airheart

i do not have time for people who complain endlessly about new transformers designs and hate new series because it’s not tfp or tfa or whatever their fave series was

u know what’s a problem? the asian stereotyping behind drift’s recent incarnations. bayverse skids and mudflap. the way major female characters are treated in bayverse. the continuing lack of female/female-coded transformers

u know what’s NOT a problem? the cheaper animation in rid2015. starscream’s rid2015 redesign. bayverse hound’s beard. sqweeks in general

and i don’t mean like passing “i don’t like this design” comments, i mean people getting into long argument threads and reblogging posts just to add their complaints and generally being needlessly mean

i’ll listen when u actually address legitimate issues in the franchise and stop whining about things Changing

(If you don’t know what Airheart is, click HERE to view our project’s introductory video!)

[ Next Update -> ]

Hey everyone, Aaron here! As Airheart production begins to kick into high gear, there’s a lot to say on how this project will work and when you can expect episodes to start airing. Since there’s a lot I want to get through, I’ll just go through things one by one.

1. Production

To preface this, let me talk a little bit about how Attack on Space’s production worked. Attack on Space had two main producers — Reuben and myself — with Jonah and the sprite/CG artists as our only other non-VA production team members. Reuben did all the writing and most of the audio editing (Jonah helped with SFX and a few audio sequences throughout the series), and I did the video editing, and that was that. Several of the 104thvoicesquad members helped push the story in various directions, but only Reuben and I had any direct influence over where things would go.

With Airheart, all of that changes. The biggest and perhaps most jarring of these changes is the introduction of an official Production Team, composed of the three smaller teams: the Writing Team, the Art Team, and the Music Team. Eventually, a fourth team, the VA Team, will be added to this list, but as is clear to everyone right now, casting has yet to be completed. More on that below.

The Writing Team is led by both Chad (Attack on Space’s Erwin Smith), who is a very talented writer, and myself. As should be expected, this team is responsible for writing out the entire story, from start to finish. Since it’s now a team working on the plot instead of a single person, there’s a lot of idea crafting and juggling to help push the plot forward in new and unexpected ways.

The Art Team is led by the wonderful Sierra, who on top of being a highly skilled artist, was also one of the artists who worked on Attack on Space. This team has what is most likely the most time-consuming job, which is to create each and every art asset that is used in the series. This is a stark contrast to Attack on Space’s art team, which only created sprites (and later, CGs), while I photoshopped images from Google for basically every background in the series. Now, everything you see will be completely original.

And that goes for what you hear, too! The Music Team is led by the ever-talented Nathanael, who, along with the rest of the team, will be producing a completely original soundtrack for the series. That means that everything about this series, from the sound effects, to the plot, to the art, to the music, will all be completely original. Wow.

As for the post-production side of things, Jonah will be doing the audio editing, while I will be doing the video editing. Both of us are striving to go a step higher than our work in Attack on Space, so you can be assured that each episode will be top-notch quality when it comes out.

(To see a more comprehensive list of the members of each team, please visit Airheart’s Cast and Crew page to find out more.)

Of course, there’s still the VA Team to worry about. When the time comes, Jonah will be the one pushing that team along. He’ll also be one of the people looking over your auditions…

2. New Character!

Speaking of auditions, why don’t we talk about the characters of this story? While I’m not going to reveal too much this time around, I’d like to introduce you to one of the more prominent characters you’ll be meeting in the story:

Emerson Seabrooke – The Captain of the Airheart. As a leader, his actions are naturally firm and deliberate. He cares about the well-being of every single one of his crew members, and those who know him well know that despite his serious exterior, he is compassionate to the people close to his heart.

As for the rest of the Airheart crew, you’ll be hearing more about them in time.

3. Voice Auditions

Now, I’m sure a lot of you have been wondering when voice auditions would begin and how they would work. Well, I’ll walk you guys through the gist of things, but let’s start with what I promised first, the date of auditions.

Voice auditions for Airheart will begin on November 22nd, at 7pm EST.

Woah, Aaron! That’s pretty far off! Yes it is, and for good reason. As has been previously stated, Airheart is still in its earliest stages of development, which means that there’s still a lot of preliminary work to be done before we can even assign anything to voice actors. Thus, we’ve set auditions a few weeks off so that by the time of casting, there will already be scripts for cast members to record.

Now, about the details of these auditions. First of all, these auditions are *not* for any one specific character. They will be general auditions – that is to say, everyone will be given the same generic lines that they’ll have to read off for the audition. There may be some other elements of the auditioning process, but that has yet to be decided.

The audition period will be 3 weeks long. At the end of that period, Jonah and I will select four individual (two female voices, two male voices) to be added to the voice pool for Airheart. Depending on the specific audition and the openings in the cast, some of those four people may end up playing a major character role, but keep in mind that we can not guarantee that you will get a major role by auditioning. Which roles which people get are dependent on a couple of factors, but because we have no way of knowing how auditions go, things will be pretty up in the air until the day auditions end.

Something else I’d like to add in here is in order to audition for Airheart, you need to keep these things in mind:

  • You must be available to record between the dates of 11/22 and 12/13, as that is the audition period.
  • In the case you are cast, you are expected to be able to record on a weekly basis starting the week following your casting (the usual deal being “one episode a week”). We can make exceptions for emergency situations, but obviously we don’t expect that to be the norm for anyone who’s cast.
  • In the case you are cast, you may be expected to sing. Sea shanties are a thing, and if you end up playing a character on the Airheart, that may be something you have to do.
  • In the case you are cast, you are not to speak about the details of the project to anyone outside of it. Since everyone on the cast will be aware of the story well in advance of the final product being completed, we need to ensure that nothing regarding the plot, art, or music is leaked to the public. You may only speak publicly about details that have already been released from this blog.

If you have any other questions regarding auditions, feel free to ask! However, I won’t be answering any questions about the actual audition materials. When 11/22 rolls around, all of that will be posted for you to see. For now, make sure to follow this blog or track the “airheart (audioplay)” tag so you don’t miss anything.

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That’s all for now. Until 11/22, I won’t be posting any big production updates, but feel free to send us an ask or post about the project in the tracked tag! And, of course, artist auditions are still ongoing, so if you’re interested, go and check that out as well!

See you guys then!

-Aaron (Project Leader)

Sooo, about Airheart

In trawling the SPG tag it’s not uncommon to come across posts about how sad the song “Airheart” is.  And really, going by the song alone it DOES sound like the characters kinda-maybe-probably-who-are-we-kidding-there’s-no-way-they-didn’t-  die.

But here’s the thing: They DON’T die!

As was stated in an art-stream a while back, “Airheart” is meant to be taken extremely literally.  It actually only tells the beginning of the story, and the plan is to eventually expand it into a full comic telling the tale of how Lily goes out to find Jimmy (literally “lost in the skies”).  It will involve a strange airship with a crew of burrowing sky-gopher-thingies, sky serpents, and a sky-witch.  Apparently the ‘air-heart’ itself is also very important.

So ya see?  Airheart is not a sad story!  It’s a prologue to a much longer Dieselpunk story of as-yet-ambiguous tone!  Rejoice my fellow fans, and remember that they ONLY FOUND JIMMY’S GOGGLES! :-D

I love the idea that all of the hero songs that are sung by the bots in universe are only as accurate as the bots are telling the story. Which is why captain Albert Alexander and Airheart and Roller Skate King all give us a basic outline of said hero’s life and achievements with maybe some larger than life stuff thrown in but they’re all fairly to the point.

And then they let the spine write a song about Rex Marksley and the result is “OK SO REX MARKSLEY WAS OBJECTIVELY THE COOLEST PERSON WHO EVER EXISTED AND HE COULD PERFECTLY USE A GUN WHEN HE WAS LIKE 6 AND HE FOUGHT A DEMON TRAIN AND RODE A METAL HORSE ON THE BACK OF GIANT BIRDS AND HE INVENTED A LIGHTNING GLOVE AND STOPPED EVERY BAD GUY AND BOTTLE FED BABY JACKALOPES AND EVERYONE THOUGHT HE WAS SUPER HOT AND”