ELSE. JUST to fit the puzzle pieces together for this finale. i thought it would be so fucking funny to troll the players like this.

to bring the joke even further, in most mario & luigi games, you have to collect 8 pieces of some kind of ancient-mythical-powerful-artifact. in this game i decided on "ingredients for the legendary linguine", a bunch of seemingly magical ingredients that come together to make this uber powerful relic of a meal. there was gonna be this dramatic scene halfway through the cerberus fight where papyrus assembles the linguine, throws it at the boss and then NOTHING HAPPENS. a big point of the boss would also be that it'd think papyrus, sans & semi's attacks are just play-fighting, but once they deal enough damage then it'd get angry and just curbstomp them both and they'd seemingly be pretty much dead.

there would be this big power-of-friendship scene where sans, papyrus and semi revive, and then a giant three-headed gaster blaster dragon would be assembled from the bones of their attacks, and there'd be a bowsers-inside-story style giant battle where the megalo dragon finally defeats the annoying dog

and that, my friends, would be the ending of my half-shitpost game, because i think that would have been amazing and hilarious, but unfortunately that reality will never come to fruition.

thank you all for the support. since i posted the first half of this archive i saw a twitter thread posted about the game's cancellation. it's pretty humbling, and dare i say almost inspiring seeing how many people liked the concept so much and were saddened by its cancellation. i have a big problem with announcing projects too soon and then having to cancel them when i inevitably loose motivation, so to avoid this i'll probably be dead quiet on any future big projects until i can release SOMETHING to do with them, whether that's a demo or trailer or anything else. i hope to see you all in whatever project i start next!

SHADOWFELL SAGA ARCHIVE: PART 1 - PART 2

#mario & luigi #superstar saga #mario & luigi rpg #fangame #fan game #undertale #deltarune #undertale fangame #papyrus #sans #papyrus fangame #shadowfell saga #papyrus & sans #papyrus & sans rpg #papyrus & sans shadowfell saga #papyrus au

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lennnypooh · 7 months ago

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Roundtable Presentation: Painting With All the Colors: Pocahontas

Disney's "Pocahontas," the film's score plays a crucial role in situating the story within its narrative context by utilizing various musical elements that evoke the setting and themes of the film. Alan Menken's score blends orchestral arrangements with Native American-inspired motifs, such as flute melodies and tribal drumming, to create a sense of place and time. For example, the use of Native American chanting and percussion during scenes in the Powhatan village or the incorporation of traditional folk instruments like the Native American flute helps to immerse viewers in the film's historical and cultural context.

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Moreover, the songs in "Pocahontas" serve to push cultural authenticity within the film's diegesis by employing character performances that reflect the diversity and traditions of the Native American characters. For instance, "Colors of the Wind," sung by Pocahontas, not only showcases her character's connection to nature but also incorporates elements of Native American musical styles, such as vocal ornamentation and rhythmic patterns inspired by traditional Native American music. Similarly, the song "Just Around the Riverbend" features Pocahontas singing about her desire for adventure while incorporating Native American musical elements to underscore her cultural identity and connection to her surroundings.

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Additionally, the film uses musical "framing" techniques to structure the score within familiarized styles, thus enhancing the audience's emotional connection to the story. For example, the recurring motif of the "Colors of the Wind" melody throughout the film serves as a thematic anchor, reinforcing the central message of environmental harmony and cultural understanding. By weaving this motif throughout the score in various musical arrangements, the film creates a cohesive musical narrative that resonates with audiences and reinforces the film's overarching themes. Similarly, the use of leitmotifs for characters like Pocahontas and John Smith helps to establish their identities and emotional arcs within the story, providing a musical framework for their development and interactions. Overall, the film's score effectively utilizes musical framing techniques to enhance the narrative structure and emotional impact of "Pocahontas" however although it has been praised for its stunning animation and memorable music, it has also faced criticism for its inaccurate portrayal of history, particularly regarding the depiction of the character Pocahontas herself.

One of the primary criticisms of the film is its romanticized portrayal of Pocahontas and John Smith's relationship. In reality, Pocahontas and John Smith likely did not have a romantic relationship as depicted in the film. Pocahontas was around 10 or 11 years old when John Smith arrived in Virginia, and their interactions were likely more diplomatic than romantic. By presenting a romanticized version of their relationship, the film perpetuates a misleading and culturally insensitive narrative.

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Furthermore, "Pocahontas" has been criticized for perpetuating stereotypes and inaccuracies about Native American culture. The film portrays the Native American characters in a monolithic manner, failing to accurately represent the diversity of Indigenous peoples and their cultures. Additionally, some critics argue that the film appropriates and simplifies Native American spirituality and traditions for the sake of storytelling, without fully understanding or respecting their significance.

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Another point of contention is the historical inaccuracies in the film's depiction of the Jamestown settlement and the interactions between the settlers and the Native Americans. The film simplifies complex historical events and glosses over the violence and exploitation that occurred during this period of colonialism.

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Overall, while "Pocahontas" is a beloved animated film, it is important to acknowledge and critique its inaccuracies and problematic portrayals of history and culture. By perpetuating romanticized narratives and stereotypes, the film may inadvertently contribute to the misrepresentation and marginalization of Indigenous peoples and their histories.

#@theuncannyprofessoro #oxyfilmmusical #Youtube

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mudwerks · 1 year ago

Video

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(via The HU - Wolf Totem (Official Music Video)

The HU is a Mongolian folk metal band formed in 2016. Incorporating traditional Mongolian instrumentation, including the morin khuur, the tovshuur, and throat singing, the band calls their style of music "hunnu rock", a term inspired by the Xiongnu, an ancient tribal confederation of uncertain origins, known as Hünnü in Mongolia. Some of the band's lyrics include old Mongolian war cries and poetry.

#youtube #the HU #music #mongolian #folk metal band #morin khuur #tovshuur #throat singing

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kidasthings · 6 months ago

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this scenario keeps popping in my head of Mae kind of teaching Noa to dance. like obviously the apes don’t have any technology or like records of music from the past, but I assume they have that in the bunker so like… Mae shows Noah music for the first time and. they dance. i’m going crazy, straight up gnawing on the bars of my enclosure

That would be a good scene for a future 'fic! I think the apes probably have crude instruments and may know basic tribal dances - I remember Proximus Caesar's goonies using the side of an iron ship panel for a gong - but I don't think they have access to the music from the world before that the bunker people must have. That's a good idea for a setting should I ever write something longer than a one-shot. Thank you for sharing!

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mywifeleftme · 8 months ago

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327: XTC // Black Sea

Black Sea XTC 1980, Virgin

XTC’s discography has a very organic flow to it. Andy and Colin’s voices aside, it’d be tough to guess the same band was behind the albums that bookended their career (convulsive 1978 New Wave speedball White Music and the lavishly arranged psych pop of the turn of the century Apple Venus tandem), but if you follow the band over time, from one album to the next there are few radical departures. Each link in the chain contains elements of the record that precedes it and the one that follows it. Still, you can clearly divide their discography between their early years as a hard-touring New Wave act and their second act as a pastoral psych pop studio project—and, in that light, the albums that straddle that transition (today’s album, Black Sea, and 1982’s English Settlement) could be considered the “definitive” XTC records.

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It’s easy to forget what a spectacular live act XTC were in their early days, something like a combination of ‘60s bubblegum, Devo, the Residents, and Wire, but with cardio that would’ve put most of those acts to shame. As a guitarist, Andy Partridge scorned anything that smacked of blues, slashing out hiccupy riffs way up the neck, hurling himself into head-spinning rhythms that often wouldn’t be out of place on a Fugazi record (if he didn’t have such a sweet tooth). He surrounded himself with collaborators whose ability as players was such that they were able to make their own marks on the band’s sound despite Partridge’s dictatorial tendencies—not only minority songwriter and exceptionally melodic bassist Colin Moulding, but ultimate utility man Dave Gregory (who flitted with ease from lead guitar to keys) and their gem of a drummer Terry Chambers, a non-writing / arranging member who would be lost when the band’s studio transition reduced him to a glorified session man. Chambers was an absolute machine, and many of the band’s most memorable early statements rely on his power and precision behind the kit.

Black Sea is their last record to be dominated by the quirky sound-over-sense rhythm workouts on which they built their name, and they go out with a bang: “Rocket from a Bottle,” “Burning with Optimism’s Flames,” and especially “Paper and Iron (Notes and Coins)” are fine reminders that new wave was as much Body as Head music, while the tribal stomp of “Travels in Nihilon” feels like a hint at what XTC would’ve sounded like as some kind of Swindon krautrock band. But the songs that are best remembered from this one are those first stirrings of their burgeoning reinvention as basically the attention deficit disorder Kinks.

By his own admission, Colin Moulding’s early songwriting efforts had aped Partridge’s style, but here it seems Partridge was inspired by Moulding’s sardonic kitchen sink satire “Making Plans for Nigel” (from the previous year's Drums and Wires). “Respectable Street” reads almost like Partridge proving to himself he can write his own “Nigel,” while the chiming psychedelic pop of “Towers of London” scales its social commentary to the Empire itself. His finest moment though is “No Language in Our Lungs,” one of the band’s first genuinely emotional statements. The wordy lyric is typically “clever” (“I would have made this instrumental / but the words got in the way”) yet it captures the feeling of being overwhelmed by the intensity of…well, a feeling. The credit lies mostly with its arrangement, which heaves and stumbles behind Andy’s inconsolable howl like someone dragging their feet in exhaustion.

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Black Sea usually sits somewhere between third and fifth in my personal XTC rankings, but it’d be the place I recommend a new fan start with the band (or would be, were the record available on streaming services). Between Andy’s peculiar voice and a smartass quality that can get a little cloying, XTC’s not for everyone—but for those on the wavelength, their catalogue is one of the greatest of the rock era.

320/365

Bonus

For the hell of it, my personal XTC discog rankings.

Skylarking English Settlement Black Sea White Music Drums and Wires Apple Venus Volume 1 Go 2 Wasp Star (Apple Venus Volume 2) Oranges & Lemons Mummer Nonsuch The Big Express

#xtc #xtc band #andy partridge #colin moulding #virgin records #new wave #art rock #post punk #psych pop #'80s music #music review #vinyl record

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