NTLS

So, I have a new Fiona Lives AU where instead of being bought by Fazbear, Big Top remains an MCM character and keeps the Big Top Carnival and what not. Since Music Man and those that came after were probably based on Big Top or related to him in some way, that would mean Fazbear (and Afton!) wouldn't have ever had a Music Man.

I'm thinking as I'm having Fiona kind of take a step back away from new animatronics and animatronic characters, that Stan, a very close and trusted friend of hers and also the guy that turned her characters into the Mediocre Melodies in canon, could end up running his own sub-company kind of thing to cover all the robotics related MCM stuff. He and his tech team would get to continue developing animatronics and stuff without Edwin, with Fiona still overseeing it but more from a distance.

And uhh this would mean all the Music Men would be free of Fazbear forever. They could be doing literally anything now. I have a few ideas for that, but I was wondering if maybe you would have any thoughts on that? Like, what kind of stuff do you think any of the Music Men would do if they were Murray's animatronics? Do you think they'd have their own attractions and branding and stuff or do you think they might prefer to have smaller attractions in other company's locations alongside other animatronics? Something more behind the scenes and less public maybe? Something else?

What do you think? Any thoughts?

~@monty-glasses-roxy

I'm thinking as I'm having Fiona kind of take a step back away from new animatronics and animatronic characters,

And you know what, good for her. Good for her health and the general public's health because oh my god the consequences of her death and the robots that caused it.

My ideas for how the Music men would be, had they not been Fazbear'd, is really underwhelming compared to how they were in canon in my head though. The Music Men are already sidepieces, and I think they'd stay that way.

If we're extrapolating from how the Music Man line would've gone had they not been Fazbear Entertainment'ed with only Big Top as a representative, Big Top is a ticket booth with a face and arms that hold up signs. The arms are multipurpose and he can be turned into a ride in a pinch, but he's primarily a ticket booth. Because of that, I think they'd be either machines that happen to have faces like Big Top or like, Candy Cadet style machines with an entertaining gimmick. Murray's creations, if they're not explicitly for entertainment, seem to fall into these categories.

Something that comes to mind (and definitely not at least partially ripped off from @/wakebymoonsleepbysun's ideas for the cymbal crash bar nooo noo i would never) is Music Man being a jukebox who can listen in and identify vocal portions of the music he's been instructed to play and lipsync/gesture along to it. He'd be an animatronic in the original, non-FNAF sense but he wouldn't be a rockstar on the stage, he's just stationed at a restaurant and you pay 5 dollars to watch him sing Pink Pony Club. Expensive and decorative jukebox.

DJMM is such an unreasonable animatronic. I don't know what he could be for. Why you would make a robot the size of a house for the sake of making music is beyond me. Maybe he's a construction/maintenance bot who helps set up carnival rides, booths, seating, who happens to just play music as he does it? Like, I could lean more on his main ability ingame which is, yknow, making beats, but while Fazbear Entertainment has the cash to burn to make a robot that does that the size of a house for no reason other than aura I do not think Murray is going to do all that for a soundcloud artist. Yeah yeah, dream about being a famous DJ or musician all you want, now go do manual labor

“Ha… right.”

Like, she had actual goddamn tears in her eyes, and that was what she considered an appropriate reply to the joke.I just marvelled for a minute like ‘what the actual hell?’ and eventually asked my mom a few questions. I didn’t want to make her feel defensive or self-conscious or anything, it just kind of blew my mind, and I wanted to know what she was thinking.

Turns out that she’s using the ellipsis the same way I would use a dash, and also to create ‘more space between words’ because it ‘just looks better to her’. Also, that I tend to perceive an ellipsis as an innate ‘downswing’, sort of like the opposite of the upswing you get when you ask a question, but she doesn’t. And that she never uses exclamation marks, because all her teachers basically drilled it into her that exclamation marks were horrible things that made you sound stupid and/or aggressive.

So whereas I might sent a response that looked something like:

“Yay! That sounds great - where are we meeting?”

My mother, whilst meaning the exact same thing, would go:

‘Yay. That sounds great… where are we meeting?”

And when I look at both of those texts, mine reads like ‘happy/approval’ to my eye, whereas my mother’s looks flat. Positive phrasing delivered in a completely flat tone of voice is almost always sarcastic when spoken aloud, so written down, it looks sarcastic or passive-aggressive.

On the reverse, my mother thinks my texts look, in her words, ‘ditzy’ and ‘loud’. She actually expressed confusion, because she knows I write and she thinks that I write well when I’m constructing prose, and she, apparently, could never understand why I ‘wrote like an airhead who never learned proper English’ in all my texts. It led to an interesting discussion on conversational text. Texting and text-based chatting are, relatively, still pretty new, and my mother’s generation by and large didn’t grow up writing things down in real-time conversations. The closest equivalent would be passing notes in class, and that almost never went on for as long as a text conversation might. But letters had been largely supplanted by telephones at that point, so ‘conversational writing’ was not a thing she had to master. 

Texts from my mom look like this now:

Call me! 👻

call me 🥑 🥭

Call me. (No one’s dead I just want to talk.)

Love a manlike

Bobole shown in natural patterns, with a kula and a sloman silhouette for reference.

The second most widespread domesticated predator the slomen have would be the rounder than round big-maw.

Trying to give myself some more challenging animations to tackle SO a continuous walk cycle with some character acting. The music is there mainly to have something to time the pace of the walk and the acting to (and I think it just makes it feel more engaging than silence).

Was working on this back in January and thought I'd get back to it sooner than later but it's sat on my computer as roughs this whole time lmao. I DO want to get back to this and clean/color/comp it, there are just some technical things I gotta figure out with marrying the 2D and 3D that I haven't had a minute to investigate yet.

a few more preview images i've been sitting on for my entry in the NEWEST ALMOST REAL VOLUME, COMING TO KICKSTARTER IIIIN JUNE !!!

there's a lot of really good shit coming in here, not just my vamps. but like, especially my vamps. you should come see them. you should donate to almost real. you should get almost real. oooo

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