#stage plays

Ruth Fleming from the Hatchetfield Universe-Bisexual

Requested by Anon

In order (from left to right) :

“The Wardrobe” by Sam Holcroft

“Period Parrrty” by Gayathiri Kamalakanthan

“Dear Young Monster” by Peter Machale

I deffo can’t wait to read each play text/script, especially since all 3 deal with queer themes and feature queer characters (both “Period Parrrty” and “Dear Young Monster” feature a non-binary and trans character respectively as the main character in each respective play, whilst “The Wardrobe” (which is basically an anthology of sorts where different scenes take place in different historical periods and feature different characters throughout, and in the play it has one recurring object throughout all the time periods, which is the titular wardrobe) features a queer character in the last ever scene, which takes place in modern day)

(also my drama club is doing a production of the play “The Wardrobe”, but only a 9-scene version due to time reasons and stuff, and the original play text is 12 scenes, so it will be interesting to read it in the original 12-scene form)

Yurigaoka Fan Club is proud to present our English fansub of the stage play "Assault Lily: The Singular Ability."

Synopsis:

With the Heorot Saints on expedition, even a top legion like Hronesness can feel the strain. Huge are attacking Odaiba Girls’ High in increasing numbers, with more and more irregulars found among them every day. When faced with a major Cave, Hronesness must accept help from the Saints, but this only proves that there’s more behind the mounting Huge threat against the Garden than originally thought. A Gigant-type Huge that survived an old battle stands across a bridge from a Lily who once made an impossible choice. Though a year has passed since the Odaiba Counteroffensive, it seems GEHENA wishes to recreate that past… or more specifically, make Haru relive the trauma of that day. Desperation closes in as the Gigant’s unique powers wear down Hronesness and their Saints allies, and that’s not even the worst of what they must face. A promise once broken, a promise that must be kept, and a promise of what’s to come. Find out what it is that makes a Lily Singular in the first of the Odaiba stage plays.

Download the subtitle files and other extras here

You will need the Blu-ray disc of the stage play to watch these subtitles. You can buy it from Pius's online shop.

Before watching, install all of the fonts in the Assault Lily TSA Font Pack for the best experience.

"[Yurigaoka] Assault Lily - The Singular Ability.ass" is the recommended subtitle file.

"[Yurigaoka] Assault Lily - The Singular Ability [No Names+FX].ass" is an alternate subtitle file that does not have character names above the dialogue, nor the fancy karaoke effects. This file may work better for watching on low-spec devices.

No PDFs this time, but consider reading Assault Lily Wunder to learn the full story of the Odaiba Counteroffensive.

my name is Ro, I'm 23 years old, and I currently work full-time as an optician while I juggle approximately a dozen projects. please please PLEASE tag me in your projects, tag games, whatever. I love to look at things :)

here's a handful of my current projects. let me know if anyone wants to be on a gen/specific tag list!

THE LAST LORINEAN

epic fantasy, draft 3.2

A marathon of a project, spawning from an absentminded idea in 2011. While the central cast has undergone some face-lifts over the years, the bones have remained somewhat unchanged. There's probably a million drafts of this out there, but we'll call my current one the third big effort to get the story written.

Found family, magical road-trip, and laying the foundations for an interconnected multi-series exploration of the universe in which it's set.

Those born on the Aronian continent do not dream, long-cursed by the Witch Queen of the previous age. The dream-weaving Lorineans, who once provided a reprieve from the curse to the Aronian people, conspired against the kingdom and earned their eradication at the hands of the now-immortal Emperor. The empire now lives in dreamless peace, a united force of human, elven, and faerie kingdoms.

In the rural south of the Empire, Lilliana Karington has been living a quiet life. Unbeknownst to her, a Lorinean has been hitching a ride on her soul for her entire life—a secret that will send her on the run. She is joined by a fugitive by the name of Sadene from the faerie kingdom of Kyrania who carries secrets of her own, secrets that could topple the Kyranian monarchy and pantheon both.

With Imperial soldiers and Sadene's twin brother on their heels, Lilli must learn to trust the Lorinean she is bound to if she is ever to find a way to return to her peaceful life. But as she learns more about the secrets her Empire hides, the harder it will be to find peace ever again.

THE DAUGHTER OF DENMARK

wip intro

I played Hamlet seven years ago and now it's everyone's problem. A novelization/reimagining of Hamlet through the lens of gender, queerness, and what a religious conflict means when there is concrete memory of Denmark's pre-Christian heritage. However, please don't expect historical accuracy from this project. It's about vibes.

PROJECT: ATLANTIS

wip intro

A decade-spanning project that, against all odds, still does not have a satisfying working title. Multiple POVs, in-depth worldbuilding, and a conlang/neography to boot. Ancient Greece meets Stargate meets Way of Kings... or something along those lines.

ON THE PRECIPICE OF THE UNIVERSE

narrative sci-fi poetry, final draft

Return of the king… because I am going to be self-publishing her! I am starting a fresh round of edits and will be looking for some beta readers soon. Mostly need a vibe check on the amount/length of poems and general format. Then comes cover design (will be commissioning a college friend), page design, and figuring out how the hell I'm gonna do this!

Sentient spaceships, loneliness, and the great unknown.

When the last war broke out on Earth's surface, the spaceships launched. No one expected the fires to reach high enough to knock the entire fleet out of the sky—save one, a sole survivor drifting onwards to a new planet.

Years later, only one of the ship's passengers remains alive, going through the motions of the day without fail. The last human alive cleans the vents and weeds the hydroponic gardens. And, they write, chronicling the little life they have left to live.

OEDIPUS REGINA

tragedy, draft one

Apparently, I am allergic to writing a play about anything but the ancient Greeks. Yet another gender reimagining! This came at the request of some college friends who acted in The Kassandriad and have done some readings of my other Greek plays. Still debating if I will be swapping the masculine and feminine for the names.

Cycles of fate, inherited trauma, and the inherent eroticism of riddles.

Oedipus, princess of Corinth, is a young woman when she hears the prophecy that she kill her mother and bed her father. She flees the home she has always known and finds herself in Thebes, a city living in the shadow of a sphynx and the absence of their queen. The childless, widower king takes an interest in her; an interest that sets in motion a cacophony of disasters for the Theban throne.

EAT HER HEART OUT

drama, draft one

Guess what. It's a reimagining of a Greek myth. Who is surprised. This one is taking a look at the Homeric Hymn to Demeter—and yes, I am aware of how many Persephone retellings there are in the world. Leave me alone. What if I'm built different (I'm not).

Motherhood, dependence/independence, and unreliable narrators.

it's really fucking good.

LET'S GET THAT OUT OF THE WAY RIGHT NOW SO YOU HAVE NO QUESTION. THIS THING RULES HARDER THAN I COULD HAVE EVER EXPECTED. it's such a labor of love up and down inside and out from takarazuka revue and as a first time tr viewer but longtime castlevania fan this is absolutely splendid

as a brief rundown of the plot for the people who haven't seen it for themselves and care about spoilers: it's basically a loose-ish adaptation of symphony of the night with the setting and certain historical ties reworked from castlevania nocturne. the story takes place five years after richter belmont and maria renard defeated dracula, and sees richter summoned to paris to help the numbers of the burgeoning french revolution. little does he know, the revolution itself is a result of the magic of the dark priest shaft, who aims to sacrifice the blood of the people killed in the wake of it all to resurrect dracula and his castle. with richter's fiance, annette, taken hostage, he is forced to submit to shaft's demands and help the bloodshed continue. with a belmont no longer standing to stop dracula's influence, alucard, without knowing why, is awakened from his long slumber and sets out to understand what has roused him.

IT'S A VERY FASCINATING SETUP and it definitely had me questioning how much i could predict as someone who knows the lore of these games like the back of her hand. it also had me curious to see how they'd go about the clear netflix influence, since i'm not the biggest fan of those shows. so i sat my ass down and buckled my ass up and my GOD was this a damn near indescribable experience but i'm going to TRY ANYWAY

(SPOILERS PAST THIS POINT)

Humans only wish to come together, and move forward! (THE GOOD)

from the moment it started, and the live rendition of Moonlight Nocturne hit my ears, i damn near levitated out of my seat. the music even from minute one is SO damn good, from the renditions of game music to the original songs. hearing richter belmont sing a ballad to the tune of bloody tears was like a religious experience to me. SO WAS SEEING MY HEADCANON THAT NOCTURNE WAS A LULLABY LISA USED TO SING TO ALUCARD CANONIZED!!!

on a similar note, the writing and performances here, my nitpicks about certain character choices i will get into later aside, are basically everything i could have ever asked for. richter is the brash, over-eager to prove himself but always friendly young man that made him my favorite belmont, maria is the romantic daydreamer with the endless desire to tame the untamable, and alucard... i could write essays about this alucard. they got it almost PERFECT the struggle of identity and self-loathing within that character's mind is so well conveyed. sea towaki you are everything for bringing this character to life in this way. And i cannot ever stress enough how much i love when castlevania stuff takes strife and tragedy from real world history and ties it back to dracula as this inevitable figure representing human evil.

plus the COSTUMES??? AYAMI KOJIMA'S ART SHOULD BE LIKE, IMPOSSIBLY COMPLEX TO REASONABLY RECREATE IRL BUT THEY MANAGED THAT SOMEHOW. LOOK BROOOOO

it's everywhere it's all over my screen bro fuuuuuck

this really is more castlevania than castlevania has been in a very, very long time. i would really rather not make too much of this about the netflix shows as this is to celebrate a cool thing more than put down a thing i don't like (and besides many of the reasons i dislike them are more personal than anything) but it really was so refreshing to see an adaptation return some of what i feel has been lost over the years. this is all the things i look for in castlevania, the gothic, fantastical ambience and the melodrama and just all the things i feel used to make it unique.

But even a return to form doesn't fix everything. i have some critiques, and one of which is one that came with the territory OF adapting the game...

However, is it not true that greed has driven the humans' development and that faith has led them? (THE BAD)

...and that is that this is another fucking alucard x maria plotline. 🫩 brother. AT LEAST SHE'S AGED UP TO BE IN HER LIKE, 20S (i think) THIS TIME IT STILL JUST. idk. i dont like it anyway i think it's SHIT! garbo hetslop. no substance. i really just don't think these characters suit eachother and the only reason writers want them to is because he's a man and she's a woman. that's it. every moment this play spent on building it up i felt like falling asleep AND THEY WASTED LOST PAINTING ON THAT SHIT. DAMN.

also like. is it just me or was the plotline about the medicine lisa developed to cure dracula's vampirism just... weirdly hollow in the end? i feel like there was a lot of potential there to explore dracula himself in the manner of what kind of a person he is. yadda yadda something something drac refuses the cure because, in the end, he desires the life of hatred and some day, for a third time, he would inevitably just choose to forgo his humanity again possibly? but it just ends up being a macguffin to solve maria randomly getting turned into a vampire and propping up the stinky ass romance plot they have going.

ALSO RELATED. THIS IS LIKE, *ONLY* PULLING FROM SOTN AND THE NETFLIX STUFF COVERING THE SAME TIME PERIOD. i don't think the name of a single other belmont than richter is uttered. and i get this weird feeling that mathias cronqvist just doesn't exist here at all as dracula's former self like... idk. there's a definite lack of history in this world felt imo. this is probably nitpicky though

one last thing is that i feel like the sets aren't very interesting to look at. paris is just the actors in front of a french flag, the backdrop of the castle is projected behind everyone, and all the magic effects in fights are just shown on screens above the action. also maybe nitpicky

i... think that's about it for criticisms though!

Farewell, my cursed homeland. (FINAL THOUGHTS)

dude i just feel lucky that this exists at all. so rewarding as a fan of this franchise, ive been fucking STARVINGGGGGGGG and this fed me so well. i really really really really enjoyed watching this and a part of me is hoping and praying on my HANDS AND KNEES that they make another one. Please give me a lament of innocence musical i'm begging you.

five captain n alucards out of 5

seijiro nakamura with all of his fellow cast mates on Naruto live spectacle!

Hello! I'm so sorry I haven't responded sooner, so I hope you'll give me a chance to make amends.

Yes, I've seen a few stage plays that were available online: as far as I remember, they were Turnabout Spotlight, Farewell My Turnabout, and Turnabout Teleportation (but Mitsurugi is the central character in those, so it's not really relevant).

My thoughts on the stage plays director(s)' decision to give Naruhodō a new character trait that disrupts his overall image are simply a free interpretation of the work within the established universe. The fact that the plays uses the characters' images simply means that negotiations were held with the copyright holders regarding the commercial use of their work. But that doesn't make the stage plays canon, especially if there's even a slight contradiction with canon (and now let's remember what exactly the court proceedings in the game are based on).

The reason I personally don't accept these plays as canon is because one of the main character's most striking traits has been completely reversed.

If in the original, Naruhodō had only corrected someone's pronunciation a couple of times or focused solely on the ladder/stepladder dilemma, we might have dismissed it as purely comical. Exaggeration for laughs is a typical trope, free to be twisted as we please, because it would simply be a one-sided fixation, a character quirk. But if he finds any excuse to correct his opponent (no matter who it is - the judge, Mitsurugi, Mayoi, a detective, a witness, or the accused), then it goes far beyond a simple comedic element. Yes, it's funny, but this pattern reveals a character trait inherent in the character.

While Mitsurugi couldn't care less if he misspoke or misspelled, for Hodō, it's a real trigger. He himself says he has a "tsukkomi" spirit (literally, "nitpicker") that he must try to restrain (referring back to this post). Saying wrong himself while trying to correct others isn't something Naruhodō himself could ever accept; he has too much self-discipline for that. Yes, he may not know something, but if someone touches on his interests and expertise, he's ready to defend it to the bitter end. If he's decided to speak correctly, then he will do so (remember that he's also very stubborn and always sees his plans through to the end). At least, he hasn't been observed to exhibit one without the other. In other words, it's canon because that's how it was in the source material.

If someone writes scripts or stages plays based on the story, changing certain character traits, it can't be considered canon in any way. Fanfiction even has a special label - OOC - that authors use when they change something about a character's personality (you do that, right? Right?). Even localization can essentially be considered a free interpretation, as Phoenix Wright's character differs from Naruhodō Ryuichi's in many significant ways (as do Mitsurugi and Edgeworth, by the way).

In short, Naruhodō is a "nitpicker" who doesn't allow himself or others to mispronounce words; the stage plays are licensed interpretations/spin-offs based on the original source material, so they shouldn't be taken as references.