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World Hit Festival 36 - Gralicna, Izmedu | IC Thread

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World Hit Festival 36 - Gralicna, Izmedu | IC Thread

Postby Izmedu » Sat Nov 25, 2017 2:36 am

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OOC Thread - Draft Thread

20:00 IZMEDUAN TIME


To host the show for the fifth time running... It was a decision that some of the RTI board and the Izmeduan fan community thought was born out of some insanity that the WHF steering committee that was tasked to oversee the World Hit Festival concocted shortly after Anja Krajacic's win in Britonisea. Many of the non-WHF employees of the channel thought Izmedu would break their time-old pledge to host the World Hit Festival if the opportunity to present itself, especially given just how much the 34th contest profoundly dented the channel's finances. No one expected a swift decision of 'yes' from RTI nor a new city to take the reigns.

Yet here it was now, 52,000 strong in La liberija polja, waiting for the show start. Despite the fraught anxiety surrounding this World Hit Festival, one thing was made clear. No matter how many times Izmedu hosts this contest, the energy of the crowd was always that one constant. With the crowd being larger than any Izmeduan-hosted contest thus far, this was the moment it came down to.

RTI, in position. It's showtime, folks.

Opening Act: Triumph
Tanackovic Productions – The Redeemers
Tune: Two Steps From Hell - Enchantress

0:00-1:43
A booming whoosh was the first part of the broadcast, with 'RADIO-TELEVIZIJA IZMEDU PRESENTS' flashing on the screen for a few seconds as a muffled crowd could be heard cheering with black and white images of Anja Krajacic's win in Britonisea just an edition earlier. Wordless vocals of a choir then came through about 30 seconds in, playing to images of not just Izmedu's winning moment, but of other entries and nations that participated in Junterapten, such as Kalosia's Alia M or Mercedini's Alicia Mocha. At the first minute mark, black and white scenes from Junterapten transitioned to a colorful CGI rendering of the mountains near Gralicna, with sounds of wildlife and nature being complemented with the swelling of Tanackovic's instrumental to greater heights. The more the song swelled, the grander the view, and the section would consist of an exploration of Izmedu's sublime nature.

1:44-3:18
As the music transitioned from peaking to a valley to a hurried section of violin strings, we found ourselves situated in the city of Gralicna itself, 'entering' La liberija polja and the WHF36 stage in progress. The CGI stage workers and the set-up were all in CGI at night, the stars being lit up. At the 2:20 mark, we saw an Izmeduan woman construction worker look up to the sky after a long night of working, which coincided with the music going from an arc upwards to downwards. There was a close-up to her eyes, a reflection in her iris that eerily looked like the constellation of stars in the WHF36 logo. On the 2:35 mark on, the camera went 'inside' her eyes, turning into a montage of the World Hit Festival's most famous entries being played in color. We saw entries from Euskirribakondara being played, to Todlichebujoku's, Kalosia's, etc. At least one entry from each decade was played during the montage, and the montage ended with Mercedini's Daniel Alishkaerni.

3:19-5:22
This middle section would be calmer, establishing a focal point in the form of a young boy watching the World Hit Festival through a TV store within Gralicna itself. The boy was young, no older than 8 years old, and watching Daniel Alishkaerni's performance through the window, with Daniel's intense performance providing a contrast to the aspirational lightness of Tanackovic's song. The boy then touched the mirror at 3:45, before having to be pulled away by the 4 minute mark. In here, we faded to a view of a school gym with two Izmeduan WHF artists (Gordan Glavas and Josipa Milas) talking to a cadre of elementary school students, of which that boy was in the audience. Josipa could be seen making a muted, but motivational speech with the way she was moving about. At the end of this section, the camera focused on the boy's rapt attention on both of the WHF entrants, an unspoken desire of wanting to be just like them too.

5:23-7:04
It was here that the song took a turn from focusing on the young boy to the formation of the festival itself, with images of the 'stage' being built in real time as the young boy played witness to the whole scene. Throughout this section, more scenes of WHF's past 'legends,' consisting not just of winners, but of noteworthy entries and moments that defined their festivals played throughout as well. There was a brief montage of the tiebreakers in the 26th World Hit Festival, to Chameliya's 3-win streak, and many other moments that had a similar impact. By 6:30, the music swelled once again, this time, with a definite 'end' point in play as the music built up to an even greater heights, heralding an unimaginable peak. The song kept building further as now, we were faced with pre-recorded images of the WHF36 entrants, all looking ready to make their mark on the stage.

7:05-8:17
Starting from 7:05, the music quickly set up its most triumphant moment, as flashes of each WHF36 entrant flashed through the screen for one second, coinciding with the sweltering or the strings. By 7:20, we landed on that same boy, looking up on that stage at the same time as the instrumental was about to enter its most cathartic moment. By 7:24, there was a swoop throughout the generated CGI crowd, with triumphant horns blaring as the views celebrated the massive scope of the present contest. Then, by 7:40, that blur through the CGI venue ended with a presentation of the logo, going through each letter of the contest slogan that would make-up 'BECOME A LEGEND' in italics, before fading into a glowing version of the logo.

At the end of the long opening theme, the camera treats the audience back at home with a wide view of the outdoor venue, with a camera crane present as the audience was as wide as the eyes could see, a congregation of WHF fans from many different countries. The stage was darkened as the camera faded to a view close to it... This was the official start of the contest, and the crowd braced themselves...

Opening Act: The Manifesto
O-BRAD & Andraz Adamic – Your Destiny
Tune: Hardwell, KAAZE, Johnathan Mendelsohn - We Are Legends

The identity of the opening act remained unknown, until the name 'O-BRAD' flashed onto the background screens, and immediately after, the outdoor venue shone a hot pink color on the crowd as the two faces revealed themselves. As notes from O-BRAD's machine began to play, Andraz Adamic was present right in front of him, a microphone under him as he prepared to start the show proper. His eyes were closed, with the camera view close to him, and he began to sing...

This is the moment of truth
Many years of work and blood
All for this fleeting moment
It's your destiny


Andraz's voice rang loud and true, coming out even stronger and more forceful than his previous appearance in an international song contest. He had one hand raised up as he sang the song's first half of the chorus, walking forward to get the crowd pumped for the show. Behind him, the lights pulsed a dizzying array of red and pink, with the background showcasing the lyrics.

This is our last chance for impact
One last hurrah before the end
Make these last minutes your best ones
It's your destiny


It was a fast transition to the second half of the chorus, as Andraz maintained the same intensity as earlier, having one hand up as the camera criss-crossed between him and the crowd waving their flags. He ended the chorus with a strong 'it's your destiny,' with O-BRAD then shepherding the song into its almost iconic instrumental, a set of electronic notes that got the crowd excited for the inevitable dance break. The build-up saw the lights flash to the increasing pace of the drums, with the camera occasionally showing O-BRAD interacting with the DJ equipment. Then, at the moment of the break...

It's your destiny


As soon as Andraz finished the line, it was a dance break of massive proportions as Andraz was jumping up and down in the crowd for a few moments, but the camera view was all on the crowd and the flurry of lighting effects that matched the chaotic nature of the song. The dance break was somewhat brief, as the camera view returned to Andraz, who was now next to O-BRAD's DJ set-up.

It's hard to grapple with the end
Knowing there's more
There's no stopping this farewell
Make this count


Andraz's tone was more contemplative for the bridge, the lights turning into a more blue-ish color to reflect the mood. He gazed directly at the camera during these lines, singing them with a gravitas befitting an apocalyptic moment.

Cause this is the moment of truth
Many years of work and blood
All for this fleeting moment
It's your destiny


The transition to this chorus was quick, with Andraz returning to the center of the stage to again pump up the crowd. There was more resonance to his voice, with his mic turned just slightly up to give his voice more volume as O-BRAD added more flourishes to the song's outro. The camera itself was more focused on the crowd, with some of them being seen to try and sing along to the song being played in front of them.

This is our last chance for impact
One last hurrah before the end
Make these last minutes your best ones
It's your destiny


For the last set of vocal lines, Andraz did a bit of choreography and moved to each line, putting a hand to his chest before motioning his free arm upwards in a fist. The instrumentation itself was just as intense, a drum beat added in anticipation with the second dance break. At the conclusion of the vocals, O-BRAD can then be seen pumping the crowd up, putting both of his hands up and beckoning the crowd to begin their rave.

It's your destiny


After this line, it was pure pandemonium in La liberija polja, with the dance break playing as normal with the camera focusing exclusively on the crowd until the end of the song. The ending of the song was abrupt, sounding like an alarm as the WHF36 stage went dark once more.

The crowd cheered in response, as stage hands quickly deconstructed the DJ equipment that O-BRAD was using and a podium began to rise on the stage's platform.

LADIES AND GENTLEMAN. WELCOME TO THE 36TH WORLD HIT FESTIVAL.

PLEASE WELCOME YOUR HOSTESS, IRENA RATKOVIC!


Irena walked onto the stage from one of pits, waving to the crowd with an easy smile. She was a renowned Izmeduan actress, almost on the precipice on being a young legend. She waved to the crowd as she was holding a cue card and walked onto the podium. Irena waited until the crowd calmed down before making the introductory remarks.

Irena: My, oh my. The fifth time running. Dobra vecer Izmedu! Dobra vecer world! This is Gralicna calling, and welcome to the 36th World Hit Festival!

Irena paused here for a bit to allow the crowd to cheer once again, with her looking down a bit sheepishly as she grabbed the podium with both hands.

Irena: Once again, welcome. I'm Irena Ratkovic, just an actress, and I'll be your hostess tonight. So, what is the World Hit Festival about? I'll give you a couple of pointers.

Irena: The World Hit Festival is a multiversal song contest entering its 36th contest. For 35 editions, the contest has been at the forefront of showcasing the best of the multivere's best music. First hosted in Saintrabina, the contest has established a long history of many nations uniting under one banner to show you the best of their music.

Irena: Each nation sends one entry that has gone through their own particular road to peform here in Gralicna tonight Tonight, we have 9 entries for us to showcase to you tonight. Give them a round of applause!

The camera cut to the cheering crowd, with choice shots to fans waving flags of their home/favorite country.

Irena: Looks like you're all excited! Of course, no Izmeduan hosted WHF can't go without the running joke of us hosting this for what feels like the millionth time. This is our fifth time, can you believe that? And we've only started hosting these things since the 29th edition!

Somewhere in a special structure built near the venue meant for RTI officials, the RTI figureheads balked at this part of the script.

Irena: Just a joke! It's time to turn to what truly matters, the entries themselves.

Irena: The first nation up tonight is Natanya. Savnic, are you ready?

The broadcast feed cut to a view of the wider stage and quickly faded into the first frame of the Natanyan postcard.
Last edited by Izmedu on Sat Nov 25, 2017 5:06 am, edited 1 time in total.

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Postby Izmedu » Sat Nov 25, 2017 2:38 am

THE ENTRIES

01 Natanya
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


02 Darkmania
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


03 Mercedini
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


04 Todaskakys
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


05 Komarov-Thomiya
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


06 Kalosia
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


07 Izmedu
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


08 Balkvla Islands
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


09 Estogium
Entry | Postcard | Voting (Phase 1/Phase 2/Phase 3)


Compendium of Other Links

Interval Act // Phase 1 Result // Phase 2 Result // Final Result/Winner Announcement


Commentary
Last edited by Izmedu on Sat Nov 25, 2017 5:24 am, edited 1 time in total.

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01 Natanya Postcard

Postby Izmedu » Sat Nov 25, 2017 2:41 am

At the start of the Natanyan postcard, an acoustic guitar-led version of their tune began to play on their screen as a distant shot of a gated community in Gralicna appeared onto the screen. The neighborhood itself looked idyllic, with gentille Izmeduans walking around and observing the camera as it zoomed by the streets. It landed on the five-man band of Savnic being led around the neighborhood by an Izmeduan tour guide, with focused camera shots on classically designed Izmeduan mansions and even a nearby local park. Eventually, the Izmeduan tour guide would be focused upon the shot, and she would then lead the Natanyan group into a famed, historical landmark in Gralicna itself.

They were then led to a view of J. Ranogajec's historical mansion, who was one of Izmedu's most famed authors and who had tragically passed away in a natural death caused by old age. His house in Gralicna was preserved as a tribute to him, and Savnic were allowed to tour the house. The tour guide can be then seen opening the door for the group, and the five-man band can be seen observing the furniture inside. However, each interaction was mediated with the utmost respect, and the final camera of the house involved zooming in on a picture of the lead singer staring at the picture of the house's owner.

Then, the view faded of the house itself, going from color to black and white. The words “BECOME TIMELESS” appeared on the screen and the Natanyan entry information appeared on the screen.


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Last edited by Izmedu on Mon Dec 04, 2017 2:27 am, edited 1 time in total.

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01 Natanya

Postby Izmedu » Sat Nov 25, 2017 2:43 am

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Languages: English, Japanese
Tune: The Jetzons - Hard Times

Notes: グルグル (Guruguru) andグルグルと! (Guruguru~to!) both mean 'Round and Round'. The song also ends in a fade-out, this is obviously impossible to recreate live so this version ends like the other but with a proper reprise of the chorus instead of a faded one, and one big finishing percussion note on the last と! (to!)

The 5 piece band is wearing all casual but smart clothing, with 4 members spaced around the back-edge of the stage and lead singer Rossko Tanzkavio stood front-centre, only meters away from the front edge of the stage. As the music kicks in with a drum beat, spot lights from the roof flash across the whole arena, and continue flash with the percussion throughout the verses, although only flashing on top of the band members at the back of the stage. The backing LED is simply just fading from one colour to the next, all of the colours are dark neons, but are still somehow still subtle and despite the neon, the whole area stays dark. The edges of the LED flash in the colour in time with the repeating electronic bass.

Every time, you decide to change your mind and you just won't let me be.
I know you've got cruel intentions, right through them is what I can see.
I won't give you a second chance.
You can see I don't want part of your game, so please just set me free!


For the chorus, the arena becomes lighter, with the backing LED turning all white and the stage becoming covered with thin white laser light that flash with the tune of the new high leitmotif on the synth.

グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)


For the second verse, the arena darkens once again and the the LED and spotlights follow their respective leitmotifs.

You're stood in front of me asking for something I can't give,
You expect me to believe all you're lies but baby, I'm not some kid.
Well, what are you trying now?
Your effort never cease to amaze me but that pain I won't relive.


The staging repeats what it did for the first chorus.

グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)


For the brief synth solo, the stage stays alight with the spotlights coming forward and shining into the crowd, as chorus starts up again the staging repeats what it did before but with golden spark pyro shooting up from the edges of the stage for the new interjecting guitar riffs.

グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)
グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)


For the guitar solo, the guitar playing band member steps forward, but the camera pans outwards showing a panorama of the stage and part of the audience as a golden shower pyro effect rains down from the roof above the stage. The band kicks in for one final chorus, and the song ends with one big note and accompanying pyro shoots up to give one big finale.

グルグル (Guruguru)
Why don't you just let me go?
グルグルと! (Guruguru~to!)


The band thanks the audience, waving into the crowd, and as the show moves on to the next postcard, they make their way off the stage.
Last edited by Izmedu on Sat Nov 25, 2017 2:43 am, edited 1 time in total.

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02 Darkmania Postcard

Postby Izmedu » Sat Nov 25, 2017 2:44 am

At the start of the Darkmanian postcard, an acoustic guitar-led version of their tune began to play as a shot of the venue, La liberia polja, began to appear on the screen after a bright flash of white. However, the venue was not in its original configuration, and there was a crowd of people on the grass and a finishing line of a marathon. At the entrance of the marathon could be seen, much to the surprise of the crowdgoers of the current marathon, Sir Andre Kermetler, actually running the marathon and going to the finish line. The crowd around him cheered immensely at the fact that he managed to make it through.

Once he passed through, the focus changed from his finish to a celebration of his finishing run. Flashes of other runners passing through the finishing line also played, as he could be seen cheering on for the other contestants to finish the marathon. There was then focus on a set of runners who looked to be twins, who were holding hands as they passed through the entrance of the park. They were the last ones to be finishing the marathon, so a crowd of other runners awaited them. However, despite the evident exhaustion in their faces, the two runners kept pushing onwards.

Then, the view faded to a slow-mo of the runners about to pass through the finish line, and just before their feet stepped on the line, the view changed from color to black and white. The words “BECOME GLROIOUS” appeared on the screen and the Darkmanian entry information appeared on the screen.


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02 Darkmania

Postby Izmedu » Sat Nov 25, 2017 2:49 am



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Sir Ändrë Kërmetler Ledrësmïrlössërmävïjaereëÿratlaer Lësmerinerläcker Ër (born 12. January 1942) is one of the oldest artists in Darkmania. Recently given a “Sir-“ title (or a title similar to Sir, but will go as a “Sir-“) for his long charier lasting from 1959- to today. He is also remembered for being a regular contestant at the Old “Sahn füür Darkmänsije”, even winning in 1972 and 1975. DaTV aren't sure if he is the oldest WHF- artist, but he is at least the oldest in this edition and the oldest for Darkmania.
His sing "Vi" is about childhood memories and their memories fade away of old age. At a press conference, he said that the song is about that as he wanted a powerful, Norwegian sung Darkmanian entry that had one goal in mind, and that was "Örkendrem`37." Or bacily, a World Hit Festival hosted in Darkmania, given they have the money, they have a good amount of stadiums to use for WHF, and time. It's either them or someone else. Who knowns? I don't know who`s gonna win. Wow, this bio is a bit too long. Let me end it here.

Contest
Ändre sings alone
Ändre has backup/ Backup sings alone



The postcard has played and Ändrë stands on the stage. He is joined with 3 backup singers, one of them has a guitar who will play the opening tune. The telescreen is in black-white and it will stay black-white doing this entry, after a request by Ändrë. They also fades slowly into the next shots.
The backup singer with the guitar begins to play the opening tunes as the camera slowly moves to Ändrë. He has his trademark hat, suit and he is using a microphone stand.


Tiden går fort, når vi er små (Time goes fast, when we are little)
Og opplevelser blir bare minner (And experience is just memories)
Årene overtar alle våre drømmer (The years takes over all our dreams)
Den gamle treeet visner av alderdom. (The old tree fades away of old age.)
Tanker samler seg. De kommer frem. (Thougts gather. They come.)
Så går alt i lufta (Then everthing goes into the air)
Nå ligger vi i grus (Now we lay in the gravel)


The camera-crane flies slowly away, while Ändre and his 3 backup singers remain. Ändre takes his microphone off his mic stand.


Du. Husker du da vi var små? (You. Do you remember when we were young?)
Klokken tikker. Det er snart kveld. (Clock is ticking. Its soon night)
Du kan ikke stoppe tiden (You cannot stop the time)


Backup backs him.


Du. Husker du da vi var små? (You. Do you remember when we were young?)
Gamle minner forsviner helt vekk. (Old memories disappear away)
De kommer aldri mer. (They`ll never return)


The three backup singer sings alone, until the last line of this stanza, where Ändre sings. He has his microphone on his mic stand.


Jeg føler meg så gammel (I feel myself so old)
Du og meg grår (You and me is greying)

Vi, Vi (We, We)


Ändre goes down on his knees and looks at the heavens while a long shot of the camera flies up and away while Ändre sings. An echo-ish effect is added just for this line.

Vi (We)


The violinists back from Harries `32 makes a return. For those who don’t know that those are, they are dressed in black hoodie and use facemasks to cover their mouth and nose. Only their eyes and some of the hair can be seen. They are two on each side of Ändre.


Du. Husker du da vi var små? (You. Do you remember when we were young?)
Klokken tikker. Det er snart kveld. (Clock is ticking. Its soon night)
Du kan ikke stoppe tiden (You cannot stop the time)

Jeg føler meg så gammel (I feel myself so old)
Du og meg begyner å blir grå(You and me is begining to turn grey)

Viiii-iiii-iii (Husker du da vi var små? (We (Do you remember when we were young?)
(Tanker samler seg. De kommer frem. (Thougts gather. They comes.)

Vi, Vi (We, We)


The colours get turns on so the next nation can actually show their colour of their dress or suit or whatever they are wearing. This is with various shots from the audience, with a slight focus of Darkmanians waving their flags and is seen with signs saying something about Darkmania, either “Send your votes to Darkmania”, “Örkendrem`37” or “We are in Izmedu again, because we try to bankrupt the country by mass holding the World Hit Festival.”

The fan-driven Discord Server of the World Hit Festival was expecting a “The audience shuts up”-joke, but was sad as they did not get it.

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03 Mercedini Postcard

Postby Izmedu » Sat Nov 25, 2017 2:51 am

At the start of the Mercedinian postcard, an acoustic guitar-led version of their tune began to play as the soundtrack to an Izmeduan fashion show in Vodiznad, decorated with crystals that dotted the intricately designed and compact fashion room. M'Folo Asante can be seen sitting in the audience, watching the fashion about to commence. Then, as the chorus of his entry began to play, there went a stream of female fashion models modeling masculine suits, strutting around the stage and looking cool and collected in the eyes of scrutinizing fashion press.

Flashes of models walking were interspersed with M'Folo's visible reactions, which looked like a refreshing change of pace compared to the largely steely fashion industry professionals around him. He could be seen being at slight awe with a few particular models, to being one of the few in the audience to actually cheer and clap for the clothes walking on the stage. The view of the camera would then stop its switching between M'Folo and the models, and it would eventually just focus on the entire fashion show in general.

The view faded to a wide shot of the models walking about, transitioning from a slow-mo to a halt as the colors turned to black and white. The words “BECOME BOLD” appeared on the screen and the Mercedinian entry information appeared.


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Last edited by Izmedu on Mon Dec 04, 2017 2:28 am, edited 3 times in total.

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03 Mercedini

Postby Izmedu » Sat Nov 25, 2017 2:52 am

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Tune: Nano - Hold On

Image

A familiar face will take the reigns for the 36th World Hit Festival, as M'folo Asante will head to Gralicna with his song 'Someone' after an internal selection picked him from a pool of hit Mercedinian songs since the last WHF. Some international music fans may be aware that Asante has represented his nation before, when he sung for Mercedini on home turf back at the 52nd WorldVision Song Contest. He has switched lanes and will become one of a handful of artists to represent Mercedini in both song contests.

Since the contest will be held outdoors, the Mercedinian delegation have had to adapt their performance to ensure that the performance looks as good as it can not only for the viewers at home but also the crowd in Izmedu. After two consecutive top two finishes, M'folo hopes to make it a hat trick of podiums for the nation who already have one win to their belt. However, you can never predict the results in WHF, so anything can happen when the points come in.


As the Mercedinian postcard comes to a close, the crowd knows that their entry is not too far away. They begin to cheer M'folo and the other performers on the stage, with the crowd's cheers being cut short by the opening piano chords of the song. The song begins with a camera moving up onto the stage with a monochrome filer on the lens, meaning the performance is in black and white for the time being. M'folo is standing at the very back of the stage with his head down as the camera approaches him and as he sings the opening lines of the song. The cheers of the crowd are somewhat audible and the light breeze of the wind in the open blows on the dark clothes of the performer, as he completes the opening verse of the song to big cheers from the crowd as they know what is to come.

In a world of colour, all I see is grey
In a world of deities, how come there is pain?
To get through life, you need give and take
Fog and smoke take over our landscapes


M'folo looks up and into the camera as the camera which was on the stage moves it's way backwards and out into the crowd, taking in the vast expanse of the outdoor area as well as the sheer size of the audience. The black and white turns into colour as the song begins to build in tempo with the violin gives a melodic twang to the song. The camera begins far into the audience and works it's way through the waving flags before finally make it to the stage as the drum and bass part kicks in.

When you’re going through frustration
I’m gonna lead you from temptation
Help me, someone
When life isn’t that simple
You’ve got to inhale and exhale
Help me, someone


Lights along the stage being to flash with accents of rosy pink visible on the stage. The lights flash with more intensity and close in on the main performer before they expand outwards and into the crowd who are already beginning to bounce to the beat of the song. M'folo walks to for front of the stage before the lights full on strobe before the song kicks into life and he says the title of his entry in a sea of light and colour.

When you’re going through frustration
I will lead you from temptation
Help me, someone
When you’re falling down and crying
But you can’t keep on denying
Help me, someone

Someone!


Lights are emitted from the stage at a rapid rate at a helicopter shot captures the action from high above, with the stage and the audience plus some of the surrounding town is visible from the shot, giving the audience at home a visualization of the venue and the accompanying infrastructure surrounding it. The strobing continues as M'folo comes back into the song, accompanied by his backing singers who are hidden off stage. Flags are waving frantically to the beat of the song with some of the more drugged up audience jumping long in big groups. Someone seems to have lit up a flare, which is captured as the cameras flies through the audience.

When you’re going through frustration
I will lead you from temptation
Help me, someone
When you’re falling down and crying
But you can’t keep on denying
Help me, someone

When you’re going through frustration
I will lead you from temptation
Help me, someone


As the song returns to normal and the lights subside, M'folo is left standing at the front of the stage with the crowd waving their flags and urging him on. He walks along the front of the air with his breath visible in the cold Izmeduan air. M'folo walks along the front of the stage singing to the audience as he makes his way across, the unique layout of the 'arena' ensures there are people in every direction so it makes it easy to sing toward someone, however the lyrics speak to the audience in a more general sense, so he sings it to everyone at the same time.

Take away the moon and bring the sunshine
While we’re faltering, shed a piece of light
When some have nothing, others act with greed
We have to restart and flower our seed


The song kicks in once again with the drum and bass igniting a frenzy in the audience, the lights are now accompanied by smoke which appears from the stage floor and is almost immediately blown away by the wind which doesn't really add that much to the effect. M'folo seems in his element as the lights add an intense vibe to the song with much of the motion coming from the audience rather than the stage. Finally, he stands tall to belt out the signature title of the song before the instrumental kicks in, taking the audience up to another gear.

When you’re going through frustration
I will lead you from temptation
Help me, someone
When you’re falling down and crying
But you can’t keep on denying
Help me, someone

Someone!


The lights flash from the stage once again with audible cheers now coming from the crowd as they take in the music and the moment, the strobing completely tripping them out while on their drug filled escapade. M'folo stands front and centre as he sings the lyrics to his song with the backing singers still accompanying him vocally, although he is all on his own on the stage, only accompanied by the lights and the effects on stage. The camera flies towards the stage once again before the song mellows and completes the second chorus of the song.

When you’re going through frustration
I will lead you from temptation
Help me, someone
When you’re falling down and crying
But you can’t keep on denying
Help me, someone


Piano chords come in and cut the drum and bass section of the chorus which changes the pace of the song to give it a much more mellow tone. The camera moves up onto the stage and moves toward M'folo who is striding towards the camera and the viewers at home. The camera makes a sweeping shot before the shot switches to another camera who repeats the move but from the other side of the stage, almost a mirror image of each other. The crowd are clapping along to the beat with some of the audience piggy-backing onto their friends just to see the action through the waving flags. The lights all converge on the Mercedinian performer as the song begins to kick back into life.

Do you ever feel like you’re under’
Do you ever feel like you’re under’
Do you ever feel like you’re underrated?

Do you ever feel like we’re under’
Do you ever feel like we’re under’
Do you ever feel like we’re underrated?


Flashing lights return with flares now lit in various parts of the audience of many different colours. M'folo walks to the front of the stage and sings to the audience as the camera captures the action from the bottom of the stage. Another helicopter shot captures the stage and the audience from afar with the lights and the stage the most prominent things in the frame. The song continues as the crowd are now fully invested into the beat of the song.

Someone

Someone, someone


For the final part of the song the central camera in the middle of the audience moves forward in one continuous shot moving it's way closer and closer to the stage where M'folo is standing. The camera works it's way through the flags and the flashing lights to give a clearer view of the main performer as he sings the final words of the songs. As the beat dies down ad the lights stop flashing, M'folo sings the final couple of words and gives a wry smile as he places the microphone by his side to finish the performance.

When you’re going through frustration
I will lead you from temptation
Help me, someone
When you’re falling down and crying
But you can’t keep on denying
Help me, someone


M'folo laughs to himself as the crowd cheer the Mercedinian performer, he bows to the audience and goes to thank them in the limited time he has left before the next performer comes along. He waves to the crowd who are going berserk at the front with some of the flares still burning in the crowd. He doesn't say anything and simply waves to the crowd before walking off stage for the next performance
Last edited by Izmedu on Sat Nov 25, 2017 2:37 pm, edited 1 time in total.

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04 Todaskakys Postcard

Postby Izmedu » Sat Nov 25, 2017 3:00 am

At the start of the Todaskakys postcard, an acoustic-guitar led version of their entry began to play the camera view faded to a shot of the downtown scene in Gralicna before taking focus on one of its most critically historical parts. The camera descended to a view of St. Pavao's chapel, represented by its trademark bell tower and a statue of St. Pavao himself holding a book. Renysa Tetayano can be seen exploring the chapel with a guide, before silently insisting that she be able to explore the chapel on her own.

Renysa can then be seen exploring the grounds of St. Pavao's chapels. She starts off first by exploring the trademark tower and ascending up to the very top ring the bell. Next, she would then be seen perusing the studies in the interior, being guided by a nun who was silently explaining the various parts of the church. The final touch of this impromptu tour was Renysa closely observing the sculpted statue of St. Pavao sitting outside.

The view then faded to a shot of the statue without Renysa's presence, transitioning from color to a black and white. The words “BECOME FAITHFUL” appeared on the screen and Todaskakys' entry information appeared.


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Last edited by Izmedu on Mon Dec 04, 2017 3:07 am, edited 3 times in total.

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04 Todaskakys

Postby Izmedu » Sat Nov 25, 2017 3:03 am

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Tune: Nabiha - Animals

Renysa Tetayano had been involved with Todaskakys's song contest focus almost since the program started. Having watched more than quite a few episodes of WorldVision and World Hit Festival, she was excited to one day perform live on stage, with her song in the works since the beginning. And now... it was done. Not without help of course, with collaboration being a given considering the Todaskakys program's raison d'être, and Renysa was brimming with gratitude as she considered the experience she had lived thus far and the experience that was just about to unfold before her. Enjoying the evening Izmeduan outdoor air, before returning backstage, Renysa caught a chance to reflect as she waited her turn to perform on the Gralicna stage.

Approaching Darshkonyye, Tanarudka, Komatar, Daskoxyan

An ivory-white Tryyux Zyryya, the curves and fins of its sheetmetal pearlescent in the morning sun, wafted over the golden rolling ridges toward Daskozhantyka. Renysa's home city of Shundasi, on the opposite coast, was larger, grander, and more historic, with countless elevated towers clustered around the towering cityship core, and a glimmering forest beneath that merged with a gray sea. Darshkonyye, on the other hand, sprawled. There were definitely a good number of towers, and some scattered mini-cityships, but not exactly grand in any sense of the word, with the city set in a landscape of scrubby hills and crests. The ocean here was a fair bit nicer, though, the massive natural harbor making for quite the view. But what made Darshkonyye special were the government institutions there. Renysa normally wouldn't have made the journey here, even with her strained relations with family back home, but as an artist a summons by the government was something special indeed. So she made the drive over to the city, with the day's clement forecast (and the special occasion) encouraging her to take a personal vehicle and have some fun on the way over, instead of simply taking the train. Renysa's mother called, the singer's headset giving her mother form in the back of her head, adamant and incessant.
"The moment the government calls, you just up and leave??" Oh, heavens, I know where this is going, thought Renysa as she glared at the next scrubby ridge as if it were her mom."Do you not care about your poor old mother, or even think about bringing me along?? Oh no, you left me here with this idiot who barely knows how to take care of himself, always living in his head, and the strange, strange people you've asked to take care of us. Ugh. What an ungrateful way to treat your parents!" At this point the older lady began nearly shrieking. "What have we done to deserve this??? You know full well you have enough to set us up on a luxurious private colony- no, you must have enough to BUILD a private colony by now- and yet you leave us here in this rotting pisshole of a city!"
Renysa certainly did not have that kind of money, and done the best for her old parents that she could. You'd think they'd have realistic expectations after over 250 years on this planet, but nooooooo... Renysa halfheartedly listened to her mother continue on and on, and then shift towards complaining about the prices in Shundasi, about how people were people and the local government was the local government, and on to how she still thought Renysa should have been a stellar engineer or an intelligence analyst, until the lady ran out of breath and ended the connection. Renysa really did love her mother, but certainly had grown extremely tired of certain traits and maybe distanced herself a bit more than she should have. Was she in part running away? Most likely yes. Was she looking for a new beginning? Also yes. Her headpiece pinged again as an old friend, Lysara, appeared with digital wings beating excitedly as Darshkonyye's low skyline arrived on the horizon. Oh thank you, Lysara, saving me once again. Even with her arriving at her destination in just a few minutes, Renysa gladly took the call this time.

DKXN Vyyeras-Calculated Miscalculation, orbiting over Tödlichebujoku

The dancepop beat danced over the projector as Renysa discussed the sound of her track with Erezze Vekataco, the producer from Sartodalyn that had made huge waves several decades ago but then stepped away from the limelight. Remarkably, he didn't look too much older than he did then, which must have said something about the health benefits of living a rather chill lifestyle. Well, if he's here, maybe I'll actually age a bit slower too. Watching music dance in a sliver-shaped diplomatic ship orbiting over a planet carpeted with different fellow human nations was definitely not the most stressful thing a Daskoxyani had ever faced. And oh dear heavens that space longship the Tödlichebujokis had launched as a tourist attraction, among other things... well that was a sight to behold and a pleasure to experience. Speaking of Tödlichebujokis, the tune in front of her was set to be processed and remastered by a partnership between Erezze and their Tödlichebujoki industry attaché, Aava Vargas. Renysa herself was working with Aava on the lyrics, and couldn't wait to hear what her and Erezze would come up with together. She had no idea when the track was going to drop, but hopefully soon. Maybe TDKK could snag an entrance into WHF34? Hopefully the song would be ready then. A message from her mother showed up. Renysa viewed the condensed version, essentially a mental form, an impression, of her mom's message. Well it seemed she was finally accepting Renysa's departure, which was a relief. Still, Renysa couldn't shake the fact that her mother would be anywhere near repentant or welcoming upon returning home. Oh well. Rezze was playing around with the parameters, and by starfire that change in tone made the notes so much better. She was really looking forward to this.


Mercedini's song was wrapping up, most assuredly of the high quality Renysa had come to expect in the contest. Standing backstage and watching through a nearby screen, she applauded for M'folo Asantè, the motion still a bit strange for her, but definitely quite satisfying to execute. Her costume and appearance artist, Yumiko, fussed over her outfit one last time. A deep breath, a relaxed smile, a second's deep meditation, and she was soon on live broadcast.

a: /ä/ or /a/ = General American "cot" or British "trap"
ay/ai: /aɪ/ = "hi" or "fly"
b: normal, as in "butter" or "bold"
c: /t͡ʃ/ = "chair"
d: normal, as in "dog"
e: /ɛ/ = "bed"
ey/ei: /eɪ/ = "obey" or "play"
f: normal, as in "fun" or "defile"
g: normal, as in "game"
h: normal (/h/), as in "heat"
i: same as "y" but only used at beginning/ends of words; /ɪ/ = "bit"
j: /d͡ʒ/ = "joke" or "fudge"
k: normal, as in "bake" or "cake"
l: normal, as in "love" or "fall"
m: normal, as in "man"
n: normal, as in "ban"
o: /oʊ/ = "close" or "row", often also /o/
oy/oi: /ɔɪ/ = "toy"
p: normal, as in "pain" or "vape"
r: normally /ɹ/, as in "rain" or "red", can be /ɾ/ (a harder "r", like a usual Indian accent I guess?)
s: normal, as in "star" or "ass"
sh: normal (/ʃ/) as in "shame" or "fish"
t: normal, as in "tear" or "mate"
u: /ʊ/, as in "book"
can be /u/ as in "boot" at the end of a word
uu: /u/ = see above
v: normal, as in "vat" or "rave"
w: /w/ = see "u", only used at beginning of words
x: /ks/ = "fax"
xy/xi: /ɕɪ/ = (more relevant to Daskoxyan's name than to this song tbh) ummm so basically "xi" (西) in Mandarin Pinyin, or listen to this audio file
y: /ɪ/ = "bit"
when before another vowel (as in "Zarya") it becomes /j/ = "yes"
yy: /i/ = "feet"
z: normal, as in "zebra" or "maze"
zh: /ʒ/ = "treasure"
zz: /ts/ = "pizza"


The spotlights turn on, focusing on the the central podium, almost expectantly. A cyan hologram of Renysa appears, and begins the song, as emerald green holographic spheres and cylinders launch into the air from around the audience

Rezzei syn ryycyka
Trapped in a mechanical state

The hologram dissipates, and all attention turns 180 degrees as Renysa herself enters through the back of the audience, striding down the center aisle. She is wearing a cyan-and-silver slim bodysuit with some stylishly light armor plates and subtle holographic radiance, and drops her lines with confidence. An array of rotating lights illuminate her as other spotlights alternate shining vertically on the stage and audience. The green spheres and cylinders dissipate as rhythmic waves of red light ripple out from the stage, and on the background screens, the lyrics are displayed in written Algo, flashing by as they are dropped

Daryke na, nayvyyru di nayteka
Screw you, your beliefs and your reality

Ko cere cojoye kasate ena
I drive this party that we call life

Esale nayne, kalasyke enarta
Free yourself, we've got the love for life

Vo u'caka, kalase skada
Don't be a weakling, we have power

Her stride down the aisle becomes almost more of a danced swagger. She whirls to face the back, while walking backwards. A circle of spotlights, alternating like the lights on a marquee, follows her toward the stage. Between the stanzas, the emerald green holographic spheres and cylinders fire off into the sky before disappearing once more

Darteyo daykoraka
Dance like animals in heat

Kavote ryycai, nasyyde na eno
We're not machines, you know that you're alive

Tota eya rai pyna
One, two, three, four

Enysa syyde, nayvyyarta vyyko
Nature knows, your deep emotions are purposeful

The spotlights fade on Renysa as three holograms appear on stage, identical to the first

Rezzei syn ryycyka
Trapped in a mechanical state

Rezzei syn ryycyka
Trapped in a mechanical state

Rezzei syn ryycyka
Trapped in a mechanical state

The lights mellow out to a throbbing golden-orange hue, the spotlights sweeping down from above and to the sides. As the chorus begins, Renysa appears on central stage as the holograms flicker out, stepping toward the edge and arms out, embracing the audience. She smirks and may or may not have winked on the second line

Your body sings with a feral song
Your organ calls, I'll turn it on
We're not automatons
'automatons
Let your feelings take control
Help you rise and make you whole
And we can feel alive

Her backing singers sway in silhouette. In contrast, Renysa is very well lit, and almost radiates. The camera zooms in from the back of the audience, passes close by Renysa, who turns toward it, and then continues behind her, facing toward her and the audience, as golden bars of light float and bounce over the audience

Oh-eh-oh-eh
So you can let the passion, arise in
Your deepest core of being, eruptin'

Your body sings with a feral song
Hey don't stop, can't you feel it now?
Let your self feel alive,
feel alive, feel-feel-feel...
Zaru synesalu
Beauty in liberation

The spotlights go out, with the stage dark except for a constant of stream of holographic green spheres, elongated so that they almost look like cylinders, firing off and disappearing towards the dark night sky. A bright green pattern plays from the stage floor, illuminating Renysa and her background dancers, who execute a coordinated, energetic dance

Zaru synesalu
Beauty in liberation

Renysa is lit by soft and bright but dynamically moving spotlights, creating a club-like atmosphere. She is still able to execute dance moves in tandem with the backup singer-dancers, the background screens depicting flashes of red light, with the lyrics in Algo flashing across

Haye nayvyn, nase fuote
Open up your mind, you can uncover

Omonayne, vys kazhajonyke
All of your self, with us all celebrating

alartyko, alartyko
carefree, carefree

Nasyyde kazhakavys, darte darte darte
You know we're all together, dance dance dance

Now Renysa is joined at the front of the stage with her backing performers, and they perform coordinated arm movements and linkages, holding arms and leaning,
then breaking apart in a whirl and going back to dancing

Ruuskada di nyyskada
Gravity and the force of time

Zhasovana u'vanta
All permanence is illusion

Danoteka u'vysna
True reality is with you

Conovasa vovala
This vision of hope isn't the last

Dartevysko sylco esacera
Dance with me on this spaceship

Dartevysko sylco esadara
Dance with me on this space rock

Renysa and her backing dancers stand still as the ambient light increases, swelling up from below. Renysa's bodysuit begins to glimmer with light

Zaru synesalu
Beauty in liberation

Zaru synesalu
Beauty in liberation

Zaru synesalu
Beauty in liberation

Golden lights sweep out from behind Renysa, up and away

Your body sings with a feral song
Your organ calls, I'll turn it on
We're not automatons
Let your feelings take control
Help you rise and make you whole
And we can feel alive

She walks off the edge of the stage, but the antigrav capabilities in her suit allow her to stay elevated. She almost doesn't seem to notice she isn't on the stage, as she is entirely involved in the music

Oh-eh-oh-eh
So you can let the passion, arise in
Your deepest core of being, eruptin'

Your body sings with a feral song
Hey don't stop, can't you feel it now?
Let your self feel alive,
feel alive, feel-feel-feel...

Zaru synesalu
Beauty in liberation

The stage is plunged into darkness as Renysa drops down to the center aisle and she dances with her backing performers back down the audience, engaging in various formations as they make their way down

Zaru synesalu
Beauty in liberation

Having reached the back of the audience, Renysa turns to face toward the stage, with her backers standing behind her

Zaru synesalu
Beauty in liberation

All the lights cut out, except for those emanating from Renysa's bodysuit, which also cut out after a few secoonds


Still standing behind the crowd, Renysa shouts, "Daye! Dayenozha! Thank you Gralicna!" while being shown on the stage screens for the audience's convenience. As she makes her way back to the green room, she breathes a sigh of exhilaration. Well, now that's [i]off the list of things to do before I die.
Last edited by Izmedu on Sat Nov 25, 2017 4:12 am, edited 5 times in total.

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05 Komarov-Thomiya Postcard

Postby Izmedu » Sat Nov 25, 2017 3:05 am

At the start of the Komarov-Thomiya postcard, an acoustic-guitar led version of their entry began to play as the view of the Izmeduan landscape on the Varajic alps appeared, interrupted with the sounds and sights of a helicopter coursing through the deep peaks and valleys of the Izmeduan wilderness. In the helicopter was George Einde himself surrounded with Izmeduan skydivers, who were also suited for the occasion with parachutes behind their back. Einde himself was also suited, but clutched his parachute tightly in preparation for the jump.

The view then cut to what was going on outside of the helicopter, and it was revealed that the jump was going to be a pretty far and intense one. George Einde looked out and there was a zoom-out to reveal that it was a canyon that was sitting at the political boundaries of Izmedu, where the Jeblenica river cut through the Varajic Alps. Then, George and the other skydivers can be seen making signals to each other....

At the last shots, one of them jumped out of the plane. The view transitioned to black and white as the slow-mo caught the jumper in the moment of freefall. The words “BECOME BRAVE” appeared on the screen and Komarov-Thomiya's entry information appeared.


Image
Last edited by Izmedu on Mon Dec 04, 2017 1:33 pm, edited 2 times in total.

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05 Komarov-Thomiya

Postby Izmedu » Sat Nov 25, 2017 3:10 am

Image
Tune: Kikuo - A Happy Death

George, who feels quite nervous, has just finished revising the lyrics and the movements of what he is supposed to do during the performance. He only choose this sing for the sake of his patriotic-ness and his honour to the his family of musicians. George didn't want everyone to see him as a laughing stock and the pressure didn't help him soothe out his beating heart. Meanwhile, the light shut off for the performance to start. He took a few deep breaths before slowly stepping on to the stage and closed his eyes to convince his mind to believe himself and let it all out with great enthusiasm. As he walked to the center, his heart slowly beats thanks to the fans cheering for him. George faced away from the crowd; he makes sure that he can pull a suprise.




He breathes as deep as he can whilst the bells chime at the beginning to the song. George lifts his head, puts the microphone near to his lips and begin to open up his voice at the time the lyrics should start.

Are ye gonna lift your arms so high up in the sky?
Are ye gonna march along with all thy son's command?
Move along, boys and girls, as we get to pull ourselves a victory!


The hard beat drops at the same time he swiftly twist to face the crowd, who are very impressed at its wonderful opening. George posed his way through the roaring concert by lifting his arm at an 75 degree angle while the microphone like the Statue of Liberty. Later on, George breaks the pose and shout a few words to them. 'What a good time to be Patriotic, huh?', questioned George as the song's rhythm still goes. Before the first verse begins, he switches to his soft-sounding voice.

Your strength, your will, this is our way, our winning ways.
Patriots, regiments, do with spirit and with pride! Oh-oh!
Bring the cowards down to hell!


George is slowly building the emotions for the first three lines of the verse. Given that the crowd feels his emotions a little bit, it is a good, impressive start from him. His head sways left to right with each line that he sings.

(Your grave is here!)
(Lie down, you fools!)
Hope you're so prepared for this battle.


Are ye gonna lift your arms so high up in the sky?
Are ye gonna march along with all thy son's command?
Move along, boys and girls, as we get to pull ourselves a victory!
In this bloody warfare, no one dared to run away,
'cause he will be someone's easy target for the day.
Now onward, loyal lads. We're about to do the Charge of Sacrifice!


Mykylos, Alphonso, the heroes of our nation's men.
Soon we would be admiring their own sense of morality.
If you feel down, look up to them.


(Better to fight,)
(rather than fright!)
Hope you can stand against the attack.


(Hurrah, Hooray!)


Are ye gonna lift your arms so high up in the sky?
Are ye gonna march along with all thy son's command?
Move along, boys and girls, as we get to pull ourselves a victory!
If the warfare ended, then you should not close your eyes,
for you have to see the effort that you're fighting for.
'Cause you showed everyone that you lived after the Charge of Sacrifice!
Last edited by Izmedu on Sat Nov 25, 2017 3:14 am, edited 2 times in total.

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06 Kalosia Postcard

Postby Izmedu » Sat Nov 25, 2017 3:13 am

At the start of the Kalosian postcard, an acoustic guitar-led version of their entry began to play as Estrel'a could be seen walking in the outskirts of the Gralicna Museum of Science & Natural Art, being part of a small, VIP tour group that would have more intimate access to the museum than regular visitors. The group then went inside, and most spent their times examining the photorealistic art to samples of exotic Izmeduan specimens that were housed inside. Estrel'a, while not breaking away with the group, spent much of her time looking at the finely crafted natural art paintings.

The rest of the postcard would involve Estrel'a and her group touring the rest of the art museum. With occasional shots of the singer looking at preserved specimen, to fossils discovered by Izmeduan archaeologists, and finally, to a final shot of Estrel'a sitting on a lecture in an auditorium that was being orated by Izabela Kosanovic, a renowned professor and research of Entomology. Then, the camera view switched to a wider, slowly zooming out shot of the Gralicna Museum of Science & Art.

The camera shot slowly turned from black and white as the frame 'stopped' to show the people being frozen in place. The words 'BECOME HARMONIOUS' then appeared on the screen, and the Kalosian entry information appeared.


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Last edited by Izmedu on Mon Dec 04, 2017 1:33 pm, edited 2 times in total.

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06 Kalosia

Postby Izmedu » Sat Nov 25, 2017 3:18 am

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Language: Kalosian
Title Translation: Girl
Tune: Havana — Camila Cabello (live performance version)

Estreľa, whose real name is Laura Katalon, had won the 30th Festival dele Melodie Kalosiane. Indeed, she hails from the western shores of Kalosia. In fact, so do the songwriters. The four of them had formed a band called Barkë e Lunë in college, and although they tried to maintain it as they grew out of their college years, it was a struggle. They split up years ago, and only Laura continued to pursue a music career, adopting the stage name she uses today. Despite that, she managed to reunite with her ex-bandmates who agreed to write a song for her.

note: Since the performance will be based on the video of the tune linked above, you can save some reading time by just watching the video. Also lyrics in the brackets are sung only by backing singers.

As the stage is being set up, the live audience will notice that there isn't many props aside from 3 mic stands - 1 towards the back of the center stage, and 2 next to each other to the far right of the stage. All of the cameras appear to gather around the center stage, mostly near the front. The main screen has been lowered to stage level and is displaying a single, solid yellow.
And for the special occasion, Estreľa is wearing a red leather pantsuit (in fact here's a backstage picture of her during rehearsals!) and will be accompanied by 2 backing singers hidden away to the side of the stage (but still on stage and therefore visible to the live audience), 2 backing dancers wearing red crop tops and matching pants, as well as a trumpet player dressed in a red dress shirt with a polkadot pattern, black pants, and shades, and looking really cool.
The entry, in fact, begins with the trumpet player playing the trumpet, after which the backing track kicks in. The camera then moves over to Estreľa herself, seen as a silhouette, doing hand movements to the beat of the music. She then slowly puts up her mic and, as she begins singing, the front lights begin to shine on her. During the third line of the next part, one could see arms appear from behind her belonging to the backing singers, who do choreography together with Estreľa.

Ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë
Ma san tia ragažë, je~

The trumpet player is now visible grooving in the background to the music (this is basically what he will be doing for most of the song when he is not playing), while the backing dancers appear out from behind Estreľa. Although all 4 people are visible, they are still diagonally aligned. Later in the 3rd line of the next part, the backing dancers walk to Estreľa's other side and do some choreography. Despite this, from the camera angle used it gives a rather flat picture.

Mi salotavi komë unë amikë vetšë (Kadë enkontravamu noj)
Noj sedevamu ki u kestu logu (insemë u’l stesu bar)
Penšanu samu inamuratu (Ma kosë penšamuz?)
Ma së në d’akordu kon loru

The backing dancers now walk behind Estreľa so that one is now on each side, and together they do more choreography. It appears... quite sensual, with some bursts of energy.

Alorë ti domandu: U~
Kosë esëz kë tu voľi?
Ke kosë kë noj samuz?

E rëspostë tia: U~
Kadë au t' besoñu lë pju
Eri mutu

O na na na na na

Now for the song's signature choreography, involving moving (swaying?) to the left and right as the hands to a circular motion.

Ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë
Ma san tia ragažë
(Ragažë komë ja)

The choreography for this next part is a bit more dynamic, and so does Estreľa's voice. In the third line of the next part, the backing dancers break out of formation and walk to the right while Estreľa herself walks to the left edge of the center stage, as the camera changes to an angle not parallel to the background screen, a completely new angle so far.

Stavamu parlandu tudo la notë (Lo es le dež ore)
Voľevu t’ombrašarë u tia kamarë (Komë avamu fatu)
Penšavu kë kestu erë l’amurë (Se no, kosë esëz?)
Se’s unë mezoñë, voľu la verita

Alorë ti domando: U~
Kosë esëz kë tu voľi?
Ke kosë kë noj samuz?

The camera a few times also comes from a similar angle to the right of the center stage, but is sparsely used. Estreľa gradually harmonizes more, such as in the last line of the next part (not the one in brackets).

E rëspostë tia: U~
Kadë au t' besoñu lë pju
Eri mutu

(O na na na na na)

Now Estreľa backs up a bit and comes in between the backing singers for a backwards line dance of some sort, which only lasts for the first line of the next part. Then a few steps back are taken and then it goes back to the signature choreography, while the camera angles return (mostly) to being parallel to the background screen.

Ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë
Sanëz tia ragažë?

This is where it gets exciting. Suddenly, Estreľa and the dancers appear to freeze, all the stage lights dim (resulting in everyone on stage being visible as a silhouette), and the trumpet player, a few steps forward from where he previously was, plays a trumpet solo. Estreľa takes a few steps, and then dramatically launches into doing a new set of choreography with her dancers as some of the stage lights flash to the beat. The crowd goes wild.
Towards the end of the first line of the next part, the stage lights come back on.

Tu voľi unë ragažë komë ja
Diši voľi unë ragažë komë ja
Diši voľi unë ragažë komë ja
Voľi unë ragažë
Ma san tia ragažë
Ragažë komë ja

The trumpet player continues to play the trumpet but begins walking around the stage. At this point Estreľa is mostly just vocalizing.

O o mi

Estreľa also takes a few steps around, relative to the trumpet player's steps, creating a sense of interaction. Then Estreľa and the trumpet player face back to back (her to the left, him to the right)

O o
O, o, komë ja

And the trumpet player walks off the camera as he plays his last line, and finally Estreľa sings her last line.

Ragažë, lej san ja

The stage lights come off and everyone on stage becomes a silhouette, and the song ends. The audience in Gralicna goes crazy. "Thank you, Hvala, Gražia!" Estreľa proclaims just before leaving the stage.

Girl like me
You say you want a girl like me
You say you want a girl like me
You say you want a girl
But I am your girl, yeah

You greeted me like an old friend (When we met)
We sat here in this place (Together in the same bar)
They think we’re in love (But what do we think?)
You don’t agree with them

So I ask you: Ooh~
What do you want?
What are we?

And your answer: Ooh~
When I need you the most
You were silent

Oh na na na na na

Girl like me
You say you want a girl like me
You say you want a girl like me
You say you want a girl
But I am your girl
(Girl like me)

We were talking the whole night (it is ten o’clock)
I wanted to hug you in your room (Like we’ve done)
I thought this was love (If not, what is?)
If it’s a lie, then I want the truth

So I ask you: Ooh~
What do you want?
What are we?

And your answer: Ooh~
When I need you the most
You were silent

(Oh na na na na na)

Girl like me
You say you want a girl like me
You say you want a girl like me
You say you want a girl
Am I your girl?

You want a girl like me
You say you want a girl like me
You say you want a girl like me
You want a girl
But I am your girl
Girl like me

Oh, oh, me

Oh, oh
Oh, like me

I am that girl

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07 Izmedu Postcard

Postby Izmedu » Sat Nov 25, 2017 3:23 am

At the start of the Izmeduan postcard, L'Agaun could be seen hanging out in El acait, one of Gralicna's premier bars in its downtown region. In that bar, L'Agaun were performing an acoustic-led version of the song, with Aleksandar singning the Izmeduan entry as David was on the back of a makeshift stage, playing the Izmeduan tamburica. As Aleksandar was singing the chorus, the camera then cut to shots of a small crowd in traditional Izmeduan clothing that were dancing to the song, consisting of mostly women that were dancing on their own.

The women seemed to be doing a mix of both robotic choreography but also were keen on doing Izmeduan-style dances, mixing the styles together in a disparate menagerie. Eventually, even Aleksandar himself joined in on the dances, pausing the singing but with the instrumental going forward with the chorus. There was a pivotal shot of Aleksandar smiling as he himself also performed the 'robotic'-like choreography of The Future Is Plasticene, extending an arm out and twirling with the dancers.

The camera show slowly turned to black and white as the view was now dominated with three women who were about to look at each other in preparation for their next set of choreography. The words 'BECOME ALIVE' then appeared on the screen, and the Izmeduan entry information appeared.


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Last edited by Izmedu on Mon Dec 04, 2017 1:34 pm, edited 1 time in total.

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07 Izmedu

Postby Izmedu » Sat Nov 25, 2017 3:27 am

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Tune: The Buggles - Video Killed The Radio Star

“This is a song for the dreamers who've lived long enough to see what they thought stood the test of time fall into that stage: being outdated.” - Joint statement by L'Agaun.

Members
Aleksandar Skrnjug – Vocalist, Keyboardist
David Gregurek – Producer

It was an odd thing, this whole World Hit Festival gig for the band that was about to perform for Izmedu. For L'Agaun, it was more of a surreal experience to be out in the open air in Gralicna, in a region of Izmedu where they haven't had much exposure to or much less even considered visiting. For these two Vodiznad natives, they felt out of water, and were completely gobsmacked at the opportunity to even perform for Izmedu considering their near-win at Izmepisma. Despite these anxieites, a performance in Gralicna's World Hit Festival would be just another performance for them, an opportunity to expose their nascent music to the world and bring about the next new age throwback to not only just the country, but maybe the multiverse. In their quest to bring about a retrograde future, World Hit Festival seemed to be the logical next step for L'Agaun.

L'Agaun were a duo born as a post-graduation college project between Aleksandar Skrnjug and David Gregurek, who were two music production students who met in college and spent the better half of their three years as roommates. Both of them tried to take their own paths to music, with Aleksandar being a session vocalist for most of his 20s while David tried to establish his career as an accountant in Sastavak. Aleksandar didn't find that much luck in trying to land a solo position and thus found a roadblock in trying to progress through the Izmeduan music industry. David was the opposite, he missed the music he used to create with his roommate it afforded him.

A fate message that David sent Aleksandar was the seed that would turn into the creation of L'Agaun and the reuniting of Aleksandar and David. The duo initially conceived of L'Agaun as a novelty production, creating songs that would poke fun at their existential angst in their dorm years. They would post new wave covers of current Izmeduan hits, aping the sound that Senka codified 10 to 15 years earlier, and additionally wrote deliberately parodic songs based on Izmeduan political culture. L'Agaun were more than willing to poke fun at the gridlock that the izmeduan government goes through, to the lack of funding that's often apparent, to its realiance on its major international trade networks, to a president that often looked like she was in headlights every time she appeared on TV. No aspect of Izmedu was safe under their gently mocking guise.

What led to the creation of “The Future Is Plasticene?” It involved Aleksandar, who was the primary songwriter of the duo at the time, being in a drugged stupor after inhaling a borderline dangerous amount of cannabis. To him, he saw a paradoxical figure of the future, a 'Plasticene Robot' that looked ancient in his mind, yet so foreign and futuristic. It was a living robot made out of clay, and Aleksandar proposed that idea of the song in the days where he was recovering from being out of it. David, being the practical one of the duo, was resistant to the idea of basing a song off of an object that didn't even exist.

However, Aleksandar pushed on with the song, and David found the potential for humor in it. The song itself would be a massive retro throwback in the vein of a Norjihani entry, based upon the fast pace of technology and how so many things we use are replaced in a matter of months. The topic itself was something of a brewing issue with Izmedu catching up in its inconsistent technology sector, what was the country to do with all of this technological waste? Aleksandar wrote the song in mind with these concerns, and had the idea to submit to Izmepisma as an attempt to try and get the message out there. David had no idea if Aleksandar's almost foolish ideas were to work, but “The Future Is Plasticene” represented the kind of liberation that he was seeking for after years of sputtering in his industry.

Lo and behold, they came 2nd in the national final, and now they were on the verge of representing their home country in the World Hit Festival. Aleksandar and David were just as surprised as the community that their song, of all possible songs in the world, were chosen.

“They're really throwing in the towel, aren't they?” remarked David, but all Aleksandar could respond with was a sly smile.

It's showtime...


The larger size of the Izmeduan crowd led the RTI team to take further precautions when it came to the sound feed, but the outdoor nature of the festival saw no cause of concern, but the cheer was still ear-deafening regardless. On the stage's main platform was Aleksandar with a microphone planted in front of him, while David would be hanging backstage. Two backup singers would be providing the backbone of the song, with one flanking Aleksandar on the side pits.

At the entry's introduction, a nostalgic-sounding piano came through the speakers as the sound receivers oriented itself to the music. The camera faded to a close, black-and-white shot of the stage, circling around it as lights faded and flashed to the music. As soft synths came through as a way to frame the entry, the lights on the rafters increased in intensity, and faded at the introduction's ending... After that, the camera cut to a close shot of Aleksandar, as a spotlight shone on him, near the microphone as he began to sing.

I've seen that electronic trash over the mound
Don't know if it rots or waits to be recycled
Who knew tomorrow would be sent to the trash heap


On the back screens, an image of a trash dump at night began to appear as Aleksandar sang the verse, a vocoder effect added to his voice making it seem like he was speaking through a muzzler. The way he sang it was almost whimsical, with his body posture tilted upwards as his face was in a whimsical reflection of the situation at hand. At the end of this half of the verse, the camera cut to a view of the backup singers covered in darkness, making a vocal effect.

Over the gilded hills are silicon centers
Fine nano particles being made with great detail
A beautiful turnover of such strong power


The camera took a wide view of the stage in the La liberja polja as color began to return, with the music adding additional trills and effects to simulate a new day. The lights on the stage were yellow, shining towards the audience as the background sky was tinted in yellow, a sunrise making the stage hue turn from its regular purple to yellow. During this half of the verse, the camera would occasionally cut to Aleksandar and a wide stage view, with the end seeing Aleksandar look into the sky with a knowing look, and a hand pointed out.

Things become antiques
Say this line with me


During this hook, the female vocalists performed the same vocal effect from earlier, framing each line as they grooved in the darkness to the song's increased pace. During these two lines, peculiar looking robots that looked as if they were made out of modeling clay began to dot the stage in various colors. The camera would cut to a close view of these weird robots. Aleksandar took the microphone off the stand at the end of the hook, as the camera then focused its energies on close-ups of the stage.

The future is plasticene robots
The future is plasticene robots


For this chorus, the camera took a 'hand-held' and found footage view of the stage, as the backup singers came out of the pits and began to walk around the main stage as if they were in awe of the plasticene robots. The backup singers were the primary ones singing the trademark chorus, with the plasticene robots dancing in odd, almost impossible-looking motions ranging from fast yoga positions to robots embracing each other. At the end of the second line, the background singers turned to trying to caress the hologram robots.

Besides, it won't last that long


For this line, the vocal action returned to Aleksandar for a brief moment. It'd only be an interlude to the chorus, which caused the robots to stop moving and stand in place.

This dump of old tech used to be the stuff of dreams
Seeing those early cyborgs was a miracle
Nowadays, people drop their cybertrash fast


The brief second verse saw the turning of the background image from a large cyber dump into an army of these plasticene robots, who were dancing in mechanically odd ways that looked uncomfortable like other. As Aleksandar sang this verse, he walked around the stage as the camera cut to views of him and the background singers. He was lamenting these plasticene robots, looking at them with a fond sadness with the impression that he knew they were going to go. The background singers were testing the limits of the holographic technology, creating the illusion that they were caressing the robots.

It's such a sad fate
But we can't dwell long


It was quick turnover to the hook as the background singers turned to Aleksandar in a dramatic fashion at each vocalization, where he'd only look at them with a resigned, but paradoxically happy look in his eyes. Like the lyrics, there truly wasn't much they could do with these plasticene robots, but the moment was more significant than missing their eventual disappearance.

The future is plasticene robots
The future is plasticene robots
Though it's some bygone relic, you can't forget the source of it


The camera turned to a wider view of the stage, locking itself into the center of La liberija polja as the view looked as if it were a security camera angle of the stage. The plasticene robots were seen moving around and dancing to the groove of the song, even phasing through Aleksandar and the two background singers in a deliberate special effects failure. While Aleksandar didn't react, the backup singers almost 'panicked' at the robots phasing through them, with the crossing only happening during a brief vocal rest between each line. The last line was handed to Aleksandar, who was standing in front of a holographic robot as he sang the line.

There was a brief vocal break as the camera turned towards closer views, as it caught Aleksandar and the backup dancers grooving along to the song in the same way the plasticene robots were dancing. It looked like a mosh pit in a bizarro world, with the lights and the screen now covered in an era in yellow, pink, and baby blue to accentuate how odd the atmosphere was looking.

After the instrumental, there was a pause, and an electronic guitar heralded the return to the song.

The future is plasticene robots
The future is plasticene robots
Though it's some bygone relic, you can't forget the source of it
Besides, it won't last that long, it's gonna be obsolete


The two background singers danced alongside the dancing plasticene robots for the chorus' re-apperance, as the plasticene robots themeslves had their holograms begin to become faulty. Their earlier shine and pristine forms were turning into static as they moved, appearing more and more like a drug trip on stage. At the last two lines, the camera turned to a close view of Aleksandar kneeling down on a malfunctioning robot as static permeated its body. When he sang the last line, the robot could be seen falling to its knees and promptly breaking apart at Aleksandar's fading vocal and softened instrumental.

I am a plastic robot
I am a plastic robot
The future is plasticene robots
The future is plasticene robots
The future is plasticene robots
The future is plasticene robots


For the triumphant end of the song, the background singers would be carrying the song, as a backstage singer would carrying the 'I am a plastic robot' line as the two background singers 'replaced' the plasticene robots, they themselves dancing with odd dance moves. Aleksandar would be doing largely the same, retreating to the back of the stage.

I was a plastic robot
The future was plasticene robots
The future was plasticene robots
The future was plasticene robots
The future was plasticene robots


At this, the song transitioned from present to past tense, as the camera centered itself and slowly zoomed out as the song 'faded out.' The view was now black and white, with the plasticene robots disappearing one by one as the stage darkened. At the last line, the stage gradually turned black as the song's fade out was sign for the crowd to start cheering. (OOC: the outro is ignored)

At the ambiguous conclusion to the song, the crowd in Gralicna cheered for L'Agaun, even though one half was backstage.

The cheer was unlike anything Aleksandar himself experienced, so he bowed down and shouted, “Thank you!” before walking backstage.
Last edited by Izmedu on Sat Nov 25, 2017 3:48 am, edited 2 times in total.

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08 Balkvla Islands Postcard

Postby Izmedu » Sat Nov 25, 2017 3:28 am

At the start of the Balkvlain postcard, the camera situated itself upon a view of a small electronic music festival that was going on in another part of Gralicna as an acoustic-led version of the Balkvlain entry played. The crowd could be seen cheering as fire sputted out from the small stage, with the words 'THE PRE-PARTY' appearing on the screen as an Izmeduan DJ worked the mixing table timed to an array of lights coursing through the stage to present a haunting light effect that streaked through the night. Then, the lights were paused, and Spright Rose could be seen going on the stage.

He was the special guest of the night. The rest of the postcard would focus on him performing at this festival as he engaged with the crowd from the stage. He held the Izmeduans to rapt attention, keeping them at hand as he sang his entry as a preview to what's to come on the actual stage at Gralicna. At the song's close, the crowd could be seen going haywire at Spright Rose's performance, with the DJ coming up and shouting “Spright Rose!!!” to the crowd's enjoyment.

The camera view changed to one that surveyed the entire crowd from behind, and the words “BECOME JOYFUL” appeared on the screen as the Balkvlain entry information appeared.


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Last edited by Izmedu on Mon Dec 04, 2017 1:34 pm, edited 2 times in total.

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08 Balkvla Islands

Postby Izmedu » Sat Nov 25, 2017 3:30 am

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Tune: Ariel Pink - Feels Like Heaven
Spright Rose is a new and upcoming artist in Balkvla who was finally given the chance to represent the nation on its return to the WHF stage. He and his backing band run up to the stage, his long blond hair and Hawaiian shirt making him stick out on the stage.

As the song began, the video was made to look like it was off an old VHS tape. Spright with his guitar went up to the mic and started to sing a song inspired by the old 80s cassette tapes he used to listen to.

What just happened?
In that night we shared.
I knew this feeling I had before,
I do know


The background screen showed clouds and the bright blue sky as Spright continued to sing to the audience.

You appeared to me long ago
You improved my life in my ways
I was immature
You didn't need to do this
But know I perceive it as
Exactly as Zion
Perceived as Zion


I knew what to do, when you returned
You don't have to be concerned
I will make this work for us
I do know


I can be your lovely Adonis, take the chance
We'll go to Eden and have a dance
You'll feel like we're in a trance
Cause with you I perceive it as
Perceived as Zion
Perceived as Zion


During the brief instrumental, Spright plays his guitar with his band, enjoying performing in front of the large outdoor crowd, before returning back to the mic.

I can be your lovely Adonis, take the chance
We'll go to Eden and have a dance
You'll feel like we're in a trance
Cause with you I perceive it as
Perceived as Zion
Perceived as Zion


The background screen now shows the text "Perceived as Zion" in a stereotypical 80s font superimposed over the cloud and sky background as the song finally ends. Spright and his backing band say their thanks to the crowd before running off the stage.
Last edited by Izmedu on Sat Nov 25, 2017 3:31 am, edited 1 time in total.

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09 Estogium Postcard

Postby Izmedu » Sat Nov 25, 2017 3:34 am

At the start of the Estogian postcard, we can see Kenzie Eleen taking a foot step at the very heart of the Izmeduan wilderness as an acoustic-guitar led version of her entry began to play. With an initial frame of her face looking up into the clear skies, the camera zoomed in to reveal that she was at the base of one of Izmedu's famed rock formations at the Varajic Alps. On her own, she smiled as she continued to take a trek through the wilderness, taking care not to overtly disturb the natural wildlife in her presence.

We then cut to her scaling the rock formation through the side, with the camera dynamically zooming in and out of the whole area to emphasize the size and scope of the Izmeduan wilderness. Eventually, Kenzie would reach the top, and a smile appeared on her face as she glanced at just how far the Izmeduan wilderness would expand out. One could even see a few cities out in the distance, from the district of Stari-Pozemia, to Gralicna itself, and a couple of Izmeduan municipalities that dotted the land.

The camera then transitioned to a view that was facing towards the rock formation, and the words “BECOME FREE” appeared on the screen with the Estogian entry information appearing not long after.


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Last edited by Izmedu on Mon Dec 04, 2017 1:35 pm, edited 1 time in total.

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Postby Izmedu » Sat Nov 25, 2017 3:35 am

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Tune: Delia - Da, Mama




RVC returning to the contest for the 6th time in a row has a lot of critics confused. In what will mark the 12th try for the nation to win the World Hit Festival, there had been a lot of rumours stating that the nation would not return to the contest. The rumours were first heard at the World Hit Festival 34 when Estogium placed 14th despite sending one of the most respected artists in the country, Shyna Kumbes and the board at the RVC were angered by this result as they believed that they deserved better. On a field of 19 other songs, Shyna Kumbes said that she felt as though she did do well, whatever RVC or the Estogian public were saying. Mercedini ended up winning the 34th World Hit Festival, though they decided to pass the rights to host on to the second placed Britonisea. As BVC decided to accept the choice to host, it almost forced the RVC to accept going to the contest. Not only will it be much cheaper for Estogium, but RVC has a tradition of not missing a contest that the Britonish host (WorldVision or World Hit), and each time, they try and place higher than the host nation, though being unsuccessful on all five occasions. After another disappointing result in Britonisea, 10th place out of 13 nations, nothing held back RVC from withdrawing from the World Hit Festival, but the willingness to do well spurred them on and they decided to come in very strongly for the World Hit Festival in Izmedu.

RVC called upon Kenzie Eléen to represent the country, and she was revealed on the show, THE BIG REVEAL: ESTOGIUM which is watched by many Estogian fans of the World Hit Festival. Kenzie is relatively unknown to the Estogian populace, but after her performance on the show, and to those who do know her, they know that she would be a suitable candidate to represent Estogium at the World Hit Festival. Kenzie is an Estogian from Darlington, aged 25 who has always had the urge to sing on a public setting and now she is able to fulfil her dream.

She is ready to shine in Gralicna.




The sounds of phones pinging off fills the outdoor stadium. As the camera positioned itself towards the stage, which had dancers scattered across it, the audience at home and those watching in the outdoor area could see the screens behind. The screens were stylised to be a message service, and a picture of a man alongside a woman, but in the picture, the woman was kissing the man - and he looked as though he was a willing participant in that. A message below it said "OMG. Kenzie, I'm sorry <3" and after that was said, an electric guitar slowly made it's entrance in to the song. From downstage, Kenzie appeared, right in front of the image of the man and woman kissing. One could infer that she was upset, or angry as she stood there, aimlessly looking in to the crowd.

The camera came closer and closer to the stage before a steadicam joined Kenzie and the dancers on the stage. All of the dancers on the stage had phones in their hands, and they all looked at it in shock, as though they saw the image of the man and woman. For the first few seconds, as Kenzie begun to sing the song, the steadicam followed its way around the stage, around to each of the dancers. Every few people that the camera passed, the dancer would slowly turn towards Kenzie, who still stood on the stage, downstage middle. The dancers also begun miming some of the lyrics as they moved around to face Kenzie.

I have been strung along for too long now,
I can't believe how - how I could have fell for this.
I felt so stupid; silly. I felt like this was the end.

This burning feeling I felt was stronger than ever,
It felt so good, but I needed to do something about it.
Had to put it in to good use...


The steadicam had finally found it's way around to Kenzie who stood still in her position. Kenzie, however, used her eyes to interact with the camera, following the lens as it passed across her face. A man, the same one who appeared in the image which was still able for you to see on the large screens behind Kenzie, came on to the stage wearing jeans, and an unbuttoned shirt. The first position he made was holding Kenzie around the waist, in front of her, with his back towards the audience. Kenzie turned her head the other way, very quickly. At each of the sudden increase of the song (when the percussion came in, during the pre-chorus), the man would change his position, his status and gestures he had towards Kenzie.

As she sung the word "insane," another bit of percussion entered, the man suddenly dropped to the floor, looking up Kenzie, who was still in the same position as she was before. The dancers had now all turned towards Kenzie and the cheating man to witness what was happening. They all put their phones up, with the flashlights on. The camera turned from facing towards Kenzie to behind her, witnessing all of the flashlights of each of the dancers' phones turning on from her left to the right in canon.

The big boys' been released from the cages,
Their howling takes over the town, a siren that drives the people insane.
And they don't know what to do (they just don't know what to do...)
I've got a grand plan. (oh)

They're very hungry - hungry for justice,
Don't purposely stand in their way, 'cuz if you do they will go right through you.
Guess what? I'm their ringleader...
And no one is exempt.


After having sung "The boys are raging mad," the man changed his position again - now lying across the floor, and with this, Kenzie moved forwards, closer towards the audience who were already swaying their hands along with the beat of the song. As she begun to get closer to the chorus, strong red lights from around the stage focused on her as she walked closer to the audience, upstage middle. The intensity of the red light was at it's highest during the parts where the percussion came in. The dancers, those who were scattered around the stage, walked towards the middle of the stage and formed two lines either side of her. She walked down the middle of the two lines, as though she was walking a catwalk. A steadicam was with her, following her, moving backwards as she commenced forwards. She did not simply walk straight down the makeshift walkway, though. She walked, not in a straight line, but almost as though she was a bit drunk or done with life. Occasionally, she would even walk towards the dancers in the line and caress their hair or give them a dirty look.

In addition, as she walked down the line, the dancers whom she passed started walking behind her. After exclaiming, "And no one is exempt," she was handed a wooden bat and with it, she swung it at the camera lens, causing the camera to break - or that was certainly the effect that you would see on the television. Giving time for the steadicam to walk of the stage, a far away shot was next for the audience at home to see, featuring the large audience cheering for Kenzie and those on the stage with her. All of the stage turned from red to mixtures of the colour, alongside with grey and white, creating a stormy effect. There were distortions with the camera too, with the camera going hazy or Norway 2017. The camera slowly moved itself forwards.

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along.


Another steadicam came from upstage left and quickly went to face of Kenzie. Smoke could be seen from the back of the stage rising and as it did, it looked as though the dancers, who were once all standing united with Kenzie, got in to a big fight, throwing each other around. The camera tried to make this look as chaotic as possibly, quickly panning in and out from her face, as she twisted her body about. For those who were eager, they would've been able to see the man who we were introduced to at the start starting to come nearer to Kenzie, but she didn't notice as she was too busy looking at the camera. Alongside the camera, though, the lights tried to make the scene as chaotic as possible too. Lights flashed on her face, and those behind her too which well complimented with the distortions.

Abruptly, as the chorus ended after two large hits of the drum, the dancers in the back just froze in the positions they were in, but Kenzie didn't stop moving like the rest of them. She did, in fact, calm down as was moving less than the rest. The lighting also changed back to red, just filling up the whole of the stage. The man from earlier crept up behind Kenzie as put his arms around her neck, almost in a headlock, though it seemed a bit more subtle than him trying to kill her, it was almost done in a lustful manner. And while she was singing, she was trying to get herself away from the headlock that she was in, but she simply couldn't because of the lust she had for the man, she didn't want him to let go of her.

Now I can drink myself in to oblivion,
I've been waiting a long time for this moment.
I will feel so energised, I know I will feel brand new
I can thank you for what you've done, I've learnt my lesson.
I promise I won't get myself someone like you,
And if I do, that day's the day that I'll rue.


Slowly dwelling in to his large frame, a look of contempt on her face begun to show, though along with the lyrics she was singing, "I've learnt my lesson" and "I won't get myself someone like you," she started to realise what she had let herself in for, and the look of contempt she had washed away in to anger as she remembered to stay away from this man who had some sort of hold over her. The camera caught her as she sung the last few words of that sentence, and with that she managed to break away from the man, though his hands only slipped from her neck to her waist.

As the pre-chorus begun again, the dancers in the back started to move out of the tableaux that they were in, slowly turning their heads, and tilting it towards Kenzie and the man as she broke free of the man. Then the man seemed to all join in on the tableaux behind them, with him holding his hands out towards kenzie, but she walked forwards towards the audience, and a camera from behind her swooped past her, twisting it's self as it took flight over the audience that watched on. She gave a slight smile to the camera as it repelled from her.

The big boys' been released from the cages,
Their howling takes over the town, a siren that drives the people insane.
And they don't know what to do (they just don't know...)
I've got a grand plan.

I gotta plan for getting redemption...
For the months and months of asking, "Staying at work overnight again, right?"
I'd would get the same reply...
Yes, I am raging mad!


Another camera, however, did meet her - a simple mid-shot from the audience. As it slowly came closer to her, she looked in to it, swaying from the left to the right and back to the left. She would also move her leg to the time signature of the song, showing the conviction as she bent her knees to sing the pre-chorus. Her hand gestures were also aimed at the camera, as though she was speaking to those at home. The screens behind her were moving pictures of fire flames, and as she sung the fire was quite slow burning. However, when the song went to "Now I am raging mad," the fire on the screens behind her started to move quickly, as though it was sped up.

The dancers that were frozen now came to life, almost continuing from the chaotic scene that they had left off at. Kenzie ran around the scene and a steadicam followed her, going backwards, still shaking to make the scene look as crazy as possible. To aid the intenseness of the stage, the lights kept on flashing on and off, with the hints of red also getting in the mix. She begun singing the chorus again, but she started singing directly in to the camera before stopping on the side of the crowded stage of all the dancers. As she sung, "I won't be strung along..." she slowly started to back in to the crowd, and the dancers slowly engulfed her whole body, and she was unseen. The shot then cut to a far shot of the outdoor arena, focusing on the glare of the lights filling the lights and the audience bashing their heads to this contemporary, unique sound from Estogium.

The next chorus started and within the dancers, she kept on singing...

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!


During the first bit of the chorus, the scene seemed to become even more chaotic, with dancers now climbing on top of each other, simulating some sort of mountain being built in front of the eyes of the audience. Lights were focused on the mountain of people as the fire in the back kept on burning very quickly. The smoke that was present at the start started to build up again. However, there was a change in what was happening as the dancers suddenly stopped moving as Kenzie sung "You're sorry, you want me." before beginning to descend from each other. An aerial camera circled around the edge of the mountain of people as it started to deteriorate. In the middle of this, you saw Kenzie laying there with the her surrounded in the floor being coloured red - inferring many things.

There was a change in the intensity of the son. To compliment this, a shot of the top of the rigs slowly closed in on her. Kenzie was not even looking at the camera, though, she was singing in the direction that she was looking. By this time, the mountain of people all moved away from each other and stood in the positions that they were in at the start of the performance. However, this time, they were dancing on the spot, all doing the same dance, which was all relating to the lyrics of this part of the song - a moment of peace from the staging and music.

I won't submit, no no no no no no no no no no no no.
I'll rise above, oh oh oh oh oh oh oh oh oh oh oh oh.
Karma will come and bite his ass,
I will laugh.

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.


The music was even more scaled down as she started to speak the lyrics to the first chorus of the song. The lights from the phones of people in the audience were switched on a single white light was positioned on the laying body of Kenzie. There was a far shot, and as this chorus of her speaking carried on through, the camera started to pick up pace, before reaching her near the end of this part. Someone else took over for Kenzie as she came in with a mighty roar from deep within her, and with that she jumped up from laying down.

A taller figure came from behind her and Kenzie and this figure started to do some dancing together (similar to Sweden 2012, but more advanced), with him consistently grabbing hold of her, and her breaking free from him.

(Ahhhh! Noo-Nooo!)
I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry (sorry?) - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!


Similarly to the start of the performance, another steadicam came from the side of the stage and went past all of those who stood in their places with their phone, and like the start of the performance, they were all holding their phones up at Kenzie. As the camera interweaves it's way closer and closer towards the main stair on the stage, the light intensity increases - and with that, flames shot in to the air from the sides alongside fog which went metres in to the sky. You could see the glare of the flame shooters of the faces of the dancers. There were also two people standing on the side of Kenzie, a few steps behind her, with flame shooters, shooting them in to the air, to bright highlight to Kenzie and whatever was happening with her and that man.

For granted!
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

Sorry, you wanted me?!
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!


By the end of the song, Kenzie had smiled to the camera which arrived towards her, but her facial expression changed to an expression of fear and with the man, they suddenly dropped to the ground, with the flame shooters shooting the fire towards the camera, and that being the only thing the audience sees before the stage goes fully dark. The audience then started to applaud loudly for the performance and Kenzie got up with the man before speaking in to the microphone, "Thank you so much, thank you everyone!" They then ran off the stage alongside the dancers.
Last edited by Izmedu on Sat Nov 25, 2017 3:35 am, edited 1 time in total.

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Postby Izmedu » Sat Nov 25, 2017 3:51 am

After Kenzie's performance for Estogium ended the 9-song WHF, Irena walked back to the stage after assistants helped to re-arrange the stage back into its normal hosting configuration. She carried a sheepish smile as she walked back, with the cue card at hand as she stood at the main platform with no podium.

Irena: Geez, she's cute... Anyway, that was Kenzie Eleen's “Red-Handed!” We've just gone through all 9 nations of the 36th World Hit Festival, but we were only just getting started here.

The crowd began to cheer in anticipation with what's coming up next, the voting.

Irena: Of course, no World Hit Festival is complete without the voting process. Alright, we're gonna open the voting very soon, but hear me out on the process before you all start to cheer. So, here's how it works.

Irena began to describe the voting process in English first and repeated it in the Izmeduan language soon after, describing how Izmeduans were to vote (either through app, text, or landline) for the competing nations. Competing broadcasters were allowed to either supplement or comment over Irena to describe how their particular voting mechanisms played out.

Irena: Alright, we've gone through this before in previous World Hit Festivals. Ok audience, are you with me?

Irena took a deep breath as the camera flashed to a wide view of the stage... Then, she and the crowd in unison shouted

WORLD! START! VOTING! NOW!!!

Sparks flew from the stage as those words appeared on the screen, with Irena quickly calming the crowd down.

Irena: Settle down! Settle down! Okay, okay... So, we have 15 minutes to fill, and lucky for you, RTI has just the thing up for you up their sleeves to fill the time.

Interval Act
Ideally up by the end of this weekend, but TBD.
Tune: Tose Proeski - Zajdi, Zajdi
Last edited by Izmedu on Mon Dec 04, 2017 10:37 pm, edited 3 times in total.

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Postby Izmedu » Mon Dec 04, 2017 9:45 pm

After Nenad Mlinar's long, but solemn interval act, Irena Ratkovic returned to the stage with a cue card in hand, looking a little but flustered but not worse for wear after watching it.

Irena: I must say, thank you to Nenad for giving such a wonderful performance! Alright, after that humdrum, now we know what part of the show is coming up. The voting reveal.

The crowd cheered as a counter appeared on the bottom of the television broadcast, there was about 5 minutes left before the voting ended. RTI producers planned for such an outcome considering the interval act was only a one part this time around.

Irena: Of course, this show would not be complete if we didn't have a recap of the 9 songs that were performed tonight. Producers, technicians? Take us away to that wonderful realm of the recap, please!

With a brief cut to the outdoor venue, there was then a rapid fade to a 25-second recap of each entry, starting with Natanya's entry. Each recap emphasized a memorable part of the entry, whether it be a high note or a particularly stunning staging aspect. With Estogium's Kenzie Eleen capping the proceedings, the recap ended there. With precision timing, the 60 second mark to the close of voting was close, and now we were back to Irena standing on the stage with the cue card on hand.

Irena: Alright, we hit that point in the show! 60 seconds left to cast whatever votes you want to throw out there. Let's start the countdown!

Like clockwork, there was the 60 second marker going on behind her. It began to tick down second-by-second, with a bang at each respective tick of the clock.

Irena: 60 seconds left to determine the fate of the World Hit Festival. Who will your winner be? Who will be the one to take the title?

At 10 seconds left, the crowd knew the process from past Izmeduan hosting. Each second was chanted by the crowd. When the clock struck zero, a stream of fire and sparks were released from the stage conduits. And producers were at fast work trying to process the result, and Dora Vidakovic readied herself to give the statement.

WORLD! STOP! VOTING! NOW!!!

Irena: Alright, that's it! We have a result!

Irena held the earpiece to her head, and it was time to make the final motion.

Irena: It's time to go towards our favorite set of people managing this whole joint, the RTI producers. I got Dora Vidakovic on the line right now, guess she knew what was coming. Alright Dora, you got the results?

Despite the relative swiftness of the show, Dora smiled when the camera view came to her. She looked to have gotten a little bit older as the editions went by, with more stress lines and a bit of a more pained look than when she had first appeared in the 29th festival. However, she was still all smiles as she was ready to pass over the voting reveal to Irena.

Dora:I guess we're at that part where this is becoming a bit too efficient, huh? Well, I can say that the result has been quickly verified by the producers and that there is a winner of the 36th World Hit Festival. Take it away, Irena. You know what to do.

Irena: Well, thank you Dora! Alright, this is it, folks. This is the moment where we now reveal the winner of the 36th World Hit Festival.

Irena: Alright, here's how it's going to work. We're gonna do something a little bit more unique this edition. RTI have teased a three phase voting reveal like the 32nd World Hit Festival in Harrikes, and that is absolutely true! I'll go through each bit one by one.

Irena takes a breath and pauses.

Irena: Phase I will be us quickly going through each nation in their performance order, and we will reveal who they voted for in no particular order. You will know who your nation voted for, but there won't be any points values attached to each nation.

Irena: Phase II involves the 2, 3, and 4 points values. Now that we know who voted for who, we will then reveal which nations gave their middle values. For example, let's say Izmedu voted for Euskirribakondara, Saintrabina, Kalosia, Artsakhestan, and Fromulya. Phase II will then reveal that Kalosia, Artsakhestan, and Fromulya got 2, 3, and 4 points respectively.

Irena: Phase III then will involve 1 and 5. Pretty much, the last two remaining nations will be locked in a duel as to who got the max points and who got the lowest points values. In our example, the duel for Izmedu's 5 points is between Euskirribakondara and Saintrabina. One of them will get the 5, and the other will get the 1.

Irena: I know it sounds a little bit complicated right now, but trust me, this will go by quick if my dress rehearsals were any indication. Alright producers, get the scoreboard up!

Image

Irena: Let's get started! Let's see who Natanya voted for...

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Phase I - Natanya (1/9)

Postby Izmedu » Mon Dec 04, 2017 10:00 pm

Irena: Alright, let's see who Natanya gave points to!

Image

These nations were all popular choices amongst the Izmeduan crowd, but without any points vales attached, there could only be speculation as to who got the coveted 5 points.

Irena: Interesting first set we have here! We got Darkmania's vote up next.

Izmedu
Balkvla Islands
Estogium
Kalosia
Mercedini

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Phase I - Darkamnia (2/9)

Postby Izmedu » Mon Dec 04, 2017 10:15 pm

Irena: Can we reveal who Darkmania gave their points to?

Image

The crowd began to cheer for the recurring names, but Natanya's appearance was also a welcome one.

Irena: Lot of repeating names here... This is getting even more intriguing. Well, Mercedini's next!

Natanya
Izmedu
Mercedini
Kalosia
Balkvla Islands

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Phase I - Mercedini (3/9)

Postby Izmedu » Mon Dec 04, 2017 10:30 pm

Irena: Let's reveal who Mercedini voted for!

Image

Komarov-Thomiya and Todaskakys were now confirmed to have received points in some form. However, there were still a few nations yet to be on the scoreboard...

Irena: Don't lose your hats just yet. We're not even halfway done with this phase yet. Up next is Todaskakys.

Komarov-Thomiya
Kalosia
Todaskakys
Estogium
Natanya

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