I may have just drunk way too much wine and spent way too much time analysing hozier’s lyrics in reference to andreil
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my autistic ass when i would try to explain to my non-autistic writer friends how my ocs don’t just feel like characters/plot devices/narrative tools, they feel like fully fledged people that just live inside my brain who i just have access to for some reason and the stories i write are merely a snapshot into their fully fledged personhood/lives. and that that these feelings don’t mean i’m unaware of my role/agency/responsibility as the writer who has the final say in these characters and how they are written it just means that my writing process feels very intuitive and i can only describe it as “listening” and “getting to know” these people that just live inside my brain in a way that i don’t feel like i can completely elaborate on. and because of this i would actually consider these characters “real” in their own way because the impact and influence they have had on me as a person beyond just my writing is so real and not having them would feel like i’m missing a part of myself
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Random observation while listening to the FF9 OST. The track Eternal Harvest that plays over that scene of Freya joining the Cleyrans in their protection ritual is absolutely gorgeous, but I wish my memory of it wasn’t that awkwardly mocap-ed scene and was a cinematic instead. It had the potential to be a lot more powerful if given the weightiness of a cinematic, and ofc is Freya had been more fleshed out instead of having her arc come to a dead stop in the middle of the 3rd disc.
Freya and Garnet are both great conduits to explore the devastation that Kuja left in his wake on a personal level. But while Garnet is through the eyes of a young woman struggling as a leader against such incredible odds, Freya had the potential to be a great exploration of the more personal and cultural aspect of that destruction. Her people are already appeared to be a somewhat disliked minority, which is what made them an easy first target for Brahne compared to her in-laws in Lindblum. And unlike Alexandria and Lindblum where despite their state, it’s implied that the kingdoms are still fit to rebuild, the Burmecians are really fucked over. Their country was the first to be attacked and therefore didn’t have time to prepare, and then the other Burmecian state of Cleyra where most of the refugees fled to was DISINTEGRATED.
Like Freya might be the character with the most baggage to explore. After witnessing the ruins of Burmecia she comes to this ancient bastion of her people, and despite not fully respecting their distinct way of life, she partakes in their ritual, hoping it will be able to protect the last of them. And then not even an hour later, right from under her that citadel is literally wiped off the face of the earth. It’s haunting to think about, and I deeply wish it could have been explored beyond just a bit of her grieving before launching into more shenanigans.
Not that her being forced to so quickly move on isn’t powerful in itself, but I wish there was more EMPHASIS. Emphasis that could have come from a beautifully directed cinematic of that ritual she performed in vain. Able to visually represent that fragile, majestic hope the track accompanying it conveys.
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I'm not a "new musical theatre style music" person. Never have been.
Even when I was doing voice lessons, I'd steer towards the golden age or jazzy musical theatre songs. My voice teacher would have to drag me kicking and screaming towards adding anything new musical theatre to my repertoire. For a while, the most modern song in my book was I Know The Truth from Aida, and I wouldn't count that as new musical theatre style since I mean more the Pasek&Paul or Joe Iconis type.
And now I have an audition coming up for a small production of a show in that style and I'm supposed to sing a song in a similar style. And I'm looking at all my sheet music like... let me do some Cole Porter... or Gershwin... at least Sondheim please...
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