#utg asks

[unleashthegoats]

Finally listened to your Anakin episode which was great as always. I did make me curious about how much of the written material you read. The comics and Brotherhood novel covers the period between Episode II and Clone Wars (2008) and you can see how Anakin and Obi-Wan’s relationship changes and develops through those.

Thank-you so much! I'm glad you enjoyed it, we actually had a lot of fun with this one, because while the three of us tend to have differing levels of TOLERANCE for Anakin, we actually share a lot of general opinions about him and his place in the narrative, which made for a really great discussion.

The answer to your question is different for each of us.

Nat has read no Star Wars comics or novels of any kind, as our resident casual fan.

Fae has only read like 3 comics, none of which were memorable enough to consider herself an expert on them. She also occasionally goes through wiki pages that include info from comics. She has not read Brotherhood. If you have specific questions about the comics or recommendations, please feel free to let us know!

For myself, I haven't read a single comic and I haven't read that particular novel. I've heard of Brotherhood, I just haven't bothered with it. One of the primary things I've heard about it is how racist it is towards Mace unless you try to be nice and pretend that Anakin was intended to be an unreliable narrator any time he discusses Mace, which... yeah given fandom attitudes towards him (and the Jedi as a whole since Mace often ends up representing the entire Order) I'm a little skeptical about the validity of that interpretation. And even if Anakin IS supposed to be an unreliable narrator, I haven't heard anything to suggest that Anakin's scenes where he calls Mace cold and unfeeling are contradicted by anything else in the novel to help balance it out. So you still just have one of the vanishingly few Black characters getting maligned and slandered in this book for no good reason while Anakin apparently just gets his flaws sanded off and smoothed over. This is the review I read about it by someone whose opinions I tend to trust, for anyone else who hasn't read it and is interested to hear someone else's take on it before trying to read it.

-- Sugar

[sobredunia]

No ceroba in any alternate universe is happy

@s0ckh3adstudios @stringsbasement

[s0ckh3adstudios]

Whatre some songs that you associate with Mo if I may ask :00

I AM SO GLAD YOU ASKED.

THIS ONE!!!!!!!!!!!!!!! Mo song in my heart

[quaggyday]

Justice, Perseverance, and Intergrity

I really love @s0ckh3adstudios Undertale gold au so I figured I make an oc! Meet Lang (they/them) a young about 13-14 year old human and my interpretation of the perseverance soul in utg.

If you've got questions ask in the notes for now!

Flo (polka dots) and Rover (Monster) belong to @s0ckh3adstudios

(Also I apologize for how weird Clovers eyes look, I'm pretty new to drawing so if you've got tips send em)

[not-poignant]

Hi Pia

I have freakin' loved Alois and Flitmouse ever since Golden Age and am feral for them in Underline too.

Do you have an estimate on when more of Underline the Gold will be posted?

I can't wait to read more about then.

Side note: you said in a previous ask that Anton had sex with Alois without explicit consent. I'm guessing because of a corrupted heat? Is that something we have to look forward to reading in detail in future chapters of UtG?

Hi anon!

If it's the ask I'm thinking of (and I apologise if it's not) I said this:

to Anton who might get consent from Flitmouse this time but certainly hasn’t in the past during heats

So like, what Anton and Flitmouse do might be what I'd call conditionally consensual (I don't know if Flitmouse would even consent if he didn't have heats, he wouldn't be at Hillview for a start, he'd have a choice in his partner/s etc.), Anton has been paired with other people where what he's doing certainly counts as rape by real world standards.

As for Underline the Gold, I'm hoping to get to it soon! Underline the Blue is up for February and March and then I think we'll switch back for a couple of months. :D

[mildlybizarrecorvid]

Ok the poll hasn't actually ended yet but it's definitely trending in a Cool Deltarune Idea™ direction, so here we go

Let's think about this with layers of reality. We're at the top, then there's Undertale. Gaster's weird thingamabob that got him shattered was Deltarune, an unnatural side branch of reality jutting out. Because of its properties as fucked up nonsense, you can much more easily create further growth, these ones another layer down. Dark Worlds as we typically see them. As for the Gaster falling in, I think there's another detail. He didn't stumble or trip, he was pulled by Deltarune Gaster who was up to his own fucked up science shenanigans. Since I don't want to be constantly saying full titles, they're now UTG and DRG. Ever noticed how some events in dark worlds seem to have happened before the fountain opened, despite being too specific to be the kind of metaphor transition often seen? I think they have potential existence, all of the ones opened and all others as well. Half realities. Normally not much weird shit can happen because they're disconnected, but there's an exception. UTG got shattered across space and time, so he can do whatever. I think he's making the secret bosses Cuckoo For CoCo Puffs for, I dunno, fucked up science purposes. Or kicks and giggles, being shattered across space and time sounds boring. Meanwhile, I think DRG is the Roaring Knight, probably motivated by some sort of science shenanigans.

I have little to no proof, but it sounds cool. Please tell me if you find evidence for or against it, or ask questions.

[spogwam]

Final Year Project 1 - Pre-Production

This post will be the most substantive as I feel the majority of my best work was conducted in this period as producer.

In late January of this year, I met with Sam and Beth for lunch following class to discuss a possible role for me on Under the Gorse (UTG). By this point, I had reached out to 5 or 6 groups asking whether they had a place for another assessable producer on their shoots, but had no luck. Sam and Beth were kind enough to consider me for a role on their film, and I was as honest as possible about what I could bring to the table as a producer.

It was clear to me that UTG was ambitious, with the use of 16mm film and child actors immediately presenting their own challenges. As a producer, I would have to monitor the mode-specific costs and risks associated with shooting on film, as well as the legal working requirements that would have to be constantly upheld with child actors as outlined in Annex 2 of the Child Performance Working Hour Limits. I was interested in this challenge, and found the vibe of the script intriguing in its fantastical, dreamlike presentation. Shooting in Glencoe in the Highlands also drew me to this film; having grown up there, it was an exciting prospect to return there for a near-professional level film project.

Sam and Beth welcomed me aboard, I was delegated a number of responsibilities from the outset, so it was clear there was a place for me on this project. The shoot scheduling window was nearing completion by the time I joined, and so my first task was scheduling the shoot. Sam and myself decided that because of our organisational needs, we should be one of the last shoots. We decided on our five day shooting schedule to run from the 16th to the 20th of March.

I began emailing potential locations in Glencoe, getting in touch with Elaine and Ros who own the Green Pool in Glencoe. They normally charge £200 per day of filming at their location, but I was able negotiate this cost down to £150 with the added bonus of Crowdfunder promotion on their Facebook page with over 28,000 followers. I am proud of this success, as I feel I managed so save money in our budget that could be vitally used elsewhere while earning us money on our growing Crowdfunder. Other locations proved problematic however, such as Blackmount lodge (a large estate owner), who were steadfast on their daily charge of £2500 for any production, and so we had to withdraw our application.

I worked with Film Edinburgh to get permission to film on Craiglockhart and Blackford Hill, with caveats that the Blackford hill crew would have to be less than five people, and that we had to shoot on the same day. This would be a bit of a struggle due to the distance between the locations, but we still had toilets and green rooms nearby both locations that made it more viable. There is a fixed fee of £69 for each days filming with a crew of over 10 people, so we factored that into the budget and paid it promptly.

A learning experience I’d take forward from my work with locations would be to consider location releases and formal permission forms during my conversations with them. I learnt after the shoot that I had forgotten to bring physical location releases to locations to be physically signed by those I had been in contact with. This means I now have to rely on digitally signable documents which may or may not get back to me by the time of my submission of deliverables. This is disappointing, as it’s something I should’ve been more on top of, regardless if we have an extensive digital paper trail with written permission, it was not professional to overlook this vital documentation.

Another location we needed was a train station, but getting access to this proved to be impossible. I got in touch with Scotrail, and sent them a comprehensive location request form for the train station at North Queensferry, even attaching a risk assessment. I also requested permission to film a short sequence aboard the train from North Queensferry to Edinburgh, which would be a short travelling sequence with the children looking out the window. They got back to me, saying they would be in touch soon with confirmation of our permission or lack thereof, but I didn’t hear from them for two weeks. As it was approaching our shoot window, I got in touch again and was told that they’d follow my request up promptly. They didn’t, so a few days later I phoned Scotrail customer service with the name of the person I have been emailing and details of our request, only to be put on hold and subsequently hung up on. This happened several times, each time I was transferred to a different customer service person, and so the trail died there. I sent my contact one last email but never received a response. I think it’s safe to say we weren’t going to get permission; they were likely frightened by the prospect of students filming aboard a train, and perhaps thought we’d end up filming some Train to Busan-type sequence aboard one of their trains. I’d approach this differently next time, perhaps starting with the train station before moving to the train itself, as this was quite a big ask for any production. I’m glad to have learned from this experience, however.

I had to book all the kit for this shoot, and Sam provided me with a list of the minimum amount of kit that we’d need to make it work. I made the skeleton kit booking, which in itself was 54 pieces of equipment and waited for Sam’s call on the remainder of the kit. I made mistakes with the second booking, as I was stressed with workload of compiling final risk assessments at the time, but was also only given 5 days’ notice before the first day of the shoot. There is shared blame on this issue, and I admit my own lack of complete understanding of SISO, as I had only booked kit as a producer one other time. Regardless, myself and Sam were able to push through, apologise to the stock room and technical staff, and get nearly all of the kit Sam wanted for the shoot in the end, around 72 separate pieces of kit all in all. I’ve learned from my mistake here, and will guarantee better planning and communication when it comes to kit for the next shoot I’m involved in.

We conducted a recce up Wester Craiglockhart hill, for which I put together a small risk assessment. I was sadly unable to attend this recce due to seeing family, but it was creatively beneficial for Sam to view the location in person. Sam was able to visualise crucial elements such as the meteorite in place on a bunker up the hill, as well as reporting back to me any Health and Safety concerns presented by the rough path up the hill. We would have to move heavy kit and props up this path, so it helped me complete my risk assessments for this location with confidence.

We were uncertain of whether we’d need a Child Entertainment License for this film, as it was a 6 day shoot which would mean the children would inevitably miss school. It was my job to conduct research into this issue, applying for a child entertainment license if necessary. There were problems with Child Entertainment Licenses, such as the need to apply for them at least 21 days in advance, and the need for a distinct license in each region. This would mean we would likely need a license for Fife, Edinburgh, and Highland regions to make our film viable. This would be costly and very time consuming, as we would need sections with contracts, risk assessments, birth certificates – documents that did not yet exist. Sections needed to be filled out by a headteacher, chaperone, mother, and there were nearly one hundred written details for us to fill out with details of our production to even be considered for a license.

I started researching alternatives right away, and found some details that could save us a lot of hassle. I read the entirety of the Children and Young Persons Act 1963, in which I found section 27 and 37 (3), which read that a license was not required if: • The child is not being paid for their performance and • The child has not performed in a paid production for three days in a row in the last 6 months. Getting in touch with the children’s parents, we found that neither of the children had worked for more than three days in a row in the last six months, and so we did not qualify as a professional production and did not therefore require a child entertainment license legally. We still had to abide by the working hours laws as set out in the law, however. Since our youngest actor was 9 and her sister 13, they both required the same working hours limitations. They could attend set for 9.5 hours per day, and perform for a maximum of 4 hours. These hours had to be in the window of 0700 and 2300. They would need a break of at least 15 minutes after every hour of performing or rehearsing. They would require a food break of not less than 1 hour if they were present for more than 3.5 consecutive hours, with a second hour long break due after 8 hours on set. It was my job to monitor this throughout production, and so I kept on track of time with these details in my notebook for the duration of the shoot.

Casting was also part of my responsibilities, and I was responsible for casting the role of Father and Farmer. With less than a week before the shoot and no prospects in sight after my post on social media, despite 300 likes and 200 shares, I took initiative by reaching out to individual actors to fill these roles. I had previously auditioned David for a role on my prior film Connection, and managed to recall his contact details before reaching out to request a self-tape for the Farmer role. He was chuffed that I reached out and his self-tapes were endearing, dressed in Farmer gear from head to toe, and so I cast him in the role. I helped organise his travel to and from Glencoe, where his scenes would be shot, and also his transport to and from our booked accommodation.

I also cast Michael Reddington, a current MA Acting student at Napier, who I had been impressed by when viewing the 3rd year’s films last year. I reached out to 3rd years that had worked with him, got his contact details and sent him an email inquiry. Sam, myself, and Michael chatted for nearly two hours in a Zoom call about the role, and Michael voiced his disappointment in not knowing about the shoot more than 5 days in advance as he really liked the script. As part of his craft, he wanted to spend more time as the character working with the script. He was regardless happy to work on the film, and we cast him without much deliberation. Going forward and taking Michael’s position as a learning experience, I will make it more of a priority to be cast well ahead of time so that actors can work to the best of their abilities, and also so we can focus on other pressing issues prior to production other than casting.

Risk assessments were also my responsibility, and I was under a lot of pressure to get these completed prior to kit pickup on Friday. Annie was a great help in getting these finalised, and I found I had a lot to learn about composing risk assessments. I now have a fool proof system for completing them, with delegated risks that will always be there for internal locations and external locations respectively. Sam secured permissions for four new Glencoe locations soon before our shoot, to my excitement at the successful confirmation of all needed Glencoe locations, but also my chagrin at the realisation that this meant four new risk assessments. I got to work, and with only two days left, completed all the required risk assessments, which were then confirmed by Paul, prior to the shoot. All in all, with ten potential locations, I had to make ten wholly unique risk assessments for the shoot. Each day we would have different responsible members of the crew, different ground underfoot, weather potentialities, nearby bodies of water, and countless other risks to consider when completing these assessments, making it a significant challenge for me. It was also a valuable learning experience for me, however, and I now know risk assessments inside out. I am confident for my next role as a producer when hopefully my honed documentation skills will help streamline this part of pre-production.

I am proud of what I have achieved as a producer during pre-production on Under the Gorse, and can confidently say that the film would not exist without my help. I have learned a lot in what I feel was a very challenging role, but have overcome many hurdles initially presented, and feel like a stronger filmmaker for it. The team around me was very supportive and encouraging, and I felt comfortable expressing my own ideas and communicating with them throughout, which was a big help. In my next post I will discuss the shoot, which presented its own set of challenges.

[caramariafilm]

KEEPER - Set Dresser

March!

Since I didn't have a big role on this film, I thought it would be simpler to talk about in one post! This project started off with the writer / director Ben McMorran messaging me! Ben and I had worked together previously on Longboard Nights so I was really happy he reached out again and asked if I wanted to help on his film.

I explained to Ben I was fairly busy - given I had said to UTG already - however I asked what he would be needing assistance with because I would love to help in any way possible.

Ben then explained that the production designer was looking for a set dresser to help him out on one of the days of filming! The film was a documentary / drama about a young boys football team, as well as the mental health side of this experience. I asked what day they needed me and after I checked to see if I was free - which I was - I said yes :)

I absolutely love working with Ben so I was really happy to be involved in this project, and after hearing Ben talk about the production designer, I was even more excited!

The production designer was James Stevenson. I'd never heard his name before but he sounded really really lovely so I was excited to meet him.

Ben put me in contact with James, and we got to talking about everything set design in regards to the film.

James and I had a quick meeting online just to further discuss the goals of the film (pun intended), as well as his intentions and any inspirations.

After this call, James sent over all the relevant documentation to help me understand the film as best as possible before the shoot.

SHOOT DAY - Set Dressing

I would like to preface this and say I had so much fun!!! On this day!!!

The crew were so lovely and wonderful, and it was just such a welcoming environment on this set.

The day started off with James and I looking at the locker room we were set dressing later on, as well as James showing me all the props he had brought with him.

I had to say this was a weird one set dress wise as we were set dressing for a docu-hybrid. James also found it weird trying to set dress what would just naturally be a boys locker room. It was an exciting challenge for us though and definitely made me think about the actions people naturally take in placing items - such as bags, jackets, water bottles, and lunch boxes.

James and I then spent the next 40 minutes or so set dressing the space, and just talking about our experiences with production design!!

This was just really sweet more than anything, and a lovely casual time which contrasted the experiences I'd been having on other sets.

After this, James and I prepared the costumes for all of the extras that had started coming in, as well as costumes for the main two actors.

Once all of this was done, it was onto finishing touches!

James and I stuck some inspirational quotes on the wall, as well as some frames around the locker room. We also stuck a sign up on the door and filled up water bottles halfway to give a sense of authenticity.

Once all this was done, I was finished!

I hung around with James for a while as they started shooting just to make sure there weren't any problems that rose with the set design but after a couple hours of fixing small pieces, I was fine to go!

I actually would have loved to stay here longer. Everyone on this set was lovely and it was just so nice getting to know the fourth years :) definitely a great experience.

[adamsmith078]

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[rabidredwood]

Hello!

Hey hey, first post for this blog is gonna be an introductory thing. You can call me Red or Aux, I go by he/they and I'll try to answer any questions you have. I'm not the only mod/moderator here, there's also Syncub/Syn! They go by any pronouns. So far we have designs made for; - Sans - Grillby - Toriel - Asriel - Gaster As well as some Custom Characters [OCS submitted by myself and close friends.]

[unleashthegoats]

Hey y'all! Loved the new episode, and wanted to chip in on one of the later points - videogames, especially in relation to the "Grey" Jedi concept. Knights of the Old Republic II really did some irreversible damage in that regard, as much as I love the game (though I prefer the first one). Kreia is one of the most central characters in regard to shifting morality debates in Star Wars (in universe and from fans alike) imo, and I'd honestly be super interested in hearing you three cover either or both of the games in the podcast, although I understand that's highly unlikely since none of you have played them. But she is extremely relevant to this topic because she preaches about neutrality and that there's more than just ~dogmatic thinkings of light and dark~, and your relationship with her suffers if you are kind and altruistic and get too rooted in the light side and she's like...one of *the* characters that kind of gets credited with developing a "grey" philosophy in-universe? But people always bring her up as if she's this great point of sensible consideration and not actually, as it turns out, a master manipulator trying to purge the Force from the galaxy (or something like that at least? It's been a while since my last playthrough lol) that lies to you all the time to get you to do what she wants (because she was so crazy bananas both the Jedi and the Sith said "no thank u :)" - well, with a bit more nuance but you get the gist). Really, it's a bit like people falling for Palpatine's anti-Jedi points all over how they talk about her philosophic arguments without bringing that up. But yeah, I thought you might be interested in that. Also, I think KotOR might be what people meant with being able to unlock Dark Side powers as a Light sider but you are absolutely correct that it's a mechanics vs story issue (especially since some powers are indeed alignment-locked AND making dark side choices does impact the character (apart from story, ending and relationships to your party members). It's a bit of a simplistic gimmick, of course, but the further you get into the Dark Side on the alignment, the more it's visible - sickly skin colour, cracks in the skin and flesh, your eyes change...stuff like that. I don't think using Dark Side powers actually pushes you further down the alignment, but the intent is obviously not for Light Siders to mix and match however they like).

Anyway, I'm so sorry for rambling on for so long, but I thought you (or someone, at least :D ) might appreciate that additional info. Keep up the good podcasting! :)

OUR FIRST ASK! I'm so glad you're enjoying the podcast, thank-you so much for listening to us ramble on for an hour once a month!

This is all really interesting! I've read a few metas about the Star Wars video games and the characters within them which is partly why I chose to briefly include them in the episode (and also because I am familiar with Jedi: Survivor which has its own "dark side" mechanic for the main character that was relevant to the discussion). Aside from Jedi: Survivor, I wasn't necessarily referencing any one specific video game, I assume it's probably a thing that's come up more than once.

As far as my reaction to Kreia goes, just based on your description of her, the idea of there being "too much light" just isn't how Lucas's own worldbuilding worked. It's clearly trying to hit on the idea of "balance" being equal amounts of light and dark usage, as opposed to balance being acknowledging darkness EXISTS (in yourself and in the universe) in order to keep yourself from acting on it. There just isn't a way to be "too light" or something like that, there's never "too much" kindness and compassion and selflessness in the world. In this sense, the video games are just going to fall into the same category as the rest of legends and EU stuff, in that they often just do their own thing based on their own interpretations of Star Wars, but it doesn't mean it actually fits with what Lucas himself was trying to get across about the philosophy of the Force and the Jedi in his own stories, and that's primarily what we're using as a base to discuss Star Wars from.

If any of us ends up playing KOTOR, we can certainly try to bring it up more often. I don't think we have any plans of doing more video game stuff currently, but if the KOTOR remake ever comes to pass, maybe I will!

-Mod Sugar

[thenamesellen]

I decided to dip my hands into the Puppetswap comic pool. I got the idea from some /utg/ anons, after I posted an image of Jables (PS!Jevil) asking who posted his “nudes on twitter.com,” and there were some anons that discussed about how that would happen, which later inspired me to make this comic.

Deviantart post: https://www.deviantart.com/thenamesellen/art/Leaked-Accidentally-904637419

[s0ckh3adstudios]

I believe some asked for some Starlo and Kanako interactions in UTG.... Here you go! Nothing will ever go wrong at Sunnyside Farms. :)

[midnight-smallwood]

Ink Demonth Day 14: Smoke

Grant never liked to smoke, he tried it once and he hated it. It just reminded him of horrible memories.

But that doesn't mean he feels utge to smoke at times, mostly when he's stressed out from the studio.

Which is unfortunately all of the time now.

Oh how he envied his coworkers, they're not as stressed or as anxious as he is at work. Why is he the only one like this?

Maybe because of Joey Drew.

The stress has come to the point where it feels like there's smoke in his lungs, slowly suffocating him.

When can he get a break? Will he ever get one?

He hopes so.

. . .

Grant leaned against the wall outside the studio, taking in the air. New York City might not have the freshest air but it's better than being in the Studio.

"Hello Grant." A voice spoke from nearby, making him jump. He instantly relaxed at the sight of Jack. "What are you doing out here?" He asked, walking over to him.

"I'm taking a break from being inside, that's all. What about you?" Grant asked, honestly, he was glad to see Jack. Sammy and Joey can be so stressful to be around at times, Shawn can be loud and Wally...

Well, Jack is someone who is calm.

"I just wanted to see how you're doing, you always seemed to be so stressed. Do you need a smoke or a drink?" Jack asked, leaning against the wall with Grant.

"I don't smoke," Grant said with a shake of his head.

"What about drinking? You can join me and Shawn when we go out, Wally is busy." Jack said, taking out a cigarette. Grant grimaced, trying his best not breathe into it.

Grant thought about it, maybe a drink would be nice. "You know what? That sounds nice."

. . .

He can't breathe, he feels like suffocating from smoke. Memories are flashing back of smoke filling the room.

But why can he taste and smell ink instead off smoke?

He tried to scream for help, but he couldn't, why can't he scream?

Why is the room pitch black? Why does he feel strange?

Smoke is filling his head as he loses consciousness.

[lifeofroos]

Utg for Dionysus/Ariadne relationship development:

They meet on the beach of Naxos, of course. Dionysus takes her to the main land and for two years, Ariadne is focused on healing and slowly letting herself develop feelings for Dionysus. He gives her all the time she needs.

In the next two years, they have a typical boyfriend/girlfriend relationship (even if that didn’t really exists in Ancient Greece). After that, he asks for her hand in marriage after knowing for sure he wants her to stay.

They stay married for, lets say, twenty+ years before she dies.

It takes Dio another two years to come to terms with the fact that he is unable to forget her. He goes down to Hades to get her back. They are again married, as immortals this time, and stay like that. Somewhere along the line, they decide on polyamory. Most of the time, they are a steady couple (aside from a few bumps in the road, which are inevitable).

[apersnicketylemon]

This was sent to my ask by an anonymous person, and I wanted to publish this list for other people’s safety as one of these blogs has indeed interacted with me recently. I’m publishing it in the form of a text post for both easier blocking ability, and because the person who sent it in understandably does not want their URL attached as it could make them a target for harassment. As this blog already is a huge target for harassment, I don’t mind my own url being attached to it.

PLEASE DO NOT ENGAGE THIS PERSON. Block their blogs and DO NOT ENGAGE. This person has as many blogs as they do in order to stalk, harass, and block-evade people. Block their blogs, do not engage.

Heads up. One or more of these blogs contacted you, DO NOT ENGAGE. They are run by a man by the name of Juan. He is known for stalking and harassing those he disagrees with. Ignore him, and move on!   defendor-of-freedom(the original, changed from juancuentas) undertale-support-blog jeremiazfin undertale-support-groupv2 undertale-support-groupv3 my-litlle-nest posts-para-mi the-only-real-juancuentas (this one contains nazi imaginery and has a fake conversation to “prove” this is not the same person as the others) art-garbager-phxml500v art-garbager-phxml500dfasdfasdf colector-de-cosas invader-zim-archive-net undertale-cringe-compilation utg-cr-com art-support-3zxc