68th Worldvision Song Contest in Dazajin, Axuva [IC]

[Axuva]

Welcome to the 68th Worldvision Song Contest, hosted in Axuva!

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Kalosia
| SONG | COMMENTARY | POSTCARD |

Main Nation Ministry
| SONG | COMMENTARY | POSTCARD |

Axuva
| SONG | COMMENTARY | POSTCARD |

Izmedu
| SONG | COMMENTARY | POSTCARD |

KASANOVA-KORATICA
| SONG | COMMENTARY | POSTCARD |

Polkopia
| SONG | COMMENTARY | POSTCARD |

Antahbrantahstan
| SONG | COMMENTARY | POSTCARD |

Vartugia
| SONG | COMMENTARY | POSTCARD |

Scottish Socialists
| SONG | COMMENTARY | POSTCARD |

Britonisea
| SONG | COMMENTARY | POSTCARD |

1zmedu
| SONG | COMMENTARY | POSTCARD |

Syrche
| SONG | COMMENTARY | POSTCARD |

Wazekia
| SONG | COMMENTARY | POSTCARD |

Adab
| SONG | COMMENTARY | POSTCARD |

Llalta
| SONG | COMMENTARY | POSTCARD |

SquareDisc City
| SONG | COMMENTARY | POSTCARD |

Crazybloxian Empire
| SONG | COMMENTARY | POSTCARD |

Indo States
| SONG | COMMENTARY | POSTCARD |

Normandy and Picardy
| SONG | COMMENTARY | POSTCARD |

Togonistan
| SONG | COMMENTARY | POSTCARD |

Saviera
| SONG | COMMENTARY | POSTCARD |

Monaeroglisseurest Pleindanguilles
| SONG | COMMENTARY | POSTCARD |

Missus X
| SONG | COMMENTARY | POSTCARD |

Mister X
| SONG | COMMENTARY | POSTCARD |

Lactatia
| SONG | COMMENTARY | POSTCARD |

Titaniumland
| SONG | COMMENTARY | POSTCARD |

Ethane
| SONG | COMMENTARY | POSTCARD |

South Bakoto
| SONG | COMMENTARY | POSTCARD |

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Let Worldvision 68 begin!

[Axuva]

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Cant Let Go

Intro- Thou Shalt Not Leave me Wandering

Soon as the intro started and the stadium dimmed, the visuals on the monolith were the only thing lighting the stadium as it flashed in red and white light, and it rotated, then flashing in white minutes later. It then showed visuals of DJMV escape from a prison, fighting gaurds along the way as the music started to play, all running, not looking behind them, they all ran past a security gate, stealing a vehicle and driving through traffic taking a shortcut through a highway. The camera then looked up and panned to the sky and the Monolith would turn red and so would the back LEDs.

VISUAL

Lights in the stadium flood the stage with white lights as the Monolith showed them coming into the stadium through helicopter then sirens started to ring.

Then the song started as the helicopter flew above the stadium, and went down, then ropes flew down and they slid down them and got in position on the center stage, lining up to file a V formation. Dancers were on the stage lined up along the runway and the edges of the stage, a military style with their arms crossed and hands on their chest as the lights flashed in red and this visual was shown on the Monolith and the other side screens spectated the performance.

DJMV- Can't Let Go

WAKE UP, WAKE UP, WAKE UP, WAKE UP, WAKE UP, WAKE UP, WAKE UP

[Malik] I already know you want more
You’ve already got all I want girl

[Jarvis] I know you just need some direction
Dont stop, dont give up girl

[All] You know, you know

[Vladimir] You’ve got me wrapped up
All wrapped up in your love
I’m wrapped up in your love and I cant let go

They stopped dancing and started walking to the runway then danced started dancing again once they walked on the runway and the conveyor started moving so they stood still until it took them to stage B.

[Duran] And you’d touch me, You’re all on me (Duran) Oh yeah
And you’ve trapped me (Woah!)

[Vladimir] Into your love, oh!

They reached Stage B and the lights flashed, peoples glowsticks moved with the beat of the song. The monolith started to strobe to the beat aswell and the runway lights flashed. The other dancers on the stage lined up on the runway and on the outlines of Stage A aswell, mimicking the lead singers dances.

[All] I don’t know why but I’m stuck in your love
It feels so good I just can’t let go
And I can’t control it I can’t do this anymore

[Duran] It feels so good I just can’t let go (Oh Woah)

[All] I’m all wrapped up in your love and I can’t let go! I’m all wrapped up in your love, and I can’t let go

Vladimir separated from them, walking to Stage A, while dancing.

[Vladimir] I cant stand myself next to you girl
And you’re walk just puts me in a trance girl
You lured me in and you made your move and you knew how to bring it too

[All] You know, you know

Malik seperated from the group aswell, sliding to the other side of Stage B.

Jarvis pointed out to the crowd, standing near the edge.

[Jarvis] And you’d touch me, You’re all on me ( Oh yeah)
And you’ve trapped me (Woah!)
Into your love!

The other singers stood at their spots, spinning, then doing their dances, and the backup dancers flooded the stage and they all ran to Stage A, and they were all together on a stair prop, and the LED lights behind the Monolith flashed in white

[All] I don’t know why but I’m stuck in your love
It feels so good I just can’t let go
And I can’t control it I can’t do this anymore
[All] It feels so good I just can’t let go (Oh Woah)
I’m all wrapped up in your love and I can’t let go!

I’m all wrapped up in your love, and I cant let go!

Vladimir would walk to the other side of the stage by himself, while everyone else danced, Then walking back to them

[Vladimir] Do you know what you do to me
I don’t think you really do

[Duran] You have taken all the strength out of me
I really can’t let myself go

[Vladimir] I can’t stop right now no, I’m just wrapped in your love

[Malik] We’ll go all night, I’m wrapped, in your love!

Malik stretched his hand to the air while hitting a high note.

[ALL] D J M V

Vladimir did a slide to the ground and ran down the stairs while everyone chased him

[Vladimir] Let’s make love all night girl
We can’t stop we won’t stop right now and
I’m stuck in your world and I’m all in your trap
I cannot stop, And just cannot let go

[All] Cannot let go

[Jarvis] I don’t know how to feel right now because I cant let go

Jarvis ran out to Vladimir, then ran to the runway pointing to the crowd

I’m stuck in your love and I never wanna leave
It’s just me and you and we will make love
I’ve realized I’m in a trap right now but I don’t wanna leave right now because of you

Jarvis ran out to Vladimir, then ran to the runway pointing to the crowd.

I’m stuck in your love and I never wanna leave
It’s just me and you and we will make love
I’ve realized I’m in a trap right now but I don’t wanna leave right now because of you

[All] Stuck in your love

Everyone jumped and hyped eachother as the beat popped and then they started to dance again, while chanting "Stuck in your love" and all of the members started to dance with another backup dancer

[All] I don’t know why but I’m stuck in your love
It feels so good I just can’t let go
And I can’t control it I can’t do this anymore
It feels so good I just can’t let go (Oh Woah)
I’m all wrapped up in your love and I can’t let go! I’m all wrapped up in your love,
and I cant let go!

Fireworks would ring around the stadium twice as the Monolith screen showed an birds eye view of the stadium from a drone as they shot down inside of the stage disappearing as fire erupted from the top of the monolith and other parts of the stage, and red light flashed all around the stadium.

[Kalosia]

01
Kalosia
In Control — Barallax
performed in English to the tune of Feel It Still — Portugal. The Man

Barallax are a 4-member band from Kasin, formed in 2015. Their name is a portmanteau of the words Borealis and Parallax. "When we were decided on a name, we were torn between those two choices" explains Stefan Talvež, the group's frontrunner. "Then we had the idea to just combine the two names, and thus Barallax was born."

Their song, In Control, had been growing in popularity in Kalosia throughout the course of the summer since its release in June, and members of the Kalosian WV team saw the potential behind the song to appeal internationally. Thus, Barallax were invited to represent Kalosia in the 68th WorldVision Song Contest, and they accepted the offer — here they are.

In Control talks about the struggles one may experience in life. It is sung from the point of view of a person who has appeared to overcome those struggles at least partially, and feels like he or she may "have it all", although the song makes it clear that the singer does not rule the world. Interestingly, despite the male lead, the singer proclaims that he's a princess. According to Stefan, the reason behind this choice was simply because it fit the song better. "Besides," he says, "we live in a world where anyone can be anything they want. So many little girls wanted to be a princess. Boys probably did too. I think you get the point for the lyrics; whoever sings the song feels like royalty, no matter if they are a boy or a girl."

Kalosia was drawn to perform first in Dazajin, and the entry coincidentally felt like the best choice to open the show. For the special occasion, the boys wore all black, and as they took to the stage, the lights were dark. The four of them were spread out throughout the stage, all of them playing the instruments they usually do, with Stefan both providing the lead vocals and playing the electric guitar. There was a female backing singer present as well, and a trombone player as well.

As the song began, it was all dark. Some lights gradually came on, showing only silhouettes of them.

This is a story of life
Of an inner strength, of a willingness to fight
Song of triumph with the demons in me
And I did it with my own hands

The LED screens seemed to come on, showing silhouettes of palm trees.

Oh oh, I’m the mothabuckin’ princess
I have got the world at my own fingertips, yes
I don’t rule it all, but I’m in control

The lights continued to kick in and by the end of this part you could see everyone on stage, and that this was the background graphic.

Oh oh, I’m the mothabuckin’ princess
Don’t feel bad if you don’t have yet what it takes, sis
Cause one day you too will be in control

Now the point of view of the LED screen moved forward, creating the illusion that the viewer was "travelling down" the road in it.

I keep my thoughts to myself
Block out all the haters, they’re not worth it cause you are greater
I cannot change the wind
But I did it with my own hands

The band paused for a second before continuing on the second line of this next part below.

Oh oh, I’m the mothabuckin’ princess
I have got the world at my own fingertips, yes
I don’t rule it all, but I’m in control

Oh oh, I’m the mothabuckin’ princess
Don’t feel bad if you don’t have yet what it takes, sis
Cause one day you too will be in control

I still fight for inner peace
It is never easy living
To get to your hopes and dreams
One day it’s gonna be a breeze

What you gotta do, you gotta do
Just be a little thankful to the hands that have helped you
And go, set that sail, and start anew

The background graphics, while the layout remained the same, became very retro, looking like this. The lights also dimmed a bit as Stefan took a vocal break and another member of Barallax filled in with the vocals of this next part.

Yes, I got it
Yes, I got it
Yes, I got it
Yes, I got it
Yes, I got it
Yes, I got it all

A spotlight shone on Stefan.

Oh oh, I’m the mothabuckin’ princess
I built my castle home from my heart, from my soul, blessed
I don’t rule it all, but I’m in control

As soon as he played a few notes on the guitar, the lights kicked back in fully and everything was back to before.

Oh oh, I’m the mothabuckin’ princess
I have got the world at my own fingertips, yes
I don’t rule it all, but I’m in control

Oh oh, I’m the mothabuckin’ princess
Don’t feel bad if you don’t have yet what it takes, sis
Cause one day you too will be in control

I don’t rule it all, but I’m in control

The song ended, feeling rather abrupt, and so did the motion in the background graphic. The crowd cheered. The members of Barallax along with the two other performers bowed, and Stefan shouted to the crowd "Thank you Axuva! We love you!"

They then left the stage as it was being prepared for the next entrant from Main Nation Ministry.

[Main Nation Ministry]

02. Main Nation Ministry
The Leader - Refuge In Audacity

Tune: Elton John - I'm Still Standing
Language: English

Pictured Above: The Leader

A Brief Background:
This next song that you're about to hear has been exclusively song written and to be sang by the Leader of Main Nation Ministry, himself. To follow the laws in Main Nation Ministry, the Leader's real name cannot be revealed unless one is willingly to get a treason charge for their troubles. What can be revealed is several facts summarized from a Q&A interview in the dressing room of the Leader with The Truth News journalist and controversial nihilist Nikita Walter. When told about the concept and meaning of the Leader's song, the Leader responded the song was a reaction and a "Now, Listen Here!" counter-argument towards several events that he is aware of.

The Leader claims that he knows of several nations that have been involved in several instances of doing horrible things, despite not being labeled as dictatorships, which the Leader compares as them of being a superhero who kills criminals without consequences, while any normal person who would do that would be imprisoned for such an act. He later explains that the song is supposed to show that while no one is perfect, that doesn't mean that everyone who is considered evil is really full evil.

This is Refuge In Audacity.

The Performance:
After the nation's postcard is shown, the stage transitions, setting with the floor of the stage being mostly covered by fog machines to make it seem like the performers are standing directly on top of clouds. The back of the stage is colored blue to fully have the atmosphere appear to be in the skies in a clear day, where a wooden red door appears in the middle of the stage. A piano that appears to be a combination of a traditional piano and electronic keyboard is visible on the left middle part of the stage, while a lowered blue curtain seems to hiding something on the right middle part of the stage. Near the middle of the stage, a ladder seems to briefly rise from the cloudy floor, which quickly descents. A man wearing large-looking glasses poked his head from the cloudy floor to make it seem that he had climbed up from the ladder that seemed never ending, when in reality, he was actually climbing up from a lowered trapdoor.

Fully climbing up onto the stage, he is shown to be wearing a business suit with a yellow handkerchief with a scarf colored to represent the Main Nation Ministry's flag, where he walked over to sit at the piano, adjusting some music sheets to get himself ready. A guitarist, wearing a blue military uniform climbed out from the same spot, where he walked near the lowered curtain. The curtain raises to reveal a set of backup singers in blue and white robes. It was then that the red door opens to reveal the Leader himself, dressed in his typical attire, while not wearing his cap or cape. As the music starts, he slides forward from the door, before proceeding to slide from side-to-side. As he sings the first set of lyrics, he swings his arms from left to right at the beat of the music, while he dances.

I was never afraid to be a dictator
Knowing that the risks would always get greater
If there is blood under the moon
I tend to sympathize with ones that share the same
That have the ripest tune!

Even when people take a frown at me
Knowing that I done some sort of atrocity
I'm not just the only one who takes the blame
Despite the complications of what they say
They could have done the same!

Before the Leader starts singing the next set of lyrics, the sky blue background transitions to a bright orange to represent an afternoon.

But they forget there is refuge in audacity!
Inside a nation with a capacity
There is refuge in audacity
Even when the strange still lingers, there is still ferocity!

The Leader poses and points towards the backup signers, where they proceed to sing the next set of lyrics, while as a choir.

In Audacity, la la la
In Audacity, la la la

The Leader resumes dancing and singing the next set of lyrics, where the background goes back to being sky blue.

That doesn't mean I can't be a neighbor
Even when I force people to be hard labor
There are more dangerous people just like me
Humanity can't still understand the importance of things
Such as why to not be free!

Cue to the stage background transitioning back to bright orange.

Remember that there is refuge in audacity!
Inside a nation with a capacity
There is refuge in audacity
Even when the strange still lingers, there is still ferocity!

Cue to the backup singers.

In Audacity, la la la
In Audacity, la la la

The guitarist proceeded to start a guitar solo as the part of the stage he was on was revealed to be a platform that slowly raised, as he performed his solo. Near the end of the solo, the rim of the platform let out some pyrotechnics in the form of sparks, where the platform lowered back to the stage, as the rest of the song is finished up.

But they forget there is refuge in audacity!
Inside a nation with a capacity
There is refuge in audacity
Even when the strange still lingers, there is still ferocity!

After the Leader finishes singing the lyrics, he lets the backup singers finish up the song as he dances for the remainder of the song.

In Audacity, la la la
In Audacity, la la la

The stage background transitions slowly from a bright orange to a dark midnight-colored black that represented night.

In Audacity, la la la
In Audacity, la la la

After the song is finished, the Leader lets the audience applaud for him, including the ones watching his performance from Main Nation Ministry. "Thank you, Axuva! And goodnight!" The Leader said, before walking to the red door which he entered through, before the guitarist and pianist exited through the opening in the stage.

[Axuva]

3. Reach

The LED screen switched to a view of the stadium and the camera panned to Zaire, as he rised out of the center lift and put the mic to his lips, covering his left eye. Smoke would fill the stage through the bottom of the monolith.

[Verse 1:]
I’m stressin out cause I cant reach you
I want myself all for ya
I want to know ya’ better
Oh the way you move, it’s so smooth
Can’t see myself without you
I want to get to know you

He uncovered his left eye, and the dancers would start doing the “thousand hands” posing, and he would too, as he put the mic in both hands and put his hands in praying position

You give me something I cannot describe
And I cannot deny
I’m just all for you
You make me blush
And I cannot believe
That I get to see someone like you

Zaire started walking towards the runway and the same male dancer followed him, and they started to do a dramatic dance. But suddenly, the mic blew out and there was no signal.

[Pre-Chorus:]
I just wanna have ya’
You put me in a cycle
I’ll keep it a secret
Nobody but us has to know oh

They started to dance and they moved on the conveyor belt reaching their arms past each other and dodging eachother. He waved the microphone in the air, the expression on his face showed that he was very angry, but he kept moving and singing.

[Chorus:]
And I just feel moved
I'm trying to
I'm tryna get a hold of myself
First time I saw you
I wanted you
I wanted you all to myself
But I just can’t seem
To control my love
The love I’ve got for you and
I just feel moved
I’m trying to
I'm just really trying to reach ya

Zaire was on Stage B, dancing with the male dancer again, doing salsa like dances back to stage A

[Verse 2:]
I’m ready to be here all for you
We can talk on the phone
I know I’ll never go
You make me feel so comfortable
You make feel like heaven
You’re just so much better

They walked onto white prop stairs with other dancers, and they all would dance to the music.

We can have a really good time
And lose ourselves
We can make love together
And you'll take me to heaven
It feels so good I just cannot believe
What you are doing to me
Is not a fantasy

Zaire sat on the stairs, kicking his legs up crossing them.

[Pre-Chorus:]
Baby you’ve got what I want
I’m all into you
I’m just taking it up
I’m waiting for you

He moved up to the front of the stage, moving to the beat, as the backup dancers mimicked him as they stood behind him. He had to walk to the back of the stage to get a new mic and he came back up, and started singing.

[Chorus:]
And I just feel moved
I'm trying to
I'm tryna get a hold of myself
First time I saw you
I wanted you
I wanted you all to myself
But I just can’t seem
To control my love
The love I’ve got for you and
I just feel moved
I’m trying to
I'm just really trying to reach ya

They got into thousand arms position again, but on the stairs lining up to match their moves to the beat

[Verse 3:]
Baby you’ve got what I want
You’ve got the ways and
You got me fainting oh no
Seeing you aint enough
Let’s get together
I can’t take it anymore
I just want you all to myself
I just can’t fight it, I’m losing all control
And I just want ya, I can see us
I can’t hold back anymore

He went to Stage B as he belted out the final words, while dancing around the stage.

[Chorus:]
And I just feel moved
I'm trying to
I'm tryna get a hold of myself
First time I saw you
I wanted you
I wanted you all to myself
But I just can’t seem
To control my love
The love I’ve got for you and
I just feel moved
I’m trying to
I'm just really trying to reach ya!

He posed, looking more pissed than ever that the mic didn't work. He threw the mic on the ground, leaving it there, walking off the stage.

[Izmedu]

04. IZMEDU
TINA - Confidence (Hej ponosan sam!)
Translation: Confidence (Hey, I'm proud!)
Tune: Karencitta - No Apology (Wala Akong Paki)

TINA didn't expect it. Neither were anyone in her team were prepared to be the ones that would shoulder the responsibility of representing Izmedu in the WorldVision stage. In the lead up to the Izmepisma that would select the Izmeduan entry for the 68th WorldVision Song Contest, the pre-contest hype was all about Marina Radonic and Dejan Mlakar. The classic style of Izmeduan music would finally now have the chance to be represented in WorldVision. The emotional ballads that constituted a considerable part of the Izmeduan music scene were supposed to have broken the streak of dance bangers that were a popular fixture within Izmepisma. In fact, things proceeded with that mindset during the national final season. It wasn't until one 18-year old woman found her dance-heavy song suddenly going viral... From only qualifying to the second chance round in her national final heat, to fending off a fellow viral song in the Izmepisma wild card round, to then become the winner of Izmepisma. She caught the imaginations of international jurors all around the world, and consequently, the domestic audience turned around.

TINA (real name: Tina Vukovic) is an up-and-coming pop star hailing from Vodiznad. Her entrance into pop stardom starts first and foremost with her Izmepisma entry, with “Confidence” intended as the platform to break her into the dance-heavy sectors of Izmeduan music and become a new pop sensation. As a nascent figure to the Izmeduan scene, she didn't have quite that much to her name in comparison to her more older colleagues. Prior to gaining an interest in become a pop star, TINA had often kept to herself in school; often practicing her hidden interests in singing and dancing much to herself while trying to keep her grades up as a backup plan. Her parents knew of her burgeoning talent in both aspects, especially as TINA would often compete in talent shows that were far away from her local community (she would often compete in cities like Mousiki, or Vodiznad's neighboring municipalities such as Kaspari or Krivac).

However, she rose to near-stardom in a time where the Izmeduan music market was facing stagnation and hypercompetitiveness. TINA and her parents tried to safeguard things by making sure all the foundations were set for TINA's debut to go just right. She entered a development deal at the age of 15, striking a deal where she can participate in songwriting camps, be granted dance lessons, and know what it's like to live the pop star work life prior to jumping towards an official record deal. Development deals like TINA's were rare in this day and age, considering the Izmeduan market was now skewing towards singers that were in their early to mid 20s, and even singers who were pushing the older age bracket were beginning to see their popularity crest once more.

This was additionally compounded with TINA's own feelings of insecurity surrounding the process as well as the overwhelming pressure she felt. She could never understand why she tended towards the career of stardom and music; especially more dance-heavy music instead of leading the primarily singer-songwriter life. All TINA wanted to do was to sing and dance her heart out to songs that she could connect with, whether those were songs she wrote herself or ones she curated. However, she was not ready for the fame or the intense scrutiny. This was made painfully apparent at the age of 17, the year before she started to create her Izmepisma entry and transitioned from developing star to a bonafide one of her own right.

She was listed as an 'artist to watch' by the music press concerning her local talent show appearances and was hyped primarily by 'those in the know.' Initial public reaction, despite coming from a minority of the listening public, wasn't enthused by the appearance of an artist like TINA. The general consensus was that she was another disposable 'solo female that dances decently,' having covered ground like her predecessors Gorana Sever and Nada Markusic. Additionally, TINA's proclivity towards dancepop led many to dismiss her as a mere flash in the pan in the making. She had 'no career,' 'dead on arrival,' and was doomed to fail like many Izmeduan artists before her that made music in the same vein. Historically speaking, TINA knew that her critics had a point. The odds, not just for her, were stacked for anyone hoping to break ground in the Izmeduan music industry.

By then, her faith in making TINA the pop star was shattered. Being only 17 at the time, she knew that she at least had the flexibility to change her path if necessary. College and graduation from the Izmeduan secondary system were on the horizon as more-than-viable backup option. Yet, something innate in her just kept edging herself to keep the pop dream alive... In hindsight, it was the right move. She posted a cover of an upbeat Katarina Zunic song to a social media site, figuring that finding fame as a mid-level covers star would be a good start to her career. The Katarina cover was only the third cover she posted, having gained somewhat good traction after utilizing it as a way to heal from the initial negative hype. If she was seen as merely a dance robot, why not prove her doubters wrong with vocals?

The development deal was beginning to pay off... She was then in contact with a local producer from Vodiznad named Ivana Malnar, who had been with the associated label that TINA's talent agency was attached to. Ivana was a producer-songwriter who had been shopping around to sell a rather dance-heavy yet vocally intense song about finding confidence in one's self after being worn down. She initially intended on selling the song to someone like Zlatica or even Ziva Lipovac, but Ivana found that there wasn't anyone in the industry at the moment that could 'own' the song, not until she met TINA. Despite TINA's talent agency being caught by surprise that someone would break the ice, this phase of TINA's development deal began... The debut single.

Ivana's instincts were proved right. TINA did not just sing and perform the song well, she 'owned' the song and performed as if she herself had written it. That was when TINA told Ivana of her own struggles with the song's subject matter, and how the song itself was almost a mirror reflection of TINA's own journey to near-stardom. A partnership was forged, a record deal was inked, and a marketing machine began to develop... Izmepisma being around the corner, as well as TINA's team considering all options, meant that it was sent there too. The goal was to expose TINA to as many avenues as possible, even if it meant rejections after rejections along the way.

The Izmepisma win? Being in Dazajin, Axuva? TINA thought it was the stuff that dreams were made of. Yet here she was. This was a performance and an audience she thought she'd had to earn the right to perform after years in the business, not in her first year out as a pop star nor representing the country she came from.

She took a deep breath...

I can't disappoint anyone now...

---

82,000 people... I can't even...

This was certainly the largest audience that TINA ever performed her in life so far, and probably the largest one she'll ever face. She was positioned at Stage B, almost at the very heart of all the crowd cheer she could hear beyond the ear-piece that helped muffle the loud noises that she knew she needed to get used to. She got goosebumps as lights billowed down at the center of the stage at the advent of the Izmeduan entry. TINA took a deep breath as she heard a beep in her ear piece... It was the cue for the music to start playing. A muffled electronic instrumental began to slowly wade through the Chojeom Stadium, as twin spotlights began to shine on TINA's position. She had one hand to a swayed hip, remaining stationary as the lights would gradually brighten. At a certain point, two beats would play that would cause the stadium to be enveloped in a series of yellow lights. She nodded to those beats, swaying her hips to them as she winked to the camera. She stepped forward just in time for the first verse of the song to begin.

Knock me down, push me around til I break, I break
Think you're all that, the top dog with your ego, ego

The light wall behind the monolith would flash with yellow dots at the advent of the first verse. It was a verse delivered in a rapid pace, with TINA slinking towards the camera that was focused in a close view of her. Her expression was determined, her stance focused on staying determined and strong. She made a 'no' motion at the end of the first line, before crossing her arms and craning her neck at the end of the verse, swatting the camera away to an alternate view. The monolith LED screen would then display a live feed of TINA performing, with 'I break' and 'ego' appearing as written lines whenever she would sing them.

Tear me down all you want, I don't play
Bet you ain't even seen the real me yet
I'm more than just that little girl
Borite me

TINA was then walking down the runway for the pre-chorus, with a camera on stage going backwards as she was quickly walking towards Stage A. She was making fierce and sassy hand motions throughout this pre-chorus, directing it towards the camera she was following. Her expressions were determined, her eyes and vocals brimming with resolve. The effects on-stage would remain the same from the first verse, with the live footage on the LED monolith still up for most of the pre-chorus. It wasn't until 'Borite me,' which saw TINA now on Stage A, where the monolith went dark.

I stand my ground with confidence, I won't back down (no)
And I won't crumble, I'm no pushover
Now, I'll prove you wrong, hajde idemo
I stand my ground with confidence (Jamo, hej ponosan sam!)

The production was pared back as an array of white lights flashed upwards, with the monolith flashing in a bright white that made the entire stage glow before flashing into a dark black that displayed some snippets of the lyrics as TINA sang them. The camera however, focused mostly on TINA as the dance troupe that would drive the rest of the song began to be performed here. Backup dancers can be seen slinking their bodies to TINA's singing and being illuminated by the lights (from a combination of the light wall and the monolith). The movements almost seemed uncoordinated at first, with TINA approaching the center and looking out for her cadre. A line of 8 dancers was now visible by the the second line, accentuated with TINA's greater vocal ferocity in delivering the lines. She and the dancers began to shimmy backwards at the third line. By the last line, TINA locked herself in an erect position, holding an arm up as she sang the song's title. The Chojeom Stadium was illuminated in a blinding white light, with the camera taking a brief wide view of the stadium's stage right at the end of the chorus.

The song's trademark dance break was now in full force. The stage was alight in a frenzy of white and yellow lights as as the word 'Confidence' and various translations of it were transfixed onto the monolith. The camera however, was focused on the intense dance routine that TINA and her dancers were performing. It consisted of hip sways, slight kicks to the air, intense upper body motions, and fierce arm sways that all combined to create the message of determined confidence. TINA and the dancers were a force you did not want to underestimate or belittle. The sways were especially intense for the first part of the break, the camera closing up on TINA and with her performing an excited wink as she and the dancers all swayed their hips. For the second part, there was now more emphasis on foot stomps and high arm motions, with a collective clap with hands and arms upwards at one point, as TINA and the dancers all exuding ferocity. At the end of the break, the dancers dispersed (with half walking to the right, half walking to the right) and TINA walked towards the camera as it had a floating view in front of her.

One step forward, taking orders from no one, no one
Today I rise, dancing to a new rhythm, rhythm

For this second verse, TINA had her arms crossed for the first line. The camera floated closer to her as her cadre was visibly smaller now, with only four other dancers flanking her with the other six hiding behind the monolith. However, they didn't rest on the choreography front. With the music pared back, the movements were now focused more on their arms and upper body, with the movements following the lyrics. TINA and her dancers indeed one step forward, but there were confident arm movements from left to right with one hand raised up, before there was a swipe towards the camera at the end of the first line. The second line, they cupped their hands to a fast and looked up, then engaging with a slight step backwards where they expertly positioned their feet to look as if they were performing a slight moonwalk while looking downwards, nodding as TINA sang 'rhythm.' During this, the monolith would display the words 'no one' and 'rhythm' at the end of their respective lines.

Tear me down all you want, I don't play
Bet you ain't even seen the real me yet
I'm more than just that little girl
Borite me

This pre-chorus had a far more dynamic bent to it than the previous iteration. The full cadre of backup dancers now descended upon the stage as they began to act out the lyrics in the form of the choreography. The camera would switch between wide and close view as two distinct groups began to develop. There was a group of four opposing dancers that were intent on bringing her down, trying to steal the show with forced and intricate choreography, but were swatted and denied by TINA's unimpressed look. She inched closer with an even fiercer look, clearly provoking the 'leader' of the other group as she sang the lyrics. Her chin was up, her face was brimming with resolve, and she was not about to be broken down. At the end of hook, she crossed her arms once more and faced the audience, with the full cadre now behind her. Throughout this, the monolith would be broadcasting what the camera would be seeing, the views of the little 'confrontation' being more apparent to the audience on the ground that weren't sitting on the front, on top of some choice lyrics being shown (especially I don't play, little girl, and borite me)

I stand my ground with confidence, I won't back down (no)
And I won't crumble, I'm no pushover
Now, I'll prove you wrong, hajde idemo
I stand my ground with confidence (Jamo, hej ponosan sam!)

An array of lights shined brightly after remaining static for the verse and pre-chorus, with the music being pared back timed to the lights going upwards and making the Chojeom Stadium shine brightly. The monolith would see more of a use as the live footage was then turned off, now emphasizing a white and yellow light effect that caused the stage to flow as the monolith flashed in an alternating pattern. That light effect would only last up to the end of the first line, as the camera remained focused on TINA and the dancers. While TINA and a few other dancers would be focusing on swaying their bodies slowly to the more pared back production, some of the other dancers were full-focused on pulling in full-intensity working, a few of them quickly squatting down and swaying as TINA sang 'I'm no pushover.' At the latter half of this chorus, TINA and the dancers began to coalesce around the singer, their arms raised up and hips swaying as the music (with the lights growing brighter as well) began to grow. The camera closed-up on TINA as she sang the song's title, with the dance break seemingly incoming...

La izmeda vatra
Kol da žestoko ardari u meni
Ne bojim se ničega, and I won't hide
Mjascam, plesam, ju vim na maj način
Da možeš reći da sam bezvalardan
Mui imam maj ritam i maja glazba
Idemo, idemo, shout this with me now, jamo, hej ponosan sam!

There was a brief rap verse, marking a change in pace as the dancers slowly swayed away from TINA to allow her time to shine. Despite the intensity of the movements she was performing, her rapping was effortless and fast, spouting off words like no tomorrow and with maximum willpower. She focused on making sure to deliver as behind her, the dancers would freestyle to the beat and to her rap. The monolith would display graphics that reflected the lyrics, a graphic of fire appearing for the first two lines that intensified throughout the first half. At the second half, that fire would soon give way to a purple and yellow abstraction that represented the pulsing of a musical rhythm, timed to the song. The dancers were giving it their all as the camera focused on varying shots between them and the stadium's stage. Some dancers can be seen breakdancing and some were even performing backflips, pushing their bodies and skills to the very limit. TINA herself was having some fun, exuding swagger and grooving her body to the beat. It was at the last two lines that TINA and the dancers were together once more, with the last line adding an especially anthemic effect. She held one arm out as she repeated the song's title.

Now, it was time for the proper dance break. At the start, they all jumped up before engaging in the same choreography from the earlier one. More intense hip sways, kicks and stomps on the floor, and grooving to the dance break. The first part saw the monolith's displayed yellow and purple abstract to pulse strongly to the beat, with the camera occasionally cutting to a wide view to show its effects and close-ups to show the dancers. The second half of the dance break was TINA and the dancers performing at their most intense. TINA can be heard audibly sounding 'ahs' and 'has' to an almost ferocious degree, as she and the dancers would first clap their hands up, before engaging in choreography that had them moving their feet upwards and stomping the ground. This was timed to a beat that kept adding to the song's intensity, with the camera dynamically closing in on the technical end of the dance break as they swayed and shimmied backwards.

I stand my ground with confidence, I won't back down (no)
And I won't crumble, I'm no pushover
Now, I'll prove you wrong, hajde idemo
I stand my ground with confidence (Jamo, hej ponosan sam!)

For the final reprise of the chorus, the choreography was now much more looser and less strenuous, but still no less fun or exuding determination. TINA can be seen getting closer to her dancers as a few began to surround her. She raised her arms out in some parts, pointing towards the camera and shaking her head for the first line. The dancers around her all crossed their arms and danced with her, grooving along in a more freestyle kind of dance. TINA would raise her hands and look sideways as one last kind of rallying call during the third line, doing so when she sang 'hajde idemo.' The dancers began to huddle even closer during the final line, standing and half-embracing each other at the final line. TINA sang the final line with the song's trademark mood, confidence. She did so with a grin, the lights in the stadium fading out except the ones on the dancers.

The camera would zoom out for the song's outro, the electronic instrumental fading to a stop for its last notes. It would zoom out just enough to reveal the word 'CONFIDENCE' on the monolith. That word would then fade, as would the lights, at the song's final note.

TINA was breathless, quickly hugging as many dancers as she could to get her bearings. She was left transfixed on the stage for a few moments, her eyes glazing over the audience as she looked visibly shocked. TINA was agape at the amount of people cheering at the end of the Izmeduan entry. No matter how the results turned out at the end of the show, she would never forget the kind of electricity that this crowd displayed. There was no greater feeling than finishing what could possibly be the performance of a lifetime.

"HVALA!!!" She finally said, shouting to the crowd. TINA had to walk backstage, considering preparations for the Kasanovan entry had to start.

Wow... I... I'm not gonna forget this... Not at all...

Tear me down all you want, I don't play
Bet you ain't even seen the real me yet
I'm more than just that little girl
Try me

I stand my ground with confidence, I won't back down (no)
And I won't crumble, I'm no pushover
Now, I'll prove you wrong, come on let's go
I stand my ground with confidence (Now hey, I'm proud!)

Izmeduan fire
That burns within me brightly
I'm not afraid of anything
I fly, I dance, I live on my own terms
Yeah you can say that I'm worthless
But I have my own rhythm and music
Let's go let's go, hey, I'm proud!

[Kasanovakoratica]

05.KASANOVA-KORATICA

Tune: 周杰倫 Jay Chou - "公公偏頭痛 Eunuch with a Headache"

BUM BUM

Iohn & Bennett Ramcie
Languages: English, Kasanova-Koratican Robloxian (1 line), unknown language

Immediately after TINA leaves the stage, Iohn & Bennett Ramcie run on to the stage, as if chasing after her. It's not like there were any postcards to watch anyway. They immediately start laughing

"HHAHAHAHAHHAHAH THAT WOMAN WHO JUST SING SANG, FOR "IS ME TOO", SHE WAS A HUMAN HAHAHAHHAHAHAHHA
DLKOIEEVIONeOIVNKLeioNOIeNDOKEFLL:OSX HAHAHHAH"

I just got chlamydia from a mosquito

BUM BUM!
BUM BUM!
BUM BUUMMMMMMM!!!!!!

They gesture dramatically toward the exit that TINA has just left, as if dying and reaching toward the light. The camera zooms in on TINA at her seat, horrified.
The music starts, and the Ramcie's bodies start moving in tune. But not their heads. They smile though!!!

Bum bum in my tum tum
Bum Bum feelin' dum dum
Bisexual like bonbon
Bumbumbumbumbumbumbumbumbum-
Bum bum don't interrupt
Bum bum I am adult
Big boys like me don't lie
I don't listen to songs I judge in

vv vv vvv vbblesbians bblesbiansbblesbians bblesbiansbblesbians bblesbians

I am a well adjusted person, in real life

vbblesbians bblesbiansbblesbians bblesbiansbblesbians bblesbiansv

I am victim, all you speak are lies

vbblesbians bblesbiansvbblesbians bblesbiansv bblesbians bblesbiansbblesbians

This song has better performance than Axuva

bblesbiansbblesbians bblesbiansbblesbians bblesbiansbblesbians bblesbiansbblesbians

Just another bee in the beyhive bzzz bzzz bitch

They move synchronously. Robbers run behind them and snatch their wigs. What do you call robbers that rob wigs? Wiggers? Wait that's something else

Phew, React to this ok
@Izmedu don't wait
I made a new railway
Ban Vega posting hey
You bullying today
I attack by IRA
I can copy paste
The lyrics to translate

They lift their shirts to reveal bums

Bum bum in my tum tum
Bum Bum feelin' dum dum
Bisexual like bonbon
Bumbumbumbumbumbumbumbumbum-
Bum bum don't interrupt
Bum bum I am adult
Big boys like me don't lie
I don't listen to songs I judge in

Iohn and Bennett yell at each other in high pitched voices

BUM BUM!
BUM BUM!
BUM BUM!
BUMBUMBUMBUM

sicc rapping drops like the ratings for axuva

STOPSTOPSTOPSTOPSTOPSTOPSTPPSTOPSTOPSTOPSTOPSTOPSTOPSTPP

Our women "feminists", made by male fetishists

STOPSTOPSTOPSTOPSTPSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTPP

The NATO-Russia pact, will come with me, attack! Be Polish-Pacific, we teleport so quick

STOPSTOPSTPPSTOPNOWSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTOPSTPP

Your child stars are mine, your nations' armies, mine, not godmodding, but mine

They turn around, and grow new wigs. And get wigged. Meanwhile they sip strawberry milkshakes out of skull shaped bowls

Phew, React to this ok
@everyone don't wait
I made flags for cities yay
Ban Vega posting hey
You doxxing me today
Your country I invade
I can copy paste
The lyrics to translate

They run about waving posters that say "CENSORED", some with the Anturian flag as the background, and are far too excited about this

Bum bum in my tum tum
Bum Bum feelin' dum dum
Bisexual like bonbon
Bumbumbumbumbumbumbumbumbum-
Bum bum don't interrupt
Bum bum I am adult
Big boys like me don't lie
I don't listen to songs I judge

The monolith falls apart, revealing a really badly made effigy, labeled "Yulia Vegnova" which Iohn and Bennett burn, managing to not actually burn it. But they say it's burned. Honor, you know. Clearly. Iohn and Bennett literally do not know the concept of ineptitude.

BUM BUM! BUMBUM!
BUM BUUUUUUUUUUMMMMMMMMMMMMMM!!!!

The children are happy, at least. But now they'll be cannibals. And dead.

[Polkopia]

6. Polkopia
Mirela Santana | Rise

Language: English/Polkopian
Tune: Annalisa - Splende

For two consecutive editions of the Worldvision Song Contest, Polkopia failed to place within the top 10 and many Polkopians took to social media to voice their complaints. Some say that the broadcaster "lost its touch", while others pointed to the Landa vy Polkopiya as the main reason for the nation's relatively poor placements in recent competitions, saying the format is "outdated" and "ineffective". Those at the PNB voiced similar concerns about Polkopia's national final and in order to prepare for the 68th Worldvision Song Contest in Axuva, the PNB decided to implement semi-finals in the Landa vy Polkopiya in order to ensure a balanced result. From this, the two top-placed semi-finalists would advance directly to the Grand Final, and a 'Wildcard' song would advance as well, bringing the total amount of songs in the Grand Final to five. The votes were calculated between a mix of international jury votes and a domestic televote, each accounting for half of the final result, and in the end, it was decided that Mirela Santana would represent her home nation with her song, Rise.

In an interview Mirela Santana gave to the PNB, she states that her song serves as a beacon of hope for those who may be feeling down. "I don't want to be seen as a role model. That's not why I wrote Rise. But if my song gives one person the strength to get out of bed in the morning, then that's good. That's my goal." Throughout her life, Santana had always been an advocate for the treatment of mental health, particularly among university students. While attending VUA (Valinkova University of the Arts), she founded an organization dedicated to allowing those who suffer from diseases such as social anxiety, depression, etc., to openly talk about their illnesses and the struggles they've faced throughout their lives. Her program proved to be a massive success, and within a span of five years, nearly every university in Polkopia implemented similar programs.

Suicide rates within Polkopia have always been relatively high, with 25.3 people committing suicide out of 100,000 people as of 2015, and some scholars point out that the lack of research on mental health is most likely the cause of this. Santana's work in the university setting has worked to significantly lower the suicide rate of young adults attending universities, however the 2015 report showed that suicide was most prevalent in the 40-50 age range. One of the more prominent Polkopian researchers on mental health, Boris Miranchuk, stated that the primary cause for this number was the inability for those affected by the Civil War to integrate themselves in Polkopian society once more, and develop dangerous habits and mentalities as a result of this. As of 2017, institutions have been established in several of Polkopia's larger cities where citizens have the ability to walk in and receive a diagnosis and treatment, free of charge.

Although public knowledge on mental health has greatly improved over the past decade, there is still significant progress that must be made. Yes, a suicide rate of 25.3 out of 100k citizens is much too high for many Polkopian citizens' liking, it is a vast improvement from the 39.1 out of 100k suicide rate seen in 2010. If the rate on mental health research increases at the rate that it has been for the past decade, then perhaps Polkopia will transition into a nation with a greater happiness rating among its citizens.

---

It was particularly strange for a Worldvision competition to be held outside, but Mirela was up to the challenge. Their original plans for the staging and performance had been designed for a closed arena, but when the Axuvian delegation announced their proposed arena for the upcoming contest, their plans had to be adapted for an open arena. After the Polkopian postcard was shown, hundreds of Polkopian fans screamed and cheered in anticipation of their entry. Mirela stood in the middle of the stage, behind a microphone stand. She wore minimal makeup, except mascara and dark blue eyeshadow, and she wore a blue hat to match her eyeshadow. She wore a white blouse and a light blue cardigan over it, with blue jeans and black sandals. The lights were completely black as the opening notes of the song began. The only thing visible on stage was Mirela's silhouette and fog which crept along the stage floor.

Mm mm mm mm mm...
Mm mm mm mm mm...
Mm mm mm mm mm...
Mmm mmm mmm...

The lights along the back of the stage illuminated Mirela and the rest of the stage, and the back LED screen showed portraits of what seemed to be random teenagers. The portraits were in a grayscale color scheme and each person was named and a date was listed underneath the name. The camera showed a frontal view of the stage, capturing Mirela and the screen, as well as a few of the lights in the background. Mirela sang, but her eyes were trained on the ground.

Every day we fight
There's a battle in my head.
I wait for it to pass
But there's no way to look ahead.

Every day I cry
And spend hours in my bed.
Thinking about things
I should have or shouldn't have said.

Now the back lights flashed and the large LED screen showed a grayscale video of a sky and clouds at an accelerated pace so that the clouds moved rapidly around the screen. The camera zoomed in on Mirela who looked up. Her eyes glistened in the light, and it looked as if though she had tears in her eyes. Her voice remained firm and crisp though, despite her appearance.

But I'm not the only one
Looking to the sky.
Hoping for a better day
Wishing I could die.

The lights turned off for a moment, and the camera panned in on Mirela's silhouette. She gave a quivering sigh in the microphone before the chorus. Once the chorus began, however, the LED screen showed the same sky as before, but it was colored in all the vibrant hues that a typical summer dawn would bring. Mirela held her arms out to her side and looked up, smiling. She slightly moved her arms in tune with the beat, and tapped her foot on the ground, all in sync.

But the sunrise
Shines through all of us.
One more day and you'll see everything will be alright.
Today. We'll rise.

And we'll rise
And fight the demons together.
You and I, we'll never leave each others' side.
Today. We'll rise.

As the instrumental sounded, the camera panned around the arena where various spotlights showed members of the audience. One clip showed a group of 4 adults wearing a Polkopian flag around their backs jumping up and down. Another showed one woman near the front of the stage waving her arms above her head. The camera panned back to Mirela and she sang the next verse.

The pain that's in your chest
Know I've felt it as well.
Coursing through your veins
Whispering things inside your head.

Then you run and hide
And try to stay alive.
And you spend your whole life
Trying to save you from yourself.

The background LED screen now showed a clip of Mirela singing the bridge in grayscale. The camera focused on the LED screen and the instrumentation seemed to almost fade out in the background, so that Mirela's words seemed all the more powerful.

But I'm not the only one
Looking to the sky.
Hoping for a better day
Wishing I could die.

Mirela walked forward and threw a fist in the air as she sang the chorus, her body moving in tune with the beat. The background LED screen showed rolling hills and mountains colored in vibrant green colors, while the lights brightened and dimmed in sync with the instrumentation.

But the sunrise
Shines through all of us.
One more day and you'll see everything will be alright.
Today. We'll rise.

And we'll rise
And fight the demons together.
You and I, we'll never leave each others' side.
Today. We'll rise.

As the sang the high note, the lights completely dimmed and showed only Mirela, who crouched and sang. After the hit it, the lights went completely dark and the only thing visible was Mirela's silhouette once again. The audience could see her deep breathing as the instrumentals played. Part way through the instrumental break, dozens of lights were visible on the stage, and soon the lights flickered back on, revealing that the lights were actually paper lanterns being held by people of all ages, all of whom were wearing black shirts. On the peoples' chests were white pieces of paper with a date inscribed in bold numbers. On the back of their shirts, the word, "survivor" was written in bold white font. They released the lanterns all at once and the lanterns illuminated the night sky as they flew overhead.

But the sunrise
Shines through all of us.
One more day and you'll see everything will be alright.
Today. We'll rise.

And we'll rise
And fight the demons together.
You and I, we'll never leave each others' side.
Today. We'll rise.

Today. We'll rise.

As soon as she sang the last part, a little girl, no more than 12 years old, walked up to Mirela and handed her a paper lantern. Mirela held the little girl's hand, smiled, and released the lantern into the sky. On the back LED screen it read, "Rest in Peace to everyone who has lost the battle to suicide. You're in all of our hearts."

The lights faded out, but those words remained until the performance was officially over, and everybody on stage engaged in a large group hug before exiting the stage.

[Antahbrantahstan]

[/box]

7. ANTAHBRANTAHSTAN

Claudia/Jasmine-Love Song

Tune: Aly & AJ-Potential Breakup Song

m & l: Claudia Capeletti, Yasmin Benares

---

Although Darja managed to bring Antahbrantahstan into a Top 10 finish, Darja immediately resigned from the position of HoD because she felt like it was very time-consuming for her. RR executives weren't happy with her decision but she is still let go anyways, RR, looking for a better result than 7th, appointed music expert and orchestra conductor Pramono Suwito, alongside rapper Simonsays to act as co-HoDs for this edition. Pramono and Simon immediately dropped Melodi Grand Prix Anta and chose internal selection as its selection method instead, looking for unknown artists or former talent show participants. Immediately, they discovered Claudia/Jasmine, a duo consisting of the straight-haired Claudia Capeletti and curly-haired Yasmin Benares, who participated in The Voice Anta, they were then subjected into a test where they must cover a ballad and an uptempo song from drastically different time periods accompanied by a piano, Claudia/Jasmine succesfully passed the test and were appointed to represent Antahbrantahstan.

Claudia and Jasmine, during an interview with RR, responded that during senior high school days they would be so obsessed with love songs that they want to find love themselves, growing up, they remarked that they never found love in life, "Getting broken up after several days or get cheated on, that's what we got" said Jasmine, "While writing this song, we want to make this (song) a little throwback to 2000s pop, while keeping some irony and hatred in the lyrics, honestly, just throwing around random stuff and puttin' it in the lyrics." said Claudia, Claudia also remarked that the song is also intended to be a diss track to songwriters across Antahbrantahstan, however, Claudia remarked that she meant it in a fun way, and apologized if someone is offended after listening to the song.

---

We see the LED screen being lit first, showing a black and white coloured graffiti being made, before seguing into a graffiti-filled gray background, the stage lights then lit up, showing Claudia and Jasmine, Claudia is wearing a casual blouse and jeans, while Jasmine opts for a bohemian style blouse and shorts. Claudia is holding an electric guitar while wearing a microphone headset, while Jasmine is simply singing with a microphone stand. As they sing, the stage lights would sometimes turn on and off, according to the song's rhythm.

La la la la lala
La la la la lala
La la la la la laaa

I wanna run, i wanna run
I wanna run far away from you
You tricked me, 'cause boy i don’t see
The devil’s horn that’s above your head
That’s above your head

Why do love songs, why do love songs
Why do love songs, would sometimes sound weird?
It would sugarcoat what makes love true love
And makes love all sunshine and rainbows
Sunshine and rainbows

Claudia and Jasmine then grabbed spray cans that have been put on the floor, Claudia and Jasmine then exchanged smiles before singing into the audience.

If you don’t know what love feels like
You might as well stop writing
All those love songs
People would think love will be
Sweet like cheesecake and green tea
You’re incorrect

Claudia and Jasmine then grabbed two spray cans, and then the LED screen would show Claudia and Jasmine, superimposed in front of a grey-ish background, Claudia and Jasmine, while holding their microphones, then made spraying motions, wherein the LED screen would show Claudia and Jasmine "spraying" into the LED screen, at first, Claudia sprayed the word "HI AXUVA!" in graffiti style, as if she is putting graffiti on the LED screen, coloured black, Claudia then spins around wherein the graffiti disappeared, Jasmine and Claudia then sprayed randomly, wherein the colours would be pink and yellow, as they sang the "This is our.." verse, the graffiti immediately filled the LED, filling it with yellow and pink gradients, while the lights next to the LED screen would then turn on and off from left to right, also in pink and yellow colour.

I can't relate, i can't relate
To what you said
It's just so fake, it's just so fake
Not so sad
I can't relate, i can't relate
I suffered
It's just so fake, it's just so fake
I had heartaches

This is our own perfect, sweet love song
Saccharine, sugar-coated
Oh baby, do you like it

The LED screen turns back into the same graffiti-filled gray wall, Claudia and Jasmine then put the spray cans on their pockets, Claudia sings and grabs her electric guitar again, with Jasmine singing along using the microphone stand, Jasmine and Claudia would make cheeky faces and gestures during her singing.

I wanna run, I wanna run, i wanna run from my own heartaches
Now I feel weak, I just wanna go
From your black chain
Oh, now your own chain
Wants to take my heart

Claudia and Jasmine then switch places, Claudia being the one singing with a mic stand while Jasmine being the one singing and playing electric guitar, Claudia and Jasmine then walked to the center of the stage and pinched each other's cheeks while singing.

I was too young and naive
‘Cause of you i think love’s full
Of happiness
But boys would just walk over me
Thinking they can just treat me
With no respect

Claudia and Jasmine then took their spray cans from their pockets and threw it towards each other, catching it succesfully, the stage and the LED screen is now filled with this orange-y colour. Claudia and Jasmine is then superimposed again on the LED screen, Claudia then sprayed the words "HELLO EVERYONE!", Jasmine then "erased" it by doing erasing motions (like how you erase a whiteboard) afterwards, Jasmine then sprayed the words "WORLDVISION!!! WE LOVE YOU!!", Claudia then ran to the right of the stage, holding her mic, where there is a keytar-style keyboard on a keyboard stand, she then adjusted it in tune to the song.

I can't relate, i can't relate
To what you said
It's just so fake, it's just so fake
Not so sad
I can't relate, i can't relate
I suffered
It's just so fake, it's just so fake
I had heartaches

Claudia then played the keyboard while Jasmine would play the electric guitar, the lights and the LEDs would then flicker on and off in the same orange-y colour, after a while, they then walked into the center of the stage, bringing their instruments along, as the bridge progresses, the lights and the LEDs would flicker intensely until they said "c'mon".

You can write, you can write
A song about how you’re a God
And people would worship you
Teen girls would say “i stan, i stan”
And be a madman, madman in ev’ry situation
In order to act your plan, your plan c’mon

They then jumped, with the stage emitting flares as they jumped, the girls are jumpin' around and dancing in tune to the song's rhythm, they would also use their spray cans to spray words like "GERTRUDE", "BEYONCE???", "DADDY KINAN" and more, referring to past (and current) WV performers and songs, with the LED screens getting blacker and blacker as it progresses, obviously because of the "graffiti", the stage lights in the right and left side of the stage would turn on and off again from left to right, emitting an orange-y colour.

I can't relate, i can't relate (No)
To what you said
It's just so fake, it's just so fake (No, no, no, no)
Not so sad
I can't relate, i can't relate (I can't relate)
I suffered
It's just so fake, it's just so fake (No, no, no, no, no, no, no, no)
I had heartaches

Claudia then sprayed a single purple-coloured vertical line, wherein the colour of the LEDs began to change, showing the same yellow and pink gradient from the performance before, the girls stopped dancing and sang in a more subdued manner while also playing their instruments.

This is our own perfect, sweet love song
Saccharine, sugar-coated
Oh baby, do you like it

This is our own not-so-true love song
We left the truth away
Because it hurts
Because it hurts

The LED screen then turns white.

La la la la lala
La la la la lala
La la la la la laaa

As the girls sang "la la la", after the performance ends, Claudia sprays one more phrase, "THANK YOU WORLDVISION!" now coloured pink and yellow, where it appears on the LED screen. The girls then bowed and ran into backstage.

[Vartugia]

08. Vartugia

Agent Plagarize- "Agent Plagerize and the quest to get null points so these vartugian entries can STOP RUINING THE EFFING WORLDVISION!!!!”

Inspector Gadget theme song

---

Agent Plagerlize is on a secret mission that is totaly save if its written here. Its to rig and to ensure that "The exsteme englishløving nation of
Vartugia" gets null points so they can stop spaming these thread with their songs.

The izmeduan police are chasing him. We don't know why. I guess he did make some izmeduan happy and not crying for once. All we know is that he is corned and there is only a closet. He decided to hide inside the closet only to come out sometime.

He is now seen running inside a hidden base inside Izmedu that was totally not built illegal by Vartgia when they took part in WHF41 in Izmedu.
He is seen running as some poorly added lines get sung by an unknown singer.

Agent Plagiarize!
*Orgasm noices* ?
Agent Plagerize!

He turns some knops ( ( ͡° ͜ʖ ͡°) ) and he gets a giga paper that simply reads

get last place lol

Izmedu we need your tears!

He throws the paper away and it randoly nukes itself

He is seen running up some stairs.

Agent Plagiarize!
*Orgasm noices*?
Agent Plagerize!

He jumps down from a builing as he undertands that this RP doent make any sense.

OH FUCK NO!

He is seen transforming into a GIGA, MECHA, METALIC [TO HOT FOR NATION-STATES TO BE WRITTEN HERE. ITS SOMETHING 18+]

OH FUCK NO!

We see a little girl who looks at any direction that the camera. Maybe she understands what she has gone into.

Agent Plagiarize!
*Orgasm noices*?
Agent Plagerize!

A.P has now come onto the venue and is running on stage. Its empty apart from a bomb.

The venue gets blown up and all that is left is rubble, dead corpses and an international crisis to stop Vartugia. The rest of this contest is done in context of the venue not being blown and everyone survives.

[Scottish Socialists]

#9 SCOTTISH SOCIALISTS

Tune

Mr Whatshisface

’Invincible’
by Mr Whatshisface
Length: 4:21
Language: English



Not much is known about the elusive "Mr Whatshisface", except that he usually wears dark clothing.
"Mr Whatshisface" has only previously been seen once, winning "Scotland's Got Talent", and "Sing!" within two months of each other.
Public opinion of him is high, and he's quite a celebrity on the Scottish music scene.
Although, for a celebrity, you would expect a lot more to be known about him.
Nobody has even seen his face!

The spotlights train on Mr Whatshisface as he walks onto the stage.
He's wearing a black trench coat, a bowler hat, an anonymous mask, blue denim jeans, trainers, and a t-shirt, which appears to say something, but it can't be read under the trench coat.
The crowd goes silent, as they wait for the music to start.
When the music starts, he begins to prance (what do you call this? stomping? walking?) around the stage, shouting "Come on! Everybody!", seeming like everybody already knows the song, even though it's never been played.
Once the song starts, though, he stops in the middle of the stage.

I was shot and, I fell to the ground,
I thought I was dead but, it turns out I was not.
It was just, one bullet,
I took to the head.
But I, won’t die,
‘Cuz I’m invincible.

He turns to the camera on the left, and begins singing the second verse.

I’ll still be standing when the end is nigh,
Get used to me ‘cuz I will never die.
There’s many people who think it’s a lie,
Get used to me ‘cuz I will never die.
I will never die!

He starts walking around the stage with his left arm at his side, pointing straight out, with the arm in front of the elbow pointed up.
Whenever the crowd sings "woo, woo!" he raises his arm to the tune of the "woo's".

I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!
I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!

He puts his left hand back on the microphone, and begins fiercely singing.

They shoot me, but I will not die,
They stab me, but I will not die,
They shoot me, but I will not die,
They stab me, but I will not die.

He begins prancing around the stage just like the first time, shouting "Woo, let's go!" during the musical interlude, before singing into the microphone.

They shoot me, they stab me,
‘Cuz they do not believe,
That I, can’t die, ‘cuz “that’s impossible”.
I get shot, stand up,
Laugh right in their face,
They try, again,
And then they fail again.

He turns to the camera again, but this time it's the one on the right.

I’ll still be standing when the end is nigh,
Get used to me ‘cuz I will never die.
There’s many people who think it’s a lie,
Get used to me ‘cuz I will never die.
I will never die!

He begins prancing around the stage again.

I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!

He prances around again, doing a figure of eight around the stage.

I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!

Whenever the words go from "They shoot me" and "They stab me", he walks left to right on the stage.

They shoot me, but I will not die,
They stab me, but I will not die,
They shoot me, but I will not die,
They stab me, but I will not die.

He stops in the middle of the stage and stares into the lens of the camera directly in front of him and sings.

Are you gonna try, gonna try it?
I’ll be waiting for, waiting for it.

He does that thing where he walks around and raises his fist to the "woo's" again.

I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!

He's still doing the fist raise thing.

I got this (woo, woo!) power inside me!
I got this (woo, woo!) immortality!

He suddenly starts singing fiercely again, with emotion visible in his eyes.

They shoot me, but I will not die,
They stab me, but I will not die,
They shoot me, but I will not die,
They stab me, but I will not die.

He throws off his trench coat to reveal a t-shirt that says "Oh my giddy aunt!", throws his bowler hat like a frisbee into the crowd, and tosses his mask aside.
He is revealed to be famous HOI4 YouTuber Alex the Rambler.
The crowd goes wild as the identity of "Mr Whatshisface" is revealed.

But I will not die!

He falls to his knees and sings, as loud as he possibly can,

But I will not die!

He gets back up, shouting "Thank you, Dazajin, it's great to be here!" before walking off stage.

[Britonisea]

#10 BRITONISEA
Lucie Dagenham - "Comeuppance"
Tune : Barbara Opsomer - "Ta Plus Belle Insomnie (Official Video)"
Music: Garant Bless, Xavier Boyd Lyrics: George Small, Lucie Dagenham

Britonisea is returning to the WorldVision Song Contest, being held in Dazajin, Axuva for what will be their 31st participation.

The WorldVision Song Contest did not travel a far way away after Britonisea hosted the 66th edition of the contest. Just crossing the sea, the 67th WorldVision Song Contest was commencing in Darkmania and everybody gathered around to support the artists from the region and from the multiverse. With the success of the hosting and position of Britonisea at the 66th WorldVision Song Contest, Britonisea had high hopes going in to Darkmania with Alyxhia Willis who was determined to make a spectacular performance. The song was received in many different ways - it was certainly different from the normal pop that you would expect from Britonisea even if it was just as sassy as any other Britonish entry. It also seems like the 67th WorldVision Song Contest happened a very long time ago, but for Alyxhia, she still remembers every moment of it. During the voting, it was incredibly close with Britonisea leading as soon as the voting begun, receiving 12 points from Scottish Socialists. After Nekoni's 10 points (Vote 14), Britonisea retained it's 1st place position on the scoreboard and carried it through for around 10 votes after that. Adab rapidly caught up with Britonisea, receiving three twelve points since Britonisea took the lead and before they took over. In the last few votes, Adab and Britonisea battled it out, but at the end of the day, there had to be only one winner. The last few votes propelled Adab to their first, deserved, victory with Britonisea now battling it out for the 2nd position. Luckily for the nation, the voting had ended and that was it. Britonisea received 96 points and 2nd place.

It's amazing to see how far Britonisea has come since the days of "From a Man who Pushed me Down The Stairs" and "Deceived by Polkopia". Britonisea managed to clinch yet another top 2 position, it's 5th out of 6 consecutive editions which makes both Britons and people around the Multiverse wonder what Britonisea's new formula is. Between WorldVision 31 and 57, BVC and IGBK were involved in making the entries for WorldVision Song Contest (except WorldVision 32 when BITC took over) and in those editions Britonisea had reached the top 2 on four different occasions, WV41, 47, 51, 57 (do you see the pattern?). After BVC decided to focus itself on the World Hit Festival - and gaining it's own sort of success over on that side - BITC took over the WorldVision Song Contest. BITC, which is the international Britonish television corporation, has much more money to splash around and compared to BVC, BITC is known to be much more flashy and youthful which might have been a key factor in not only regaining the waning interest in the WorldVision Song Contest for Britons, but doing well. BITC had achieved what BVC and IGBK had achieved (2 wins, 2 2nd places) in the matter of six editions compared to their 26 editions. This is of course not the only success BITC has had. If we are comparing the most recent WorldVision Song Contest and the most recent World Hit Festival, the WorldVision Song Contest on BITC managed to gain an audience of 10.29 million (39.9%) across Aloquirbe and Britonisea, which is the largest percentage of the TV audience watching a non-Britonish WorldVision Song Contest ever. Over on BVC, the World Hit Festival was watched by 9.39 million (37.2%), the lowest amount of people watching the contest since World Hit Festival 36 when the nation didn't even participate. The fact that BITC is making WorldVision bounce back is amazing for the company and they would want to continue that success going in to the 68th WorldVision Song Contest.

This time, they will be enlisting the held of Lucie Dagenham who was picked to represent Britonisea at the 66th WorldVision Song Contest through the "Cross-Border Battle", a small union-wide competition a la World Hit Festival where the four ABEN nations would face the pre-qualifications and the top two would go to the WorldVision Song Contest. Lucie Dagenham won the Cross Border Battle by a signifcant margin (international voters seemed to like the song), giving BITC an indication that Lucie could be successful wherever the 66th WorldVision Song Contest was going to be held. Several issues had risen that made Lucie Dagenham's participation in the 66th contest almost impossible to go ahead with. The first issue was the fact that Lucie Dagenham had a family issue which meant that most of her attention was not on the music and upcoming WorldVision Song Contest, but her family and loved one who was poorly. Similarly to what has been done in the past, Lucie Dagenham had to withdraw from the contest. It was not very clear if Britonisea and BITC then launched a bid for the contest to be held in Britonisea to make it easier for Lucie Dagenham to participate in the contest or not, but soon after Lucie left, Kelsey Banques took the responsibility and did well in Telm City. A Britonish broadcaster also most likely wouldn't want to host a competition and send a song that they didn't make themselves using their own formulas. Every time Britonisea has hosted WorldVision, the nation has done well, and so some people think that Lucie's withdrawal had something to do with that. Lucie was also promised to represent Britonisea at the next contest, but that didn't happen making people think that this theory was true. BITC stated, however, that Lucie's invitation to represent Britonisea at the contest always stood and now she finally has the chance to do so.

"I have had loads of upsets in my life - even very recently. This opportunity should...and will make it all up to me!"

-Lucie Dagenham

Britonisea will be performing in the first half at the WorldVision Song Contest, and for the first time, the nation is performing in 10th position. Lucie Dagenham has spent the last few days touring Axuva and getting used to the huge support that she receives from both Britonish and international fans.

---

ENTRY DETAILS
Below, you can find all of the main details about the entry...



Duration: 3m16
Main Vocalist: Lucie Dagenham
Wing-Woman 1: Xaila Greene
Wing-Woman 2: Tallulah Dean-Healey
Female Vocalist 1: Laila Yates (offstage)
Female Vocalist 2: Joanna Hugh-Smith (offstage)
Lyricists: George Small, Lucie Dagenham
Composers: Garant Bless, Xavier Boyd

Lucie Dangenham walked on to the stage with two other females who were going to be her wing-women. She was not wearing a shirt or anything on top apart from wearing a black blazer which was quite big for her, coming done to her thighs. While that blazer was undone, there was a completely transparent "belt" going around the inside of the blazer so it didn't come undone when she was getting down and dirty during the performance. On her feet, she had on thigh-high black leather boots with quite a high heel, accentuating her fabulous legs. her wing-women were also wearing the exact same clothing too. Her hair looked flattened and wet as though she had just come out of the shower, and the other women on the stage had it on the same way. The stage in Axuva wasn't exactly made for a contest such as WorldVision and rather a concert with overly large LED screens. Choosing to impress the television audience by keeping it intimate and awe-inspiring was ideal and perhaps more important that making a large display for those inside the stadium. On the stage with them was a three different sides of walls which projected displays all around them - with the screens behind her not being used at all. There was also a large pool of very low-lying water which wasn't even higher than a fingertip. As the Britonish postcard finished, the Axuvian audience cheered for the nation. It was time to sing...

I will not forget the past,
You know the saying, I’d forgive but not forget.
But tell me where’s the fun in that?
After all you are not feeling
What I now feel, you’re content while I’m still reeling.

As the song started, she was standing in the middle of the low-lying pool of water with her two wing-women standing on each side of her. While she was standing in a strong pose, facing the front towards the audience and with both her hands on her hips, the two women on her side where standing slightly to the side with one of their hands on their hips (the one closer to the very large LED screens) and their other hands slowly making their way up their legs. On the projection screens all around of the three women, it looked as though they were going through a forest because to the audience in the stadium and at home was shadows resembling trees (moving about as though they were walking through a forest).

Lucie started to sway along to the music in a very sultry way, looking directly in to the camera that was advancing slowly on her. Her face kept on being covered by shadows before reappearing but the camera never stopped coming closer. She never took her eyes off of it either. As the finger snapping came in, the girls on the side used their free arm (that was travelling up their arm) and used it to finger snap in a really sassy and snazzy way. The next part of the song came and in that small transition between the verse and the pre-chorus (the small sound) there were four different camera shots; a close up of her, a wide angel shot of the whole stadium, a mid shot of her and then an aerial shot before returning to the beckoning shot that it was before. As she sang "I will stand back", she jumped slightly in the air and when landing on the floor, transferred her weight to her back foot, bending both her legs. The wing-women quickly turned around and copied the way she was now standing.

I will stand back.
But you’ll be on my radar.
I will watch you from afar and
See you break many hearts.
And hopefully, one day you will realise that…
There will be some repercussions,
For your bad actions...

Another shot which was further back was shown to those at home as she sang "You'll be on my radar." Along with the camera shot, she also made a telescope around her eye using her free arm (the one without the microphone). She was using her one hand to do a few gestures that were related to what she was singing. For example, as soon as she finished doing the "telescope", she then pointed out to the audience for the word, "afar" and then placed her hand on her heart when singing "hearts". The girls in the back were copying the actions in the back, but using both of their arms. With the build-up to the chorus approaching, the three women started to slowly bend their legs even more, slowly disappearing out of frame. By "For your bad actions", the camera shot had blurred.

You blinked and thought that I was gone but,
I will not give you the satisfaction of my absence.
I’m not sure if you’re aware that
I know that at the end of all of this…
You’ll get your comeuppance.

A camera from above them was the shot to follow. When the camera was up there, you could see that the women were sitting down with their legs up at a 60 degree angle in the air. The girls on the side started to sway while sitting down before getting up on their knees and splashing the water about, flinging their already damp her around the stage. Lucie Dagenham did sit on the floor and did get up to her knees when the other girls did, but instead of splash the water about, she raised her hands to the audience and the camera which had made it's way down to her now. Ever so often, she would casually look down to the stage floor before sneakily looking up...you know that look... When singing "comeuppance" she took a smile before dancing swaying her hair crazily but sexily around the stage. The projections that were behind her were of dancing women - silhouettes (Lucie and her wing-women recording their dance routines obviously as they looked exactly like them). The lights in the arena flashed hues of pink and purple during this section.

The lights then dimmed as they went back to a verse in the song. A bright normal light was cast on the three women in the very low pool. They all looked up as this bright light shone on them. A high angle shot captured this moment, and when Lucie was due to sing again, she slowly made looked down on the floor before looking towards the audience. She couldn't help but cheekily smile as she did her next action. The three women slowly made their way from on their knees, sliding their legs downwards to place their bums on in the pool. All of them were now looking forwards and dancing alongside the beat of the song...

I was tired of chasing you,
I did not want to lose all of my dignity.
So I thought it would hurt as much,
For you to see that I am not affected by you,
Won’t let it get to my head.

When singing the word "head", the three women put one of their hands on their head before rolling their shoulders and then using their shoulders to keep with the beat of the song. As the pre-chorus came back one more. They started to bounce up and down in the position that they were in, slowly making their way up from their seated position back to their knees. On the screens around the three women were silhouettes of the torso (and above) of men representing the man that Lucie Dagenham is singing about in her song. The camera was just focusing in on the action that was happening as the chorus grew closer and closer.

So, I stood back.
Look at you, you could not cope
Had you knocking down my door but
I was preoccupied.
And on that day, I think that you realised
There will be some repercussions,
For your bad actions.

The women had made their way up to their knees and together, in unison, they tiled their head to the side after "I think that you realised". The two wing-women then put their hands on their hips as Lucie kept on singing. When Lucie Dagenham sang the words, "For your bad actions" there was an extreme close up of her lips, covered delicately in pink lipstick. At the end of her saying them, her pearly white teeth bit her bottom lip, with the next camera shot showing the stage as a whole.

The chorus had started once again and this time, in came in with a bang. Pyrotechnics from the side of the stage shot metres in to the air, with the cameras capturing it. This was one of the only times during the performance when the camera shot was so far away from the action happening on the stage. The same pink and purple hues came back on the stage, and projection screen behind her was off three women dancing mixed with the trees of the forest that we saw at the start of the song.

You blinked and thought that I was gone but,
I will not give you the satisfaction of my absence.
I’m not sure if you’re aware that
I know that at the end of all of this…
You’ll get your comeuppance.

What came out of your mouth was rich,
And for a while I believed you, I believed you - I believed you
Now I feel that my mind is messed
Cuz for a while I believed you, I believed you - I believed you

During the bridge section, the women started to bend over from their positions, before rolling over and making a bridge (away from the audience, though, not exposing anything that the audience would rather not see). An aerial shot showed what was happening on the stage as they all looked up towards the camera. Lucie continued singing, "I believed you - I believed you" while looking deep in to the camera. After she sang, "my mind is messed", she then twisted her body to look out towards the audience who were behind her.

The first few words of the song were pretty quiet before it came in explosively afterwards. The white light that was there in the last song came back before the pink and purple lights kicked in for the rest of the song joined with other colours on that side of the colour spectrum. The three women all stood up quickly swaying along to the song as sparkles shot from either side of the stage.

You blinked and thought that I was gone but,
I will not give you the satisfaction of my absence.
I’m not sure if you’re aware that
I know that at the end of all of this…
You’ll get your comeuppance.

You blinked and thought that I was gone but,
I will not give you the satisfaction of my absence.
I’m not sure if you’re aware that
I know that at the end of all of this…
You’ll get your comeuppance.

At the end of the performance, Lucie Dagenham took a large bow before looking up and clapping her hands. She had finally got to perform at the WorldVision Song Contest with a song she really adored. "Thank you Axuva!" she shouted in to the microphone before running off the stage with the group of people that she was with. She was satisfied with her performance and hoped that she could keep up the good results that Britonisea has received for a long time now.

[1zmedu]

11 | 1zmedu
Katarina Generić

As the postcard ends, there is a swarm of boos that fill the arena. After about a minute, the booing ends and the arena is silent. Darkness descends on the arena. Tension is built. People at home leaning into their TVs, waiting for the music. People in the arena stare wide eyed at the empty, pitch black stage. Eventually the audience begin to mutter angrily among themselves. The tension is dropped. Dropped on Jakob's head, putting him in another year long coma. Michaela is seen jumping off a cliff shooketh at the news. And, I'm putting this it there, if you're reading this, you have now life XD <3. Anyway back to the staging RP. Ugh, the guy next to me is watching Fortnite videos gross. An Axuvian man runs onstage and says, panicked, "We are trying to fix the issue at hand." He pants, red faced. His sweaty blonde hair, which is long and down to his ankles, covering his red cheeks. "There appears to be an STD in our sound machi-"

He is interrupted by the track which begins to play. His eyes widen as he falls to the floor shook, and he violently vibrates onstage awhile. A Lactatian lady runs onstage, and shoves it in her womanly area and she moans. She is shoved off the stage by the one and only Katarina, who is met with a huge boo. The LED wall shows a disco ball spinning and spreading colourful lights around the arena, lighting up the less than happy audience members. The lights are in pinks and purples.

Crying, sobbing
Winning, World Hit
Just came second in WV
Walls of pointless text nice, oh...

R - T - I, debt
Like two inseparable partners
But oh well let’s host some more!
‘Till we make Greece jealous

Izmedu, the best nation in the world
Discount Croatia is bæ, better than you
Watching over Discord

Izmedu, don’t forget from whence I came
King of World Hit Festival, with filler text walls
Best friends forever with Indo

:eye: :laug:, sad songs
Or maybe even crappy Balkan
Particularly party songs
And Lane Moje

And finally
We’re sending Daria - Celebrate
And watch us come second anyway
Cuz we’re Izmedu duh

Izmedu, poorer than Venezuela
More in debt than Llalta but, walls of text are free!
Watch us get 12s somehow

Izmedu, we’re sobbing like angel falls
Stopping hate and destruction, jk we are neutral
Gib us much of moneys pls!

I keep cryin' and cryin' and sobbin' and sobbin'
My tears are good for tea
When will this dead joke stop?
Watch out Croatia the better you is coming through!
But first we pay our debts

Izmedu, Croatia's adopted bro
Where we praise Ivan Sandic, Suck Ivan's Sand-Dick
To pay off our crippling debts!

Daria, our only darn saving grace
Now I've run out of jokes to say, Ivan is awesome
Get ready for our final magic trick

I WIP my hair back and forth

Katarina Generić leaves the stage, scowling at the mockery she has made. You sense the hate in her heart. Hate for 1zmedu. Hate for life. Hate for people.

[Syrche]

12.

In Reserve to Syrche

[Wazekia]

13. Wazekia
“Øde to My Vartugian Hørse”
Wazek Agricultural Club Choir
Tune: Liechtensteiner National Anthem (Play it 2x)

The Wazek Agricultural Club is an organization that seeks to promote agricultural interest and knowledge among the youth of Wazekia. Traditionally, agriculture was the mainstay of the nation. In recent times however, the economy has become more diverse. The Club has become seen as a rather dated organization in recent years and many at the club have sought to increase their national profile. Of course, when they heard of the open submissions for the WorldVision Song Contest, they were immediately interested in the prospect of writing a song to that would make the youth of the nation interested in agricultural affairs. That song was awful so they submitted a song with a guy singing about his horse that he acquired from a Vartugian horse dealer.

The group consisting, of 48 members, is led by conductor Arlin Waslig. They walk to a stand they was made in front of the monolith. All members of the choir are dressed in black tie attire. They form several lines and neatly file up onto their stand. There is a brief pause and the conductor begins. The music starts. The screen lights up to a bucolic scene in Wazekia.

Ø dear sweet pøny
A majestic filly
You shine like rings
Horse that I always ride
On which i almost died
In all the countryside
My pøny and I.

Magnificent Pøny
They call you big phøny
I don’t know why
I løve your pretty hörns
And your cloven høöves all worn
Despite all the looks and scorn
With you I’ll die.

Beloved pony mine
I’ll love you for all time
You’re all I want
I brought you from Vartugia
Spent all my money on ya
To all those who also want ya
I say “no way!”

They say my horse is weird
That dear sweet pøny mine
What do you think?
I asked a farmer friend
He yelled at me in the end
Oh well it turned out
My Vartugian hørse is a goat.

The screen is filled with a fluttering Vartugian flag and a picture of a goat. It's beautiful. The choir take a bow and quietly exit the stage.

[Adab]

14. ADAB
Amal Anara – "The Cusp of Life"
Tune: Garbage - The World Is Not Enough
Language: English

Amal Anara

Background
Adab finally won the WorldVision Song Contest at Örkemdrem, Darkmania for the first time in its 67th iteration, and the 25th of its participation. Selia Goral and her song "Turn Away" brought home a total of 108 points in a victory unexpected even by the artist's and the song's biggest fans. Prior to this victory, Adab's highest placing in the contest had been third in the 65th edition, and after the country sank to 21st place in the 66th edition there was much doubt on whether this song could help retake Adab's place in at least the top ten. It did that, and then some. Selia became a national hero overnight and "Turn Away" shot to the top of the physical and streaming charts. She was invited to the Imperial Palace for dinner and performed to around twenty thousand at the Ali Murzaki Convention Center in Adab City.

Most importantly, however, this victory confirmed that Adabian music had found appreciation beyond the country's borders, and that the public would still lend an ear to songs written by Kinan al-Salaman - perhaps the greatest singer and songwriter in the country's history - even as they no longer desired to see him on the WorldVision stage. However, having retired from performing at WorldVision, al-Salaman was now also retiring from writing songs for that contest, the World Hit Festival, and the Junior World Hit Festival, with the 68th, 42nd, and 5th iterations of the respective events set to be his last as Adab's songwriter. Not even Selia's win convinced him to change his decision; he had been involved in the music business for way too long, he told friends and family, and he wanted to focus on running the rapidly-growing Al-Salaman Group, with holdings which extended way beyond music. He would have retired earlier had it not been for the chance to write for the JWHF. As hard as it was to believe, music was becoming less of a priority to him.

So now we had come to al-Salaman's last hurrah, as singer or songwriter, in the WorldVision Song Contest. In the aftermath of Selia's victory, al-Salaman found himself with a long list of potential candidates waiting to represent at the country at the 68th edition. A de facto requirement for anyone able and willing to represent Adab at WorldVision (along with WHF and JWHF) was that they would have to be signed with Al-Salaman Records, though this requirement would be abolished following this edition now that al-Salaman was stepping away from the spotlight and returning the responsibility of choosing the country's representative at the music contests to the Emperor. In fact, al-Salaman had considered eliminating the requirement for this edition, but he ultimately chose to retain it, if only for the sake of formality.

Al-Salaman's choice fell to 19-year-old Amal Anara of Beirut. Born to a family of smelters and woodcutters, she started performing at events in the local neighborhood from an early age, where her singing ability was duly noted. She formed a pop band with her classmates in middle school and high school, which she fronted and wrote a few songs for, and performed at several events in and around the city. Her singing was equalled by her academic achievements, which earned her a scholarship to the University of Beirut, the first member of her family to have gone to university. Her performance at the Beirut Pop Festival, this time as a solo artist, caught the attention of Al-Salaman Records scouts, who brought her to al-Salaman's attention. Al-Salaman himself attended her next performance, at university grounds, and there decided to sign her to Al-Salaman Records and install her as the country's representative at the next WorldVision edition.

Al-Salaman was credited as co-writer - along with Amal - of this song, as had been the case so far for all WorldVision and WHF songs not sung by al-Salaman himself. Though they both received equal credit, it was an open secret that al-Salaman was stepping back from songwriting even now. Rumors suggested that al-Salaman contributed no more than three lines to the song, with Amal writing the rest, and that his contributions were otherwise limited to suggesting changes to the song's lyrics and overarching theme. Speaking at a press conference three days before flying off to Axuva, al-Salaman revealed that the song would be premiered on the WorldVision stage. He refused to reveal the song's title, but stated that it was about "someone - could be a criminal, but could be someone else - who is being led to their execution. The person is more or less accepting of their fate, and during their walk to the scaffold or the chair or whatever is there reflects on the things they've done, the life they've lived, and actually greets death as some kind of a liberation."

The performance
For as long as Amal Anara remembered, the WorldVision Song Contest had always been held in indoor arenas, though her memory might be failing her here. When was the last time WorldVision was held in a stadium this massive, anyway? This was quite the challenge, and one that the Adabian delegation admittedly had not foreseen. Nevertheless, when it was clear that Axuva had won the host voting and that the contest would be held before some 82,500 people, Kinan al-Salaman encouraged her to accept it as a challenge and use the situation to her advantage. "This is your moment, Amal," she remembered al-Salaman telling her as she and the University of Beirut Orchestra made their way to the stage. "You will be a star. 82,500 people will remember you forever. Your name will live on for a long time. This is your time."

Amal entered the stage wearing a long, flowing white dress, glittering all around with little diamonds. The dress was somewhat translucent, enough to let the light in, but not so transparent so as to show her body features. The monolith of glorious LED towered over her and the orchestra, and in front of her God knows how many people cheered and clapped for her. The light grid was a mixture of the colors of the rainbow, and she could several small Adabian flags rising above the crowd, waving towards wherever the wind blew them and its owners took them. That particular sight made her smile widely. The orchestra had assumed its place at the center back of the main stage, and Amal solemnly marched to the microphone stand which had been prepared for her at the front of said stage. "Thank you, thank you very much," she said to the sustained cheers of the crowd. Her smile had widened, and she couldn't stop a tear from running down her face. "Thank you for having me here, Dazajin. Words just... can't describe just how happy I am to be on this stage. This is the greatest night of my life. So once again thank you, thank you very much for having me here."

Behind her the backing track had started, the tune echoing across the stadium. The LED screen was showing a prisoner finishing his last meal before being led out of his cell. The orchestra - composed entirely of University of Beirut students - had begun playing, too, and as Amal waited for her part to come she bobbed and swayed along to the tune. Her hand held on tight to the mic. "This song is about someone is about to be executed," she explained to the crowd, "and they're being led to the place of execution, and they're thinking about the things they've done, about their life, and about what awaits them. Whether or not they fear what lies ahead, I'll leave it to you all."

I once had the gold
I had the best seats
I moved the mountains
And paved the roads
I made all the moves
And set the rules
The game got going and the world turned against me

Amal was now walking on the runway, extending her arms and lowering the mic to her mouth. Behind her the LED screen was showing pictures from what appeared to be the prisoner's childhood and teenage years, interspersed with pictures and videos of the Adab City skyline, the hustle and bustle of the city, and the Adab City Prison. The lights had now consolidated into strands of blue and red, pointing down at the stage, which was itself illuminated in brilliant blue. The cheers continued, especially from the Adabians in the audience.

Then came the chorus, and with the word "kiss" came the fireworks. Having waited for their moment all around the main stage, now the fireworks rose rapidly above the stadium with the boom of a grand explosion. The audience screamed and cheered deliriously, as columns of multicolored smoke accompanied those fireworks. Red and silver smoke reached for the skies, as Amal stopped in the middle of the runway.

Come and kiss me, love
You might not have the time to do it again
The warden calls on for me
But today I feel on the cusp of life, my love

For a moment Amal glanced back at the orchestra, nodded with a smile, and flashed a thumbs up with her free hand. "The University of Beirut Orchestra!" she announced to the audience, who proceeded to shower the orchestra with cheers and applauses. And still the little Adabian flags waved, rising above the crowd. The LED screen kept on showing the same pictures, but now in increasingly rapid succession. Amal now fell to her knees as if in prayer, both hands holding the mic close to her mouth. The fireworks were receding and the smoke had begun to fade, but they were still there.

The bell is ringing
They're now moving me
What joy is in the glory
If you don't feel happiness?
I wrote the tactics
And sounded the battle call
I might have done it wrong
But it's better than not doing

Once again the chorus hit, and with it the second wave of smoke and fireworks in one big explosion, escaping the confines of the stadium. The main stage was now nearly obscured by the smoke and the lights were flickering furiously. The LED screen went off, with the audience largely unable to see it anyway. Amal then made her way to the second stage, singing the chorus along the way, as the audience cheered her on.

Come and kiss me, love
You might not have the time to do it again
The warden calls on for me
But today I feel on the cusp of life, my love

Amal now found herself on the second, smaller stage, still the center of the audience's undying attention as they surrounded the stage in droves just to get a closer look of her. Once again she dropped on her knees, and on her knees she crawled to the front end of the stage, eyes on the audience.

I am right
I am wrong
I am fine
And I am free

Come and kiss me, love
You might not have the time to do it again
The warden calls on for me
But today I feel on the cusp of life, my love

Come and kiss me, love
Come and kiss me, love
Now come and kiss me, love
Come and kiss me, love

At that moment the song stopped, the smoke and fireworks ceased coming out, and the lights mostly went off. All that were left were the white light pointing at Amal and the orchestra, and whatever remained of the smoke slowly dissipating into the night sky. The audience clapped and cheered loudly as Amal rose to her feet and bowed deeply at them. "Thank you very much Dazajin! I love you!" she said, walking back to the main stage and pointing at the mass of young men and women at the back of the stage. "Once again, the University of Beirut Orchestra!" The audience showered them with the loudest cheers and applauses they could muster, amid chants of "more, more, more" and "long live Adab." Amal and the orchestra slipped away backstage without saying another word, paving the way for the next nation.

[Llalta]

15 | Llalta
Borderline
by Quartazzma ft. Prudencija Nikolic

---

0:00 - 0:14
After a rather mild cheer from the Axuvian crowd, the arena turns pitch black. There is silence for a couple of seconds, the crowd muttering in confusion. At last however, the stage flashes with a huge bright white light, almost blinding, the camera taking an above shot of the stage. After the light fades, the monolith is revealed, most of LED screen in white. However, four life size silhouettes of what appears to be men playing various string instruments are clearly depicted on the front of the monolith. The silhouettes play their stringed instrument gracefully on the white background, whilst spotlights above flash in time with each stroke of the drum. The spotlight flashes are also rather sperratic, giving the song an exciting feel. At the next major drum strike, the stage is lit in another burst of bright white light, the silhouettes disappearing in the flash. They appear again once the flash is over, and the final strike of the drum has white spotlights flashing alongside them.

0:15 - 0:19
The silhouettes embedded on the monolith enthusiastically play each of their stringed instruments in front of their white background. The long LED wall at the back shows flames burning on a black background, matching the powerful string music. The camera pans across the huge stage. Another strike of the drum in the music signals a flash of white spotlights.

0:19 - 0:27
The drums in the instrumental pick up the pace, bright white spotlights flashing sperratically in time to the drums almost strobe like. Not to mention the LED wall behind changing smoothly from a burning flame to huge silhouettes and shadows of people, doing various activities. Unfortunately it is hard to see what each figure is doing as they’re almost distorted. The camera takes a wide shot of the stage before closing in on the monolith. Which, after the manic drums are played, begins to spin slowly. The figures on the LED wall behind start to move faster too. And as the infectious drum beat is played, spotlights flash on and off to the beat, in a less sperratic pattern than before. The monolith has almost turned 180 degrees. The crowd anticipate what will be revealed on the other side of the monolith. There is a huge flash of light again as the guitar is played on the instrumental. When the light dims, the crowd roars with excitement as four figures, each one equipped with a stringed instrument, appear standing on the tiny platform on the front of the monolith.

There are four men, each wearing a sleek black tuxedo and trousers paired with a white shirt. However, each one has a different coloured tie, ranging from blue, red, yellow and green. They each have the same hairstyle, shimmering the light. It is slicked back leaving the forehead exposed but also adding a stylish touch to their outfit. The shortest man, Casey Hannahn, has a kind face, rounded and slightly wrinkly, appearing to be in his mid 40s. His soft hazel eyes glimmering in the light as he smiles charismatically into the camera. He plays the biggest instrument of the quartet, holding a dark brown cello. The tallest man, David Guppy, has a sharper, more defined face, his icy blue, sharp and foxy eyes piercing the camera. Despite this, he had a charming smile and appeared to be kind as well. He held a beech white violin. The next man was slightly taller than the shortest man, Daniel Stevenson, but was less chubby and more dad like. He also had few wrinkles and appeared to be late 30s. He held the viola, the smallest instrument of the four. The final man was average in every way, Gerald Godsend, with brown eyes and an average physique. Despite this, he appeared to be the most charming, his sunshine smile bright white. He had a violin as well, dark in colour.

0:28 - 0:35
The quartet walk down the platform on the side of the monolith and onto the stage before walking to the front of the stage. Their fingers playing the instruments like a dancer on the ice, elegantly skating from note to note. The camera focuses on the quartet as they walk down, each giving the camera a charismatic smile.

0:35 - 0:44
The LED wall still shows the moving shadows as the quartet play their violins. The camer then moves to a group of Llaltese in the audience, waving their flags to the beat. The camera then spins back to the quartet who begin to spread out on the huge stage, not giving any attention to the violins in which they play perfectly. The lights also continue to flash on and off to the beat.

0:44 - 0:54
The quartet then spread out further to the corners of the main stage. The camera turns to Casey, who has leant down to the audience, giving them a close up. The camera then pans across the stage, showing each man as they play their instruments. At this point the lights rise up from the back of the stage, building the song up. The quartet begin to walk back to the centre of the stage.

0:55 - 1:05
The meet at the centre of the stage and begin to move slowly up towards the audience. Stepping each second or so the reach the very front of the stage. The camera takes a front view of the quartet. Before the “Hey!”, the lights then flash faster but not strobe like, matching to the violins. They shout “Hey!” and as they do so the lights flash.

Hey!

Once the flash dissipates, Another silhouette appears on the LED monolith. This time, a more womanly figure who elegantly twirls and spins. The quartet moves to the right hand side of the stage, moving in perfect harmony, in order to allow the sihlouette the audiences full attention. The monolith begins to spin; the audience holds their breath. There is a blinding white flash of light as the first words are heard.

As the flash dissipates, a figure is seen in the aftermath. Prudencija steps out of the light, adorned in a magnificent sparkling red robe, styled similarly to those in the Roman era. Her hair is let loose as well, her blonde locks pouring down to her shoulders. A red rose is seen sticking out of it too. Her red high heels are also sparkly, completing the glamourous look. Her fox like face has bright red lipstick and red features everywhere. She struts down the stage glamourously as she belts out the lyrics, winking sexily at the camera. The camera looks directly at her.

Each diamond that shines
Like the argent stars divine

As she finishes her lines, there is a subtle flash of light as the quartet walk back towards the centre of the stage, still elegantly playing the tune with ease. They exchange glances before the quartet circle her before taking their places behind her in a row. The shadows from the LED wall begin to pick up the pace, the monolith also showing the shawdowy figures dramatically twisting and turning. Prundecija belts out her next lines raising her hand up slowly, before turning it into a fist, the quartet looking up at it in unison. Her eyes are filled with agony and pain; a fiery passion she’s letting loose in the song.

Nowhere to go
But cross the borderline

1:34 - 1:42
The stage turns dark as strobe lights flash on and off manically, accompanying the dark section of the tune. Tension is high and the LED walls also flash mysteriously on and off. Scenes of war and riots flash along side it too. The quartet roam the stage aimlessly before moving into an arrow formation with Prundecija, who moved to the back of the stage before doing a fabulous hair flick, at the front. Once the formation, heads down shadily, they all raise their right arms up to the sky before turning them into a fist and pulling them down sharply. As they pull them down, the lights flash brightly.

1:43 - 1:53
As the flash fades, the quartet and Prudencija look up sternly, straight at the camera and move to the front of the stage. The LED panels at the back have the shadowy and blurry figures moving to the music still, and the lights carry on flashing to the beat.

Running out of time
As we slowly lose our minds

Nowhere to go
We can't afford to bide

The lights sparkle before flashing subtly. The LED wall and monolith show deep space with stars and pink, purple nebula on the deep blackness of space. The stars seem to be moving towards us however, like it was moving in space. The lights roam the arena elegantly. Prudencija on the other hand spins elegantly and the red robe flies beautifully away, onto the stage. What is revealed is a huge prom like dress that has a galactic theme to it, as it is covered in stars and nebula. Not only that but the dress is particularly wide and has a huge, long train behind it. To make it more dramatic, a wind machine makes her hair fly back and her dress lift off the ground elegantly.

She leans forward with such passion and spirit, her hands in fists as she reaches forward towards the camera. Her face, painted with agony and pain, as she sings the next couple of lines. The quartet on the other hand create a ring around Prudencija, kneeling on the stage whilst looking up to her. As she sings the second line, she looks around as if to consult the audience, the camera taking a close up of them, with everyone in the shot.

Eyes aflame, fight back 'gainst the tide
Somewhere, we causing fireworks
Freedom in our heart beat...

She sings the last line and the arena turns dark, except from a couple white lights flashing mysteriously onstage, only enough so that the quartet and Prudencija are visible, but not in great detail. The LED monolith shows the white outline of a heart pumping to the heartbeat in the music. Other than that however, the LEDs are black. The quartet move into a line formation, heads facing the floor shadily.

We've nowhere to hide
From the darkness that lurks inside
Running scared, running free
When we cross the borderline[/box]

[SquareDisc City]

16 SquareDisc City[b], AKA The United Pokemon Types

[b]RSIA - 'Rion Ships

Melody: https://www.youtube.com/watch?v=ewRjZoRtu0Y

Who are RSIA?

Presumed to stand for Rocket Scientists In Action, RSIA are a group of popular science and space UPTubers who have come together for this Worldvision entry. For science!

Nasreen Bi is a 23-year-old Zealandian Pakistani singer. Nasreen is 5'6", curvaceous, with long black hair she wears loose and a voice to match any signed artist. On UPTube she's best known for her cover songs, but her second channel about the history of science in the Middle East has been growing in popularity. In the UPT, Nasreen calls the district of Little Islamabad in the techno-city Yellow her home. For Worldvision, Nasreen's going to have to adapt to quite a different vocal style to what she's used to, and she'll be wearing a black shalwar kameez studded with tiny starlike crystals.

ijk, like Nasreen, is a singer on UPTube. Specifically, the 32-year-old man does parody songs with nerdy lyrics. ijk is the writer of 'Rion Ships. He's 5'7" with shoulder-length blond curls and he, along with the other male members of RSIA, will be wearing black trousers and a light-blue polo shirt bearing the logo of the UPT Space Force on its pocket, the outfit being similar to the civilian uniform of said force. ijk calls Indigo his home, with an apartment overlooking the national stadium there.

ScotlandIntoSpace is a 49-year-old Edinburgh man who moved to the UPT's co-capital city, Green, five years ago. He's 5'9" with a slim build and a receding hairline. ScotlandIntoSpace is a major UPTuber specialising in developments in spacecraft technology in the UPT and worldwide. ScotlandIntoSpace describes himself as "A black hole for tone and musicality - I not only don't have any, I suck it away from the people around him." But after some intensive coaching, he's hoping he won't mess up at Worldvision.

Akasa is a 28-year-old Zealandian German and the only one of the group who's not currently a resident of the UPT, instead living in Cologne in his ancestral Germany. The tallest of the group at 6'3" and with short black hair and dashing model looks, Akasa is definitely the ladies' favourite in RSIA. He is an enthusiast for mechanical computers and calculators, an archaic technology he's managed to make exciting for all. On UPTube he went viral with H20 Machine, a mechanical organ he created made entirely from ice, with bars tuned to each pitch. As well as being one of the performers, Akasa has advised the choreography team on the creation of some of the effects that will be seen.

Zane Lloyd is a student at the University of Millroll, located northeast of the city centre in its endless and sprawling suburbia. His focus on UPTube is videogame streaming, especially of business management games. He's well known for his mid-length beard and for wearing literal rose-tinted glasses when streaming retro games. What's less well known, for like nearly all streamers he's normally seated, is that he relies on a below-the-waist exoskeleton constructed from strong and light carbon fibre and powered by electronic muscles to move around after he lost the use of his own legs. With it he stands a little taller than ScotlandIntoSpace. The technology for such an exoskeleton originated in the UPT's spacecraft construction industry, and Zane had wanted the choreographers to include dance moves that would test it to breaking point, but he was perhaps-wisely overruled.

---

The stage is prepared for the United Pokemon Types' entry. At the centre rear of the stage is a large concrete-grey disk standing on its edge, three times the height of a person and a foot thick, with a saucer-sized hole in the centre surrounded by black scorch marks; a model of the "pusher plate" of the Orion Ships the song is written about. Over on house left are five suitports - holes the size of a large backpack with spacesuits attached to the other side - in a curved white surround made to look like the inside of a spacecraft, and beyond them the exit ramp from the stage has been made into a red pebble-strewn Martian landscape. On house right a partial globe of the Earth, about as high from core to surface as the pusher plate in the centre, has been inflated. The LED backdrop (if present) is used to show images of galaxies and nebulae.

RSIA jog onto the stage to the usual applause. Nasreen sings the first two verses (each repeated twice), moving all about the stage, as the other four perform somewhat cliched, but reasonably well-rehearsed, hip-hop dance moves.

Project Orion, Nineteen Fifties,
Freeman Dyson working on some new rocketship ideas,
You throw a bomb out back, and your ship just soars
A better use for nukes than fighting a war.

Project Orion, Nineteen Fifties,
Freeman Dyson working on some new rocketship ideas,
You throw a bomb out back, and your ship just soars
A better use for nukes than fighting a war.

Standard nukes just blow up all ways,
That'd just waste all the energies,
So with tungsten and a disk-shaped design,
Nuclear shaped charge the way to fly.

Standard nukes just blow up all ways,
That'd just waste all the energies,
So with tungsten and a disk-shaped design,
Nuclear shaped charge the way to fly.

As the chorus kicks in, all five members sing it. From the hole in the central plate, four firework charges are set off in quick succession, the booms ringing through the arena, followed by sound effects (on the backing track) of rushing wind and an opening parachute on the backing track. The pyrotechnics are repeated with each repetition of the chorus, wisps of smoke drifting in the arena and hopefully being dealt with by the ventilation systems.

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

For the third verse it's again back to Nasreen singing by herself. The ocassion must be getting to her, it's the biggest stage she's ever performed on by far, as for a couple of lines her tone is nowhere near as good as in the studio recording. She gets it together for the repeat of the verse though.

Massive pusher plate,
A plasma fireball ablates,
Give it springs and dampers,
Riding smoothly for passengers.

Massive pusher plate,
A plasma fireball ablates,
Give it springs and dampers,
Riding smoothly for passengers.

For the fourth verse, the energy and movement slow down. The central plate rotates forwards as the five singers walk towards it, and as Nasreen sings the last line of the repeat the plate goes flat and all five jump onto it.

Go to Mars and comeback in weeks not months
Bigger better faster than rockets since
But there's no more money and PTBT
So the project got shelved, 'til twenty-first cent'ry.

Go to Mars and comeback in weeks not months
Bigger better faster than rockets since
But there's no more money and PTBT
So the project got shelved, 'til twenty-first cent'ry.

This time for the chorus, as each of the fireworks goes off the pusher plate, with all five singers standing on it, is pulled upwards a few inches by a hidden mechanism. In an unscheduled blooper, ScotlandIntoSpace nearly falls over, but is steadied by Akasa, none of

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

As the chorus ends, the plate is swiftly pulled up well above the stage, followed by the five singers apparently descending back down to the stage under Poke ball design parachutes. (But really, they're on wires and the parachutes are just for show). ijk speaks the next lines as he descends.

RSIA
Atomic Rocketry
Yeah, we gettin the thrust and the delta-V
So, uh, Project Rho business

The five land, and Nasreen sings the next lines as they all jog towards the suitports on the left.

Mars Mars Mars I Mars I dream of
Venus Venus I could go
Stars Stars Stars I can't concieve of
Endless worlds for us to go

They climb into the spacesuits and unclip and, assisted by more wires, proceed to slowly Marswalk off the stage while singing the final chorus. This time, Roman candles in UPT red and white lift up from the front of the stage with each boom.

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

All I wanna do is *boom* *boom* *boom* *boom*
An' *whoosh* *thwump*
We're walking on Mars

[Crazybloxian Empire]

SEVENTEEN. The Expansionist Democracy of Crazybloxian Empire

Crazybloxeha Groetu, the president enters and announces that someone else was chosen to sing at the least minute. She leaves and someone takes her place and the person introduces himself as Tachag Samlun. Tachag Samlun proudly flies the Empire’s flag and proceeds to sing Christmas Is Coming.

Melody at https://m.youtube.com/watch?v=BEJmP8T07JU (O Holy Night)

——
Christmas is Coming

Welcome to Christmas, the date of
festivity and cheer

Christmas is coming!

Santa Claus will deliver the presents
full of stuff,

but it’s what you give,
not what you get,

Christmas, on the twenty-fifth of
December, the birth month of the

Saviour of the World, whose name is
Jesus Christ,

Before the birth of Jesus,
the world was submerged in

sin and darkness until
he was born.

To raise the world and
immerse it in the glory

and love of God, for
eternity and the

greater good for
humanity!

If you had bad
behaviour

you will not get,
your presents but

if you had been good
for the entirety of

a year, you will see
presents in your sock and

presents on the Christmas Tree!
Santa Claus,

with the sleigh and the
reindeer to transport

the presents to the
kids who were good.

[Indo States]

18. Fatiman Federation (Indo States)

Yeretov

[Normandy and Picardy]

19 - Normandy and Picardy
Power and Control - Suzanne Marseillan
Tune: ("Bambola" - Betta Lemme)

---

---

The lights slowly turned on, imbued with a hint of gold, as the song began. The camera feed showed the image being projected on the LED monolith in the centre of the centre, that being Suzanne laid flat out across a reddish-pink carpet in a rather long, tight gold sequin playsuit. She lifted her hand up so that it filled the centre of the page, with a heart drawn on it. The camera zoomed in towards the hand, and then the image of Suzanne, live in the stadium, was overlayed onto it. She stared straight at the camera as she began to sing, a sizzling sensuality in her eyes. As she carried on singing she allowed a wry, teasing, little smile to appear on her face, as if she knew she was fully in control. She turned away momentarily before fixing her gaze definitely on the camera, as the image of the rest of the stadium behind her became more and more visible instead of the Monolith; it was essentially a gradual fade-in.

You know you can't say that I didn't warn you, warn you babe
I gave you the chance to turn back and leave me, leave me, ouais
But you're still standing here so you are mine now, mine now yeah
You know you won't be there, standing so proud soon

Suddenly the camera feed became a split-screen, split vertically down the middle. On the left hand section Betta was faced forwards towards the camera, with a section of the LED screen clearly visible behind her which slowly pulsated with a deep, rich red, whilst a slightly gold spotlight shone on her. We can see all of her, stood on the second stage, for the first time. On the right hand section we were given a close up shot of the right hand side of her face, her deep red lips just visible moving about as she sung. The side of her face was covered in a slight gold glitter. These two sections were flipped as she began singing her second rule ie. we got a full body shot of her from her left hand side on the left, and a close up of her full face on the right.

Rule number one
Never think you've won
Because I am on top

Rule number two
Forget being you
Au revoir!

As the chorus began, the camera view changed once more to show the monolith. Again, the hand with a heart on it was shown, but as the chorus progressed the monolith began to split into two (as we are assured by the Axuvans it can), splitting the heart along with it, and releasing an array of gold, white and red lights that added to the light in the stadium. The two halves of the monolith changed to show the words 'power' and 'control', one on each side. The background lights pulsed, with waves of gold and wave seeming to spread as each light changed colour. The cameras gave a panning shot which started wide but as it moved around, it came in closer and closer, focusing on Suzanne who was now joined my two men, in rather tight trousers and unbuttoned shirts, both black. Both where kneeled down, looking up at her, whilst she followed the camera as it moved around her. As the instrumental began, the arena temporarily went pitch black before there was a sudden flash, and then an array of red spotlights began searching around the stage whilst various other lights turned on and off and pulsed, creating a general scene of madness. There was a series of wide camera shots, including one which went over the audience and past Suzanne and the men on the second stage. The two men had stood up and with, hands raised, circled her in an almost Pasodoble style manner (one for you there, Mister X).

Power and control are mine
Now that you have crossed the line
Never gonna give up
Never gonna give up your heart
Never gonna give up
Oh baby this is just the start
Now let's have some fun

The two men pulled close as the lights settled slightly, having taken on a distinctly more red tone, and the next verse began. The monolith sections became nearly entirely black, although at the bottom and around the sides there were flickers of red and yellow, almost as if there was a fire at some point below them. As she began to sing the second verse, the camera gave a tight, panning shot across the front of the second stage, as Suzanne pushed the two men to the floor, almost as if she was brushing them aside and they were of no consequence. She generally moved about to the tune with sass and cheekiness, as one would expect given the song. As she sung the third line she bent down to floor as one of the men crawled towards her. She reached down and stroked his face, before standing up and 'kicking' him to the side.

You agonise, you know this isn't right, right, yeah
You know it's too much fun watching you fall apart, apart, yeah
Get down on your knees, you're one job is to please me, please me boy
Oh isn't it great to get to play with a new toy?

As the song continued, Suzanne turned around and walked along the catwalk, a series of lights following her. The cameras gave a series of twisting and panning shots around her as she walked along, existing as pure, unadulturated sass like the Queen she is. As she sung the second half of this section the camera view camer in front of her face and she held four of her fingers above her face from below, twisted her hand around before turning it around to reveal the same love heart as was shown on the monolith at the very beginning of the song. She held her palm in front of her, and proceeded to blow a kiss at the camera, just before the chorus began.

Rule number three
You're never getting free
There's no escape dear

Rule number four
What are you waiting for?
Let's begin

As the chorus began, the two screens that were formerly the monolith burst into life, a sudden fiery explosion in which a silhouette, modelled on Suzanne, appeared. Suzanne herself was stood on the catwalk just in front of the main stage, with her arms out to the side and the camera angled such that the silhouettes looked like they were dancing on her hands. She turned her head towards the left one and blew, and the two of them both disintegrated as if she had blown them away via her pure feminine mystique and power. Replacing them was what appeared to be some sort of plant growing out of her hands. It turned out to be a rose plant, thorns and all, which seemed to come from her hands but spread across what was formerly the monolith but I suppose as it is two pieces calling it a monolith doesn't make sense. As the instrumental began the lights suddenly went crazy once again as two more men appeared behind her, dressed like the first two who approached from the second stage. The "monolith" sections began to twist around, showing that the rose plant had grown all around it. Within it, however, there could be seen at first what looked like an eye, and then a hand, and finally a man. This all happened whilst the men danced around Suzanne as if trying to garner their attention, but she just walked straight past them out towards the second stage again.

Power and control are mine
Now that you have crossed the line
Never gonna give up
Never gonna give up your heart
Never gonna give up
Oh baby this is just the start
Now let's have some fun

The lights faded rather suddenly as the chorus ended, the stadium almost descending into darkness again. A single gold spotlight shone partly on Suzanne as she now was shown to be sat on top of one of the dancers. She sat, staring past the camera, a total image of calm and yet sensual perfection as she nonchalantly clicked her fingers at the time. The spotlight slightly flickered as the bridge began, but became stronger and stronger as time went on.

Oh you thought you had me wrapped round your finger, sorry babe
I was the one in the background pulling on your strings, night and day
Everything single move entirely my design, it's all for me
So maybe it's time that you just gave up and let it be

As she began to sing the final chorus, Suzanne stood up and, with a slight heel flicked, pushed the man she had sat on to the floor. The other three men appears, now in chains, at her feet; she was in complete control. The monolith had now reformed to the point where we can again call it a monolith. The normal lights on either side of it are made to show the works Power and Control, one on either side of the monolith, in white with the lights around it having a bright golden colour. A series of lights in the back faded on and off, seeming to eminate from behind the monolith on which the roses began to slowly grow again. The cameras gave a number of wide shots of the stage, showing Suzanne in all her glory at the front with confidence emanating from her. The lights built up intensity, as everything seemed to build up for one final instrumentation. Then, suddenly, the lights died down and Suzanne fell on top of the chained men. The camera gave a shot from above as she lay sprawled on top of them, a wry smile spreading across her face as the lights receeded. After her second and final oooooh, now that the cameras had got rather close and there were just a few lights focused on her, she turned and kissed one of the men on the cheek before walking of into the darkness. With that, the song ended.

Power and control are mine
Now that you have crossed the line
Never gonna give up
Never gonna give up your heart
Never gonna give up
Oh baby this is just the start
Now let's have some fun

Oooooooooh
Oooooooooh

[Togonistan]

20. Togonistan

Angry Beavers - ''New Horizon''
Tune: Skillet - ''The Resistance''
0:00-3:07

Angry Beavers representing Togonistan in the 68th WorldVision Song Contest

Angry Beavers is a Togonistani rock trio originating from Tushlark. The group came to the scene in the early 2010, consisting on three members: Andrea Tevurua, 26 years old, is a vocalist born in Tushlark, Togonistan. Andrea started her career as a solo singer, and has so far released one album. Mans Eklund is 32 year old singer originating from Strömby, Kalmarlund. He has been cooperating with several other bands and groups before, and has won an award for best rock genre vocalist once. Rea Romana is a 28 year old vocalist and guitarist from Tashan, Togonistan. Before joining the group, she was a guitarist for a metal band Typhona. Rea is known for her deep, growling singing style.

Chosen by Togonistani televote, Angry Beavers are representing Togonistan in the 68th WorldVision Song Contest with their song ''New Horizon.''

Performance:

Red - sung by Mans
Yellow - sung by Andrea
Pink - sung by Rea

Black - sung by Mans and Andrea

The music starts playing, background monolith screens display some vibrant colors of red and yellow. Suddenly, as the music reaches 0:07 mark, a puff of smoke appears on the stage. As the smoke dissolves, it reveals Angry Beavers standing next to each other with Mans in the middle, Andrea on the left and Rea on the right. Mans is wearing a black leather jacket with a pair of slim black jeans and biker boots, while the female members of the trio are wearing black tops and leather leggings with open-toe high heeled shoes. The trio starts walking forward, and when it is time to sing, they stop and Mans opens his mouth.

From the mansion, going through million places
All together, crossing elevations
Just like a pilgrim, I won't surrender
Over the mountains looking for revelation
(Where are you heading?)
My heart shows me the way
(What have you become now?)
Who can even say
I gotta do it, reveal it, that's how I feel in mind
My dreams ain't for you to grind

You can't take my heart, you can't change my faith
The portrait you're trying to paint

Flamethrowers start bursting some flames up in the sky as the camera focuses on Mans and Andrea, who bend their knees a bit, standing side by side at first, but in the middle of the chorus, they turn to face each other.

This is new horizon
Push it to the limit, following your dreaming
This is new horizon
Going even farther, can't you see father
Running, crawling, climbing even higher
It's our world, living on a prayer
This is new horizon
We keep going, they can't stop it

During the instrumental break, Andrea backs out a bit, as Mans moves to the middle of the stage alone. When it's time for the next verse, the camera focuses on Mans again.

Deep in mire, with the blistering
Setting up the mindset strikes away the sorrow
The pain and fire, when you are tired
Feeling relieved the day after tomorrow

You can't take my heart, you can't change my faith
The portrait you're trying to paint

The trio gathers to the middle of the stage, bending their knees a bit. Andrea and Mans are side by side, while Rea is a bit further away.

This is new horizon
Push it to the limit, following your dreaming
This is new horizon
Going even farther, can't you see father
Running, crawling, climbing even higher
It's our world, living on a prayer
This is new horizon
We keep going, they can't stop it

The trio starts walking down the catwalk, with Mans being a few meters ahead of the others. Camera focuses on Mans mostly, but as Rea sings her lines, she gets some spotlight as well. Flamethrowers at the either sides of the catwalk make short bursts of fire to the rhythm of the music.

Through the fi-fi-fi-fi-fire
From the mi-mi-mi-mi-mire
Where are you heading?
Through the fi-fi-fi-fi-fire
From the mi-mi-mi-mi-mire
What have you become now?
Through the fi-fi-fi-fi-fire
From the mi-mi-mi-mi-mire
Where are you heading?
This is new horizon
We keep going, they can't stop it

Eventually, the trio makes their way to the stage B, where they form a line with a few meters separating them. Some more fire show can be seen as the trio sings their final chorus.

This is new horizon
Push it to the limit, following your dreaming
This is new horizon
Going even farther, can't you see father
Running, crawling, climbing even higher
It's our world, living on a prayer
This is new horizon
We keep going, they can't stop it

Angry Beavers all raise their left arm up, breathing deeply due to the performance they just gave. ''Thank you Dazajin, you guys rock!'' says Mans.

[Saviera]

21. Saviera
Beyoncé, by Maximilian Barium
To The Tune Of Viens On S'aime By Slimane

Maximilian Barium Is A Savieran Singer. He Is Also A Huge Beyoncé Fan. He Decided To Write This Song To Show His Love And Affection For Beyoncé. It Turned Out To Be A Bop Too, So He Decided To Send It To WorldVision So That Everyone Who Also Loves Beyoncé Could Also Enjoy The Song, And Who Knows Maybe Beyoncé Herself Will Also See The Song.

At The Beginning Of The Song Everything Was Ominous And Full Of Smoke. And Then Maximilian Appeared And Also Later Started To Make References To Her Music In His Song.

She’s the Queen Bee, runs the world
She can harbour in my Bey
She’s truly irreplaceable
A giant halo on her head

Maybe if she was a boy
I’m one of her single ladies
And I have this jealousy
For a male rapper named Jay-Z

This Was A Very Ominous And Tense Part, But Then There Were Backing Dancers Who Joined Him And The Way They Dressed Looked Like Backing Dancers From Beyoncé's Music Videos. The Lights Slowly Became Red And The Stage Was Still Smokey. Actually It Was Smokey And Mysterious And Mystical The Whole Time.

Beyoncé
Beyoncé

The Stage Was Very Red. The Backing Dancers Who Looked Like They Were Backing Dancers From Beyoncé's Music Videos Danced Like The Backing Dancers In Beyoncé's Music Videos Did.

I love Beyoncé, she’s my girl
She makes me fall crazy in love
Beyoncé, she’s my girl
Who makes me so fuckin’ drunk in love

Beyoncé, she’s my girl
She’s a fierce woman who runs the world
Beyoncé, she’s my girl
In every day and in every night

Everyone Paused And Held Both Of Their Hands Up To Their Mouth As If They Were Trying To Shout And Howled This Next Part.

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

The Stage Was No Longer Red, It Faded Away. The Backing Dancers Continued Dancing, And Maximilian Kinda Made Some Dance Moves Too.

She’s a flawless naughty girl
She is as sweet as lemonade
The best thing I never had
She’s so pretty that it hurts

She’s so fierce she snatched my wig
Makes me go uh-oh uh-oh
Going ‘round bey-once, bey-twice
A diva I’ll always love

Again It Was Ominous And The Stage Became Red Again.

Beyoncé
Beyoncé

I love Beyoncé, she’s my girl
She makes me fall crazy in love
Beyoncé, she’s my girl
Who makes me so fuckin’ drunk in love

Beyoncé, she’s my girl
She’s a fierce woman who runs the world
Beyoncé, she’s my girl
In every day and in every night

Again Everyone Stopped To Howl The Next Part.

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

The Stage Stopped Being Red But It Was Also Becoming Dark And Very Mystical, Almost Scary. The Backing Dancers Were Dancing Mystically And Slowly Too.

I love Beyoncé, Beyoncé, Beyoncé
I love Beyoncé, Beyoncé, Beyoncé

Beyoncé
Beyoncé

And Then The Stage Became Full Red Again And Maximilian And His Dancers Were Moving Livelier Than Ever.

I love Beyoncé, she’s my girl
She makes me fall crazy in love
Beyoncé, she’s my girl
Who makes me so fuckin’ drunk in love

Beyoncé, she’s my girl
She’s a fierce woman who runs the world
Beyoncé, she’s my girl
In every day and in every night

Everyone Stopped To Howl Again But This Time With Every Beat They Were Taking A Step To Move To The Front Of The Stage.

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

Ohohoh
Ohohoh, oh oh
Ohohoh
Ohohoh, oh oh

Now They All Made A Single File Line At The Front Of The Stage. They Raised One Arm To Show That They Were Powerful Beyoncé Fans. The Song Ended. Everyone Cheered. Maximilian Said: Thank You Beyoncé!!! And Then Everyone Left The Stage. Oh By The Way This Was Being Shown In The Background Screen The Whole Time:

[Monaeroglisseurest Pleindanguillese]

22 - Monaeroglisseurest Pleindanguilles
Simone les Bonbons - Hell Is Being Next To You
Tune (Belinda Carlisle - Heaven Is A Place On Earth)

---

Ooooh baby, you don't know what you do
Yes, hell is being next to you
You're so near but I'll never have you
So hell is here, being next to you
Hell is being next to you

In the midnight hour
I toss and turn, you know I can't sleep now
In my head I hear
Your soft, sweet voice
And you seem so near

When I see you I lose control
I say "One day, maybe you'll be his girl'
But when I look you're looking at him
Is that why you're always in the gym?

Ooooh baby, you don't know what you do
Yes, hell is being next to you
You're so near but I'll never have you
So hell is here, being next to you
Hell is being next to you

I might not be right
But take a chance, you might change your mind
Your eyes are over there
At his crotch you stare
It's a very nice crotch

But you know I am here, I'm yours
I understand you, but you can't see what you're missing
Maybe I don't have the right equipment
But we can try to make it work

Ooooh baby, you don't know what you do
Yes, hell is being next to you
You're so near but I'll never have you
So hell is here, being next to you
Hell is being next to you

Next to...
Next to...
Next to...

He might have abs, but I have a six pack
He might look good, but I have something I'm sure
He's a man, I guess that's why you like him
Oh I give up, do whatever you want

Ooooh baby, you don't know what you do
Yes, hell is being next to you
Go swan off with him, I'll be here
Wishing that I was next to you
Oooh, hell was being next to you
Oooh, hell is being next to you
Oooh, hell is being next to you
Oooh, hell is being next to you
Oooh, hell is being next to you
Oooh, hell is being next to you
Oooh, hell is being next to you...

[Missus X]

---

Rick Leg - "The Things I Do"
Tune: Meryl Streep - "The Day Before You Came"

---

Generally, as it stands, Rick Leg's performances in this marvellous contest that has been running for 68 editions and is generally known as the WorldVision Song Contest has been not exactly optimum, and in order to make a point of it he is entering, through extremely bated breath and gritted teeth, the type of song he absolutely despises: extremely slow, extremely long, and with massively overthought staging that is far too high-concept for anyone to actually make sense of it. Generally, as it stands, this concept is going to work out for him, it is thought, because all Rick Leg needs to do is just blah, drone, and witter on about the staging and write some generic lyrics to boot to a song that is guaranteed to send the entire WorldVision Song Contest audience to sleep, hopefully, thought Rick, to the detriment of the remaining acts in this year's competition.

The camera zooms in on, then tours, a massive building displayed on the laser display screen at the back of the auditorium. A circular hatch opens and a beam of light lances out into the audience, ensnaring the entire audience in a dazed glow and Rick stumbles out of the back screen. He shakes his head to clear it, as he too appears dazed and confused, then goes down the catwalk a little bit, up some stairs, and some lights come on to show that he is now standing in a dock inside a trial room. A figure sits in a pew opposite him. Then, heralded by a guard of honour, a woman in white dress enters and sits between Rick and the shadowy figure, as though she is the judge. Without needing to say anything, it transpires through text on the back wall that this is an impartial inquiry into the behaviour of Rick Leg, who is charged, on diverse occasions, of conduct unbecoming of a WorldVision contestant. Rick stands up as if to protest but one silent, swift gesture from the woman sits him back down. Rick stands to make his first objection, and in so doing will have to attempt to tell both the story of the trial itself and the story of what he is being put on trial for, for this staging is incredibly high concept, and generally, as it stands, this is not a type of staging that MSX Television are used to.

I did enter the WorldVision like I always do

On the back wall plays a clip of Rick Leg from WorldVision 34, where he murdered thousands of people. Rick explains to the court between the lines in the song that this was exceptional circumstances considering the prison overflow problem of Missus X at the time and that he had been given carte blanche to murder all such prisoners. The action then cuts to Rick walking alone, naked, in a forest after the contest in guilt of what he had done.

I'm sure that you would have had to have done the same thing too

To provide context to the court, the prosecutor then pans the camera around the forest to find two unsavoury natives who find Rick in the viewfinder of their guns, before Rick moves out of sight just as they are about to fire. They need to destroy the power source powering an underground civilisation in order to plunder said civilisation of its highly-guarded secrets and findings. Generally, as it stands, these renegades have some problems with their mental capacities. Where one of the two renegades has a simple case of sociopathy, the malaise of the other, the leader of the two, is much more complex. A deep-rooted maladjustment, brought on by an infantile inability to come to terms with the more pertinent, concrete aspects of life, according to his psychiatrist, although that does sound more like an insult than a diagnosis. Mind you, he had just attempted to kill him, but then again, that's prison psychiatrists for you. A major worry now exists for them, in that they mistakenly believe Rick is wandering the forest for the same secrets that the two renegades, Ztilg, the leader, and Ribbed, the junior, have come after. Rick stumbles upon the entrance to the underground civilisation and realises that it looks like an old underground railway station - an disused underground railway station in Mister X? That's impossible, isn't it? Unless, of course, they collect railway stations from other countries... no, that's unlikely. Not as unlikely as the other explanation, which is that one of the stations of Mister X's notoriously famous underground system was closed and forgotten about altogether. Or perhaps it predates Mister X and no one knew about it?

I must have had a think about the station underground

Meanwhile, the two renegades, Ztilg and Ribbed, make their way to a mock tribal village in the rural countryside of Mister X. These people seem like backward savages, unaware that the land they are on is now Mister Xian, nor indeed, does it seem the Mister Xian government think anyone lives here. How have they managed to keep this village undetected? Ztilg and Ribbed soon find the answer, and indeed, what they came for, when they see a totem pole that looks shiny and modern and shiny and modern. It is a tall black cylinder, with solar panels all around it. The tribe doesn't know this, but this is also the power source of the secret underground civilisation. Meanwhile, Rick, unbeknown to him, is being watched underground by a robot, and decides to explore this station further by going through a set of extremely modern double doors before walking into a series of underground passages that look as though they were recently built and outdate the station by a long way.

At this point, Rick interrupts the trial to ask a question:

The evidence is irrelevant and lacking, and it's definitely not profound

All will be made clear, it is assured to Rick, and the evidence is allowed to proceed.

Ztilg and Ribbed meet the leader of the Tribe of the Free, Acyrtak, and Ztilg, confident of his ability to woo ageing women, is confident that he can persuade her to dismantle the great totem and then they'll be on their way. However, this plan backfires spectacularly when Acyrtak reveals that Ztilg and Ribbed are not the first to visit her to seek the destruction of the great totem. How can they know, thought Ztilg? They're savages! "That old hag took our guns away from us just like that. How can we be their prisoners?" thought Ztilg. Meanwhile, Rick sees some water in a jar being displayed as a monument underground and picks it up. This triggers several alarms, and the underground workers almost stone Rick to death.

---

Unfortunately, Rick then missed a deadline for staging, so everything stops and the back screen shows the test card, whilst Rick finishes the song in one solitary spotlight.

And now I've run out of time to write my entry
So here's some generic lyrics whilst I try to think of a rhyme
And when I go to court charged with conduct unbecom-
ing of a contestant, I defend myself, but not with much
It's a riveting story, oh yes, that I must admit
But honestly, some people think it is quite shit
There's four excellent chapters including a great twist
But let's be honest, you know what's going to happen by the fact I'm singing this
I get my head messed up
And pacified by a brain transplant thing
So the second chapter is hazy
The prosecution tell me what I say
But did they tamper with
The evidence, well I don't know yet but it seems like that
And yes, I'm sure I didn't torture my friend Ray,
It was all in my brain
I don't know what happened to Ray in the end
But the prosecution seemed to tell me that he was dead
And then I launched my defence and it wasn't really good
But having reviewed it in the recess, I know it was tampered.
I then accused the prosecutor of tampering with my show
They summoned the evidence reviewer, who said that that did not happen
But then someone turned up, I didn't think I was happy to see
Ztilg who had stumbled into
My trial somehow like on TV
It's funny, but then my enemy Retsam hacked into the video screen
And showed me I was right
The prosecutor, it turned out, was an old enemy of mine
And as the enemy of his enemy, Retsam wanted to help me
And then it all got a bit surreal and the prosecution said
"oh shit, I think I'm dead"

The light goes off.