“How do you know I’m not gonna just run out that door right now and call the law on you? How can you tell I won’t betray you?”
“Well, you haven’t”
“But I could.”
“Okay, then do it.” Smitty gestured to the exit. “Go out there right now and tell the whole world what we’ve done.”
John looked at the door but stayed seated. He sagged his shoulders and looked to the ground sadly.
“See? You can’t,” Smitty said. “There’s no law out here, anyway. Whole town’s full of criminals,” he chuckled.
“So what? I’m too much of a coward and I’ll die if I take even one step, how does that mean you can trust me?”
“Because I don’t think you’re a coward, John. Not really.” Smitty found his solemn eyes. “You could’ve ran to safety with the law in Saint Denis, but you didn’t. You could’ve let Tyler bleed out or get botched stitches but you didn’t, even though you were squeamish. I think you fit this life more than you might realize.”
“And so you want me to join you, become a criminal like the rest of you friends?”
“Yup.”
“I don’t even know how to shoot a gun.”
“I can teach you.”
John rolled his eyes and huffed, and Smitty laughed quietly to himself. He intrigued Smitty with every conversation.
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I think Starlight Express fans need to hear about the time in Berlin they put on a musical about trains (and trams) in love that was technically an hour-long advertisement for the local transit agency but is also a genuinely high-quality musical.
A wail punched itself out of John before he could stop himself, and the outlaw turned to him with wide eyes. He pulled his mask back up before storming over and shoving the couch to the side with brute force, only stopped by Newman’s body on the ground. He grabbed John’s collar and pulled him into the air just as he’d done to Newman before shoving him against the wall. Green eyes glared into his, and if John knew any better he would say they were lit with fear.
“How much did you see?” the outlaw growled.
“Nothing!” John pleaded, squeezing his eyes shut and turning away in an attempt to prove himself. “I didn’t see a-anything! I swear!”
Shouting could be heard from downstairs, gunshots now ceased. A whistle pierced through the room from the floor below them.
The outlaw hesitated for a moment. He pressed his revolver to John’s temple, muzzle still warm from use. John whimpered and tried to pull away from it, but the outlaw only pressed it closer. He felt like his heart was going to burst out of his chest as it thumped violently. John was sure that the outlaw could feel it from how close they were.
“What business do you have with Henry Newman?” The outlaw asked quietly this time, and John opened his eyes. The outlaw looked frightened.
“I’m just his tailor, I promise! I didn’t know about any of that stuff, he just likes-” John shuttered, feeling tears trail down his face. “Liked keeping me around! Please, don’t kill me. I didn’t see anything, I didn’t-”
The outlaw was staring deep into his eyes quietly, almost thinking, before the pounding of footsteps could be heard drawing closer up the staircase. The outlaw’s gaze grew weary, brow furrowing. He growled before pressing a hand to John’s mouth, silencing any cries of protest.
“Do you want to live?” the outlaw asked.
John nodded frantically, tears flooding his eyes.
“Then follow my lead, and don’t say a fucking word.”
Smitty was out like a light the moment he laid his head on the ground. Oddly enough, he dreamt of sunflowers as lively and vibrant as his mother’s bandana. He was back in the fields of his home in Canada, a bright blue sky framing a sea of yellow and green.
Smitty and his mom would visit it often when they had the time as it was just down the road from his home, but most of all he went there on his own. It was a chance for him to relax and just listen to the breeze and the sounds of the sunflowers brushing together, maybe take a nap for a little too long and worry his mom from how late it’d get.
When he looked around him he saw nobody; he was alone. But when he turned back to the field, there stood a figure. He couldn’t make it out, his face was hidden by the shadows of the flowers, but Smitty could see his mom’s yellow bandana tied around the man’s neck, bright as the surrounding petals.
Looking down frantically, Smitty could see that it was no longer tethered to his belt, and when he looked up again the man was gone. Something shiny was left at where he had just been standing.
Smitty raced into the field and dropped to his knees in the dirt only for it to be a necklace. It was a delicate chain with a silver pendant framing a turquoise gemstone. He picked it up and it felt… warm. Not hot to the touch, but like it had just been worn. Like it belonged to somebody.
He looked around again but there weren’t even footprints. Smitty was once again alone, only now in the field surrounded by the tall sunflowers of his past. He cradled the necklace in his hand, suddenly feeling very cold and uncomfortable.
The necklace felt like it was there for him, like it wanted him to find it. He opened his palm to see it once more, but it was gone.
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Sentient vehicles, live- the essay that you were supposed to get way earlier which got delayed because of my bad vacation.
Originally I was going to say that portrayals of sentient vehicles in stage productions could be broken up into three categories, but I've since realized that isn't entirely correct- portrayals exist on a spectrum of how much "human" is showing versus how much "vehicle", with my original three groups being made from this spectrum's far ends, plus its middle.
On one extreme (which I'll arbitrarily label the right), we get stuff like Hot Wheels Monster Trucks Live, the Gråtass outdoor theater productions (which I don't have a good picture for, unfortunately), and the Cars segment from Disney on Ice.
Here we have actual vehicles mocked up so you can't see the driver, incredibly sophisticated animatronics, and... a remote-control tractor.
On the other extreme (the left), there's the first of the two Rescue Boat Elias stage plays, Elias i Lunvik.
How do you know these people are supposed to be boats? Because the program says so.
Of course, most live vehicle shows fall somewhere between one of the two extremes- or they go exactly in the middle.
What's halfway between fully human and fully vehicle? Mascot suits!
We've got Robot Trains (with no good images), Robocar Poli...
and, just to prove it's not transforming vehicles only, here's Jay Jay the Jet Plane.
Now, to analyze the spectrum.
The vast majority of entries on the right side are adaptations, although that doesn't say very much as the entire middle (that I'm aware of) and most of the left side is also composed of adaptations.
Ignoring such items as Hot Wheels Monster Trucks Live and Cars on Ice, which are technically impressive enough to derive interest from that, propuppetimitronic vehicle shows are rather... umimpressive, despite often having the star power and big budget to be quite good.
The problem is that you're looking at, more or less, the exact same designs used in the show, but in a space those designs weren't made for.
The inevitable constraints of the prop animatronic remote-control vehicles also means that the show will be forced to focus more on its human cast, which tends to be jarring for adaptations of series where the vehicles are the stars.
However, the exception to the rule of bad right-side designs can be found in an original, low-budget, stage play by the name of Kaput!, with tugboat Tappy (upper center) falling just right of the "mascot suit" line... despite not exactly being a proppuppetmitronic.
Yes, that costume is supposed to be terrible. That's the joke.
Meanwhile, for the middle, we... already used all of my examples except for this one.
I have nothing new to say here, so let's move on to the left: Costumes.
This side is home to the ever-delightful Starlight Express, which has (almost) all the fame it so rightfully deserves.
So I'd like to take the time to highlight some smaller, lesser-known "costume vehicle shows" that deserve some attention.
Galaxy Kids is the most "stellar" one, featuring actors in costumes as a team of space vehicles- and lots of wire-aided flying (not pictured).
This Dive Olly Dive stage production has an awesome costume for Olly the submarine- and one hopes Beth as well, although she isn't in any images I could find.
There's also the second Elias play, which is what got me onto this research kick in the first place... even if the two-face thing is a bit weird.
And, finally, Goodnight, Goodnight, Construction Site: The Musical. If you'd told me about this show a week ago, I wouldn't've believed you, but it's real.
It doesn't have the highest budget, but it's got charm and weirdness to back it up. Oh, and wanna know what else it's got?
“We gotta get you your own horse soon,” Smitty said only a couple of minutes into the ride. “Give Octavia here a break.”
“I’ve never ridden a horse neither,” John admitted, and Smitty whipped his head around to glare at him like he was crazy.
“Seriously? Jesus, what have you done,” Smitty said before looking back to the road.
“I told you, my life was boring till you got here,” John chuckled.
And hell, he didn’t have to tell Smitty twice. From what Smitty picked up, John had barely left his house in The Heartlands until he got dragged around by Newman doing God knows what. Who knew what he’d actually seen in life, in the world. Had he even been to Ambarino? Smitty wondered what John would think of Canada. He seemed to like flowers, maybe he’d enjoy that sunflower field just as Smitty had when he was younger.
Eventually they passed a clearing between trees fit for a horse to wander, and without warning Smitty turned into it sharply, forcing John to yelp and grab onto Smitty’s arms in a panic so that he wouldn’t fall off.
Smitty chuckled and began circling the clearing, deciding on whether or not it was safe enough for amateur horse-riding. There weren’t many obstacles, spare a fallen tree and its stump a little to the side, and the space was open enough to ride comfortably, so Smitty figured it would be fine. At least, he hoped so. He didn’t want to be losing John or Octavia anytime soon, least of all to something easily avoidable.
And it wasn’t that Smitty doubted John’s abilities, of course. He just very much didn’t want to risk either of them getting hurt.
“What are we doing?” John asked finally.
With a grunt Smitty hopped off Octavia and stepped back to watch them both, only to have to quickly gesture for John to stop as he moved to follow Smitty off the horse.
“Woah, no! You stay on!” Smitty said with a laugh. “Get on that saddle, cowboy.”
“What?” John looked at him with confusion. “Why?”
“Because,” Smitty said as he looked for a good place to stand. “You, my friend, are going to learn how to ride a horse.”
“Now?”
“Now, yes! Stop asking questions and get on that saddle already, you ass. We’re losing precious daylight here.”
Here is where you can find necessary references for my big Red Dead Redemption 2 KRii7Y au!
Below the cut you will find outfits (designed by me using all in-game options), their guns, their horses, honor animals, as well as videos and websites with more details + a map of the game for those who don't play the games :]
I will be updating this with more things revealed over time (especially in the first few chapters) so make sure to check on it often with each new chapter!
I hope you enjoy, and if you have any comments, feedback, or additional requests my inbox is always open :D
REFERENCES
Map of Game
RDR Wiki
Clothing (recommended for clothing refs, but most clothing options have diff variants based off color that are not shown in videos or on wikis, i.e. smitty's shotgun coat is a leather winter variant rather than the standard cloth. also most colors + patterns i made up myself to better fit the person :] for better detailed looks, i do recommend scrolling through the catalogue in the game)
Clothing Wiki
Gun Belts
Weapons
Horses
CHARACTERS
p.s. i didnt give them hats cus i couldnt be fucked to draw that... feel free to imagine some hats on them anyway
