#don't like those odds though

[eirikrjs]

Forgive me if this has been asked before but I was hoping to get some elaboration to why you think Desu2 characters are flat. I understand some are, but I feel as though most have quality, or maybe I'm confusing likability with quality. I feel like most of my issues of the game come from lack of intersection with the fate links and main story rather than the characters themselves, but I'd appreciate to hear your thoughts

So, to answer this generally, when I was writing up the character section for the Fan Myths last year, I drew upon what I was taught in school about flat vs. round characters. But one source I found said something that really left me shook, in a way:

It says in its discussion of flat characters (those that are "superficial" and "predictable") versus round characters (those that are "complex" and more like actual people) that Luke Skywalker is a flat character. I weighed it for a bit, contrasting with how Luke makes choices and changes even in the first film, but in the end I couldn't disagree. Luke is styled after mythic heroes who, while they may suffer and grow over the course of their stories, are symbols of human ideals, not realistic human behavior. Luke is likable because we can vicariously live the adventure through him and his relatable and archetypal flaws and quirks, in spite of never being allowed too closely into his headspace and emotional spectrum.

Another Star Wars character that contrasts well with Luke is honestly one of my favorites of the Disney era or anytime before really, because he's so atypical for the franchise. He's not a hero, not worthy of admiration. In fact, he's pathetic and contemptible. And, as we learned last week, he's a creepo stalker guy. Of course, he's Syril Karn from Andor.

His story is far from over, but so far he's all flaws and I've found him fascinating. His might be the narrative developments I look forward to the most every week. And while there are no internal monologues in the show, Andor's effective writing gives Syril more complexity than you would expect for a (seemingly) tertiary Star Wars character. He gets his clothing specially tailored to stand out. He desperately seeks recognition and oversteps boundaries and his own ability to earn it (it so far has always backfired). He's committed to the fascist ideals of the Empire but can only land a faceless and monotonous data processing job and only through his uncle's connections. There are more angles to Syril than these, yet Luke has just one.

I won't say Syril is a round character yet, but he has that potential. Unlike Luke, he's layered and his future is unpredictable. His story may have some logical end points but he's not a hero or protagonist, so there's no guaranteed outcomes. It is odd to think that there may be more depth to Syril than Luke freakin' Skywalker, but Andor also has a far different approach an aims than the main Star Wars movies, so it may be apples and oranges.

But as the above article states, flat characters can still be likeable. I mean, I own maybe three dozen Luke Skywalker action figures so it's fair to say I like that character. The problem with flat characters from pop culture avenues like movies and games is that their superficialities often result in overuse of archetypes. I will say I don't care for a lot of characters in games like Devil Survivor, Persona, or even SMT because I've seen their archetypes before. There often is no attempt at additional complexity because it wouldn't fit the genre and expectations of an established game series or sequel. Hence, these characters become predictable and rote, which affects enjoyment of the work.

And speaking of action figures, pop culture characters reflect them in that they are manufactured to be appealing to their audiences. Even if they are flat and superficial, they still appeal because they are designed to be, from character design to familiar archetype. And that's okay! We might lose our minds if we rejected all but the most complex characters. So if you can buy merch of them, there's a real chance the character isn't all that deep.

[humming-fly]

Inktober Day 31 - Happy Halloween/Last Day of Bat Week!!

[front-facing-pokemon]

[x-i-l-verify]

Illustration for a personal headcanon I have for post-movie Raph, Mikey, and Donnie, i.e. that all three of them have matching scars on their arms (Mikey on both, Raph on his left, Donnie on his right) from where they opened the portal to rescue Leo from the prison dimension.

Bonus post-movie Leo below the cut:

[gothamcityneedsme]

finished my soul hackers 2 replay yyayyy. i bought the story dlc and i liked the sidequests, the superboss was kinda disappointing though, not for gameplay, they were incredibly difficult, but like. i expected at least a little lore or nana involvement in the end and there was neither which was sort of odd.

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[the-busy-ghost]

Actually our dating conventions are entirely arbitrary and almost anybody’s concept of when the Middle Ages began or ended is justifiable and valid, in fact to some extent even the concept of the ‘Middle Ages’ is entirely arbitrary.

That being said it is hilarious to me that the English pick 1485 as the end of the Middle Ages, that’s so specific. Creates the wonderful idea that the minute Henry Tudor stepped onto a field in Leicestershire all the locals started updating their wardrobe like “Well guess we’re in the Early Modern Period now, better get rid of all this old stuff”

[phantomoftheorpheum]

. tag vent

[nexus-nebulae]

random thing that i've noticed but within like. a single year of being openly plural online we've actually gotten more used to we/us instead of i/me even when talking irl

[the-rogue-mockingjay]

Tell me again how you feel absolutely zero guilt about your genophage work, Mordin. It is totally not obvious that you are lying to yourself.

[jukeboxhound]

Week 2: i don't know how i'm going to handle a husky puppy, it's too much, but the thought of surrendering her back to the shelter is making me cry with guilt and i just can't do that to her

Week 4: we're finding our rhythm together and if anyone looks at my precious beloved amazing babygirl with anything less than worship then i will commit an Absolute Violence upon their person

[nightmarewing]

I really didn't know what to expect going into Spyxfam but have learned that you can get me on board fake dating scenarios if everyone involved is a complete freak who thinks they're doing a pretty good job at not being a complete freak (they are not). Like I guess I got the impression that everyone kinda knew what was going on and what they were doing in the series? This is highly incorrect.

[01tsubomi]

every cartoon in the past 10 years has been like “here’s one of our protagonists, a happy-to-lucky oddball preteen girl who’s optimistic to a fault” and every time i’m like alright yes yes keep em comin

[amarrymeinbostonwriter]

I didn't go online at all yesterday. I self-designated a reading day and finished a book for class (The Good Solider) and one book on my owned TBR (Convenience Store Woman). It bothered me that I didn't have any books done yet for this year. I'm in the middle of three others, with a mind to start maybe one or two more, but still, it feels like very slow going.

[unproduciblesmackdown]

hell yes my "deniably casual sexual encounter in taylor's apartment babeyyy" wip is over 7k words already and i haven't even gotten to the part where anyone's kissing yet. so far it's all In Effect taylor going "is there like, an energy here or is it just me" (there is) in this 7k< form via my classic move of providing wildly extensive introspection that Could be pared down a ton i'm sure but if i was thorough abt editing myself & my verbosity & taking thousands of words to say something, including the same things repeatedly in slightly different ways, writing anything would be all the more difficult / rarely manifested. playing to my strengths / weaknesses w/fiction out here like, see that last billions fic scene that's Supposed to be largely winston somewhat going in circles stuck in his head and also sexual activity. seizing the premise for this one like, taylor being all I'm Extra Pensive Atm But What If That Sets Me Up To Be More Spontaneous When I Go Back Into The Living Room And Quants Have Something Going On. i've triumphantly managed to get taylor out of the living room in the first place and now their being able to return any minute now as soon as i wrap up their thinking about how their quants are sure like special little guys (extraordinary) (least veil of neutrality; readily positive)

[keeps-ache]

do you ever wake up with music playing in your head?