the ultimate goal is to make one of these posts for as many sets of characters as i possibly can

... Somehow, Still Talking About This Captain America Shit (Now With Bonus Spider-Man and Agents of SHIELD)

So now Secret Empire has revealed its Shyamalan Twist and given the readers a Good Guy Steve Rogers as well as Hydra Cap, and the kinds of dickbags who, when this whole bullshit began were dismissing people’s complaints with “oh come on, don’t you know how comics works, it’s all going to be put back at the end, blah blah blah…” are crowing I-Told-You-So’s.

But here’s the thing:

Yeah, fucknuts.  We always knew this.

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The Traitor Meta no one asked for

Will include:

- Major Persona 5 Spoilers

-A look into The Traitor as a Foil to the main cast

-symbolism and motifs galore

- some theories based on subtext

-and the coding of Murderers as having Cluster B Personality Disorders (from someone with a Cluster B Personality Disorder)

word count:2271

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Whump & Why We Like It

In a nutshell, there is no single explanation why some people like certain things and others don’t. For most things, it’s not a big deal. People don’t really spend too much time wondering why they like classic cars or techno music; they just do, and that’s good enough for most people. But as soon as the interest seems “weird” or is intrinsically connected to our romantic/sexual selves… Well, all of a sudden, it becomes important to us to know why things appeal to us.

Before I get started on this post, I want to repeat again: There is no one reason why an individual might like whump. I’m not aiming to answer that question for anyone. My goal here is to share some theories I’ve heard from others and some I’ve thought of myself - in the hopes that it might give you some ideas to work with in order to find your own answers. Because ultimately, that’s all any of us can do: take a good look at ourselves, ask ourselves the tough questions… and above all, accept ourselves unconditionally.

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Why you should read Umineko No Naku Koro Ni (Please read):
So lately on tumblr It seems that our fandom has been trying to recruit more fans to enjoy the story (more than usual I mean). I have seen quite a few variations of “please read Umineko” and laments that there aren’t more people in the fandom. What I have not seen, however, is anyone offering up any arguments or reasons of as to why you should devote your time and energy to read this story, so I’ve decided to take on the role of story salesman to explain why Umineko is amazing and worth your time. Setting: The story of Umineko primarily takes place on a private island known as Rokenjima in the year 1986.

The Ushiromya family is holding a family conference in which the adult siblings intend to decide how to split up the assets of their dying father. Upon receiving a challenge letter that appears to be from the witch of the forest Beatrice, a gruesome mass murder takes place involving 13 characters being killed in a ritualistic murder game, in which the only way to stop the killings is by solving the mysterious epitaph that is said to reveal the location of 10 tons of gold. However, if the epitaph is not solved, “On the 9th twilight, the witch shall revive and none shall be left alive.“

The Story: The story of Umineko is easily the most complex and beautiful work that I have ever read, this thing is a true piece of art. I honestly think that I will never read a story that will surpass it in depth. If each medium of art were to be represented for it’s form of beauty by one piece, Umineko would be the piece I’d choose for the written medium. I could probably fill up several pages waxing poetic and singing the praises of it, but that would probably just bore you. There is a reason that the paragraph above you is listed as “setting” instead of “story”. You see, the tale repeats itself several times, each with various alterations (such as who dies and in what order) and additions of new information. 2 beings oversee the unfolding of each tale in a place that we fans call “the meta” in which our protagonist Battler argues with the Golden Witch (or perhaps I should call her the concept of the witch) Beatrice, over whether the tale being told is mystery or fantasy, human culprit or non-human culprit.

                       (It’s like an intense sword fight with logic)

 The ultimate goal of the story and the readers is to discover the truth, the underlying truth of all game boards. What truly happened those 2 days, and why? Who is the culprit? Is there a culprit? Why do these deaths occur?  The Layers- One of the greatest things about Umineko is what I think of as the layering of stories in each game (Each story showing what happens on Rokenjima is called a game board by the characters inhabiting the meta).  It is my to my understanding that, not including the neigh endless number of culprit theories one can create per game so long as they can work around the restriction, in each game there are 3 stories being told: The fantasy story shown to us which requires only acceptance.

The main human-culprit story per game board (the angle the mystery side is playing).

(this is not an image involving a Rosa culprit theory, I just can’t find any images for culprit theories) and the truth: that which hides quietly in the shadows of the story which you can only see if you understand everything

(Of course, some fans deny the particular answer the author places in front of us believing it to simply be another of his many, many attempts to mislead, trick, and deceive. I wouldn’t doubt him to be the sort to hide the truth of his own story from his readers honestly). Everything is interwoven ridiculously tightly, and only going back and rereading it have I realized exactly how much doublespeak goes on throughout the novels. There is no doubt in my mind that if you were to read Umineko alongside someone who had already read it before, you would find yourselves reading completely different stories. The Music: The music of Umineko is some of my favorite, it’s what pushed me to finally read the story in the first place, which would eventually cause me to write this very post. There are somewhere around maybe 200 different pieces total plus unofficials and character songs. The music accurately depicts and enhances the mood of each scene splendidly, shaping something unnerving into something truly horrifying. There is so much variety in it, and I would urge you to look up some Umineko bgm on youtube and give it a taste. The Mysteries, A Challenge- One of the funnest (and simultaneously most headache and tear inducing) aspects of the story are the mysteries presented to us to solve.

The confusion and doubt when hit with something you can’t explain, the feeling of wonder when you finally grasp what the correct answer is (and then bewilderment when that possibility is crushed) are feelings that any reader will feel intimately familiar with.The challenges given to us by the author usually come in the form of impossible closed-room murders, which the protagonist (and readers) are charged to explain without magic. Many of the mysteries occur outside of closed rooms however, and often more subtle, less easily placed into words. Still, if you want a challenge, then this story is perfect for you. It is not just something that is meant to be read without thought or pondering, it is a direct challenge issued by our author to his readers. If you do not think, you will not understand, and you will not enjoy nearly as much. The Characters- Umineko is a story with a VERY large character cast. With the 1st game board you start out with 18 human characters, and with each new game the character count increases, usually with a fantasy character (or seven) . Despite the large cast everyone has at least a few scenes where they play in important role, and all of them have a great level of depth to them. Each of them are unique with interesting perspective and opinions, and their own problems. Their character designs are also quite nice.

       (This is just the fantasy side btw, there are still 18 people missing) Have I interested you at all? I hope so. If even one person reads this post and decides to try it out, I will be extremely happy. The only information I have left to give is it’s format, a preview, and some advice. This story comes in three different forms: A visual novel, a manga, and an anime. I will beg of you now: please, do not watch the anime, it is mediocre at best, is missing vital clues, and is mssing the entire second half of the story. You will just be spoiled in the most boring and anticlimactic way possible. Both the visual novel and the manga are great, although I’ll warn you now that the manga adaptation isn’t finished. Now for some friendly advice if you miraculously read this boring looking post about a fandom you probably aren’t in and decided you wanted to join: doubt. You will be neck-deep in illusions, and you do not have a gods-eye view of the situation most stories give, so doubt. If you need help finding the novels (because they are hard to acquire) please ask me and I’ll gladly help you. And if you decide to try out the story because of this post please tell me, it would make me glad to know that my words have been heard by someone. Anyways, this person put the entire first half of the story on their youtube account, so perhaps you could check it out~ and here is a sample of the story, also from their account (sorry it’s so long, but the story is really long and it’s best to let the suspense build up)~ Good luck :)

               Please give it your best shot

KuroBasu Hogwarts AU Housing Explanations

Here’s my housing allocations for all the characters in my Kuroko no Basuke Hogwarts AU! I know a lot of people may not agree with some of these so I’m going to try to explain my reasoning to the best of my ability. If you think a character should be changed please let me know and give your reasoning :) Some characters I will refuse to move though, sorry.

This explanation will also include the older characters that didn’t appear in this drawing.
Also, I forgot to draw Haizaki and I didn’t realise Sakurai was a first year until after I’d drawn them. Sorry! They’re both in Gryffindor though so pretend they’re in that picture.

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What a Season 6 Renewal Means For Arrow
Of all the shows The CW renewed today during their presentation at the Television Critics [...]


Of course this is not remotely a surprise, but it’s nice to have it announced earlier.  The Flash, Supergirl and Legends of Tomorrow were also renewed. LOT was on the bubble, but given that it’s part of the DC four night line up, and that the CW doesn’t give a flying flip about ratings, I wasn’t that worried.

Normally, I’m not a huge fan of articles, but this one peeked my interest. Here’s why:

“The series will also likely have a new face when it returns in season 6; the members of the original Team Arrow have been scattered to the four winds this season, but seem to be playing a bigger and bigger role as the season wears on. Meanwhile, the new recruits will likely not be all gone when the show returns next season.”

So, the good news is it sounds like Original Team Arrow will be getting an increased focus as the season continues. Hallelujah. However, THIS is what really had me interested:

“Meanwhile, the new recruits will likely not be all gone when the show returns next season.”

I think I’ve theorized about this before, but I can’t remember which post. Either way, I’ll just theorize again. The sudden influx of new cast members has been… odd. Don’t get me wrong. Arrow always introduces new characters - that’s just part of the show. But normally it’s only one or two at a time, especially in terms of the team. The introduction of Rory, Wild Dog, Evelyn and Curtis has been a major focus of 5A. Such a large focus that three original Arrow cast members have been benched to make room: Felicity, Thea and Lance. There’s also Billy, Susan, the new DA Adrian Chase and, of course, Prometheus. That’s a lot of additions.

My theory (that I can’t remember where I posted before) is… I wonder if this is like Grey’s Anatomy Season 6? 

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Choosing an Audition Song

I’ve been auditioning for musicals ever since I was in about 5th grade (I’m now 25), and over the years I’ve learned a thing or two about how to pick an audition song, and figured I’d share some tips with those of you who could use some help. What I hope to do here is basically “teach you how to fish” by giving you some guidelines to help you determine what songs would be good audition songs for you, and how to go about finding them.

There are really two main things that you want to focus on when selecting a song for your audition. These are the style of the show for which you are auditioning, and your voice range.

Style of Show: You want to find an audition song that is written in a style similar to the show you are auditioning for. So if you are auditioning for a more traditional show, (i.e., Rogers & Hammerstein, Bernstien, etc.), you probably aren’t going to want to pick an audition song from Hairspray or Wicked, and vice versa. You want your song to resemble the style of show, because you want to show the director(s) that you not only can sing, but that you sound good singing the type of songs found in their show. If the show is one by a big name composer/lyricist, like Rogers & Hammerstein or Andrew Lloyd Weber, then this becomes even easier. In cases like this where you have a large number of shows written by the same people, I try and find a song from a different show by the same composer. This guarantees that your selection will be as close as possible to the show, without actually pulling from the show itself. *Note: I do not suggest picking a song from the show you are auditioning for, unless the directors specifically ask for it. Why? Two reasons: 1) It looks like you’re sucking up to the directors (imo), and 2) you’re selling yourself short. If you decide to sing your favorite song from the show because you really want that character, but that song isn’t actually the best for your voice, you’ve just pretty much guaranteed that you won’t get in. Because now the director knows exactly what you’ll sound like in the show, so if it isn’t perfect, you’re outta luck. Which brings me to the other most important thing to take into consideration.

Your Voice Range: This is definitely the most important thing to consider when choosing an audition song. Get to know your voice, and be honest with yourself. It’s always good to know the full range of your voice (being able to list specific notes is always a plus, but voice part works too), but what is more important is that you know your comfort range. I’ll use myself as an example here. My full range (on a good day) is roughly D3-E6 (that’s the D below middle C on a piano, and the E 3 octaves above that, otherwise known as the “Christine” note). But I never write that on an audition form, unless the show has a role that requires high D’s or E’s (like Phantom or Seussical). I will usually write E3-C6 instead, because this is the range that I can hit with certainty on just about any given day, and have it sound good. The outter limits of your range are never going to be as clear as the rest of it, so it’s not the ideal place to show off your voice. Now, taking my range of E3-C6, I could literally write any voice part from Alto II to Soprano I. So how to I know how to identify myself?? Go with what you do best, and what you like to do most! I always put that I am a Soprano I, because that is really my strong suit, and is what I almost always sing in choirs or shows. But this is also why knowing your note range is helpful, because it allows the director to see that while you prefer singing one part, you are able to do others if needed. More flexibility = higher chances of being cast. Now that you know what voice part you are, look for a song that is written for that part. The easiest way to do this is by using song books that are sorted by voice part (I’ll talk about some of the ones I use at the end of the post).

Those are the two most basic things to look for in selecting a piece. But at this point you will most likely still have a lot of options, so there are a few more things that you can take into consideration to help you in your selection process.

Song/Voice Style: I’m sure you already know this, but within every show there is usually a wide range of song styles. The best way to pick which type of song you should sing is by knowing which type you sing best. So once you know your range, figure out which style(s) you sing best. Do you do better with something wordy and fast paced? Or is your voice better suited to smooth melodic lines? Know your strengths and weaknesses, and use them to your advantage. Work with your voice, never against it. Remember your ultimate goal is to show off what your voice can do best. While we’re on this topic, it’s time I address the topic of belting.

Belting, when done correctly, does not damage the voice. The problem is all too often it is done incorrectly. There are many precautions you need to take in order to keep your voice in prime health.  General rule of thumb to live by: if it hurts, DON’T DO IT. This seems like it would be common sense, but sadly that doesn’t appear to be the case. In belting everything rides on the support - you don’t want anything to feel forced. Because let me tell you, if it feels forced, it sounds forced. And directors will right away see that as someone who doesn’t really know what they’re doing. Incorrect belting often results in pitch issues as well. It is far better to sing a note in tune than to belt it and have it come out flat. So if you have a high belt, great! If you have a powerful middle belt, also great! If you can’t belt, still great! The key is knowing what you can and can’t do, and not trying to make your voice do something it shouldn’t.

Now, going back to song selection. Pick something that you really shine on. Like, I can belt, but unless the show/role I’m going for specifically calls for belting, I’ll usually go for something a little more lyric because that’s just what suits my voice better.

Acting the Song: Whatever song you pick, you want to make sure that it is one you are able to connect with, and act the part as you sing. Vocal auditions are really just like a monologue set to music. You want to show the director that you’ve put the same amount of work into developing your character as you would for a monologue. Just singing the notes isn’t going to help you. After all, this is musical theatre. You’ll notice some songs are better suited to this than others. Some will read just like a pretty love song. You’ll probably want to avoid those, but really it’s still up to you. I tend to try and find songs that tell some kind of a story, and allow for some range of emotions and expressions in performance. The best way I’ve found to really help develop the character and the mood of a song, is to literally turn it into a monologue. Speak the text just as you would if it were a monologue. Forget the rhythms. Read it and let the words tell you what inflections to add, which parts to emphasize, and so on. Now go back and sing the song, keeping that in mind. Your goal here is to add in those same inflections while you sing it. Try it. I guarantee you’ll not only hear a difference, but you’ll feel it too. 

The last thing you want to keep in mind is phrasing. Most auditions call for 16 bars (which is usually to 8 bar phrases, roughly one verse). So when you find a song you like, you want to make sure you can easily isolate 16 bars (or close to) that are melodically interesting and will show off your voice. This can be rather challenging. The only way to really know is to look around, and see which songs work and which ones don’t. You probably want to avoid songs in 2/4 or cut time, because 16 bars of an uptempo cut time song are going to be much shorter than 16 bars of a 4/4 lyric solo. And if your audition doesn’t call for 16 bars, then great, no need to worry about it!

So now you should have a little better idea of what to look for in an audition song. If you are planning on pursuing theatre or even just continuing to do it as a hobby, and will therefore likely be attending many auditions over the years, it may not be a bad idea to create a small binder of audition songs. Find several songs that you feel are good fits for your voice, make copies and keep them in a binder. This way they are all in one place and there’s no need to panic when audition time comes. I would strongly suggest picking songs from as many different styles as possible, so that depending on the show you are auditioning for, you will more than likely already have a song that you know ready to go.

So that’s pretty much all there is to picking a song. Beyond this, it’s pretty much a matter of getting out there and learning songs - listen to sound tracks, get some sheet music, go see shows. Familiarize yourself with what’s out there. The more songs you know, the more options you have to pick from. It’s also always a good idea to learn which songs have become taboo in the audition world, and stay away from those ones. (If you’re not sure what I mean, I’m talking about the songs that are so over done that every director is sick of hearing them already.)

If you’re looking for a good collection of songs sorted by voice part, I highly recommend The Singers Musical Theatre Anthology series, publish by Hal Leonard. They have books for every voice part, male and female, and have selections from all kinds of shows. I’m not sure how recently they were last updated, so you probably won’t find many of the newer shows in them, but there’s still tons to pick from. And if you’re just looking to purchase individual songs, there are plenty of websites where you can purchase them. I hope this helps!


olicitylover1  asked:

I just realize when Diggle asked Oliver if Felicity is in the past and he answered "I Don't Know" does that mean that question will be answered by the season finale since they always have Oliver ask himself a big question at the start of every season?

Yes, that’s exactly right. This entire season is about Oliver letting go of the past. That’s why the season theme is legacy. Legacy is about building for the future. It’s about looking forward. However, in order to focus on the future we need to let go of the past. Oliver needs to finally let go of the one thing that has ALWAYS held him back.

The Island.

So, this is the season. This is the year. He will finally learn how to balance the man (Oliver Queen) and the mask (The Green Arrow). He will make real and lasting change in Star City as both men - mayor and masked vigilante. 

This is important, because Robert Queen never expected Oliver to dress up in a mask and go around town shooting bow and arrows. I firmly believe Robert envisioned a future much more like the one Oliver is living now as mayor. His father saw that light in Oliver. He saw that potential, which is why he knew he could ask his son to fulfill his dying wish.

That’s how Oliver will save the city and become this “beacon of hope” for Star City to look to, both as Oliver and as The Green Arrow. Oliver has certainly saved Star City from destruction, but a city is more than brick and mortar. It’s about the people who reside there. That’s ultimately what Robert Queen challenged his son to do. Arrow is about saving a city’s spirit as much as it’s about fighting crime. In many ways, Oliver and Star City are intrinsically connected. They are both broken and need one another to heal.

On the Island Oliver learned how to survive. He learned to rely and trust in only himself. Now he will learn how to be dependent on others and trust them completely. He will stop going it alone. That’s what the new team is about. It’s expanding upon the idea of Oliver trying to build something beyond himself. That’s really the only way to fulfill Robert Queen’s  wish as well. The ideals and hope Oliver instills cannot live within him alone, because then they will die with him… and the city along with him. So, there needs to be another generation. A generation that will help Oliver succeed in his father’s request and then… look to the future. 

Slowly, bit by bit, Oliver let go of emotional attachments the five years he was away. The entire reason he ended up in Russia was because he didn’t want to return home when the time came. So, this season is about reclaiming his family, again, in a real and permanent way. That includes Thea, Diggle and, of course, Felicity. He will learn that family is something you never walk away from - something you never let go of. 

Imagine that each season is a puzzle piece (vigilantism, heroism, identity, family). Each piece is equally important, but this is the season Oliver finally puts it all together. There’s always been something missing each season. Oliver never really gets it quite right. He never truly captures the full picture. This season he will. 

It’s why the flashbacks are ending. I suppose it was silly of me to think that Oliver could become the fully realized version of The Green Arrow before the five years are up, but you just never know with pacing. Arrow is about an origin story and the writers are very committed to this idea of a five year journey. It’s a parallel narrative. So, this is the season they close the loop. Ultimately, the goal is to move Oliver on from the mission of righting Robert Queen’s wrongs. However, he can only really do that once he’s accomplished the goal.

So does that mean the show should end? Well… no. Do we stop telling Batman stories once Bruce Wayne became Batman? No, of course not. The heroic struggle, and lessons to be learned, will always be there for Oliver. However, going forward it’s about actually BEING the Green Arrow instead of evolving (or trying to be) the Green Arrow. It’s shifting Arrow into a whole new phase.

So, how does Felicity fit into all of this? Well, I think it explains a couple things. Brian Sullivan posted what each episode’s emotional journey was.

If you’ll notice all of his answers were very Green Arrow focused. It upset a lot of people, because they want to know about Olicity and OTA. That all feeds into Green Arrow, of course, but  Arrow is hyper focused on the Green Arrow trajectory this year for a reason. This is what they’ve been building towards. 

It reminds me a bit of The Vampire Diaries. TVD has three main leads, so every season they shift the primary focus to one of the characters. For example, S1 = Elena, S2 = Damon, S3 = Stefan, S4 = back to Elena. And so on. 

Of course, Arrow is a different show, but I think the concept still applies. The story is ALWAYS about Oliver, but I think there’s a laser beam focus on him this year. Whereas S3 expanded on Felicity and S4 expanded on Diggle. Perhaps the writers were afraid Olicity would overshadow the main focus of the story this season, which is Oliver’s completed evolution. I don’t agree with it, but I have to admit it’s a possibility. I can’t be sure, but I do think it explains why they have back burned Olicity in the first half of the season. 

Despite the obvious “milking it” intent, Arrow is very committed to Oliver becoming this hero on his own. They don’t want Felicity holding his hand through the whole process. Oliver needs to start figuring some of this out for himself. He needs to start being the light and stop expecting Felicity to harness it. 

As frustrating and as illogical as their break up was, it does set Oliver on a new path. At this point in the story, he doesn’t really have any hope of reconciliation with Felicity. That wasn’t the case prior. He was just sort of standing around and waiting for her to get over it. Umm… nope. Sorry fella. Ain’t gonna happen. 

There’s that great line from Shawshank Redemption, “Get busy living or get busy dying.” In Season 3, Oliver got busy dying. In Season 5, he’ll get busy living - even if that means a life without Felicity. 

The goal here isn’t to be a better man for HER. It’s just to be a better man. Oliver needs to do this for himself. It’s not about a reward at the end of the tunnel. Felicity isn’t a prize and by removing her from the equation in a way, the writers have protected what needs to be a selfless love story. When Oliver finally becomes that man, he will have evolved into someone worthy of Felicity. However, being a better man just to be better is altruistic. 

And that’s what it will take for Felicity to see him differently. To see him as changed. It’s like multiple intersecting roads. Your intended direction may be different, but eventually you cross paths into one lane.

Arrow has always been very clear. Felicity isn’t the past. She is the future. 

Arrow made ardent strides to eliminate the love that was really “the past” for Oliver 

and refocus him on this new love. 

However, the past is what destroyed Olicity. 

Oliver’s need to go it alone is what broke them. So, if this season is all about Oliver letting go of the past, so he can look to the future and build a legacy, the answer to Diggle’s question is pretty obvious. Yes, Oliver needs to let go of the past, but Felicity is not that. She is his future. That’s what marriage is all about. Once Oliver steps off the island, and becomes the man Robert Queen (& Diggle/Felicity) believed he could be, then he’ll FINALLY be ready for the future. He’ll finally be ready to build something REAL and LASTING with the woman he loves. 

Brandish: The Dark Revenant - Localization Blog #2

Well, it looks like Murphy has struck once more! Almost as soon as I said we might get Brandish: The Dark Revenant out by the end of the year, complications arose which have delayed it until the very beginning of 2015 instead.

Obviously, this means no Brandish in time for Christmas, which is most definitely a bummer. But the good news is, this extra time has allowed us to polish the game even further, making small quality-of-life tweaks that should result in an overall better product. This includes control adjustments to remain as close to the original Japanese control scheme as possible, swapping the X and O buttons only where it’s absolutely required… as well as other little things (like submitting to PEGI for a European rating) *coughcough*– oh, pardon me!


This game has been an absolute blast to work on in general, and I can’t wait for you guys to play it. The best part from a localization standpoint, though, has been the challenge of adapting it to English without losing the feel of the original work. There are all the usual hurdles, of course – finding the space for descriptive English text in very small windows and boxes being a particularly notable one here, since this game sure does love to cram as many text windows on the screen as humanly possible sometimes – but Brandish carried with it a few unique tonal challenges as well.

See, this is a game with a very dark, creepy atmosphere to it, and Falcom’s writers tried to add to that in the original Japanese by using lots of foreign (or foreign-sounding) names. Of course, a lot of those foreign names happened to be in English… and they’re the sorts of things that might sound exotic to a Japanese-speaker, but just sound kind of “off” to an English-speaker.

And that, my friends, is what this job is all about! The difference between translation and localization is that you’re just conveying the words with translation, whereas you’re conveying the meaning and atmosphere as well with localization. Essentially, you’re trying to replicate the exact same feeling Japanese-speakers had when playing the game in their native language.


I thought it might be interesting to go over a few of the name-changes that have been made in Brandish: The Dark Revenant’s script, to give you all an idea of what this localization process entails. So, without further ado, here are some of the more noteworthy examples:



The lost, ancient kingdom which frames this tale is roughly written out in Japanese characters as “Bitōru,” and officially Romanized as “Btowls.” Obviously, this wasn’t going to fly in our version, so I had to decide on something a bit more fitting – something that would roll off the tongue while still sounding exotic and medieval.

Now, a lot of you are probably aware that the Japanese syllabary has no real distinction between R and L sounds, but a lesser-known fact is that many Japanese speakers also have trouble differentiating B and V sounds. Although modern Japanese does allow for V sounds in its foreign borrow-words, many Japanese speakers still pronounce these as if they were written with the letter B, and a lot of foreign borrow-words just use B anyway.

So “Bitōru,” ultimately, could have any of four possible English pronunciations: Bitol, Bitor, Vitol and Vitor. Of these choices, “Vitor” seemed the most promising. And since the word is supposed to be pronounced with a short i rather than a long one, the first thing I did was double the t, changing it to “Vittor.”

When referring to people who hail from Vittor, then, I naturally wrote “Vittorians.” Then, after a bit of deliberation, I decided that “Vittor,” by itself, just didn’t quite sound like a country name… so it inherited that extra “ia” from the name of its people, and blossomed into “Vittoria.” This would become the new name for the game’s setting, capturing the perfect feel while still staying true to the intent of the original Japanese.



Crab Devil and the Crab Babies

 One of the first bosses in the game is simply called “Crab Devil” in the Japanese, and it’s flanked by its many “Crab Babies.” The monster in question is actually quite imposing, but it’s a little hard to take seriously with a name like that. After a bit of research, I finally decided on “Karkinos” as an English name for the Crab Devil – based on the ancient Greek word for crab, which later became known as Carcinus (the root of the modern word “carcinogen”). Its babies, then, are now called “Zoea,” which is literally the technical term for a crab larva.



 Similarly to Crab Devil, it’s hard to take a foe seriously when it’s simply called “Lobster.” Ooh, the lobsters are gonna get me! Unfortunately, there don’t seem to be many lobsters mentioned in world mythology. However, since the setting of Brandish has more than a few Greek elements in it (including the name of its main protagonist, Ares Toraernos), the surprisingly badass-sounding Greek word for lobster, “Astakos,” was a perfect fit here.



This was probably the most ridiculous monster name in the entire game, and considering it was used for extremely threatening flying Cthulhu-esque octopi that inhabit the Dark Zone, it was a bit of an immersion-breaker. Curious to see if there were any mythological flying octopi I could pull inspiration from (outside of Lovecraftian lore, which is a bit overplayed), I did a bit of digging, and my searches kept coming back to a Wikipedia article on an experimental helicopter from the 1920s built by a man named George de Bothezat, nicknamed the “Flying Octopus.” Eventually, one thing led to another, and these creatures became known as “Bothezats” in helicopter dude’s honor. What can I say? The man has a really cool last name!

Erase Eye

These are, by far, the most frightening enemies in the entire game. They’re basically Beholders, but… well, I don’t want to spoil the nightmare-inducing surprise for you all. Suffice it to say, there’s a reason they’re called “Erase Eyes”…

The name “Erase Eye,” however, is kind of awkward-sounding due to the odd word choice of verb + noun, both of which begin and end with the letter E. This also makes it a bit of a mouthful, coming out when spoken quickly as if it were one word – “Eraysai” – unless you specifically pause and make the break between the two very clear. In general, it just sounded a bit… clunky. And considering how UTTERLY TERRIFYING these things are in-game, clunky wasn’t going to cut it.

This was a hard one to replace, however, and I’m supposed to let you all know that fellow XSEEDite Kelly was really pushing for the name “Eyebliterator.” We, uh, didn’t use that, however, instead opting for the slightly less eyebrow-raising (yet appropriately badass-sounding) “Unbeholder.”


…And that’s just a taste of what’s in store for you when you’re finally able to get your hands on Brandish: The Dark Revenant sometime early next year. There are certainly other changes to be found as well, but I hope this blog has made it clear to you that nothing was changed without a good reason, and that a lot of thought and care went into every localization decision we made. Our goal was to ensure that when you play this game, your experience is every bit as engrossing and exotic as it was for the original audience in Japan, and I believe we’ve achieved that.

I sincerely can’t wait for you guys to play this. It really is something special, and I know that if you give it a chance, you’ll get lost in the dungeons of Vittoria just as I did.

And I was never heard from again…


Fan Theory - Hook and the Underworld

One of the most exciting parts of belonging to such an ardent fandom is celebrating each new development between our OTP while hypothesizing on likely future events, using spoilers, rumors, and parallels as ‘evidence’.  With that being said, I both rejoice and fear the conjecture that can be made from the most recent round of clues…

The parallels in 3x12 strongly suggest Emma will find her 'home’ and her TLK by the end of 3B (many other posters have finely detailed these theories, so I shall refrain from doing so here.)  But most importantly, her path to these goals seems driven by her connection to Hook - so similar to Henry’s role in Season 1 - leading many of us CS shippers to fill to bursting with hope that he will be that home and ultimate love for her.

Enter the latest round of 'spotty’ information.  With reports that Hook and Dr. Whale have been sharing scenes - shortly after those mysterious pictures of Kansas made their way around the web - one wonders if Hook has been injured and if Emma will have to save him in the same way that she did Henry in 1x21 (hmmm and isn’t it interesting that the episode in question would be 3x21?)  Again, this evidence seems very promising for our OTP; after all, a well-timed TLK has the power to right almost any conceivable wrong.

But those of use who relish in gleaning clues from the writers’ tweets, interviews, and 'between-the-lines’ non-statements know that they love to keep us guessing, have planted clues for future seasons throughout past episodes, have a deep love for Star Wars (very relevant here, I’ll get to it in a moment), and have dropped enough hints that a major game-changer is on its way.  Not to stir up any trouble (who am I kidding; that’s the entire point of this post) I offer a few humble theories for the end of 3B and possible direction for 4:

  • Keep Us Guessing: I’m sure you’ve already noticed, but the amount of propaganda from the cast interviews, tweets, and spoilers supporting CS has been incredible; and therefore, I am naturally suspicious.  It’s not that I don’t believe CS is endgame, because I FIRMLY do, but from a writing standpoint, I wouldn’t be surprised if Emma’s love story spanned the longevity of the show.  Hers is the only one that is being explored in real time; why would they match her up with happily-ever-after before the final season?  Again, I’m still fervently Team CS, but I don’t think their path is quite done.  We are all expecting a TLK at the end of this season – and we may still get it – but that doesn’t guarantee us hearts and flowers from here on out, and really just the fact that we think it’s coming is reason enough for the writers to throw a wrench in things.
  • Clues in Prior Episodes:  Remember those flying monkeys in the story book in Episode 1?  Yeah, me too.  How about Medusa showing up in the Enchanted Forest?  Did anyone else find that particular story thread to be a bit out-of-place?  What purpose could a spotlight on Greek Mythology play in a show about fairy tales?  I don’t know about you, but my money is on foreshadowing.  I recently saw a post in which Emma was sent to the Underworld to rescue – you guessed it: Hook! (swanspirate and captainswanandclintasha) While it initially sent my heart in a frenzy the more I thought about it, the more plausible it seemed.  If Hook is paralleling Henry, it would make a lot of sense for Hook to be separated from the group – presumed to be in mortal peril – and for Emma to have to save him.  That we had a mention of Greek Mythology already supports past tendencies to set up future seasons well in advance, and when you combine the conjecture that Hook and Dr. Whale just filmed Hook’s swan song (no pun intended), wouldn’t it be interesting if his soul did have to be rescued from Hades?
  • Star Wars:  Are you still reading?  Excellent, because this one is my favorite.  The writers and Colin have both referenced the influence of Han Solo on Hook’s character.  We’ve seen it several times – coming back on the Jolly Roger/Millenium Falcon to help the heroes; the burgeoning relationship between the princess (Emma/Leia), so naturally I find myself wondering what will be Hook’s Carbonite?  If we stick with the potential theory that Hook will be put into peril – perhaps even venturing to the Underworld – I think Hades makes one helluva Jabba archeotype.  Enter Princess Emma/Leia to save him, and the ultimate show down between good and evil ensues.  Oh, and if you’re still hedging about the Greek Mythology, consider that we KNOW Hook has scenes with Ariel…perhaps King Triton makes an appearance too…
  • Major Game-Changer:  Continuing with the Hades/Underworld hypothesis, if Hook ‘dies’ in 3B - with or without his TLK from Emma -  and she goes to save him, this would be an epic game changer not only for the plot, but also for Emma’s character.  This would be the first time she’s fought for romantic love rather than put aside her own hopes in order to be everyone else’s savior.  By saving her own savior, she’s choosing to go after her own happiness.  How amazing would that be?

So, yeah…this was just one massively long conjecture spawned by some great theories and some great conversation (thank you doddplaza).  I am rooting for TLK and a happy ending just as hard as everyone else, but if any of the above ends up coming true, I have to admit; I wouldn’t hate seeing Emma go after her man!

Edited Thought: Its been pointed out that the Pegasus sail was also a hint toward Greek Mythology.  I imagine the gods might be pretty upset at the one who destroyed it…