#the character and some troupe

[lmao-ooooooo]

i lowkey miss fanfiction.net

[linterteatime]

Guys...i don't think this is the worst thing i have drawn yet

[mariocki]

Children Shouldn't Play with Dead Things (1972)

"Come children, Uncle Alan's going to curdle your blood."

"Uncle Alan already does. Turns my stomach, too."

[dani-the-human]

Yknow what will always endear a character to me? Failure.

I'm so sorry, but if a character doesn't at least have one thing that they are horrible at in the sea of all their expertise, I don't want them. They can be competent, don't get me wrong, honestly I encourage them to be competent in their field all or most of the time. I just also want these characters to be boy/girl/etc failures. I wanna see these characters stumble, fumble so hard it's like watching a kitten losing a play fight and crying pathetically, I want them to be so confused about where to start that their face is a loading screen.

I don't care how strong this character is, its honestly better if they are strong or one of the best in their field. BUT show me them being horrible at crafts because they can't fold paper correctly and always make it uneven. Show me them not being able to swim even though they live near a bidy of water. Show me them being terrible at talking to people because they're too blunt or don't know how to comfort someone. Show me them failing at something all their peers see as common knowledge!!!

The caveat is that the character still has to try at these things though, I just want to see them stumble through something so simple you wonder what had to happen in their life that made them not know or know how to do a simple task.

[littlebittyhollowbugs]

In our series there is an episode in the first season where Ghost does banish the Grimm troupe and the the ritual is broken.

So the nightmare heart dies, but (because we are so attached to the characters and this is basically an everyone lives au) Grimm and Grimmchild both live, now disconnected from the heart and mortal, they decide to come and stay in Hallownest to repay little Ghost by providing the regrowing kingdom with entertainment through their circus.

Now all of this leads to a very fun character arc for Grimm throughout the series where he has a difficult time adjusting to being mortal after a thousand years of being the nightmare hearts puppet.

There are several episodes that tackle this subject and they are some of my favorite Grimm troupe episodes

These four in particular, the first is the banishment episode, the second is a fun one where Ghost/Shade lord loses some of their godly power and Grimm who is adjusting to a similar change steps in to help (may or may not actually be helpful lol).

The third centers around Grimm's fears concerning his childs mortality after Grimmchild is injured during an adventure,

and the fourth is about Grimm uncovering the stories of his now forgotten past lives with the help of Ellina the chronicler (who returns to Hallownest to make a record of the new kingdom.)

[mewpirate]

What is one controversial opinion that will get you jumped , whether it be a certain wiki character , the wiki itself , (maybe the Heykids wiki too itself if you wanna count that in ) , or just anything about the fandom that you wish to see improvement on 🤔🧐

[magentagalaxies]

my mom's a library director and for some reason her library received their copy of the new lorne michaels biography before it's even available in stores so of course as soon as she brought it home i flipped to the index then read any paragraph mentioning the kids in the hall

[maddieandangel]

Had a weird Hollow Knight-related dream a couple days ago, so I decided to draw a major scene I remembered from it dgsgshf

More context will be in the tags, for those interested!

[hityalikeafkingtornado]

In this house we love tragic characters that seem cool/enthusiastic and not tragic at first but actually are deeply traumatised

[authorazurite]

WHOOPS I'M MAKING A PREQUEL TO X² ABOUT ELPIZO NOW, WOMP WOMP THERE GOES MY FUCKING MIND-

[non-un-topo]

Got inspired to make original fiction at the worst time because I'm too busy and can't draw my silly little guys (gn). I'm suffering.

[gammaliminal]

Neon Troupe: The Chemist

(He/him) He was a genuinely good teacher, even when one of his backalley experiments gets out of control, the university he works at usually keeps him. But being a professor isn't cutting it, he needs more money for more ah... "Projects".

Role: Mass debuffing, and finishing off injured enemies

Stats: Alright speed, 150 health, 25 armor

Stock Arsenal: Primary: Acid Sprayer - Sprays acid all over enemies, giving them a DoT effect ala, the Pyro's flamethrower. Both of which pierce armor. Secondary: Pneumatic Launcher - Launches tubes of weird concoctions that buffs allies and debuffs enemies (35% damage resist for allies, Marked for Death for enemies). Melee: Broken Flask - Whatever this is coated in, it reacts to his acid. Stock melee except does less damage, and crits enemies affected by acid.

Special Attribute: Immune to the acid's DoT, and acid weapons still go through armor.

Location of Origin: Western Russia Motto: "Эксперимент... Successful." (Experiment... Successful.) Special Skill: Chemistry PHD, teaching Professional Relationship: A loner, doesn't really interact with most of them, occasionally hangs out with the Charger.

(Similar to the pyro! but acid instead of fire, hopefully a bit less confused as a class then pyro ehe, as always thanks to @schmegaman-x for da art :D) - Ξλ

[hershelwidget]

I drew something for TBoCI for the first time in what feels like forever even though it’s only been a month

Something something AU where instead of sending each kid to the Magical Islands FT keeps all them with him and Perry as well so they ALL end up on Cold Island pre-collapse… Alternatively here’s four canon characters and two fanmade characters, guess whos who (all of that was sarcasm)

In other words I decided I will starting this over from the ground-up. It’s been over a year and my motivation is finally, FINALLY back. I will be keeping all of the current stuff on @theballadofcoldisland but that ask blog is officially shut down and is now just an archive.

Instead of being one long and strange story that only focuses on characters that honestly have nothing to do with the title, I will split TBoCI into several smaller stories that give a MUCH better insight on the motivations, groups, and the like. I will inevitably share the original files, drafts, and ideas.

This is the part where I get somewhat emotional and sincere apologies in advance to plushii, who I might mention in there. All good things, my friend. All good things.

I think this is the best course of action. There are a lot of characters in this story that despite being incredibly important, are not addressed properly or not at all until the last chapter that only exists in my notes. I mean… A massive amount of this story has only been discussed in a discord chat with a person I cannot contact anymore. It’s a massive mess of an idea that sounds stupider everytime I think of it.

And then a long while ago now, I was on Pony Town and talking to a friend I has just made. I distinctly remember they were in a Celestial skin. I think at some point they’d asked what “TBoCI” meant in my name, and I explained my story to them. They said they were writing a fanstory for MSM as well. I encouraged them to post it.

Now I daily see wonderful, wonderful content for that story, both from the creator and the fans. I finally understood what I did wrong. TBoCI was incoherent and messy where Fallen Stars was clean and consistent. I had so much in my mind that I had spilled it all out to One Person, and now there exists only two people in the world who know who the hell Kane is (possibly only one person now)!

What I’m trying to say is, in short, thanks @plushii-gutz . There’s a few factors to me being able to write TBoCI again, but you’re definitely the biggest part of that. Our encounter was a blessing.

And to everyone, please look forward to a much smoother ride. This is a fun one.

[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")

[vanrougenui]

in all these long years of reading bsd i have understood one thing kafka likes to edge, literally edge because wtf 💀 the amount of times i almost got a heart attack thinking that my favorite character is dead is insane and then later in like a in a few chapters, i see this character alive as ever, as if i didnt cry my eyes out mourning them a few months prior 😭 its so overused and got so boring at this point i dont even care if a character dies because i know when this nonsensical arc ends they will be back ready to "die" again!! after all we have atsushi, who with dazais guidence and a firm hallucinogenical hand pointing to our dear main character to get the fuck up and do something, will defeat the evil and resolve whatever conflict is happening

[cosmic-kinglet]

I will not make a SaMS A3! AU, I will not make a SaMS A3! AU, I will not make a SaMS A3! AU, I will not make a SaMS A3! AU, I will not make a SaMS A3! AU