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smallearthboundfindings · 1 year

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Sprite Edit Requests: Open!

Submissions: Open!

Asks: Open!

[Blog Contents Masterpost!]

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Request Rules:

Specify what game style you want, please! If unspecified and the character/item/enemy only appears in one game, then I will use that style by default, but if they appear in multiple games (Porky, for example), I will ask which style you're looking for! Save the wait and let me know in advance!

If you are requesting a character, please specify a pose or action desired! Otherwise, I'll just toss canon sprite sheets or generic standing forwards sprites at you; I don't know what you want.

I can decline requests! Those deemed too complex, inappropriate, or hateful will be declined. Don't even bother.

Yes, you can request your OC! Just follow the other character rules and please give me at least a written description of what they look like! (Though pictures are preferred.) OC requests with no appearance will be declined.

I prefer you use the asks box rather than a comment or reblog for requests. It's easier for me to see that way! If you want to make sure I see your request, put it in the asks!

All of our canon sprites are sourced from Spriters' Resource here, here, and here to give all due credit! It's kinda hard to remember crediting every single time, so I'll put it here! Hope that works...

Submission Box Rules:

If you have something more interesting to say than me at a given time, feel free to suggest new posts as submissions or add to any preexisting posts in whatever way you find suitable! We might feature them on this blog! Just follow our little submission rules if you're going to send a brand new post! (Note: These only apply to submitted facts. Submitted headcanons only require the last rule.)

Please try to include at least one form of media, such as an image, video, or audio track as support or proof! If the media is from elsewhere on the internet and isn't a plain normal gameplay screenshot/song from one of the games, however, please credit it in a link or embed it! TL;DR: credit whoever scanned that page of Pollyanna you want to show us, for example!

Credit your sources, please! Made-up sources or “source: dude trust me”'s will not be allowed unless it’s a joke submission. Say what game or bit of secondary material you’re posting about somewhere and in what context it appears, if applicable. A simple “in the Japanese manual for [game]” or “in the debug menu for [game]” should do!

No hateful, bigoted, or NSFW submissions! I mean, we are working with a Nintendo franchise so this probably won’t happen, but just in case. Swearing is a-okay though because the mod thinks it’s funny. Please submit your Kumatora swear montage; it’ll be hilarious.

Asks:

You're totally welcome to walk up to this blog's asks and go "hey allen, what are your thoughts on george?" or something else like that. I ain't no corporate - I'm real and you can talk to me even if it's silly! I'm just some guy (gender neutral) posting Mother content and I'll gladly welcome community interaction!

Pings:

You may ping if you wanna present something you made based on something we did or showed off here, to credit something, or if you desperately want me to see a relevant informational post / a tournament were Ness got nominated and you wanna sic the propaganda on me / basically anything interesting! Overall, I don't mind them.

Miscellaneous:

Regarding the safety of our community and fandom, active bigots such as racists, LGBT-phobes, TERFs; perpetrators/glorifiers of abuse such as MAPs, zoos, and proshippers; and anyone I deem to be too mean-spirited to other users will be blocked the moment I catch you. This has been your warning. The close tab button is right there.

#not a finding #pinned post #submission rules #request rules #the formatting is a work in progress

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azukibeanghost · 7 years

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Who they really are

Oookay so I saw @teaandqueerbaiting’s posts about the RadioTimes article with Mark Gatiss, in which he explains why they chose to do a musical, dialogue-less montage at the end of TFP:

"The only way [Sherlock and Eurus] can communicate now is through music," said Gatiss. "That was the idea – and that from this tentative start... everything starts to become more optimistic and we kick into the montage.

"But we did actually have some dialogue that was going to follow it and we realised as soon it was all coming together that it was incredibly eloquent and it told you everything you needed to know... the music speaks for everything."

With this in mind – that the only way to communicate is through music, maybe since Mary has hijacked the narration (and I love that the “Sherlock and Eurus” part went unsaid; this could refer to anyone here, not just the characters) – I couldn’t resist doing a quick run-through of the big takeaways from the final song:

youtube

The violin duet/Eurus

The song opens with a brand new melody that runs from 0:00-0:34, then repeats from 0:34-1:04. The first bit is with two lonely violins; the second part includes a soft orchestral background, and is much more optimistic.

(In the episode, Sherlock plays this theme a couple of times, then Eurus does, then Sherlock does again in a sort of “you’re playing it wrong” / “wait, let me try again” moment, and then John gets the DVD and they actually start playing together. If I’m not mistaken, it’s not quite the exact same as the soundtrack version.)

It’s interesting to note that 0:31, there’s also a tiny bit of piano. I put the those couple of notes in red:

The piano is usually John’s instrument (think of his sad piano chords), while Sherlock is the violin. Interestingly, Mary, Irene, and Eurus all get violin treatment too. Eurus and Irene are mirrors for Sherlock, so this makes sense; some people have speculated that much of Mary’s action in s4 (running away, writing a letter to John, etc) is meant to reflect Sherlock too, and she is sort of on the same page as him since they’re competing for the same role in John’s life. If not mirrors, then foils; regardless, the violin plays a few themes for her, too.

Anyway, those first eight bars form what I think of as the Eurus theme. A slightly desolate-sounding version plays during Mycroft’s story about Eurus at the start of TFP, in “She Was Different.” An echo of it also shows up in the Dangledebbs scene, underneath a sort of ambient texture; this reflects how Eurus is still in the background, playful, even as Sherlock focuses on thinking. In fact, it appears a number of times throughout TFP, both as a main focus and as an echo (I linked directly to the timestamp for each): “3 Suspects,” “The Hall,” “I Had No One,” and “Open Your Eyes.”

(Amusingly enough, while this is playing John receives the DVD, and we also get a shot of him placing the headphones back over the bull skull that Sherlock is holding. I like to think that these two are connected. {Oh, and also, there’s the connection to the guards always complaining about Eurus’s playing, and Sherlock mentioning something about ear plugs.})

This is the first time that Eurus’s theme turns happy, which I guess is understandable given what’s going on onscreen. I find it particularly amusing that they were easily able to make this “sad” violin song into a “happy” one; many people noticed how depressing the Watson wedding waltz is, despite its supposedly happy subject matter.

Sherlock’s theme, part 1

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Then we get a glimpse of Sherlock’s main theme at about 1:04. In the context of the episode, this is right after Mary tells them that who they are doesn’t matter... just the adventures do. Just the playful, Sherlock-on-a-case music. I’m both laughing and crying right now because this is either the biggest musical “fuck you” to the narration that they could have included (and I mean, just look at how unhappy Sherlock and John are to see her darned face again), or it just supports what Mary is saying, that no one cares about the characters and that everyone misses the plain old case-based episodes of s1 and 2, when there weren’t weddings and sisters and emotional stuff.

I also find it heartbreaking hilarious that Mary talks about 221B as a refuge for the desperate and unloved people of the world, while we get a shot of Sherlock walking down the corridor to Eurus’s cell. Is Sherrinford his “refuge?” Are he and Eurus the unloved? This has a lot of meta potential. The theme is also slightly stretched to include different notes, making it more sad than the usual rendition of it.

“Welcome to London!”

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The most obvious meta link in this song is a callback to the chase scene in ASIP, which had almost the exact same music:

youtube

This is their very first case. It’s right after the meal at Angelo’s. John forgets his cane; they both are giggling and out of breath by the end, and everything is looking extremely optimistic, at least until they go upstairs and find Lestrade doing a “drugs bust.” But the important takeaway is this: this is the “thrill of the chase, blood pumping through our veins, just the two of us against the rest of the world” music. This is Sherlock and John’s London, with “every quiver of its beating heart.” This is a time before Mary, before Moriarty, before any problems showed up. This is Sherlock and John, and only them.

The climax leading right into this theme comes when John spray-paints the smiley back on the wall and Sherlock shoots it; the theme officially starts when they stab a letter to the mantel. We then see Sherlock and Eurus playing, looking into each other’s faces at each other’s expressions, which are slightly concerned. Then we get the fast spinning montage-thing with all the cases in 221B.

Sherlock’s theme, part 2

Then we get what I believe to be the single most romantic, heartbreaking rendition of Sherlock’s theme:

youtube

It’s absolutely mesmerizing. And I think that Mary’s voiceover kind of distracts from the music, actually, because I don’t hear all of these themes come and go when I’m watching the episode; it’s only if I listen to the music by itself that I notice when one theme stops and another starts. It took me a few watches to get it, but this version of Sherlock’s theme starts when Mary mentions “two men arguing in a scruffy old flat” and we see Sherlock holding Rosie and positively beaming over at John, who looks radiant (sorry, but I take issue to the “arguing” comment, given the contradictory images on screen). We also glimpse Lestrade, and then Molly. Sherlock smiles while playing his violin when Mary says that they are “the best and wisest men that I have ever known,” we see the Holmes family and then Eurus, and then the camera pans across the TV with Mary’s face on it announcing “my Baker street boys,” and the final freeze-frame shot with the steps.

*cue the credits, aka the other biggest John-and-Sherlock theme ever*

TL; DR: Well, Mark says we’re supposed to pay attention to the music, but Mary’s voiceover kind of distracts from that. When you do really listen, you can hear the following: 1) Eurus’s theme; 2) Sherlock’s theme, right after Mary tells him that he doesn’t matter at all; 3) Sherlock and John chasing a cab through London, on their very first case in ASIP, the very peak of adventure – and including Sherlock’s theme, not to mention; 4) Sherlock’s theme again, the most romantic and epic I’ve ever heard it.

So yeah, the music really does speak for everything: it talks about Sherlock and John, as they were in series 1 (and 2) at the height of their adventures. Aside from the Eurus duet in the beginning (which evokes Sherlock’s compositions for Irene, and John and Mary’s wedding), none of it has anything to do with series 4, and especially not Mary. When it comes down to it, the show is just about the two of them against the rest of the world.

Let me know if you have any questions about specific instruments or snippets or whatnot; this post just talked about the general main themes, but I’d love to dive deeper into music meta if anyone has something in mind.

#mara does meta #mara also really needs some sleep right now so excuse any typos

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kuuxkat · 7 years

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[EN]Lantis Music Producer, Kisara Yohei analyse the reasons for the success of ‘Love Live!’

Credits:

Official Link and Image source: Here

Original TL：Here

Disclaimer: This is a Chinese to EN TL, there would be things that would be lost in translation between the languages.

Please refer to my policies for more details and do not use the translations for commercial use.

There is a portion where I had to enlist the help of my good friend, tenno who helped TL from JP-EN. Thank you for the kind assistance!

Credits to: mega~ from #teamonibe for QCing.

It took me months but I finally got it out, sorry if I missed anyone in the credits.

The contents are under the cut.

Lantis Music Producer, Kisara Yohei analyse the reasons for the success of ‘Love Live!’

http://www.weibo.com/u/1756310761

For the Project "Love Live!", where music and dance are its core, Lantis was in charge of music production and distribution. Lantis music producer, Kisara Yohei mentioned at an interview with Japanese Media that before joining in the production for the LoveLive! Concerts, he had taken part in the《Tantei Opera Milky Holmes》project, and how LoveLive! Concerts are inspired by ‘The iDOLM@STER’. He analyses the reasons for ‘LoveLive!’ success.

And he mentions that it’s because he first took part in the project for 《Tantei Opera Milky Holmes》 that resulted in the creation of ‘LoveLive!’s concerts, and how ‘LoveLive!’s performance were inspired by ‘The iDOLM@STER’.

Q- What was the turning point of your career after joining Lantis?

Kisara Yohei: It was 《Tantei Opera Milky Holmes》, this project was the turning point. There was a period of time where I wanted to take a step back from being in the front lines of music production. I felt that I shouldn’t dive too deep into production. But 《Tantei Opera Milky Holmes》 had allowed me to dive deeper into the scene of music production.

Q - Letting “Voice Voice Actresses perform”, this idea originated from 《Tantei Opera Milky Holmes》

Kisara Yohei: Originally one of ‘LoveLive!’s selling points was that it would use Animation to reproduce the intense dance moves of professional dancers, but the opportunity/trigger was when I saw Suzuko(Suzuko Mimori) and Tokui(Tokui Soramaru) dance very energetically (during their performance).

Q - Then what were the factors that made 《Tantei Opera Milky Holmes》 successful?

Kisara Yohei: It’s mainly because the anime itself was popular, in addition the people in the production committee were very passionate about it, and that allowed the project to rise in popularity. Although right now there are a large amount of anime projects, but only by having a series gain popularity could the atmosphere of the production committee staff be very passionate.

As for 《Tantei Opera Milky Holmes》, everyone was involved in active discussions, there were lots of ideas being bounced around and it wasn’t just a simple sum of its parts. After experiencing success in 《Tantei Opera Milky Holmes》, I became more experienced handling other projects.

Q - When you joined in July 2010, you were just in time as the LoveLive! project was just starting up.

Kisara Yohei: Yes, at that time we’ve decided on the candidates for the members of μ’s, it was a project with many different kinds of new challenges. At the start it was really quite serious, but in any case you must look much further ahead, and with an eye on the target of success, lead the entire project forward.

It’s with this gung-ho attitude that I participated in this project, every bit of effort we put in would result in a little bit of result, in a situation without any collaboration, we sold first 3000 CDs, then 5000 of them, and afterwards the confirmation of the TV Animation. There were also requests to perform at many events.

Q- As expected, were the ‘lives’ a factor for the success of ‘LoveLive!’?

Kisara Yohei: At the start we had quite a relaxed attitude, “If we did a ‘Live’ it’ll definitely be interesting right?”, or: “Can we do this?” and “If we held a live, it would definitely be interesting”, that kind of feel. We sent the nine members of μ’s the footage, asking them to: [Please remember this choreography within one month].

Although at the beginning everyone’s reaction was: “Ehhh????”. But surprisingly, after trying it, they could do it. Although based on the situation with the dance steps, we can choose to organize a simple Live, but I said: “Let’s just do a big one like this!!”.

Q - That was μ’s 1st Live on February 2012

Kisara Yohei: μ’s 1st Live started its planning phase on the Autumn of 2011 and it was officially held on February of 2012. Thinking back on it now, it really was done quite well. At the start it was very difficult, in many ways I am very thankful for the nine members of μ’s.

We held an actual ‘Live’, and the audiences were really very happy. The audience themselves didn’t think that the ‘live’ would be done to this extent; µ's themselves let everyone feel their commitment to it.

“We got to hold a live after so much difficulty; I wish to be just like Honoka and the rest.” They really put lots of effort into it, and I’m thankful for the cooperation of all the different agencies to be able to hold the ‘live’ without any mishaps.

Q - Talking about the importance of experiencing ‘live’ live, you were able to ride the tide of popularity of leading Idols like AKB48 and the rock music genre.

Kisara Yohei: That might be the case, but when you were doing it for real you wouldn’t think of such factors. It is just that I previously have always liked ‘The iDOLM@STER’, I was paying for in game credits in ‘The iDOLM@STER Cinderella Girls’, when I got my salary I spent my money like it was water in ‘Cinderella Girls’

And I’ve been to many ‘The iDOLM@STER’ ‘lives’ too, it really made me very happy and allowed me to forget the annoyances of reality.

Although the ones on stage were the voice actors, if I closed my eyes, I felt that the people standing there were Haruka and Chihaya~

This wasn’t 2.5D, simply put ‘The iDOLM@STER’ live was ‘The iDOLM@STER’, the feeling of being in a concert felt the same as being in the game and it’s really something magical, I feel that was the most important thing when making a ‘live’.

Q - And so it is important to have the space to create something different.

Kisara Yohei: Yes, pay heavy attention to this point, because ‘LoveLive!’ has animation, so the setting for the concert grounds is to immerse the audience in the same setting as the animation. You have “The iDOLM@STER” to thank for me pondering about such details.

Q - What are the considerations when you create the music for ‘LoveLive!’

Kisara Yohei: The only consideration is to make good music, if I have to consider ‘lives’ and to allow μ’s to have it a little easy, there won’t be any good songs, so I try to ignore the ‘lives factor.

Keeping that in mind, the initial three songs that came out were very nice. If you’re too focused on how to accommodate ‘Lives’ and to induce the audience to clap along with the tempo it wouldn’t turn out right. When making music you shouldn’t be too concerned about the trend, rather you should create music naturally.

Q - But in reality do you have any experience with things just developing naturally?

Kisara Yohei: The most shocking one at 1st Live was Honoka’s Snow halation solo part.

At that time LoveLive! Still haven’t gotten an official Twitter account, regarding the image color for the nine members of μ’s, it was just me writing it willy-nilly on my personal Twitter, and I didn’t really paid special attention to it, and I write Honoka’s image color as Orange.

As the song Snow Halation gives the impression of ‘white’, the audiences were all waving white cyalumes. But when it was time for Honoka’s solo, everyone changed the color to orange without it being planned, it was really shocking.

But that is good too, if we told the audiences “Please do this” or words like that, it’ll not be reading the mood right, having the audience do whatever they wish to is good too.

Q - And it’s because of this, not following the crowd, but to do the songs that you like?

Kisara Yohei: Yes, it’s better if you make songs with a fresh outlook, to not pander to anyone and walk your own path. I still do like classical music, songs like [Kaguya no Shiro de Odoritai] is very popular.

But to me personally, although it is performed with a shamisen but is still extremely cool now would still be the OP theme for the 1957 series <Yatterman> that was performed by Yamamoto Masayuki . Yamato Masayuki’s voice infected me, and it was from there that I got the ideas for Kaguya no Shiro De Odoritai.

The 70s had disco culture being the popular thing, and although the tunes were said to be stupid by people, but the music were very pleasing to the ears. I really like that contrast so [Kaguya no Shiro de Odoritai] was created with this world view. Wasn’t it interesting having μ’s sing a song like this?

Q - So as expected, It isn’t aiming to accomplish a particular thing, but doing things that you feel that are the best. Doing this resulted in μ’s performing in ‘Kōhaku Uta Gassen’ and performing their own ‘live’ in Tokyo Dome, it’s really amazing.

Kisara Yohei: I feel that this is the returns from all the hard work that we put in. The members of μ’s were asked to do things that were far beyond what they could do, but the nine members of μ’s instead thought that: [It is really great that we can work so hard].

With that thought in mind, regardless of its ‘Kōhaku Uta Gassen’ or Tokyo Dome, or Ranking number one in the Oricon Charts. You can wish to eventually achieve all of these once in a lifetime, but actually i really feel that you shouldn’t be too worried about such things. But as a tale about achieving dreams, being able to achieve these dreams for real, is great.

Q - As a cross-media project, ‘LoveLive!’ has gathered together a large amount of creators and performers. It has surpassed many different kinds of barriers; ‘LoveLive!’ is already a hugely successful project.

Kisara Yohei: If you put it this way, ‘LoveLive!’ Project has broken through the gender wall, there are lots of girls who like ‘LoveLive!’ and I have no idea why.

Q - It would still be due to the Idol craze? For girls, μ’s is someone that they can look up to.

Kisara Yohei: Is that so. To wish to be an Idol, to wear pretty clothes and yearning for a gorgeous stage huh? And in addition, from how the content is considered ‘moe’, ‘LoveLive!’ is not pandering towards the female gender.

In general, what we call the ‘moe’ content would be the main character having a harem; the male audience would insert themselves in the place of the protagonist and have fun. ‘LoveLive!’ doesn’t have any guys in it, so what it is describing is the feelings of pure and direct feelings of girls, perhaps it’s this reason that it is attractive to female fans.

Perhaps the most important reason for success for ‘LoveLive!’ is the firm stance the girls of ‘LoveLive!’ and the production staff’s has on not fawning and not pandering to others.

(JP TL starts here)

Q - This serial article is a joint project between CINRA.NET and CAMPFIRE. Kisara-san, what is your impression of Crowd Funding?

Kisara Yohei: I think that opening new possibilities is a good thing. Speaking from the standpoint of customers, if it allows them to get the things they want the most, there's no set limit for the money they are willing to spend. I am spending money for interesting things related to gadgets or products. It's like buying dreams, right?

But, one thing to think about is the meaning of the term “Place of Presentation”. I think there were similar discussions when NicoNico Douga first appeared in the scene. When something is done individually, there is no intervention by a 'producer', don't you think so too?* I think that Lantis is not just a publisher, but it is also a production group. According to how they 'produce' it, the created work will feel like it is a product with good quality. If there are no intervention by a ‘'producer', I feel like there's a limit to the quality of the created works. Well... even so, I basically like new things, so long as it is interesting, I think it's fine.

*TL Note: The term ‘produce’ in JP culture suggests that having another person who is better at the product managing it would make it seem better, so a ‘produced’ product would be better than one which isn’t done so.

Q: Then, lastly, can you leave a message for the people who are think of entering the Entertainment Industry, and those who have interest in it but feel uncomfortable with the future of said industry?

Kisara Yohei: Though I am a company employee, I think the current entertainment industry is shifting strongly towards a new age of 'individuality. If I explain it with my job as a 'producer', today, even as I speak, the sensation, knowledge, and feelings that I have accumulated and received are being sublimated, and that is something no one else can do. It is the same with other individuals.

I am currently affiliated with Lantis, but sometimes, it's does seem to be more of an assignment with the “individual Kisara” instead. Along with the same train of thought, I believe that it is important to increase an individual's value, as one's own life is the foundation of one's value. Things like that seems very interesting to me.

Q - Doing a job based on your own values is what makes it interesting.

Kisara Yohei: I play classical music and like anime, I think that it is connected to my personal roadmap. Of course, basics are important. But, turning things that only you can do into value, then increasing and visualizing it into sales is something really rewarding.

If I have to do something, I would do things that I want to do. I want to raise myself higher. It might not be stable and if someone were to look at the changes of time, it is possible that the company itself would fail Even so, it's possible for an individual to to succeed.

It's because that we’re at this age of 'individuality’, that I feel it's interesting.

Part of #teamonibe

#lovelive #chinese to english #japanese to english #lantis #articles #my translations #translations #teamonibe

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