World Hit Festival 34 - Vodiznad, Izmedu | IC Thread

by **Izmedu** » Sun Aug 13, 2017 12:32 am

OOC Thread - Draft Thread

20:00 IZMEDUAN TIME

The World Hit Festival now returns to Izmedu for the fourth time, with many at RTI surprised that the contest would be heading back to the country so soon. While the nature of the country's return had reminded many of how the 29th Festival was passed down, enthusiasm for the contest remained at its peak as it was go-time for the contest. The day of the festival saw fans from all walks of life pore into the newly designed La Cianta Arena for the 34th World Hit Festival. Contest organizers found it a pinch me moment as the 25,000 capacity arena filled up to the brim. Now, as the contest loomed closer to starting time, the arena doors were closed, and the lights darkened... No matter what happened tonight, this festival was going to be one wild ride. The channel may have hosted multiple times before, but nothing makes that rush of excitement fade.

With a bigger arena and the prospect of being the host and the overseeing body of the World Hit Festival at the same time for the first time, the pressure was on RTI to deliver...

The first seconds of the broadcast were laced in a musical silence, with the only sound being the heavy air of darkness. Then, the broadcast started with the words in white. (OOC: the GIF you are seeing is the first 15 seconds of the WHF34 broadcast).

As the logo of the 34th World Hit Festival faded, an image of Harrikes Olympic Stadium appeared on the screen, before a CGI filter was applied to it...

Opening Theme & Sequence: The Journey So Far
Marija Tanackovic - Arrival
Tune: Two Steps From Hell - Release Me

0:00-0:40
At the start of the music, marked with a brief orchestral flourish that transitioned into a soft opening, the camera went 'inside' the Harrikes Olympic Stadium. From there, we see a painstakingly detailed re-creation of the stage in Harrikes in CGI detail. The 'camera' made swirling pans over some of the unique details of the stage, ranging from the Forests of Lights to the specially installed light nets. However, what was emphasized was the scale of the arena itself. Then, near the 40 second mark, the camera would then settle near the front of the stage, before transitioning cleanly into the 'real life' broadcast of the 32nd World Hit Festival, albeit applied with an orange filter matching the logo.

0:41-1:10
The music increased in intensity as this acted as the hook to the chorus. In here, images of two opening acts played. From the first 15 seconds, we saw images of the first opening act, Aspaldiko. Particularly, it was Mikel Laboa singing into the camera for the first verse, and ghostly shades of the opening act can be heard piercing through the orchestral flourishes of Tanackovic's instrumental. As the instrumentation then presented a lighter heft of violins providing the harmony, we then saw the second part of the Euskal opening act, with images of Nadija appearing for roughly 7 seconds. Then, from 1:03-1:10, images of WHF32 proper itself appeared until Samira's winning moment was shown.

1:10-1:50
The 'camera' filter turned from orange to a sea blue at the advent of the song's 'chorus,' playing the melody of the festival's 'leitmotif.' The sea blue filter was a marker of the 33rd World Hit Festival that was staged in Avranches, Normandy and Picardy. At the triumphant melody, scenes of the first part of the opening act, Samira Kareli's winning song from WHF32, were played for the first 20 seconds of this section. At the last 20 seconds, flashes of Marie and Andre's opening act as well as Magnus Richard's interval act were played, with the last frame of the 50 seconds being the generator emitting white confetti to the crowd, which caused quite the whiplash to the solemn ending of the song's 'chorus.' With that brief moment of levity on the broadcast package, the soft softened...

1:50-2:45
For this part, we then transitioned over to the results part of the WHF33, during Phase II but before Cosneolta's received votes. The scoreboard, showing Izmedu leading the scoreboard. The ghostly voice of Andre Millian then announced the points going to Cosneolta, putting them in the lead and with Rachel Nollov's victory moment flashing at the 2:05 mark. From 2:15 on, at the advent of drums, one could see the waves of the WHF33 logo transition into the straight lines that marked the logo of the current World Hit Festival. We were then treated to a dark vista of an Izmeduan mountain, with the camera 'filter' off. At the orchestral flourish at 2:33, the camera switched to a view of a flag laying in the dark, and a person picked up that flag. Then, an entire cadre of World Hit Festival could be seen marching towards Vodiznad from the dark valley they were in.

2:45-3:16
With an orange-hue now being applied to the camera filter, the view focused on the stream of World Hit Festival fans going towards Vodiznad, waving various flags of participating nations in slow motioned timed to the ever-developing orchestral instrumentation. At 3:00, we then got a view of Vodiznad being overtaken with a stream of red, streaming light that made their way to the venue, the La Cianta Arena. The camera slowly followed these paths' trails, catching views of important landmarks in Vodiznad in the process.

3:16-3:58
The camera stopped at a CGI rendering of the La Cianta, with its doors closed. As the song roared to its climactic leitmotif, the doors to the La Cianta opened as the song's powerful payoff played host to images of excited fans going into the arena itself. The leitmotif was at its most apparent. After all of the fans were inside, the camera then zoomed outwards into a wider view of the La Cianta itself, the streaks of light reaching towards each entrance and making the arena shine brighter. At the end of the song, the camera faded into a view of the real life interior of the La Cianta itself, a red broadcast effect then parlaying into a view of the La Cianta Arena itself.

The camera maintained an overhead view of the La Cianta Arena itself, the lights and the sheer scale of the show being almost overwhelming in Izmeduan standards. While 25,000 people was indeed keeping up with the statistical standards of the larger audiences than WHF32 and WHF33 had put in, this was already pushing Izmedu's limits in terms of how much it could support financially. Regardless, the increased amount of people bought an electricity to the proceedings that was far more intense than Izmedu's virgin hosting of the World Hit Festival.

A spotlight shone on a familiar silhouette on the stage, causing a massive crowd cheer... For many familiar with the proceedings of any Izmeduan WHF hosting, this was the proper beginning of the show.

Opening Act: A World To Believe In
Gordan Glavas - Faidim u ovaj svitu
Translation: A World To Believe In
Tune: Ermal Meta - Ragazza Paradiso

The camera transifixed its gaze onto the lone silhouette standing alone on the stage. The crowd cheer was artificially quieted on broadcast, but the man remained stone-still on the La Cianta's stage. After a beat, a 'whistle'-like sound went through the arena, which immediately heralded the spotlight on the man shining brighter. He was instantly revealed to be Gordan Glavas, the runner-up of the 33rd World Hit Festival. After that whistle, a piano melody began to play through the stage before added instrumentals were layered into the song, causing the La Cianta to burst into a menage of lights, primarily of a red and warm orange mixture. Gordan was standing on the second level of the stage, a peaceful smile upon his face as the music played. Then, at a cue from backstage, Gordan put the microphone near his mouth, and thus began the opening act...

Pogledati na
I cili ultra
Tamo je biala raja od ufanje
Priča čeka biti otkrivena i nađen
Sjaji s la boundanza virojatnost
Nakon maja tuga
Nakon mnogo gojana
Od suočim ova faina sčora
Fenalmiant, utjeha
U kojem mogu naći alegr

Gordan sang this verse in a manner befitting the tones of relief, his voice far more smooth versus the more emotional register he used in the competitive World Hit Festival entry that he sent. During this verse, the camera maintained a close view of Gordan, catching him walking down to the lower level during this verse. He approached his body language as if he was conversing to the viewer at home, maintaining a close physical distance to the camera. Behind Gordan, the screens were showing images of the participating countries, utilzing the various images that RTI requested from nations as part of their postcards. These images would go in sequential order, starting with Goluta's postcard then continuing on in timed intervals.

Ultra le oblacima, ima miesto vridi bitki za
Zajedno, ćemo mjascati do-u la zvizdu.
Ćemo stvorio el destinur
Ćemo pisati el destinur

For the chorus, the camera switched to a view far from the stage, with the La Cianta bathed in white light that befit the triumph of the song. Gordan had his arm held out as he belted it out, as well as constantly looking up towards the ceiling and the metaphorical sky, befitting the very message of the words. Additionally, Gordan encouraged to audience to follow along, with a moving set of waving arms through the 25,000 strong audience by the end of the chorus. The camera then faded to a view of the back screens, with the Todlichebujoki pictures from the postcard being shown fading into the screens.

Ah, sentireti
La neizmjerana
Vasiona da rezonira duboko
El saul diže do nuf visine
Da me rasaun vidjeti el novi dai opet...
Faidim u ovaj svitu

For the second verse, the camera returned to a closer view of Gordan as he ascended up again to the second level. The lights themselves turned back into a warm orange. The stage floor was lit up with a constellation of stars that befit the symbol of the 34th World Hit Festival, with constantly moving lines amidsst a space background that seemed to almost wrap aroumd Gordan he sang. Some of these lines would appear as holograms that would dot parts of the stage. Around these parts, the postcard pictures of the second half of the performing countries were being shown, with this verse ending on Polkopia's pictures.

Ultra le oblacima, ima miesto vridi bitki za
Zajedno, ćemo mjascati do-u la zvizdu.
Ćemo stvorio el destinur
Ćemo pisati el destinur

At this chorus, streaks of yellow and orange light were then shone throughout the stage as Gordan encouraged the audience to wave along. He had his arms held out all throughout, with wide audience shots to show the sea of waving flags in celebration of the festival. The stage floors themselves were etched with handwritings of each nation's translation of 'this is my story,' moving from left to right like a new ticker. At the end of this chorus, it was Fromulya's pictures being shown on the screen.

Kada sentireš nemoćan
Zapamtiš svoju pragu snagu
To je svoju volju i viru
La faid u ustrajnostu
Kada padaš u la sčori
Pronaći la loica sjaji
Obećavam te tamo je faidim u ovaj svitu
Da, faidim u ovaj svitu
Faidim u ovaj svitu
Da, faidam u ovaj svitu

For the long bridge, Gordan turned sideways as he hunched over slightly, engaging with a nearby audience member as well as pointed towards the various cameras that were catching views of home. He held a fist to his chest as he sang this bridge, its message of encouragement even etched in his face. The fatherly tendencies in him were in full force, even if he was singing these lines to an audience of 25,000, the caring in his voice was undeniable. At the seventh line, coinciding with the appearence of the Hesskin Empire's pictures and the key change, the La Cianta were now bathed in gold. As Gordan sang the title of the song itselg, the camera switched to wider shots from the audience's perspective.

Ultra le oblacima, ima miesto vridi bitki za
Zajedno, ćemo mjascati do-u la zvizdu.
Ćemo stvorio el destinur
Ćemo pisati el destinur

At the final refrain, Gordan unleashed his most powerful belt yet for the song, hitting a high belt that caused him to stagger back slightly. Throughout this, he did all he could to get the crowd to sing or move along with him, even reaching down towards an audience member at one point. The methods had worked, with huge cheers abound as shower sparks were released from the conduit at the moment Gordan hit that high note. As he sang the rest of the chorus, the images were now down to the last nation performing, which was Manaime. At the final lines of the song, the camera returned back to a close view of the stage as he sang 'cemo pisati el destinur' to the camera, with the lyric itself being 'written' on broadcast transposed against Gordan's face before fading away a few seconds later.

Gordan was met with a large crowd cheer, causing him to have to step back.

"Izmedu!!! Hvala! Enjoy the show! Faidim u ovaj svitu!" Gordan shouted to the crowd, before walking backstage.

As Gordan left the stage, the camera shifted to a bird's eye view of the audience as the La Cianta began to glow a deep red, similar to the theme's colors. The leitmotif of the festival began to course through the arena, with images of pulsing logo appearing on the screens as a podium was raised on the second level of the stage. That podium itself was decorated with the crest of the 34th World Hit Festival on its center. The camera then began to zoom in towards the stage, stopping midway from the stage itself and freezing for a few seconds. The music still swirled to its epic melody as it was time to formally introduce the host... A female voiceover began to speak over the broadcast.

Welcome to the 34th World Hit Festival! Please, welcome your hosts, Duje Feretic and Gabrijel Vincek!

It was a slight shake-up from usual Izmeduan procedure, two hosts instead one? Regardless, the audience didn't relent in their cheering as the hosts waved to the audience. Both of them were fairly young, dressed in suits and carrying the printed cues with them. They were newcomers to Izmeduan show-business, but their charm in hosting local television shows made RTI sought to hire them for the job of hosting the festival itself. They came from the main screen entrance at the stage's highest level, behind them a yellow halo of light that faded once the voiceover introduced them. They walked to the podium together, smiles on their faces.

Duje & Gabrijel: Welcome to Izmedu!!!

As the hosts spoke in tandem, the leitmotif of the 34th World Hit Festival ceased as the camera pointed towards the audience again, with shots of excited fans waving their flags proudly.

Duje: Welcome to the 34th World Hit Festival. I am one of your hosts tonight, I am Duje Feretic.

Gabrijel: And beside him, is me. Gabrijel Vincek!

There was a short pause here as the crowd cheer quieted down.

Gabrijel: Amazing... We are now at 34 editions, and going as strong as ever. 34 editions of the World Hit Festival! It's truly extraordinary seeing the passion in the arena.

Duje: Indeed! Folks, this is a contest celebrating first and foremost, the music of various nations that have come here tonight to perform for all of you. Each nation shall be showcasing a part of their culture through music in some form.

Gabrijel: We've had a long history of that music and that celebration. Additionally, it wasn't that long ago that we were back here either. Remember Mousiki?

Duje: Fourth time's the charm?

Gabrijel: Definitely.

This caught a bit of a rise out of audience members, mostly Izmeduans who were amazed at the amount of hostings that the new overseer has accumulated in such a short space of time.

Gabrijel: Anyway, let's get to describing what the World Hit Festival is, right?

Duje: Absolutely. The World Hit Festival, as we mentioned, is now on its 34th birthday. Founded by Saintrabina and hosted in Necrobrachlesh in its first edition. The festival's purpose is most fundamentally being an outlet for nations to show their culture. Gabrijel, mind continuing?

Gabrijel: Of course! Each nation in this contest submits one entry to be performed. Those entries can take in many forms. We've had solo singers, bands, entire groups come on stage. It is up to the nation as to how they use the entry to express themselves, and the story they bring.

At this, though part of the script, Duje winked at Gabrijel at the sudden drop of the theme.

Duje: You know we get raises the more we mention our theme! Yes indeed, story and narrative are large aspects of not just the World Hit Festival we are hosting, but perhaps the contest itself. We are continuing the long narrative of this festival, but each song itself is a story.

Gabrijel: And going strong we shall. We have 20 nations participating tonight, isn't that amazing? 20 nations! That's the largest amount we've had since the venerable 19th World Hit Festival in Kasin, Kalosia! And the first time to breach 20 since... the 13th World Hit Festival in Sirushostan, Kingsley Bedford!

There was a round of applause for Gabrijel as he stated those little factoids. This caused quite the massive fan cheer.

Duje: Alright, we've spent quite a while talking, and it's time for the entrants to take center stage. First up on the stage is...

Duje & Gabrijel: GOLUTA!!!

Gabrijel: Miss! It's your turn to the stage!

There was a crowd cheer as the the crest of the 34th World Hit Festival appeared before transitioning over to the first frame of the postcard.

by **Izmedu** » Sun Aug 13, 2017 12:32 am

THE ENTRIES

01. GOLUTA
Entry | Postcard | Voting (Phase 1/Phase 2)

02. NORJIHAN
Entry | Postcard | Voting (Phase 1/Phase 2)

03. GIM
Entry | Postcard | Voting (Phase 1/Phase 2)

04. TOGONISTAN
Entry | Postcard | Voting (Phase 1/Phase 2)

05. MERCEDINI
Entry |Postcard | Voting (Phase 1/Phase 2)

06. BRITONISEA
Entry | Postcard | Voting (Phase 1/Phase 2)

07. NORMANDY AND PICARDY
Entry | Postcard | Voting (Phase 1/Phase 2)

08. TODASKAKYS
Entry | Postcard | Voting (Phase 1/Phase 2)

09. COSNEOLTA
Entry | Postcard | Voting (Phase 1/Phase 2)

10. IZMEDU
Entry | Postcard | Voting (Phase 1/Phase 2)

11. TODLICHEBUJOKU
Entry | Postcard | Voting (Phase 1/Phase 2)

12. DARKMANIA
Entry | Postcard | Voting (Phase 1/Phase 2)

13. POLKOPIA
Entry | Postcard | Voting (Phase 1/Phase 2)

14. ESTOGIUM
Entry | Postcard | Voting (Phase 1/Phase 2)

15. FROMULYA
Entry | Postcard | Voting (Phase 1/Phase 2)

16. BALKVLA ISLANDS
Entry | Postcard | Voting (Phase 1/Phase 2)

17. KALOSIA
Entry | Postcard | Voting (Phase 1/Phase 2)

18. HESSKIN EMPIRE
Entry | Postcard | Voting (Phase 1/Phase 2)

19. BOJIKSTAN
Entry | Postcard | Voting (Phase 1/Phase 2)

20. MANAIME
Entry | Postcard | Voting (Phase 1/Phase 2)

Compendium of other links

The Official Playlist for World Hit Festival 34

Interval Act // Phase I Result // Phase II Result and Winner Announcement // Winner's Reprise

Commentary
BVC One (Britonisea)
(Entries 1-20) // (Voting Phase I - Part 1) // (Voting Phase I - Part 2)

by **Izmedu** » Sun Aug 13, 2017 12:36 am

At the start of the Golutan postcard, the camera was in a rural area of the country panning through the idyllic Golutan sceneary. As the view panned to the left to reveal some sort of neighborhood, the sounds of clarinets could be heard playing through the audio. We then see some Golutans cheering on the faint sound of clarinet playing. The more camera panned to the left, interspersed with a few shots of a palace, the clarinets became louder. The melody that the clarinets were playing was an instrumental of the Golutan entry of the World Hit Festival. As soon as the melody hit peak volume, the camera then fast-tracked to a group of Golutans indeed playing the clarinet.

'Miss,' during the clarinet performance, was hidden within the crowd. However, since he was the subject of the postcard, his presence was obvious in the crowd of other Golutans. He was nodding along to the Clarinet playing, and he even went up to them mid-performance. At the end of the performance, Miss shook the hand of one the clarinet players, in which a key was located in one of the clarinet players' hands. He handed the key to Miss, and from there we see a shot of Miss and that clarinet player walking on the grounds of this palace.

As Miss and the clarinet player walked on the palace grounds, they faded from the last frame. Miss' voice then rang through the broadcast, as he said “Kess memmev tax soss,” with the entry information then appearing on the broadcast.

by **Izmedu** » Sun Aug 13, 2017 12:43 am

Tune: Bill Wurtz - i wanna be a movie star

this is miss: his real name is Gajuss Misste

Miss is a golutian artist, who is known for being unconventional

Although he is most known for his visual performances, he also makes songs at times

Miss is the artist that will perform for goluta on the world hit festival in vodiznad in izmedu

He will perform his song 'happy life'

---
The song starts with drums played by a guy wearing a red suit in the back of the stage but in front of the screen slightly offset from the middle

The drummer is a large dude

The drums are made of cardboard boxes

The drumsticks are actually bamboo

The real music is being played behind the screen you see

The big screen is lit and shows a fractal like this zooming in

The floor is black

Miss is wearing a suit that is purple and he is standing on the main part of the stage slightly offset from the middle to still reveal the drummer behind him

It's time to live a happy life

He holds a recorder, on which he plays along with the celesta tune

Is your life like a mess?
Is there no green grass?
Tell me is there something I can do?

The light pillars on stage flash green red and blue

Tell me what went right
Tell me what went wrong
I can understand life's rough for you

As we transition to the chorus, the background fades to reveal a picture of the galaxy that we float through

It's time to live a happy life

The screen is now showing a forest

Miss plays his recorder again while drums guy slaps his boxes extra hard

Another person walks in on the right side carrying a bandoneon which actually makes music after the next lyrics

Do you need a helping hand?
Do you want me as a friend?
Tell me is there something I can do?

Miss plays the recorder and while he does there is a rainbow of light columns flashing on the main screen

We can do something fun
But it's okay if we don't
I just want to make sure you're feeling good

The background reverts to the universe

The drums guy breaks his one of his bamboo sticks and walks over to miss during this chorus like a robot

A woman with a harp walks in onto the left and plays on the notes during the middle of the chorus

It's time to live a happy life
It's time to live a happy life

The drummer is now standing next to miss

During the bridge miss and the drummer walk to the drums

Miss is walking backwards and keeps singing

And it's always hard to reach beyond the stars
and I'm feeling kind of worried so I want to help

Right now he pulls a tulip out of his pocket and slaps it on the boxes to match the drum at the end of the bridge

He gives it to the drummer and walks back while the drummer now continues

I think you're the best
Life puts you to the test
But you always seem to make it through

After this text, miss plays his recorder one last time before putting it into an inside pocket of his suit

I hope you now know

The drummer slaps an actual cowbell with the tulip, which shouldn't make the noise it makes

I really care for you

Somebody off-stage puts their hands on-stage to play the triangle

and I hope we can always make it through

The harp woman and the bandoneon man and the drummer have put away their instruments, and started to put their hands in front of them, and
on the notes played by the celesta during the last chorus, they put their hands in front of them and move them down, and after four tones, up again.

It's time to live a happy life
I'm gonna live a happy life
You're gonna live a happy life
We're gonna live a happy life

They all exit.

by **Izmedu** » Sun Aug 13, 2017 12:44 am

At the start of the Norjihani postcard, we are situated in a music festival-like area with a man playing a Jew's Harp on the stage, an enigmatic spotlight on him that illuminated the swirling smoke that gently lapped around the man (with his name being Kuved Ponijo). As the camera zoomed out to reveal more details of the environment, the name of this Norjihani festival was revealed to be Mesmejen daam Gzaab (A Song For the World) through a fan's sign. The man was playing an instrumental of the Norjihani entry, and Erturmik could be seen in the audience, nodding along to immense approval of Ponijo's rendition of the entry.

When Kuved's playing ceased, there was a massive applause as the folk rendition of the Norjihani entry then morphed into its original instrumental. Massive emphasis was placed on with Erturmik applauding Kuved Ponijo's cover as shots of Tura, Mik, and Ereni clapping for the Jew's Harp player were displayed. We then see a view of a red bridge (the Nired bridge) as the camera went towards the sky after the applause, and a sign with 'Hajenired' on it. The camera then cut to shots of cars zooming by in both directions, away and towards the capital city.

The camera view then situated itself on a sidewalk at the Hajenired side, with Erturmik walking down towards the frame. As they approached the camera, it zoomed out to a sideways view of the Nired bridge itself. The three could be heard saying “Fav bafeemosu fenodje fjédaa,” with the entry information then appearing.

by **Izmedu** » Sun Aug 13, 2017 12:50 am

Translation: Falling
Tune: Cadillac - Valentino

Ertumik are a trio consisting of Tura Gzosa (31), Mik Yrena (32) and Ereni Pista (32) from Hajenired, the capital city and cultural centre of Norjihan, and where all three of them have lived all their lives. They met at university, and the band began as a comedy band. Over time however, the eccentric 80s stylings have remained but the songs have become more serious, as has their commitment to the band; what once was just a bit of fun has become a full time job. They were chosen by a public poll to represent Norjihan at WHF from a list of 5 potential artists, but had no song when they were announced as the winner. Consequently, they quickly set to work. As luck would have it, inspiration was not far away. Mik, the main lyricist of the group, had been on a holiday to Myski, a holiday resort filled with glamour, casinos and holidaymakers, and so the fleeting nature of luck and indeed life became the topic of the song, which compares luck to a forbidden lover, with whom we have brief affairs but who can't always be there for us - luck always runs out eventually...

Orthography/Pronunciation Stuff
Helping you actually pronounce the lyrics, if you wish to do so
Part 1 | Part 2 | Part 3
Note: two vowels together is a long vowel; just hold it for a little longer. Also, plosives (b, p, t, d, k and g are unreleased word final

As the song began,, the viewer at home got a camera shot from above the stage to show all three sections of the stage; the bottom one showed a roulette wheel spinning away, whilst on the top one Mik Yrena (guitar) and Ereni Pista (keyboard) played away in some wonderfully 80s clothes. In the middle layer was a single playing card on a layer of smaller cards. which as the camera zoomed in was shown to be the King, with Tura lying on it. He suddenly opened his eyes and began to sing, looking up to the camera, whilst being bathed in an ambient purple light.

In the background pillars, a king, a queen and a jack appeared on each side, the two jacks in the ones closest to the middle out to the kings on the edge, whilst in the main background there was a Craps table, the dice rolling as the camera shot changes for a second. When the camera returned to Tura (as the second part of the verse began), Tura was on his feet and at a microphone stand at the edge of the second/middle section and the bottom section of the stage, swaying away to the music in his fine 80s garb; on the floor, there was a gap were he was laying, which was filled by blue light seemingly going upwards (ie. there is a 3D sort of effect to it).

O Mygeed
(Now go)

Ópeed hee
(Draw again)

Baf dam rutu...bafodjé hód* kasójee
(You know you are playing with your life)

Bjésuven
(On an ace)

Ugzujeeven
(On a lover)

Senasónu...bafodjé ruxjéneed
(Place your bet)

These merge together (remember h word initial is silent, so you end up with two vowels next to each other' so it is actually sung like 'Bafodjód'

As the chorus began, The background changed to show a mysterious hand laying a card flat on a table (an ace) but her hand is then grabbed and the picture vanishes under the roll of a dice. The band carry on playing and Tura carries on singing, and there are several sweeping shots of the stage and indeed the audience.

Sīngzun, sīngzun, fen sēēnif bafodjé síngz
(Falling, falling, I fall into your hands)

Fënu messud kasóseed, fenodjé ugzjee
(Play me well, my love)

Tura gripped tightly onto the microphone (removed from the stand, and deliberately made to look old like the rest of the aesthetic) and sang almost directly into it as the lights darkened a little. The main focus of the TV view was on Tura, around which a camera (operates by a man on stage) circled him, with Tura following so that he was always singing into the camera.

Baf gzanu fusbédjee hee*
(Spin the wheel once more)

Fav gzeen fjédaa daam óg
(But it's never like before)

Ojo fen bafu gzeen mobjés ahebees
(And I won't always save you)

Deed feven senasédeed, eensóseed gzēnin
(So bet on me and hope to God)

* as the h in hee is silent, it becomes fusbédjee (with a long hold on the ee)

Thercamera focused on Mik and Ereni on the top layer of the stage, faint spotlights shining on them, as they provided the backing vocals and played along; under their feet, the ground seemed to give way so that they appeared to be falling (as the lyrics suggest)

Sīngzun, sīngzun
(Falling, falling)

Sīngzun daam baf
(Falling for you)

The camera passed away from them and returned tofocus on Tura once more, as he jumps down onto the bottom layer where he narrowly avoided the ball spinning around the roulette wheel. As he landsed, it slowly transformed to show the same woman's hand from earlier, so that he appeared to be standing supported by it.

O Mygeed
(Now go)

Ópeed hee
(Draw again)

Baf dam rutu...bafodjé hód kasójee
(You know you are playing with your life)

The second chorus was all together uneventful really; more camera shots, more dancing about and playing to the music and more lighting. The cameras never directly showed Tura's face in this chorus, instead glancing past him so that you caught a glimpse, almost as if he was some evasive animal normally hidden and rarely seen.

Sīngzun, sīngzun, fen sēēnif bafodjé síngz
(Falling, falling, I fall into your hands)

Fënu messud kasóseed, fenodjé ugzjee
(Play me well, my love)

Ēsjun, rótumēdun, fen daam bafu óneeg
(Running, racing, reaching out to you)

Gzí gzeen eenójeed, aijés fen eenaposu donó
(Don't say no, I need a reason to stay)

Tura climbed up the step to the middle layer as he sang, the camera following him; the LED floor now appeared like the floor of a swanky casino and the stair like an actual stair. A holographic hand, clearly not real due to the geometric pattern (this deliberate; think about why this may be...), reached out of the floor and triedto grab him, but instead went right through.

Jojeejód bajéneed
(Dance under the moon)

Favu gzohóseed bós
(Forget it all)

Deed pee rós jahjé osu fjédaa ase*
(As if the last night has come)

Deed fav gzurífu bafodjé rós osu fjédaa ijón
(As this might just be your final kiss)

*In this line, the word pairs ending and starting in vowels are distinctly split up. This may appear to be to simply to fit the structure, but is there something deeper here?

The cards that were on the pillar seem to splinter and smash, leaving behind them the general blie-purple glow from the LED floor from earlier. The TV screens at home showed what was on the main background screen in the stadium; a series of cards flew across the screen, including one in which the king's face was replaced by Tura's. The hand appeares again and picked him out of the lot, and appears to throw the card towards the screen. A quick shot shows the stadium again and the card appearing to travel across the stage (again thanks to Izmedu's wonderful hologram technology), before dissapearing through the bottom layer; Tura, on the middle layer, had to duck under as it flew past, and is it dissapeared there was a huge flash of lights and pyro, signalling the end of the song.

Sīngzun, sīngzun
(Falling, falling)

Sīngzun daam baf
(Falling for you)

Sīngzun daam baf
(Falling for you)

All three members of Ertumik bowed and waved as they left the stage, hugging one another whilst the crowd cheered, shouting 'Vemad, vemad!' (Thank you, thank you) as they went.

by **Izmedu** » Sun Aug 13, 2017 12:52 am

At the start of the Gimian postcard, shots of various Gimian concerts and music festivals can be seen. One of an audience enjoying one of Gim's famed girl groups, to a shot of a boy band ending a concert with confetti falling down. The culmination of this would see these being placed into a collage, before fading into a shot of F.A.M performing in a similar style concert venue. They were revealed to be performing their World Hit Festival entry, engaging the crowd with their choreography. Then, they ended the song to an immense crowd cheer.

F.A.M huddled together as the camera began to go upwards, creating a transitory location effect. Now, we were located in an idyllic Gimian city, with a high-tech skyline in the background and traditional architecture in the foreground. It was a night setting and the concert that F.A.M held had ended. They are then seen walking down one of the old streets together, the camera taking care to catch their moment of fun as they took in the sights. Then, the camera went back to the view showing the skyline and the old city together, with F.A.M walking out of sight.

Then, all members of F.A.M can be heard saying “나의 이야기” The entry information for Gim then materialized into the screen.

by **Izmedu** » Sun Aug 13, 2017 12:55 am

Tune: Red Velvet - 레드벨벳_빨간 맛

Performance Video: https://www.youtube.com/watch?v=3nxZltejAp4

Stage is dark, and the audience cannot see anything in front of them. A few second later, the lights are turned on, and colourful unwrapped gifts and candy canes are behind the stage to show as the background. In the center-back stage, a cursive set of letters are written: "F.A.M."(0:11 of performance video). Crowd cheers as the stage is illuminated, and the song starts as the girls, all wearing red spaghetti-strap tank tops and bright, red shorts that climb up to above their thighs(shown in the performance video), on the stage begin to dance.(0:10-0:26 of performance video)

Ah! Don't give up! You know bet-ter.
People are here to cheer you up, you know bet-ter.
Watching you close--Ly is your fami-ly,
In the heat of the sun that shines very brightly.

Joy moves into the center of the stage and dances, doing a wave from the top to the bottom of her body. The rest dance along beside her.(0:27 - 0:42 of performance video)

Sometimes, you fear to speak up from your heart,
Sometimes, you fear that you and your job will part,
Studying may be tedious and may make you diz-zy,
but ne-ver-the-less, it will make you shine.

Wendy moves to the center of the stage and dances, as the girls touch the shoulders of one another and line up horizontally. Seulgi moves to the center of the stage after the girls lined horizontally for a few seconds. (0:43 - 0:56 of performance video)

Backs hurt, and head is getting dizzy,
Mind is now going crazy,
but we must always move on.

Irene moves to the center of the stage, dances, and signs. She shakes her body while standing at an angle towards the center camera and moves her hands front and back three times, while the other members dance to the side in a somewhat obscure manner. (0:57 - 1:15 of performance video)

Ah! Don't give up! You know bet-ter.
People are here to cheer you up, you know bet-ter.
Watching you close--Ly is your fami-ly,
In the heat of the sun that shines very brightly.

With Wendy at the center of the stage, they dance while rotating their arms in a clockwise manner, as the interlude is heard. Some fans rose from their seats and danced, as they were excited to hear the sound and see the girls dancing. (1:15 - 1:23 of performance video)

Du-du-du Du-du,
Di Du-du-du-du-du,
Du-du-du Du-du,
Di Du-du-du-du~

Wendy moves into the center of the stage and dances, doing a wave from the top to the bottom of her body. The rest dance along beside her. After a few seconds, Yeri and Irene move to the center of the stage and dances, putting their hands from their faces to the audience, back and forth three times. The crowd appreciated their charms. (1:24 - 1:36 of performance video)

Hard work will eventually pay off,
Although there may be times when you will sob,
Always re-mem-ber those who are be-side you,
Better than being one the many or even two.

Seulgi moves to the center of the stage, as the girls line up vertically and do the wave, moving their stretched-out arms from left to right(from the audience's point of view) over their heads.(1:37 - 1:51 of performance video)

Look at me,
(Seulgi and Wendy) Always trust in your-self,
Don't ever, ever give up.

Irene moves to the center of the stage, dances, and signs. She shakes her body while standing at an angle towards the center camera and moves her hands front and back three times, while the other members dance to the side in a somewhat obscure manner. Also, the girls rotate a full circle in the beat of the music towards the fourth line of lyrics in the following stanza: (1:52 - 2:06 of performance video)

Ah! Don't give up! You know bet-ter.
People are here to cheer you up, you know bet-ter.
Watching you close--Ly is your fami-ly,
In the heat of the sun that shines very brightly.

Irene is at the center of the stage, moving her hips side to side, as she begins rapping. Yeri is towards the left of the stage dancing her hips from side to side, as the camera focuses on her towards the latter part of the following stanza: (2:07 - 2:21 of performance video)

All kinds of people, from salty to sour, oh, heh,
Pa-pers, short to long,
I'm going to shoot it up, bang, bang,
Bet you wanna, bet you wanna, dance like this,
and do away with all the stress you have,
and do away with all the work you have,
or drink away...heh.

[color=#BFBF00]Seulgi is at the center of the stage singing the bridge of the song, while the rest follow her in dancing. They all move their hips side to side and stretch out their arms towards the sides in a somewhat promiscuous pose. (2:22 - 2:38 of performance video)

You don't have to tell me right away,
You don't have to say anything,
but I just want you to know...,
that you are a worthy person

Wendy is at the center of the stage singing the chorus of the song, as she points her fingers at the audience, while smiling. She has yellow hair, compared to other members, except Yeri, so she fielded more people from the crowd to stand up and cheer for her. (2:39 - 2:53 of performance video)

So, do not ever give up!
Do not ever give up!
Never feel hopeless!
Strong-er is what you are, never give up!

Irene moves to the center of the stage, dances, and signs. She shakes her body while standing at an angle towards the center camera and moves her hands front and back three times, while the other members dance to the side in a somewhat obscure manner. (2:54 - 3:07 of performance video)

Ah! Don't give up! You know bet-ter.
People are here to cheer you up, you know bet-ter.
Watching you close--Ly is your fami-ly,
In the heat of the sun that shines very brightly.

Wendy points her index finger at the crowd, as the song slows down, reaching its end. (3:08 - 3:20 of performance video)

Don't ever give it up! You know be-tter...

The crowd cheered as confetti sparked into the stage.

by **Izmedu** » Sun Aug 13, 2017 12:58 am

At the start of the Togonistani postcard, we are situated in a crowded club pulsing with rap music all throughout. As the camera caught moments of partying and occasional rapping, a chance glance at two rappers proved to be lucky. There was a rap battle about to occur and a battle of words was about to happen. The one in the black hat just made their retort, but the rapper in the white hat was not about to back down. Putting the microphone to his hand, he continued the battle of words against his counterpart. We then see Eliah Hamous silently observing this rap battle, before walking out of the club entirely, but with a smile on his face.

We then see Eliah entering into a building of a vastly different nature than the club, a school in Togonistan. We can see a teacher inviting Eliah in, and him demonstrating singing the melody of his entry to children. With a few more flashes of Eliah interacting with them, the parting shot of the postcard would involve three children staring into the camera in front of them.

As they smiled, Eliah could then be heard saying “Ko toku korero tenei,” and the entry information then appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:00 am

Tune: Jimmie Wilson - The Color Red

While Togonistan won the latest edition of WorldVision Song Contest, things did not go that well with WHF, which eventually flushed down Lucky 7's chances of increasing their viewing figures at the cost of WV and left them completely in TNTV's shadow. As the battle goes on between two rival broadcasters, Lucky 7 decided to do whatever they can in order to increase the interest in WHF amongst Togonistani viewers. With that in mind, they offered Eliah Hamous to respresent the nation in WHF 34.

Eliah Hamous is a rising star in Togonistan. He won the first season of The Voice: Togonistan and with that, gained widespread recognition in the country. Right now, Eliah is working on his first studio album and is preparing for a international concert tour. When Lucky 7 approached him with the offer, Eliah accepted it, seeing it as a good way to promote himself amongst the international audience.

For WHF, he is going to sing his song ''Broken Deep Inside,'' which he completely wrote and composed himself. The song is about his breakup with his girlfriend and how he feels about it. While his fans find it as a very good and emotional song, there has also been a lot of criticism towards it. Mostly it is considered a bit too lame for a international competition that is WHF.

Performance:

Eliah is standing in the middle of the stage, wearing thorn jeans with sneakers and a white shirt. To his left, there is a female pianist dressed in a long black dress. Stage theme is red, with the background being a red diamond heart. Pianist starts playing while Eliah is looking at the audience. He puts the microphone up to his mouth and starts singing:

I just gave my heart to you and you threw it away
All the memories of you slowly kill me inside
I don't wanna do this but, I know that I just have
To go, go on, and on

Red heart on the background blows into pieces and the whole background shatters, revealing a picture of Eliah and an unknown girl.

You don't know the pain I feel
and you don't know the pain I feel
And I cry every night before I sleep
Why did you go and leave me broken deep inside
'Cause to you it seems no big deal
You don't know the pain I feel

The background now turns into a sunset. It shows two hands entering the frame from either side, eventually forming a heart shape. Eliah walks closer to the edge of the stage while singing:

When I thought our love was real, I didn't realize
All the wasted days of mine went and passed us by
Maybe one day you can really see
That we could push our love beyond

Background fades into a grayish picture with a silhouette of Eliah sitting on a floor. Stage floor turns into graphics representing raindrops moving down a window.

You don't know the pain I feel
and you don't know the pain I feel
And I cry every night
Why did you go and leave me broken deep inside
'Cause to you it seems no big deal
You don't know the pain I feel

Music ends and Eliah smiles to the audience, saying: ''Thank you, thank you all,'' before turning around and leaving the stage.

by **Izmedu** » Sun Aug 13, 2017 1:03 am

At the start of the Mercedinian postcard, viewers familiar with their national final, SongSearch, are treated to a sight of the show being in progress, particularly a cadre of dancers dancing against pink background screens. On top of the display, we see various SongSearch entries and rehearsals course through the screens, with many a Mercedinian singer being featured on the postcard for a brief moment. The camera then turns towards the audience, with Daniel Alishkaerni observing the proceedings with a smile as gentle instrumental of “Don't Tempt Me” played.

With a fade out effect, we then see Daniel taking a stroll through a snowy, the solemnity of his song befitting of the atmosphere. The camera focused on the footsteps on the snow that he was creating. Daniel then stopped walking, and the camera panned up with the Severnaya Metel Cathedral in place. The whispers of the song's melody was the musical backdrop to the presentation of such a venerated building to Mercedini.

Daniel looked up with a solemn look and the camera then switched over to a view of the cathedral from an intermediary distance. Daniel can be heard saying “Questa èla mia Storia” and the entry information appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:14 am

Tune: Zayde Wolf - Born Ready

Daniel Alishkaerni returns to the World Hit Festival for the second time hoping to bring home Mercedini's first song contest trophy ever. He returns after he placed fifth in his last appearance with the song 'The Way You Make Me Feel'. This time, he brings a new flavour to the contest with an epic indie rock song titled 'Don't Tempt Me'. Mercedini has had a recent dip in form as of late and they are hoping to bounce back after both Samuel Borlaviac and Anja Tella both placed seventh in both of the previous two editions. There's hope that Mercedini can follow in little Cosneolta's footsteps and chalk off their first ever WHF victory in Vodiznad.

Alishkaerni hails from the region of Rafelonia where he grew in a musical household, but only had his first big breakthrough when he released 'The Way You Make Me Feel' and then subsequently chosen to be a WHF representative. He worked on his debut album since that appearance with some of those chosen to be released as singles, 'Don't Tempt Me' being one of those. It was a hit on the Mercedinian Hot 100 and was subsequently chosen from a shortlist of hits since the last World hit Festival. If Daniel can improve on his placement last time then Mercedini could have themselves another podium and a potential victory, but with more nations joining and with the World hit Festival becoming more and more competitive edition after edition, it may be an uphill battle from here on out.

Before boarding his flight, Alishkaerni said in an interview "The last time I was in one of these types of competitions, it was definitely an experience. I am thankful that ENM chose me once again to represent my country in the World Hi Festival, and I hope to go at least one better than last time. The fans have been tremendous in supporting me and I hope they will be there in full force in Vodiznad. We hope that we will put on a good performance for the fans and maybe we can put some points on the board for our nation!".

Representatives on ENm have promised that they will pull out all the stops for their performance and if it falls for Mercedini, it will be the first time Mercedini will win the WHF, following Rachel Nollov's victory when she was part of the Cosneoltan act last edition. Will Mercedini win that elusive WHF trophy? Only time will tell..

The song begins with the stage mainly black but with an orange hue on the stage, nothing on the stage is yet visible, although the orange hue does give us a small clue as to the things on the stage, it's just that the audience and viewers don't know that yet. The camera begins from an elevated central position in the arena with white beams of light being scattered away from the stage and across the rest of the stadium. As the introduction gets more intense, the beams of light focus and turn to face a figure at the centre-rear of the stage. The figure reveals itself as Alishkaerni who lifts the microphone up to his face to sing the opening verse of the song.

Flames are splashed onto the LED screen behind him as he walks from the rear of the stage to the front, they then fade into the darkness and return for the third line, matching the beat of the song to give the song more impact. There are three male backing singers at the edge of the stage which are briefly shown during cuts after every two lines of the opening verse.

Even when the earth trembles
I'll stand strong and cast my spell
It’s just the way I’m assembled
There’s power in every cell

White lights flash to the drum beat of the pre-chorus, as the central camera has now switched to a zoomed in, close-up of the male vocalist. He shapes his hand into the shape of a gun and points it towards his temple before pulling the imaginary trigger and pointing towards the audience for the second line. He steadies himself as the camera fades to black for the start on the first chorus.

Pull the trigger, I won’t blink
My other foes, they’re extinct

Flames on the LED screen fly up behind Alishkaerni as he begins to sing the chorus, bathing the stage and the front portion of the audience in bright orange and red, adding to the intensity of the beats in the chorus. He stretches his arms out and opens his body language up to the audience while staring into the camera while he sings the title lyrics of the song. For the second half of the chorus, he interacts with the LED screen behind him, giving the audience the impression that flames are being emitted from his hands when he lifts them up or he is wafting the flames around himself as he swings his fingers in front of his body. As the chorus comes to an end, he buckles his body, spins and takes a knee which mirrors the music which is distorting in a downward pitch movement. The lights fade from white to a deep orange before the camera fades to black and cuts to the second verse.

I’ll wake up, vacate your lies
We’ll see through your veiled disguise
You were warned, don’t tempt me
You were warned, don’t tempt me

Flames will rise, ignite the ground
I will swim, leave you to drown
You were warned, don’t tempt me
You were warned, don’t tempt me

After ending the first chorus on one knee, Daniel rises up from his position, which is captured by the central camera that is now encapsulating the portion of the stage he is standing on. As he rises up from his kneeling position, a ball of flame burst from the centre of the screen and morphs itself into a set of wings which he stands in front of and flaps from time to time to add a bit of realness to the piece. He walks to left of the stage and the wings follow him, it's almost as if it was choreographed before hand. The wings are diffused and turn into smoke and fade into the darkness as Daniel walk to the front of the stage as the second verse ends.

Don’t ever play with my fire
We both know what that’s gonna do (yeah, yeah)
I’ll be the one who shines brighter
Outshine the black hole in you

The stage returns to darkness with the central camera zoomed in so much that Daniel's face and the dark background are the only things the audience can see at home. The crowd sees the lights in the arena flash white to the drum beats of the song before all moving to focus on the song's main performer, the light that is focused on Daniel is mostly absorbed but the small percentage that is reflected gives him a glowing appearance, it's just the only the crowd can see it, but it does raise a small cheer from the Mercedinian fans.

Pull the trigger, I won’t blink
My other foes, they’re extinct

The flames return to the stage once again but this time actual flame jets fly from the front of the stage as Daniel takes a knee and pounds the ground in time with the music which matches up with the LED cracks in the stage, the final punch at the end of the first half of the chorus cracks the black LED floor which shatters into many pieces leaving a black shard which Daniel is kneeling on with the rest of the floor being a pool of lava which is flowing to wards the audience's side of the stage. He gets up from his kneeled position and walks backward towards the LED screen with the shards forming a path as he walks to make close to the LED screen as the chorus comes to a close

I’ll wake up, vacate your lies
We’ll see through your veiled disguise
You were warned, don’t tempt me
You were warned, don’t tempt me

Flames will rise, ignite the ground
I will swim, leave you to drown
You were warned, don’t tempt me
You were warned, don’t tempt me

The camera then moves from the left hand side of the stage and sweeps downward, flying above the heads of the audience until it sweeps by the front of the stage. Flame jets flicker from the stage and turn on and off without any order, this is mirrored by the strobe light which are flashing so much it would give a normal person an epileptic fit. They all flicker to the tune of the violin in an intense sequence of events on stage. The sequence ends with an inception style horn which blares as the beams of light turn red while the rest of the stage goes dark.

Just shine you light brighter, brighter
Just shine your light
(Ahh, just shine your light brighter)
Just shine you light brighter, brighter
Just shine your light

The camera moves up on the blackened stage and moves towards Daniel who is illuminated by a single while spotlight above his head. He is in the centre of the stage of one knee and staring down at the ground, meaning only his back and the top of his head can be seen, although the audience can gather from his silhouette where the rest of his body parts are. Red beams of light surround his body but are only seen around him and in no way do they reflect or show up anywhere on his body. He looks up and into the camera while holding his pose before standing up tall and letting out one long powerful note, leading us into the next chorus.

Just shine you light brighter, brighter
Just shine your light

The stage explodes back into life for the final chorus in the song. Orange and red flames appear on the LED screens on the floor once again with white beams of light working their way around the arena. Daniel has a detemrined look on his face as he points his finger into the camera before the shot changes to an elevated central camera moving forward yet still encompassing the entire design of the stage including the audience in front of it. He walks to the very front of the stage and makes it at the end of the chorus with the corwd waving their flags and enjoying the performance.

I’ll wake up, vacate your lies
We’ll see through your veiled disguise
You were warned, don’t tempt me
You were warned, don’t tempt me

Flames will rise, ignite the ground
I will swim, leave you to drown
You were warned, don’t tempt me
You were warned, don’t tempt me

The flame jets and strobe lights return along with more effects on stage to add to the intensity of the song. A smoke machine is turned on along with a wing machine which blows the smoke around causing a vortex of light and smoke and chaos which Daniel is happily standing in the middle of while he sings the lyrics to his song. The camera performs a series of sweeping shots yet again across the arena. The final flames wash away the lights and colours and reveal the black background, all of the lights, smoke machines and wind machines are turned off as they are no longer needed after this point.

(You were warned) Just shine you light brighter, brighter
(Oh just don't tempt me) Just shine your light
(Oh just don't) Just shine you light brighter, brighter
(You were warned, don't tempt me) Just shine your light

Daniel goes on one knee once again and is lit by the spotlight above his head aswell as the camera light which is up on stage and giving the audience a close up as home. He looks up ahead of him and then back into the camera singing the words with purpose and intent while the male backing singers give their final accomanyments with their vocals.

As Daniel sings the last couple of words to his song, the camera which was orignally filming him moves off stage to make way for the view of the central camera. He stands up tall with a rather masculine pose which ends his performance, flames burst and the wings of a phoenix form behind him which earns a cheer from the audience as it symbolises the end of the performance.

I’ll wake up, vacate your lies
We’ll see through your veiled disguise
You were warned, don’t tempt me
You were warned, don’t tempt me

The crowd goes wild with the Mercedinian portion of the crowd waving their flags and bouncing up and down like a bunch of drugged-up mental patients. Daniel blows a kiss and waves to the crowd before thanking them in Izmeduan and then English. "Hvala Izmedu, thank you very much!", there is then a transition before the postcard is shown of the next performance.

by **Izmedu** » Sun Aug 13, 2017 1:23 am

At the start of the Britonish postcard, viewers are treated to a look at the preparation process of the 57th WorldVision Song Contest. We first see Britonish stage crew putting the finishing touches on the stage, with many people nodding to each other as lighting configurations and stage movements were coordinated. Then, we then see the stage itself being tested, with a blue light configuration being added. Through the preparation process, we then switch to a scene of Etela Tomac observing the preparation by being taught by a Britonish technician as to what each part of the staging technology does.

Etela smiled and was enthusiastic at knowing the technical aspects behind the stage. We then switch to a view of a room with two laptops, with Etela being led into the room by that same technician. Both computers were on, playing “I Was Dancing With Stars.” There was a bit of a demonstration, as Etela could be seen being visibly frustrated with the old tech before smiling, and then messing with the new laptop. After that, Etela and the technician leave the room, and the computers were off.

Etela could then be heard saying “Vhosos et leerario” and the entry information appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:27 am

Tune: Giada - L'Universo

Despite being a favourite in Normandy and Picardy, Britonisea came 11th with 10 points in the World Hit Festival 33, which furiated members of staff in BVC, and the viewers at home. The Normand audience also seemed as though they were shocked at the result, but no one was more shocked that Eva Almast herself, she thought she deserved a lot more than what she received. Nevertheless, BVC were determined to come back stronger, and to get another top 3 placing. BVC stated that they have everything ready in the event of the nation winning, including an arena and designs, but they need to be in contention before they can execute their master plan. BVC called upon Etela Tomac to represent the nation of Britonisea in the World Hit Festival.

Etela Tomac is a young Izmeduan singer, who represented Izmedu in the 27th World Hit Festival, which took place in Kyvivre, Britonisea after the nation successfully beat Izmedu in a tie-break, which was so close, the Kalosian delegation had to go down to the amount of people who voted for Britonisea. Etela Tomac was sent to Kyvivre, hoping that they could capture their first win, but came 2nd place again with 21 points, with a grand total of 21 points (10 points behind the eventual winner, Arioslavia and 7 points in front of 9th placed Britonisea). Since then, Etela Tomac has expressed how much she likes Britonisea, and decided that she would stay in Britonisea after her successful participation at the World Hit Festival.

However, her work was far from done, and she did not intend to stay in Britonisea for just a holiday. While flying between Izmedu and Britonisea, fulfilling her duties as spokesperson for Izmedu when they hosted in Vodiznad, and working closely with the successful Izmeduan World Hit delegation, she also started working on her new album, which was a result of her result at World Hit Festival 27. One of the songs that was in the making was one of the songs she sent in to the highly popular, and successful, Vha Mehlodhivestoile, a Britonish National Final, which saw Mini Surrey North win it over Rigas Jengiz in 2016 - both of the women winning WorldVision and World Hit Festival respectively after their appearance in the National Final. Collaborating with Viktor Nelson, a song writer who lives in Britonisea but is of Ekozian decent, hopefully will bring some success to the nation after coming from a disappointing contest in Normandy and Picardy. Viktor Nelson is known for writing the song “Jekyll and Hyde,” which came 10th in WorldVision Song Contest, on a field of 27 nations.

Etela Tomac did not have one of the easiest of journies in Vha Mehlodhivestoile, compared to the eventual winner Mehkl Maddox Ajax or third placed Dean Boyst. Out of 24 participants, Etela Tomac was 7th to be announced, and was one of four international acts. Etela Tomac was announced to be performing 7th in the 1st Semi Final, which is a very good running order, but the person who performed after her was Tykkard Rubak, a popular Britonish artist. The competition’s first semi final was held in Boschke, and many nations voted for Etela. The jury from Normandy and Picardy gave Etela’s song 2nd place, the juries from Polkopia and Todlichebujoku gave Etela 5th place, Mercedini gave Etela 6th place and Izmedu gave Etela Tomac first. This was combined by the Britonish televotes and Jury, who placed Etela at 4th with 25 points. Interestingly, Etela only managed to come in the relegation zone, and was up against Gerald Nikksen, who the Britonish Jury and televote favoured. Miraculously, Etela Tomac managed to beat Gerald, to go to the Battle Stage, where Etela faced Petre Lemetre, but the Britonish Public voted in favour for Etela, and Petre was thrown out of the competition.

After Etela received that lifeline, things for the young Izmeduan was on the up, after being announced as the 11th, and final, act to perform in the Grand Final of Vha Mehlodhivestoile 2017...after Mehkl Maddox Ajax. In the Grand Final votes, Etela Tomac came 1st in the Britonish Votes in the ZQT area, which is the largest area for the votes. Etela Tomac surprisingly came 2nd in Vha Mehlodhivestoile overall, after overtaking Dean Boyst through a tie-break (84 points). BVC had said that the second place would be awarded to go to World Hit Festival, but BVC did not send her for World Hit Festival 32 or 33, which sparked fans from Izmedu and Britonisea saying that BVC has not stuck to its word. There was even talk of Etela being rewarded the spot for WorldVision Song Contest 58; but Britonisea announced they would not return to the contest for that edition.

Etela Tomac and BVC knew that they would be going to World Hit Festival 34, and it was fitting that Izmedu are the hosts of World Hit Festival, which means Etela can be more immersed in the festival, including interacting with locals. However, this should be a breeze for Etela, as this is her second time in World Hit.

Etela Tomac was ready to perform on the World Hit Festival stage, once again, under the Red-Blue-Orange-White flag of Britonisea, and during the postcard, Etela quickly walked upon the stage, fixing her microphone and leads to her ear. The set Britonisea had for this World Hit Festival was quite interesting, but when the Izmeduan Delegation released the image of what the stage would look like, the Britonish Delegation had to replan what their stage was going to look like. The stage is smaller than what the Britonish thought it would be, and so the staging had to change to fit in to that - but that was a minor issue. The major issue was the fact that the staging had different levels. This left both Etela and the delegation behind her confused. Either way, they decided that the “Girl looking out of her window,” idea was good, but it couldn’t be done in the way they had wanted it to be, so instead, they would use the screen at the back.

Etela and her stylist, who is Britonish for this edition, wanted to go for something quite natural looking, and in the end, she looked quite similar to this, a nice tutu dress with a stripy top. The audience had started cheering loudly for Etela as the postcard ended, and her name was shown on the screens in front of her - indeed, she was facing the screens, with her back away from the audience on the level right at the top, nearest to the main screen.

As the song started, she took a deep breath and raised the microphone to her mouth. A steadicam came on to her level, slowly circumnavigating itself around Etela and she started to sing. On the screens were bricks and objects you would find in a room in a castle, however, on the main screen was a window, and it looked as though she was looking out of it, raising her arms towards the screen.

Alone at night, I had wept.
I had no idea how to seek help.
I still have thoughts of myself as a young child,
In my young years, so naïve, quiet but free.
I had to learn how to be true to myself,
Lacked confidence, lacked it all,
Lacked self esteem.

Hopes died long ago,
I lived on in my thoughts.

She was still facing the screen behind her, and the camera kept on turning around Etela, slowly picking up the pace with every rotation. Singing the first chorus, she switched from putting her hands out, towards the screen, to putting it to her heart and then back to out. Sometimes, she would we even interact with the camera, looking at it as it went past her face.

When singing the pre-chorus, the lights in the arena changed, and the light - which came from the staging - started to decrease as the artificial lights were turned on. The lights in the arena slowly turned on at full capacity, focused on the stage, and a yellow hue was seen on the stage. It was almost as if Etela had started to gain the courage to show her face to the Izmeduan audience as the big chorus came up.

I had only one big dream,
A life I’d describe as surreal.
But in my head, I kept it real.
In my heart, I was dancing with stars

She had turned around during the chorus and sung about the dream she once thought of. The audience’s cheer could be heard when Etela turned around to face them, and with a bit of oomph, she sang the first chorus, looking up in the roof of the arena that they were in. However, when singing “In my heart,” she sharply turned to the camera, which came from the side of her and sang the last bit of the chorus of the song.

As the chorus finished, there seemed to be a little break in the song, leading in to the second verse of the very peaceful song. At this moment, Etela started to descend off the top of the stage, and towards the audience a bit. Again, the audience cheered loudly for Etela who was coming towards them. The yellow hue that was previously describe now turned in to a spotlight, with the screens behind her seeming to resemble the chorus you would find in a sunset.

I took a journey to find sanity,
To find safety, to find me
Was I never to be found?

A bed was laid on the front of the stage, but this was no ordinary bed - no. The bed was made out of panels of LED screens, and you could see this when the bed suddenly lit up in to blue, symbolising a pond or a body of water. Etela slowly moved towards the bed and started to look at it, looking down at it. To her surprise, it seemed whatever she did in real life was mirrored on to the bed, and with this she moved up and down her hands - only with Etela in the pond following her actions. She looked up at the camera before shrugging and placing herself on the bed, eventually laying down in the bed.

Whilst I walked, I delved into my thoughts,
What was bottled inside,
Thoughts I had told to hide.

Hopes died long ago,
But I didn’t die with them.

Blue lights focused on Etela laying down in the bed as she looked upwards towards a camera which was facing down on her. The camera was slowly coming downwards, and she raised her hands, singing with strength through every syllable. The LED screens behind her showed the wings of a butterfly being attached to Etela, with the background of the screens on the bed being red.

The pre-chorus came up yet again, and rose petals started to fall from the top of the stage on the bed that she was laying on. This happened right through the pre-chorus on to the stage. The camera did stay with her, apart from when there was a long shot of the stage, slowly lighting itself up behind the bed. The LED screens seemed to show a pattern of a butterfly, one similar to the wings of the butterfly on the bed.

I had only one big dream,
A life I’d describe as surreal.
But in my head, I kept it real.
In my heart, (in my heart) I was dancing with stars

This chorus seemed to be the loudest part of the song left, and the camera showed Etela on the bed, still with the rose petals falling upon her.

As the song suddenly died down, everything in the arena turned dark apart from the few lights which focused on Etela and the LED bed. The LED bed turned a very bright red, as though something was going to happen. Well, something was going to happen. As she began to sing the next part of the song, she stood upon the bed and with this, a camera shot swerved in from afar, so you couldn’t really see her get upon the bed.

I was dancing with stars,
I was dancing with stars,
Plesao Sam!

The bridge of the song ended on her singing, “Plesao Sam!” which is Izmeduan for “I Was Dancing!” and with this, she was hoisted gently in to the air, above the bed, with golden lights all pointing to her core. Suddenly, out of nowhere, people wearing white, who seemed to also be attached on strings, swung up in to the air, swinging over the audience - and the camera caught all of the action, of course focusing on Etela Tomac, as the LED screens behind turned in a beautiful mix of gold and silver.

I had only one big dream for life.
A life too far fetched to believe,
Don’t you dampen this girl’s dream!
Who knew? (In my heart) I was dancing with stars.

Etela, after singing the chorus once again, then was put down from being in the air and then stood on the bed again, as the people who were floating above the audience disappeared again in to the LED screens, which blackened.

I was dancing with stars...

She sang the last bit into the microphone before tearing up. Wiping a tear from her eye, a large grin appeared on her face and she cheered in to microphone, “Doma sam!” which caused a large eruption in the arena. She then continued in English, “Thank you everybody, thank you all so very much!” She then bowed before walking off the stage, ready for the next act to perform. Was she going to match her performance in WHF27, or do one better?

by **Izmedu** » Sun Aug 13, 2017 1:29 am

At the start of the Normand postcard, the camera was situated at an empty corner at a practice room at the Cherbourg College of Music. A trio of violins could be heard in the background, playing the chorus melody of Martin Avenu's “Fairytale.” The camera then panned to the source of the sound,revealing that it was indeed three violin players wrapping up their lesson for the day.. All three of them played in unison to the song, and as they ceased, we then see Martin Avenu walking in the room, applauding the violin players. Then, Martin began to sing his song, though his voice wasn't heard on broadcast, with the violin players behind him providing the instruumental. As he wrapped up the song's chorus, a slow motion effect in the moment of his smile occurred.

We then see the camera move to the direction of the left, fading into a shot of Mont St. Michel. Martin himself can be seen walking towards the structure itself, his eyes brimming with pride at seeing a grand symbol of Normand heritage. He could be seen mouthing his song as he stepped closer to the structure. The camera then took a wide view of the structure itself.

Martin could then be heard saying “C'est ma histoire” and the Normand entry information then appearing.

by **Izmedu** » Sun Aug 13, 2017 1:30 am

Tune: Claude Capéo - Ca va ça va

Any other time, 4th place would have been amazing for Normandy and Picardy, given that before WHF 32 they hadn't been in the Top 5 for a very, very long time and their 5 wins seemed a long time ago indeed (and some even questioned whether they had even happened). Given the vast sums of money that NNN threw both into the entry, and into hosting the contest, it was clear they had been hunting for the win, invigorated by the 2nd place in Euskirribakondara. Naturally then, feelings in NNN were mixed. On the one hand, it was a very respectable result, another Top 5 place and some hoped a sign that Normandy and Picardy are back in the contest for good, and in it to win it every time. On the other hand, obviously there was dissapointment that they hadn't won, and as a response the champagne was put back into the cooler for another year and instead it was prosecco that was drunk that night. Despite all this, people up and down Normandy and Picardy celebrated what was a very good contest. Also, despite the endless naysaying from certain elements of the WHF community, NNN were notably pleased that they had managed to pull off hosting the contest and had managed to defy said critics, hopefully lifting the curse on Normandy and Picardy once and for all. Of course, there was still some trepidation given the next contest was WHF 34, which was due a cursed contest. Perhaps it had just been a respite...

However, NNN were keen to capitalise on the last two contests, and keep the momentum going... well, ideally, forever, but more realistically for as long as possible. Consequently, a new selection process began as soon as the last contest ended; NNN started recieving songs the morning after the contest, which made some very hungover NNN office workers fairly grumpy that morning. A few may have been lost by a groggy intern, but they were most likely not great anyway. Months went by of collating longlists and shortlists and medium lists too, and the second one song got thrown out another one was brought in. Whether it was an amateur musicians struming a very familiar sounding guitar riff or a man with a theremin, or any of the other weird and wonderful things that were sent their way, NNN were certainly under a deluge of music they hadn't seen since WHF 24. The majority of it was actually rather fun for those whose jobs were to wittle it down, but as the contest began to tick closer and closer, the Head of Delegation began to worry, as a song would have to be chosen sooner or later.

In the end, one song did win the epic battle to be the Normand entry, and that was 'Fairytale' by Martin Avenu. Avenu is known for his unique brand of Normand pop which blands the traditional, rural style of music with modern pop sounds, both saying true to Normandy and Picardy and being palatable for a large modern audience. Whilst ballads are his more usual style, this song was written specifically with WHF in mind, and has already reached Number 1 on the Normand chart with some success elsewhere too. Avenu was born in the rural town of Saint-Lo in 1987 (ie. he is 30) and despite studying in Caen and developing a career in the Normand music scene, he has stayed in Saint-Lo, which he claims allows him to produce music that is true to himself. 'Fairytale' itself is a song about a man struggling with the passing of time, and who wants to escape from the mundanities of modern life which are eating up time itself. There are suggestions that the song could also address the issue of suicide, especially the last chorus, which given some of Avenu's songs in the past would not be a surprise; he himself as said it is up to the individual to decide what any song is about. When the stage details were released, amongst the other documents and pieces of paperwork, NNN were at first very happy with the design, but realised it wasn't the most suitable for a song of this type (any other contest it would have been perfect!), but they powered on anyway, and were determined to see

Would he able to deliver another Top 5 finish for Normandy and Picardy, or even potentially reach the very top? Let's find out...

An image of rolling hills, with clouds wisping through the air and the sea in the distance, in a sort of almost cartony style (like this) faded into view on the background screen, with olive trees rising up from the ground, like in a pop up book. The sky is black, and the moon is partly shrouded behind those clouds, its beams just reaching to the ground, caressing it. The camera focused on this for the first few seconds before turning to the stage where the scene was paralled by a single spotlight shining from the left of the stage onto the second level, to show Martin Avenu sitting on an old olive crate, guitar in hand which he strums as the song opens. The intensity of the light changed as this happened, reflecting the clouds moving across the moon. The camera focused on him as he began to sing, with his loose fitting plain white shirt contrasting the dark, old, tattered coat that he wore; this was his father's. He looked up to the camera as he sang; before, he had been looking down to the LED floor which showed, at his feet, a few small flowers that grew around him in a ring. The camera focused on him solely at this point, as he seem to almost melancholicaly strum on and sing, pouring emotion into every word, both calming and yet saddening too for those who listened.

Another night, another day, another morning
Another end to the beginning of the end
As I sit and watch time pass
It never seems to go fast
But when I blink nothing ever stays the same

As he finished the first verse, he looked up, the camera following him, and as he blinked (and the camera view became dark for a brief moment so that we were in a sense blinking along with him) the background began to change, the moon and the clouds fleeing and being replaced by a bright, golden sun majestic in the sky. So too did the stars escape, and the veil of darkness was lifted to show that the vines had been growing up two sets of walls (one on either side), like the sort from a stereotypical italian villa. They showed the effects of time, crumbling slightly, with faded posters and crates and boxes lined at their feet. Behind him, a small group with traditional instruments, including a very happy accordionist, perhaps slightly overweight but with a wonderful wide smile, play merrily, helping add to the feeling of cosiness being slowly built within what could be percieved as a modern, cold stage design.

Floating high above the stars
Knowing that I’ll come down again at some point
Icarus points and knows that
One day he will have a new friend

As the chorus began, the lights became brighter and more golden than ever as the sun in the background screen also grew and brightened, and the white clouds cleared to reveal a seemingly endless blue sky. As the clouds floated away Martin's face, blinking, could be seen in the clouds. Martin's hands played with the guitar strings skillfully and youthfully, strumming away whilst he bopped to the music, flowers spreading out from his feet and filling the stage, spilling onto the level below and seemingly defying gravity and climbing up to the band. As the chorus went on the band exchange looked at each other and at Martin, gleefully playing on. The sun, it seemed, almost had a clockface within it, which was shown by the camera which faded back into the yellow glow, suggesting something much less utopic about the whole scene.

I know, I know, I know I can’t wait for a fairytale
I know that time will catch up with me eventually
As the sun goes down I think about the miles I’ve travelled
And release I’ve never truly been anywhere at all

In an almost pop-up book manner, the scene of the fields was replaced by some sort of barn, perspective being used to seemingly extend the stage backward. Olive trees were replaced by hay bales, and there seemed to be old cogs and wheels - presumably from some sort of windmill but potentially linking to the earlier hints at clockwork, covered in cobwebs and partially obscured, as the lights in the stadium also become dimmer. The flooring has also changed, with the fields and flowers being replaced by wooden floorboards, and tattered bits of fabric and buts of straw, strown and blowing across the barn floor, as reminders of the passage of time. This seems odd given the lyrics at this point specifically mention the sun, but we can see through the winsow in the main part of the barn in the background the sun almost eavesdropping on Martin, its golden tendrils reaching out towards him as it did.

Comfort me as the sun beats down upon me
Its face that haunts, its face that taunts, look how it grins
The cracked earth breaks beneath my feet
Ice or sunlight, it feels the same
It seems that I’ve forgotten how to play the game

The floor quickly changes to show a giant clock, broken up into several pieces with the different mechanisms appearing on each of the different levels, but it all seemed to fit together when the camera gave a bird's eye view of the stage. Martin was standing right at the middle, with a broken minute hand slowly moving about, juttering as it did so. So too was the backdrop changed to join the floor in the world of clockwork and machinery, fargone from the earlier views of countryside bliss and a reminder of the pressures of modern life. As he sang the third line, the stage suddenly was plunged into darkness except for a single spotlight that shined on Martin. At first, with the camera far away Martin appears small in his little section of light, but the camera moved in relatively quickly so that by the last line the camera view was very close to Martin.

The minute hand moves closer
I’m at the edge and it’ll tip me over
All alone in the spotlight
No one sees, because no one cares

The lights suddenly brightened again (although it wasn't so much a flash, per se) and now the stage was transformed once more, back to how it was at the very beginning with the fields returning once more, bouncing onto the background in their pop-up book style as Martin sang at the centre of the stage, sweeping camera shots showing his and the band's rather small place within the changing world around him. However, something was not quite right about the background as it came back to life. As each element, the olive trees, the villas, the fields themselves appeared, they did so slowly and more mechanically, and indeed the clockwork makings were betrayed. No more was this true than for the six LED columns, which had returned to showing the crumbling walls again, plastered with old posters; as these blew away in the wind the machinery behind the background was made more visible. The camera seemed to weave amongst the membera of the band, one cameraman for each part of the top level and switching from one side to another, whilst making sure the background was showing; the band carried on as if seemingly nothing had changed.

I know, I know, I know I can’t wait for a fairytale
I know that time will catch up with me eventually
As the sun goes down I think about the miles I’ve travelled
And release I’ve never truly been anywhere at all

After the slalom around the band, and as we entered the bridge, Martin could be seen back on his old olive oil barrel, looking up to the camera in a rather coy manner. Behind him was a section of the old walls, and at his feet little gears ticked away; a projected effect on its clothes seemed to make it appear as if his feet were within the machinery and almost as if he was part of it himself. The camera focused very much on his face at first before slowly moving around him and zooming out to show the effects described.

C’est la vie, that’s what they say
As we stand in line and pay
For a sin that we know we didn’t commit
Give me a chance to fly away
Even if just for a day
Anywhere, anyhow, just help me escape

As the final chorus began the stadium explodes into light once more (the loghts naturally having been dimmer in the bridge as you might have expected) to show the background painted into view once more, still mechanical if not more so, as if Martin couldn't escape from it. He himself jumped up from the barrel and up to the first level we he almost gleefully danced around the band playing, looking remarkably happy as if he had just had some glorious form of epiphany.

I know, I know, I know I can’t wait for a fairytale
I know that time will catch up with me eventually
As the sun goes down I think about the miles I’ve travelled
And release I’ve never truly been anywhere at all

The mechanical elements of the background began to dissapear as the new, final closing chorus was sung, Martin now back in the centre of the stage and playing wildly, making every slight like motion and emotion count. The natural imagery became more and more natural, the walls seemed to replaster themselves and the cogs and wheels on the floor were replaced by lushious green grass and an assortment of wonderful little flowers, again seemingly spawniny from Martin's feet. At the very end, the camera passed Martin's head, leaving him behind it as it flew towards the background which transformed to show a real image of the very farm that had been depicted, the very farm where his father used to work.

I dream of a place a million miles away from here
A world where time and fate look kindly upon us all
I feel alive, I feel dead, I feel everything
So just let me go into my own fairytale

On that cheery, nostalgic note the song ended, Martin's charming smile beaming as he, struggling to breath almost, shouted 'Merci Vodiznad, Merci WHF!' Could Normandy and Picardy do it? Let's find out...

by **Izmedu** » Sun Aug 13, 2017 1:32 am

At the start of the Todaskakys postcard, there was a Todlichebujoki DJ who was showing off one of his latest songs through the use of Daskoxayani technology, visimusic. The track that he was playing seemed to be intense, with the camera intent on focusing on how it was producing this mass of glowing red energy, then before its lens, changing into a sea green. We then see an audience surrounding this DJ, who were clearly enamored with the display and wanted more displays. The DJ was only happy to oblige. With Zarya Reyana in the audience of this DJ, she volunteered to help demonstrate with the new track being played being Zarya's entry to the festival.

As Zarya sang, her entry was causing a galaxy to manifest into a galaxy. With Zarya's singing, the galaxy that was appearing almost seemed to resemble her home galaxy. The camera then decided to zoom into the galaxy that was created by the visimusic technology, and as the camera zoomed into created galaxy, a 'warp' effect was applied on screen and we were 'teleported' into space. After a few seconds of effects, the actual, physical galaxy of Daskoxyan appeared on the screen.

As the camera took in the vast reaches of this galaxy, Zarya then said “cokoysena” and the information to the entry appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:38 am

Tune: twoloud & FRDY - Fix Me (Orchestral Version) (alternate link)

Todaskakys, short for Tödlichebujoku-Daskoxyan Kavysyan Kystareyu (the latter words meaning "national alliance" and "new government project"), is a joint project from the Tödlichebujoki and Daskoxyani governments to promote the interchange of culture, trade, and knowledge between the two universe-hopping nations. Despite the massive technological gap between the two nations, both governments felt that there was a mutual benefit in this exchange, and the creation of Todaskakys and its involvement in the World Hit Festival was one way in which Daskoxyan could enter into the cultural sphere of Tödlichebujoku, and have its own artists join with Tödlichebujoku's on the international stage. "Erás Tappio, Tokystare" was a predecessor to this collaborative project, but due to scheduling difficulties, and the occasional inconveniently timed time skip, the debut performance from Todaskakys ended up at the same Festival as its predecessor, with the nature of random drawing in deciding the running order it was even scheduled to perform earlier that the entry meant to be its predecessor. Even with these complications, hopes are running high for both entries from TÖBUK and TDKR (the broadcaster that was expressly created for the cross-cultural project).
Zarya Reyana wasn't exactly one of Daskoxyan's top singers. She was selected primarily because her style seemed to fit the best with Tödlichebujoki musical standards, and showed a strong interest in exploring a real live nation with completely different norms, customs, and technology. Zarya was born and raised in the Evnakayro district of the Ring of Kyryyka, a ring-shaped orbital industry-focused construct that encapsulates the planet of Kyryyka and houses billions. She had never spent much time planetside, aside from short trips to the single city on Kyryyka's hostile surface, Dozenjal, and a tour of the Daskoxyani capital planet, Komatar. When she accepted the offer to join Todaskakys, she found herself moved into an apartment in Frigidekasai, and the grounded planetside nature of her new abode made her even more keenly aware of her move. Zarya had been raised in a close-knit community back on the Ring, and while the Frigidekasai air was filled with life and conversation, she strongly missed her family and friends back in Evnakayro, so far away from the Tödlichebujoki studio apartment she now lived in. Even so, she eventually found her own new circle of friends, Tödlichebujoki, Daskoxyani, and foreign, and channeled this feeling of helplessness and rebirth into "Kystonu". Some clear inspiration was drawn from its predecessor "Erás Tappio, Tokystare", but it is very much its own song with its own message, separate from the narrative that the Tödlichebujoki entry was drawn from, and with its own distinct style.

The Normand entry had just ended, with a tragic yet beautiful message, and Zarya could only hope to live up to it. Everything was in order, and her friends Leino, Emilija, and Xavega were practically pushing her out onto the stage. Oh, Everu help me.... she thought to herself jokingly as she held back against the physical pressure of her friends to enter the stage until she was actually supposed to go on. Was she nervous? Of course. This was practically the first time a Daskoxyani artist had competed in any sort of international event, and her performance tonight was to be the first impression of her nation on on countless people across a wide spread of cultures, both established and emerging. But suddenly her thoughts were interrupted when the cue came and she stepped onto the glassy stage...

The stage is outfitted some discreet Daskoxyani holographic and hardlight projectors. As the song begins, a golden coarsely woven fabric, made entirely of light, spreads and undulates across the stage with the orchestral notes, and also extends over the audience. Glassy hexagonal tiles rise symmetrically on either side in progression with the piano notes, as Zarya is slowly illuminated, standing in front of what appears to be a retro-styled microphone and stand. She is wearing an ivory-and-gold slim bodysuit, futuristic-looking to those unaccustomed to Daskoxyani clothing, which is outfitted with a sheer black cape and veil. A stripped-down orchestra playing deconstructed instruments play behind Zarya, flanking her symmetrically. Points of light like stars wheel from the back of the stage over the audience, and the lighting overall is ethereal

Nylai reyko, nylai reyna
Stars come, stars go

Nyysuusarei teyo sara
Time flows like water

Zarya crosses her arms over her chest, and turns away, as if recalling a painful memory. Light glimmers off the golden highlights of her bodysuit, and sparkles off her veil and cape

Paryyvuasyl varaysayda
Lost on the verge of death

Ruuskaryyno, syndo vorai
Collapsing fast, into pieces

Her face is the picture of regret and fear, her head bowed, as the golden holographic fabric that fills the arena fades in places, replaced by darkness. The "stars" that are wheeling over head fall down, their holographic nature allowing them to fall through the audience as well

Kayvoto reyros syn nyysu
We can't go back in time

Kayronyysu, kystonyysa?
Our past, hallucination?

The "stars" rise back up and wheel backwards in a laggy, glitchy fashion, as the fabric "heals", but now beset by glitches flickering along its spread. It continues to undulate to the tune of the orchestral music, as Zarya looks back up to the audience, a faint breeze causing her veil and cape to flutter slightly

Zankotavai conyysteku
But I know, now it's reality

Rynarta sokyo ruuskada
Love is stronger than gravity

The holographic fabric begins to ripple more rhythmically and strongly, transitioning to lime to green to cyan, as the "stars" fade and are replaced with wavering beams of cyan and blue overhead. Zarya stares, meditative, determined and unyielding, into the audience, before grabbing the microphone stand as she begins the chorus. Her strong unbending demeanor turns to a softer, personal, more confessional complexion, as she closes her eyes and focuses on translating her emotions into her words

Koyvaryka votu, votuuvalare
My state of death isn't, isn't absolutely final

Kodareyka synte
I'm dancing in the future

Navota kystonei, kystonei koykysne
You don't need to resurrect, resurrect my body

Kodareyka synte
I'm dancing in the future

She softens her grip on the microphone stand, gazing into the audience as if to say farewell. The fabric behind her begins to distort and transition into indigo, soon appearing like a great set of wings behind her, as if one had draped fabric over a pair of structures made of rods like some sort of primitive flying device, but of course much larger and much more impressive

Volynzo reyko, kystonei koykysne
No need to come, resurrect my body

Kozara vovys
I'm beautiful alone

Navota kystonei, kystonei koykysne
You don't need to resurrect, resurrect my body

Natavai koyvyyaluuza
You know what my destiny is

The fabric fades away and is replaced by a bubble of white light surrounding Zarya, which shudders with the buildup and then explodes with the dance break, casting beams of green and lime light across the audience continually. Zarya's veil and cape are now nowhere to be seen, with just her black hair streaming in the stiff wind

Natavai koyvyyaluuza
You know what my destiny is

The beams of light rise and fall as the synths do the same in pitch, changing in color from lime-yellow when lower to green-cyan when higher. The wind suddenly changes direction to blow from behind Zarya, as if the lights emanating from behind and around her toward the audience were blasting air along with light, almost like Zarya is horizontally falling into a pit of dancing light

Natavai koyvyyaluuza
You know what my destiny is

Natavai koyvyyaluuza
You know what my destiny is

The lights fade, and now a quivering holographic "floor" made of golden "planks" radiate out from Zarya over the audience, with the occasional violet-white stream of light firing off toward the ceiling. She seems fearless now, arms opened out, regaling the audience

Nyshu nyyte, zhanys vyze
Night comes, darkness threatens

Zankodyna kazhasora
But you and I, we're both whole

She closes her eyes and floats a bit, the antigrav in her suit kicking in as she spins to face the back of the stage, and turning just so to assume a position almost like the fetal position

Kosyyde nacaru, zanko
I know you're there, but I

Paryyvoyka synvyyesa
Am lost in interstellar space

She returns to standing and facing the audience as the lights brighten and various "planks" of the holographic floor rise and fall to the beat (almost like how the keys of a self-playing piano appear, with the piano keys corresponding to the holographic "planks"), becoming lime green each time they rise. Zarya pours power into her voice, and begins to rise into the air

Kosekystonei, kystonei koykysne
I can resurrect, resurrect my body

Fuote koysoka
Reveal my strength

Kosekystonei, kystonei koykysne
I can resurrect, resurrect my body

Kodareyka synyysate
I'm dancing in the future

She attains the full fetal position, curled up in a ball floating ten feet from the stage floor, as green spotlights alternate and flash upon her, such that her bodysuit reflects the brilliant light toward the audience and cameras. Holographic representations of her, slightly glitchy and more transparent than usual, appear along the sides of the arena and sing the next line with distorted voices

Kodareyka synyysate
I'm dancing in the future

The representations dissipate, and as the music intensifies, white spotlights join with the green ones in flashing on Zarya's body. Meanwhile, 2-dimensional shockwaves of red lights emanate from the stage along the holographic "floor"

Kodareyka synyysate
I'm dancing in the future

Zarya unfolds herself and faces the audience, her limbs reaching out, still floating ten feet above the stage. With the buildup, the spotlights flash and strobe with increasing intensity upon her until she is encapsulated in stunningly brilliant light

Kodareyka synyysate
I'm dancing in the future

The light explodes out into and over the audience, with Zarya dropping back down to the stage floor. Her bodysuit is now brilliantly glowing with light, she is literally radiant. A network of green lasers, forming a strangely precise yet coarse fabric, ripples and jumps over the audience from the stage. Zarya performs jumps,
flips, and whirls on the stage, preceded and shadowed by holographic representations that provide a visual manifestation of "I'm dancing in the future". 2-D red shockwaves continue to emanate from the stage to the underlying beat

Kodareyka synyysate
I'm dancing in the future

The lights begin to fade, leaving just the rippling green laser carpet and the flat red shockwaves with the radiant Zarya and her past/future holographic manifestations. A faintly visible blue sphere flashes in from the edges of the arena, contracting to Zarya's body before exploding and destroying the green laser carpet. All that is left is darkness, a flickering Zarya and the 2D red shockwaves over the audience. Another buildup brings a dynamic cone composed of translucent cyan orbs over Zarya that collapses and dissipates, before Zarya herself explodes into light and wipes away the red shockwaves, casting the arena back into total darkness at last

The stage lights return to normal as Zarya rises from the floor and heads back to the microphone. "Daye, Vodiznad," she breathes, before realizing that her gratitude is far greater than what "daye" implies. She swiftly continues more emphatically, "Davyye, danodavyye nozha! Thank you deeply, truly thank you deeply everyone!"
She made her exit off of the stage, the cool breeze playing on her dark skin making her realize that she was actually sweating. Zarya had really not sweated much at all since moving to Tödlichebujoku, with the climate there cold as it was, but now she felt like she did back when she visited Farduusan on Komatar, when the climate-control system on her civilian orbit-adapted bodysuit was barely keeping up with the waves of tropical heat when she ventured outside. Of course here she was in an air-conditioned arena, and her suit would quickly get it all under control, but dang that wasn't expected at all. Zarya hurried on to her seat in the green room, eager to unwind and see what the other nations had brought to the stage.

by **Izmedu** » Sun Aug 13, 2017 1:41 am

At the start of the Cosneoltan postcard, we are situated in a karaoke bar that had a higher turnout than usual at this time. What could be heard, despite the camera focusing on another part of the bar, was a rather questionable rendition of Cosneolta's winning song “Flying Above.” The camera quickly turned to find the source of the singing, and we can clearly see a man in a yellow jacket trying rather dramatically to match Rachel Nollov's notes. This does cause him to make rather contorted faces, especially during one long note which was executed in an off-key fashion by the man. The camera then turned to Orchestrata and Hautes looking on with an incredulous look towards the man, before both rolled their eyes.

Despite the whiplash from he karaoke bar scene, we then see Orchestrata and Hautes perusing the Old Lighthouse at the coast of Cosneolta. Orchestrata can be see talking to Hautes, who is of Normand origin, and pointing out the significance of some parts of it. The camera then took a far view of the Old Lighthouse itself.

Both of them said “See on mu lugu” and the entry information appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:45 am

Tune: Anton Powers ft. Pixie Lott - Baby

The song begins the stage emblazed in bright white sheets of cloth situated around the stage with four women playing a selection of different string instruments on the left hand side of the stage, they are all wearing white gowns with two of them sitting and playing their smaller instruments while two ae standing and playing two larger string instruments. When they finish playing, LED stage pulses from white to a light grey, enough that you can see it but not jarring in any way. The beat then kicks in which gives Hautes the signal to strut forward while singing the words to the song. The sheets of white cloth are flowing while the performance continues, the central camera slowly zooms out to reveal the rest of the audience enjoying the performance.

Boy you rock me, you roll me
We’re trav’lin around the world
‘cause my heart, it can shine
So tell me what you know

Hautes walks to the right side of the stage and offers her hand to the audience, she then seductively sidewalks her way across the front of the stage before making it to the left, giving a small smile before moving back to the centre of the stage for the chorus. The orchestral ladies continue to play as the whiteness begins to flow around the stadium.

I feel it in my bones
When you hold me close
Let the rain just fall
Let the rain just fall
The rain will lead me home

White beams of light are turned on and face diagonally upwards and static as the mini orchestra mimes (can you mime with a musical instrument?) with passion and intent while Hautes steadies herself on stage and gives a purposeful look into the central camera on stage. The flowing white cloth is flowing even more thanks to a slight breeze and the flowing LED projection on the screen behind them.

(Maybe, maybe, maybe, maybe)
Maybe if you stay right here tonight
We can turn this darkness into light
(Maybe, maybe, maybe maybe)
If the rain cant keep my smile away
Turn this storm into sunny day

Sweeping shot from side to side are the plat du jour of the chorus as the audience start to bounce up and downm waving their flags and general going mental do a cheery dance track. The audience are letting themselves go after some shitty joke entries and boring normal entries (probably from Izmedu, Normandy & Britonisea knowing them lot) and are finally getting a chance to sweat off their beer gut.

(Maybe, maybe, maybe, maybe)
Anywhere wherever
Dance in stormy weather
(Maybe, maybe, maybe, maybe)
Your warmth will thaw my heaven
Light can be our weapon

The second verse is upon us which gets a small cheer from the crowd. The camera moves up onto the stage and Hautes walks forward one step in front of the other. She remains facing the audience as the camera orbits around her which means the camera alternated between the bright white lights of the stage with her front and the darkness of the audience with her back.

Bring the heat, it won’t beat me
You can try, I won’t tell you twice
If I die, give me life
Make me feel, me feel all brand new

She moves forward to the front of the stage and down a couple of steps to greet a couple of the audience members who promptly collapse because they are overwhelmed by meeting their bestest, favouritest, female vocalist from Normandy & Picardy! She moves back as the camera cuts back to footage of the orchestra still playing their instruments but have been relatively ignored in the last couple of minutes due to more interesting stuff happening elsewhere.

I feel it in my bones
When you hold me close
Let the rain just fall
Let the rain just fall
The rain will lead me home

The song begins to build up once again which gets the usually depressed crowd clapping along joyfully as they know what is coming next. Some of the women begin to smile as they are being encouraged to play by the crowd. Hautes cracks a smile and urges the crowd to get involved, which this drunk crowd obviously does (no need to ask them twice). The central camera zoomed out for one final time before the beat kicks in yet again, getting the crowd absolutely apoplectic

(Maybe, maybe, maybe, maybe)
Maybe if you stay right here tonight
We can turn this darkness into light
(Maybe, maybe, maybe maybe)
If the rain cant keep my smile away
Turn this storm into sunny day

The second chorus begins which gets the whole arena rocking, the lights are moving about and the clothing is being blown all over the place. The camera cuts to people in the crowd enjoying themselves with a plastic cup of beer (we don't have glass as that's dangerous, the native population might slit their throat with it if it smashes). The crowd are singing along with the song like a football chant, although will less elegance and with Hautes trying to sing over the top of them while it's happening. Hautes looks to the sky as she sings the final line of the chorus before turning her back for the slower bit of the song.

(Maybe, maybe, maybe, maybe)
Anywhere wherever
Dance in stormy weather
(Maybe, maybe, maybe, maybe)
Your warmth will thaw my heaven
Light can be our weapon

The stage goes black and a UV light is turned on to reveal she has some neon yellow face paint around her face and on her cheeks. As she sings, neon yellow leaves are sprinkled in front of her which glow brighter than usual thanks to the UV light. As she sings the final line, the stage gradually fades back into brightness, Hautes spins and the camera follows her as she composes herself to let out a belting note, which grabs the crowds attention once again and they let out a big cheer for her, which lead into the final part of the song.

No umbrella for me
No umbrella, I’ll be fine
I’ll be fine
No umbrella for me
No umbrella, I’ll be fine
I’ll be fine (oh, oh, oh, yeah)

She steadies herself for the final bit of the song just in case she nearly falls like Madonna or something which wouldn't be great. As the final couple of lines are sung, the four ladies form the orchestra all get up with two staying on the left and two moving on the right to form an arrow formation on the stage with Hautes forming the head. The central camera captures Hautes singing as the four ladies surrounding her all strike a pose to finish the end of the song. All of them are smiling as the final series of notes ring around the arena.

(Maybe, maybe, maybe, maybe)
Maybe if you stay right here tonight
We can turn this darkness into light
(Maybe, maybe, maybe, maybe)
Anywhere wherever
Dance in stormy weather

The arena erupts as the current reigning champions finish their performance in hope of defending their title. The crowd haven't cheered this much since the hosts sung and they are chanting both acts of the song which puts a gleaming smile on Hautes' face. 'Thank You Izmedu!', all five on stage perform a choreographed bow before the transition is shown for the postcard of the next act.

by **Izmedu** » Sun Aug 13, 2017 1:47 am

At the start of the Izmeduan postcard, we are situated in a hidden corner of Vodiznad, located near the famed Velikstav Walkway but nestled somewhere more quaint. We can hear a klapa group sing a hymn to the melody of the Izmeduan entry to the World Hit Festival. Before long, we then see that same klapa group singing “Remekdjelo,” including even the words. As they finished their singing, Josipa then appeared, applauding strongly and was saying 'bravo' to the klapa group. A modified instrumental of the Izmeduan entry then played, that coincided with Josipa giving the klapa sextet a hug.

The camera then rose up into the sky, with a clear panorama of Vodiznad with the tower of St. Pavle's cathedral in the center. After a fade, we then see Josipa approach the cathedral, a look of longing and sadness in her eyes as she enters the church. We can then see the church's interior, with Josipa walking towards the pew, then taking a seat near the front. There was a ghost of a smile in her face, which then transformed into a genuine one as she looked up.

We then switch to a view of the St. Pavle's cathedral from the ground up, making the tower of St. Pavle appear almost like a pyramid. Josipa then said “ovo je maja prica” and the entry information appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:49 am

Translation: Masterpiece
Tune: Fiorella Mannoia - Che sia benedetta

"One of the peculiar things of reaching the later stages of life is that it does teach you the true value of what it means to live. For me, I realized that through taking my life and my career for granted. Now... I take life as it is, an imperfect harmony." - Josipa Milas

It's comforting to know that some things don't change... And also comforting to know that some things will, even after we're long gone Josipa Milas mused as she watched the ins and goings out of the La Cianta Arena, nestled quietly in her delegation as performances from nations passed through.

It was out of character for Josipa to hide herself in the Izmeduan delegation, being known for being one of the most talkative singers in Izmedu. Typically, Josipa would be out and about chatting with most delegations in the room, having done so through the promotional process. However, the night of the 34th World Hit Festival itself caused the old singer to develop a case of cold feet, being constantly silent and gazing at the festivities with a subdued, almost sad look on her expression. This sad look was present every time she gazed at a performer, and was especially present when her contemporary and fellow Izmeduan, Etela Tomac, represented Britonisea and in Josipa's view, gave a breathtaking performance. It was odd for Josipa to see a singer that, in Izmeduan music history, was a part of a grander musical legacy that itself was built by Josipa herself. She felt a sense of gratitude and sadness at the same time as "I Was Dancing With Stars" ended, and made a note to meet with Etela at some point to say her thanks. The thought of Etela was only a diversion in Josipa's mind. Josipa herself was the only one to know the reason of her complicated emotions, and she'd keep the reason hidden until the time was right.

In the public sphere, the thought of Josipa Milas as the Izmeduan entrant to a World Hit Festival was considered a move thought to be impossible. Despite appearing as the spokesperson when Euskirribakondara hosted the contest, it was thought that her venerated status in the Izmeduan music industry would make any such attempts of having her as a representative impossible. She was intensely popular in the Izmeduan sphere as one of its best-selling female artists, hailed as the 'queen' of pre-revolution Izmeduan pop, and being credited for laying the framework for emotionally laced, classical sounding pop that is currently seeing a re-surgence in the country. To pundits, this made her seem almost untouchable, and that Josipa would stay out of the Festival to preserve her status. In reality, Josipa considered these perceptions absolutely out of touch with the truth.

With exactly 50 years in the industry, Josipa bore witness to friends, family, and associates seeing their rise and fall. Josipa herself was an example of a music career with a chaotic trajectory, one of constant cycles of re-building and career falldowns. She started off as a lounge singer at 18 years old, singing Izmeduan jazz classics and folk ballads before being signed-up to her first record deal at the age of 20. It turned out to be a costly mistake, with her debut album failing to make an impression on the Izmeduan album charts and being eviscerated by critics. This caused Josipa having to return to gigging locally for 3 more years, until another record label (the pre-cursor to ZvizdeZapis) picked up Josipa after a rousing performance of new material that she created in a performance in Mousiki. That fateful record deal ushered in a 15-year run of albums, at first making modest gains in the charts, then to a mid-career run of four Diamond certified albums in the country, all in a row. In this era, she was critically hailed as opening up, defining, and changing the playbook of Izmeduan pop through moving away from cynic re-capturing of the past through a more emotionally honest delivery.

The Izmeduan revolution and the modern years of Izmedu have caused Josipa's career to decline, but she remained a venerated figure. Throughout her life, despite the constant success she attained, she was mired in a crisis of faith. It is through music as to where she found purpose, but her younger years were marked with constant years of always wanting more success and more fame. When Josipa attained her first string of #1 hit albums, she fought with her management to allow Josipa to tour more, to promote more, and to even directly impact other artists in the pursuit of more fame. These frustrations were dressed as the theme of chasing for your dreams in her music. Upon past reflection, Josipa knew she had turned into a monster. At the 25 year mark of her career, Josipa reflected back on her success as the revolution ended. Josipa became scared of herself. She was scared of the attacks, the ferocity of her media antics, and most of all... the way she disregarded life.

Turning into an elder stateswoman of music of sorts as the country recovered, Josipa set out making amends in her late career. She enacted a hiatus from recording and carved out a niche existence as an old star who toured in occasion. It was during this time where she silently exercised independence from her music, and changed her prerogative. As she called up an old rival (that rival being: Izmeduan legend Dejan Mlakar) to make amends for unfounded claims, Josipa began to write the first draft of a song about life. That draft was "Remedjelo." She wasn't quite sure how to articulate the themes, knowing that she was sanitizing the unsavory parts of her past.

It took an even later event in her career for "Remekdjelo" to truly fall into articulation. After 17 years of working on a draft, the untimely death of someone in her closely guarded personal life (her Mother) as well as the ailing health of the people she called friends made her realize the mortality she was up against. Josipa could feel the inevitable end creeping up. As she mourned, "Remekdjelo" began to morph closer to its current form, resonating with the themes of death's loomping presence. Yet even then, it was not complete. There were only lyrics attached to the song still.

It was not until fairly recently at the dawn of her golden years that Josipa would be able to finish the song she had spent a quarter of a century perfecting. By this time, Josipa was enshrined as an Izmeduan legend. However, that did not make her immune to her old habits. At a party held by her label, she had made a rather tasteless joke off-the-cuff, revealing that her haughty side from her commercial peak never truly disappeared. This time, she made a seemingly benign, but rather snide remark towards the new young boss of the label of ZvizdeZapis. She vividly remembered the moment when the party went silent, with all eyes on her and the surprise that she'd have the audacity to make such a comment.

It was at that moment where Josipa, despite 68 years in life and 50 years in the business, knew she had crossed the line that she always held an internal fear of doing so. It was that same moment where she finally learned the necessary lesson to finish "Remekdjelo." Despite the unchangeable self-indulgence of the song, Josipa finally knew the very words she couldn't articulate when she was younger.

At that moment, her career was at an impasse, and so was her life. Physically, Josipa knew that her days were numbered. Career-wise, Josipa was on the way out. So, with the power of her name alone, she submitted "Remekdjelo" to RTI as a final saving grace for her career. She revealed her intentions to the Izmeduan head of delegation.

"This is my last song."

When your days are numbered, you have to make the best of them. As Izmedu's performance slot came up, Josipa gave a small smile, and walked to the stage.

At the advent of the fourth Izmeduan WHF entry on home soil and with a name as large to the domestic audience as Josipa Milas, the crowd in the La Cianta Arena was in a frenzy like no other. They unleashed a cheer so loud that it arguably outstrips the receptions that Anamarija, Katarina, and Gabrijel & Anita got when they represented Izmedu. Stage lights billowed down to the center, with the three columns flashing the Izmeduan national colors as the postcard finished its final frame. The stage then went dark, the crowd cheer retaining such a volume-shattering intensity that it had to be artificially quieted on broadcast.

The camera faded to a mid-view shot of the stage, the instrumentation starting with a brief white light on Josipa before a soft 'bang,' a piano chord, caused the stage to flash white as the note echoed through the La Cianta. There stood Josipa behind a microphone stand, bathed in shadow and wearing this outfit. She was at the lowest level of the stage. As the nostalgic instrumentation progressed, the lights would decrease their intensity, but the camera caught close up views of Josipa's face during each chord, before settling for a mid-close view from the torso up. The spotlight on her then emiited enough light for her face to be visible, and her expression was one of an internal calm, a peace in her... She then began to sing to the microphone placed in front of her.

To je el krajčale maje putovanje
El vrime gdie čitam “imam fermuruti”
Bez obira na da bubana sentila sam
Promjena je neizbježan u životu

At the introductory half of the first verse, Josipa sang these lines with a contemplative conviction, her face etched with an expression of sorrow as the screens behind her showed darkened archive footage of Josipa's early career. Her tone was hushed, almost as if she were speaking these lines. Faint holograms of a young Josipa stood next to her on both sides, ghosts of her past as Josipa held one hand toward the direction of a representation of her as a child. The camera occasionally faded to these frozen holograms, appearing ghostly and in monochrome. At the third line, the camera returned to Josipa singing out the rest of the verse, clasping the microphone with both of her hands as the camera zoomed slightly closer on Josipa.

Ta je lekcija polan akceptirati
Ne mogu se askonliti iz el destinur
Mui neću dementi i sjećanja pazim
Da-u vrima pesuntu ju kažem sebi
Ovo je... ovo je...

Josipa held one hand to her chest at the start of the verse's second half. Her voice was laden with the complicated emotions of being near the end of one's life, despite almost the physically hushed tone she was using. In reflection of the verse's words, the screens behind her brightened with further images of Josipa's young days as a singer; cleverly edited to ensure that to outsiders, it only looked like stock images of a generic Izmeduan young singer in black and white. However, for the faithful, it was obvious that the screens in the La Cianta were replaying Josipa's memories. At the last line of the verse, the camera faded to a sideways view of Josipa, with her holding both hands towards the audience as she sang 'ovo je...'

Nuestra remekdjelo
Za sve le greške, nakupline, i damno napravio sam
Izdrža kao spomenika na život živio je dobro
Stvorio je sa-el ljubaur i-el pol mui to je nuestra legat
Koji će živjeti

At the advent of the chorus, Josipa then held her hands out towards the side, with the La Cianta Arena additionally being bathed in a blinding white light before settling down. The pillars to the side still maintained images of Josipa's career, but the start of the chorus was dominated by streaks of light that gently lapped towards the stage. With the instrumentation increasing its emotionality, Josipa delivered the chorus in a light belt, with 'nuestra remekdjelo' causing a slight echo. She sang the rest with utter conviction, with her head nodding at every line as if she were singing this as a conversation to the audience at the arena, and at certain angles, to the viewers at home. At times, one could even see Josipa shaking her had after a few lines of the chorus. At the end of the chorus, Josipa released the microphone from its stand, and walked up to the second level of the stage.

Ju sam jedna žena s malo vrimena stalo
U kojem razmišljam što je prošlosto
Žaljenje i uspjesi pomicaju pored
S maje kajanje optereti mi cre

The first line of the second verse was sang nearly a ca pella, the La Cianta going dark before white streaks of light re-appeared once again. The images on the screen then displayed images of an older Josipa during her career peak, now making it obvious that the playback was an homage to her storied career. Her emotional, forceful, yet contemplative delivery of the second verse, was transposed against images of a much more carefree Josipa. These images also appeared as supplemental holograms that appeared on Josipa. These holograms of Josipa appeared in various forms, with one of them singing to a different tune as the camera then caught a gaze of a wistful Josipa staring at a younger, digitzed form of herself. At each line, it was a different phase of Josipa that would sing, fading in and out during every line.

Pa, znam da ne mogu ispraviti el prošlost
Bez obira na ova pol sentirem
Našao sam alegr u mi uvjetim
Jer obdijam poraz, uvik stojim snažan
Ovo je... ovo je...

At the second half of this verse, the holograms of Josipa that would appear line in and line out began to progressively become more somber. From the youthful singing to a Josipa looking beleaguered, the real life Josipa on stage looked on with a sad smile as she sang the verse. At certain points, she seemed to reach out to some of these holograms, but decided to leave them be. Halfway through the 7th line of the second verse, the camera decided to take a mid-view shot of the stage, with Josipa turning towards the audience just in time for the music's intensity to rise. Her voice, in occasion, was so overcome with the emotion of the song that it nearly betrayed a sob rising within her as her life was playing right before her eyes. However, she channeled that intensity to a rousing end to the second verse, an impressive belt to 'ovo je' that would see the camera gracefully pan towards the stage as the La Cianta began to light up in white.

Nuestra remekdjelo
Za sve le greške, nakupline, i damno napravio sam
Izdrža kao spomenika na život živio je dobro
Stvorio je sa-el ljubaur i-el pol mui to je nuestra legat
Koji će živjeti

At the chorus, the La Cianta once again shone a bright white as the background screens and pillars showed images of Josipa later in life, as well as home videos of happy moments where Josipa asked fans to submit videos centered on the theme of being grateful for life. There were images of parents hugging their children, people being proud of a home project, interspersed with videos of Josipa in her moments of celebration. At 'nuestra remekdjelo,' Josipa began to unleash the full power of her voice, letting out a moving belt where she held an arm out. During the second and third lines, the camera would focus on Josipa as she passionately sang each line of the chorus with an awe-struck pathos, directly singing towards the camera. At the third line, she even pointed towards the camera at the end of it, before the shot faded to a brief moment on the screen showing two men showing a slow dance and sharing a wedding dance. Then, at the chorus' last lines, the camera remained focused on Josipa as she closed out the chorus, looking up towards the ceiling.

Živio sam s intigretet i najviši čast
Žrtvovala sam el udobnost stići el cil
Dao sam svašta graditi ovaj bial život
Nije važno da upsio sam ili pali
Što je važno je el zadovoljenje
Akceptiram ne mogu prominiti maje stanje
Adias živim dai po dai s-la alegraia
Nemam la žaljenja na-el kraj

At the bridge, there was a key change along with an increase in the orchestration behind the instrumental. Josipa then descended to the lowest level of the stage closest to the audience as she sang the first two lines of the bridge, her vocals being pushed towards its absolute limits as her she was the most immersed in the song. She slouched forwards slightly as each word and syllable caused her frame to jut forwards slightly from the power of the vocals she was singing. The lights at the La Cianta also descended down towards her, creating a haunting halo effect that would nearly 'crown' Josipa regardless of where she walked. At the first half of the bridge, the camera maintained a close view of her as she sang these lines directly towards the audience at home, her eyes closed as the emotions of the song threatened to overpower her. At the second half, she again looked towards the ceiling and the direction of the spotlights shining down upon her, a complicated mix of dual sadness and defiance in her expression. By the end of the bridge, she stepped back, holding her free arm out with the camera catching the halo effect in its highest intensity.

Nuestra remekdjelo
Za sve le greške, nakupline, i damno napravio sam
Izdrža kao spomenika na život živio je dobro
Stvorio je sa-el ljubaur i-el pol mui to je nuestra legat
Koji će živjeti
Nuestra remekdjelo

At the final refrain, the camera faded to a sideways view of her as her back was arched forward slightly as she passionately sang 'nuestra remekdjelo.' This was the money shot, with streaks of white light behind her as she belted out the song's titular line. For the rest of the chorus, the camera would re-adjust itself by switching between close views of Josipa and the wider stage itself. The higher key that Josipa was singing was beginning to tax on Josipa, but the complete joy and abandon that she felt was evident in her posturing. The sadness from earlier transformed into a joy, an acceptance, with a smile on her face as she was far more open in her body language for the song's final moments. In reflection, streaks of gold light appeared during the final refrain, casting a yellow glow throughout the stage. At the final two lines, Josipa unleashed a powerful belt before the second to last one, then closing out the song with the song's title. Her eyes were closed and her expression a giddy, but peaceful smile. The instrumentation and lights would fade out slowly as the parting frame of the song was Josipa holding both of her arms out, before slowly putting them down. However, the smile of accomplishment still remained on her face.

The entry didn't even finish completion until the Izmeduan crowd unleashed a cheer of massive proportions. Cheering not only for the country, but for the artist who was also representing them. Despite the baggage that Josipa carried with her, for this moment, she could forget about the past that haunted her. It was a time to be proud, to celebrate not only the song, but the very life she held up to this point.

She knew her story was coming to a close, but for a conclusion, she could not have asked for more.

"Hvala lipa!" Josipa shouted, lingering for a few moments before walking back to the green room.

by **Izmedu** » Sun Aug 13, 2017 1:51 am

At the start of the Todlichebujoki postcard, we see Saulesustayishventki (a twice-annual solstice music festival in Schlechtenhanashi) in progress. There was a crowd of massive proportions with heavenly and sleek skyscrapers dawning upon them on the background, but the crowd were grooving along to the song being performed right in them. On the stage was One Chance (Part 1) being sung live by Satu Sorge & Jiro, with the lights of the festival pulsing as appropriate to the mood. Then, we see cuts to One Chance (Part 2) being performed, with a prominent shot of the chorus with Jiro meditating beside Satu, re-creating the performance from WHF31. The festival lights then went dark as the camera cut to a later interval, and the first flashes of “Eras Tappio, Tokystare” began to play as Arasko walked onto the stage, with Satu right behind him.

Before the performance could start, we then cut to a view of Sukeltaya Lighthouse, with the camera enacting an over-head view of the structure itself before taking a survey of the roaring and swirling waves that surrounded the landmark, all played to a music backdrop of the instrumental of the Todlichebujoki entry. On the rocks surrounding the lighthouse, Satu and Arasko were seen in their performance outfits, calling to each other against the chaos of the waves that were crashing against the rocks. Before they could reach each other physically, the camera zoomed past them before freezing at the sight of the lighthouse itself.

As the camera stopped, Satu Sorge & Arasko said “Oma tarina on” in unison as the entry information appeared on the screen.

by **Izmedu** » Sun Aug 13, 2017 1:55 am

Translation: One Failure, One New Beginning
Tune: Lana Del Rey ft. Weeknd - Lust For Life (Alternative Link)

Time skips are rather unfortunate things, and one struck just before WHF33 was to start, stranding the Tödlichebujoki delegation far away from the actual contest and disrupting the Tödlichebujoku-Daskoxyan collaboration schedule. TÖBUK opted to go through with the song in WHF34, however, as the team working on it had put too much effort into making it a reality to just throw it all away. As the conclusion to the "One Chance" narrative arc, "Erás Tappio, Tokystare" serves as the comedown from its climactic predecessor, "One Chance Pt.2" and wraps up the storyline in a spiritual and reflective manner. While Jiro is not performing this time around, having been replaced by Arasko, he helped write and produce the song with the pop star Pyórremyrsky, who had landed two top-10 entries in WorldVision among other domestic and international hits. Arasko, on the other hand, is a Daskoxyani artist from Fynalo, the economically-oriented district of Sartodalyn, Daskoxyan's largest city, which sprawls across a decently sized portion of the planet of Dondekathyyos. His attraction to music came in response to the fixation on money and material desires common in his home district, and so aimed for a more organic, spiritual approach to music and lyrics that made him the ideal candidate for a collaboration with the One Chance storyline that TÖBUK was looking to complete. And so he has landed in Vodiznad along with the rest of the Tödlichebujoki delegation in Vodiznad, along with his fellow Daskoxyani Zarya Reyana, to compete in WHF34. Though he has less pressure to make an impression than Zarya, he wants to make sure that the entry he and Satu slaved so long over will leave a lasting impression and fulfill his vision and his desire for spiritual satisfaction that will impress viewers both at home and abroad.

Azadei Transliteration Examples:
Psychology: Saykoloji
Academia: Akademyya (short e)/Akadyymyya (long e)
Chair: Ceyr
Fire: Fayer/Fayyr
Treasure: Trezhyr
Truly a masterpiece: Truuli a mastyrpyys

For more information please see the Todaskakys entry

The stage is dark with a faint iridescence of blue. Slowly, the entire main stage glows white, as fog fills the area and Satu Sorge is illuminated in the middle, in a silvery, slim, and flowing dress, with an elegant microphone on a stand in front of her, backed by four backing singers in white

Satu Sorge, Tödlichebujoki Suomi [backing singers in Azadei]:
Niin,
So

Kerro minulle
Tell me

missá olet ollut [oh]
Where have you been

Kaikki námá vuodet
All these years

Táhtien youkossa (lynzo, lynzo)
Among the stars [need to, need to]

Miten voin etsiá
How can I search

Melkein pimeássá (parai,parai)
In almost darkness [search, search]

Elámán yli
Beyond life

Ááretöntá tilaa
In infinite space

She looks toward the audience pleadingly, reaching out but grabbing nothing, and looking down regretfully

Haluan pitáá sinut káteni
I want to hold you in my arms

Tuntea sielusi uudelleen
To feel your soul again

Se on parempi táállá, koska
It's better here, because

Ulkoisen kauneuden ei kestá, ya táállá
Outward beauty doesn't last, and here

The lighting attains an ethereal wavering glow to it, and the stage's whiteness becomes a sort of rippling combination of various shades of white and gray. Satu gazes out into the distance, as if imagining something

Voimme, voimme
We can, we can

Voimme uneksia
We can dream

Tulin, tulin
I came, I came

Ya tulen sinuun
And I came to you

Siná tiedát
You know

Olen todellinen
I'm real

With the last line, she looks directly forward toward the back of the arena, where Arasko makes his entrance. Arasko is clad in black body armor, the armor plating elegantly thin and contoured to his body, appearing almost more decorative than functional but still has evidently held up to quite a bit of damage. It is scraped and dented, its glossy finish marred by scratches. He strides slowly toward the stage, softly lit, then pauses, as if unwilling to go much farther

Arasko, Azadei:
Nasareyna koi sekyoryn
You travel [through space] to my scarred soul

Narynyo paryyn
You love searching

Zan na teyo koyyenyla
But you are like my sun

Kosore nai ne
I orbit your self

The two sing to each other from across the vast distance; Arasko halfway to the stage in the central aisle near the middle of the audience, and Satu on center stage. RTI makes use of some creative camera techniques to capture the two calling out to each other, while still showing the distance between them. Meanwhile, the lights go down, with only Satu and Arasko illuminated by soft spotlights, creating an effect of Satu floating on a cloud with the fog at her feet also being illuminated

Satu, then Arasko, in T-Suomi & Azadei:
Teidán uhrasi, kai eyovase
Your sacrifice, our second death

Teidán uhrasi, kai eyovase
Erás tappio, tokystare
One loss, one new beginning

Erás tappio, tokystare
Teidán uhrasi, kai eyovase
Teidán uhrasi, kai eyovase
Erás tappio, tokystare
Erás tappio, tokystare

Satu is rising, just a bit, but her feet are still wreathed in fog. Ethereal lighting roves about her, as Arasko makes a few more steps toward her, reluctantly

Tuonpuoleisuuden
Transcendence

Yoten náin tuntuu
So this is how it feels like

Ya miná kellua
And I float

Kavolynzo parai
We don't need to search

Kuolema on takana
Death is behind

Voronskarta
No regret/wishing for the past

Coteyojora
This is like a race

Fuolate synyysu
Look forward in time

He pauses, closes his eyes, and strides forward more purposefully, looking to Satu as if appealing to her, to have her understand his point of view

Arasko, Azadei:
Kakoyadarte vys vasykana
We danced energetically with death

Syl kayryyedaro kysdara
On our homeworld's surface

Zan nayvyyarta teyo kystoryn
But your strong feelings are like a fresh soul

Nyysusarei, vofuolaros
Time flows, don't look back

Dyenko rynyo
And so I love

They sing together, with Arasko at the foot of the stage the camera angles now show a closer relationship and harmony between the two as they serenade one another, beckoning to join. The spotlights spiral around the two, a slow-paced tornado of light centered on the singers

Reyvys, reyvys
Come with, come with

Ko, salavena
Me, before the end

Reyvys, reyvys
Come with, come with

Syn arartyka
In joy

Reyko, reyko
Come towards, come towards

Cozaro savasa
This beautiful afterlife

Only Satu is illuminated now, just a faint glow cast upon her, as she looks down in sorrow, blinking back tears, turning away from Arasko just a bit, as if doubting herself and her ability to go on

Satu, T-Suomi
Teimme parhaamme taistelemaan
We did our best to fight

Suoyaa kaikki
To protect everything

Itkin yokaisesta, oh
I cried for every, oh

Yoka kuolema
Every death

She turns back to Arasko, resignedly. The two are lit once more and Arasko makes his way on stage, with the two facing each other the whole time

Satu, then Arasko, in T-Suomi & Azadei:
Teidán uhrasi, kai eyovase
Your sacrifice, our second death

Teidán uhrasi, kai eyovase
Erás tappio, tokystare
One loss, one new beginning

Erás tappio, tokystare
Teidán uhrasi, kai eyovase
Teidán uhrasi, kai eyovase
Erás tappio, tokystare
Erás tappio, tokystare

Their faces are close, their eyes closed, almost as if melding their minds. The camera is sure to capture the intimacy and the timelessness of the next stanza

Both, Azadei
Kaynylarei
The sun travels

Reyna ranenaja
Travels slowly away

Valyscoru
The end is here

Voteyolasa
Not like before

Kavysana
Together forever

Synzhanvyyesa
In intergalactic space

Syndosavasa
Into the afterlife

Co aravyyarta?
Is this euphoria?

Tovalanesa...
The one final light

They look up and beckon to the audience as lights sweep up from around them slowly, quietly dramatic but not enough to upstage the music

Reyvys, reyvys
Come with, come with

Ko, salavena
Me, before the end

Reyvys, reyvys
Come with, come with

Syn arartyka
In joy

Reyko, reyko
Come towards, come towards

Cozaro savasa
This beautiful afterlife

They still face the audience, but it is clear that their attention is focused on one another as they sing and remember the events long past, the memories they shared, the journeys they faced. The fog begins to lift, literally, beginning to encapsulate the two in a cloud. The glimmers of light from Satu's silvery dress still manage to pierce through

Satu, then Arasko, in T-Suomi & Azadei:
Teidán uhrasi, kai eyovase
Your sacrifice, our second death

Teidán uhrasi, kai eyovase
Erás tappio, tokystare
One loss, one new beginning

Erás tappio, tokystare
Teidán uhrasi, kai eyovase
Teidán uhrasi, kai eyovase
Erás tappio, tokystare
Erás tappio, tokystare

The stage is lost in a cloud of fog, with only the occasional gleam of silver and shadow of black to suggest the presence of people within. The lights go down, with the stage screens being the last to darken, giving the effect of a glowing cloud of fog, or of steam, or of gas, fading away in the cold vacuum of space, two souls within, embracing together in the fading echoes of afterlife

The fog dissipates as the lights return, and the performers all head to the front of the stage and bow. Satu breathes, "Kiitos Vodiznad, kiitos kaikille," as Arasko drawls, "Davyye, davyye," and the group leaves the stage, hoping to do at least a bit better than the other entries in the trilogy.

by **Izmedu** » Sun Aug 13, 2017 1:56 am

At the start of the Darkmanian postcard, we see a woman in a yellow dress playing an electric guitar in an outdoor concert venue.Her concentration on the guitar playing was intense, as it was revealed through the background music that what she was playing was a rendition of the Darkmanian entry through electric guitar. She deftly matched each note to the vocal melody of the song as she arched her body constantly to match the mystical atmosphere of 'For Deg.' The woman can then be seen pausing to take a break from guitar playing, to make way for Smokefilled Spirits who can be seen then complementing the guitar player's rendition with her masterful violin playing with Adrian Redimyr in tow.

During the song, the camera view then turned towards the audience of the concert. The audience was a diverse one, filled with many from all walks of life and culture, showing the present moment of what Darkmania looked like today. As the camera went through a sideways survey of the crowd, the camera faded to one woman in particular, a random fan of WHF designated as 'Spokesperson.' She was wearing a headscarf white sunglasses, and her intense gaze caught the camera and stopped it at its tracks.

Smokefilled Spirits and Adrian Redimyr can then be heard saying “Er e ner stori,” and 'Spokesperson' can then be seen putting her sunglasses down as the entry information appeared on the screen.

World Hit Festival 34 - Vodiznad, Izmedu | IC Thread

World Hit Festival 34 - Vodiznad, Izmedu | IC Thread

01 Goluta Postcard

02 Norjihan Postcard

03 Gim Postcard

04 Togonistan Postcard

05 Mercedini Postcard

06 Britonisea Postcard

07 Normandy and Picardy Postcard

08 Todaskakys Postcard

09 Cosneolta Postcard

10 Izmedu Postcard

11 Todlichebujoku Postcard

12 Darkmania Postcard

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