Voice actress: 2nd gig Feb 7 2020
300 words total.
Dialogue to voice, is in blue font. Word count in red. Grey : other roles
Act IV. Suathra’s Terror
The following series of dialogue features two main voice types. Femme Fatale dominant, and minion subordinant.
Not a script* per se, It’s a Phrase Bank, a brainstorm of everything within the character’s range – variations of the same statement; to mix and match, and choose from, in the final game structure.
Basic: A metaphor for Robiespierre’s Revolutionary Tribunal, in the French Revolution. Suathra is like the Alice in Wonderland Red Queen Archetype; her threats to chop off heads are ubiquitous*.
*definitions: ubiquitous: present, appearing, or found everywhere. “his ubiquitous influence was felt by all the family”
Detailed Character Description:
Suathra in her descent into power drunk, ‘ reign of terror’, is portrayed as a diva -like, narcissist, that, in pursuit of her ambition to be singular ruler, begins to commit enormities . The caricature of the Red Queen, in Alice in Wonderland, is what she approaches, in her explicit, morbid commands, and impatient, angry emotional tone as she begins to quickly appear as a dangerous mess– having suspected traitors executed, and threatening, more verbose descriptions of demises.
Her character transformation, is from backstabbing manipulative seductress, to feared dictator.
The over-the-top imperious dictator aspect, generates terror, and elicits compassion for the protagonists, who appear in mortal danger. Established by Suathra’s growing frequency of ‘Death sentences” she is so quick to bark.
Relevant Back Story:
Suathra is a terrifying despot, whose actions inspire the same dread and sense of lethality as a Darth Vader, with the maniacal fanaticism approaching the Joker archetype*.
* ( minus the whimsy of the Joker; replacing it with the imperial arrogance of Darth Vader).
As a villainess, she is the arch villainess, that resembles the personification of absolute power and Type A, indefatigable ambition. She is devoid of warmth for others, her warmth derives from the furnace of her ever stoked self-satisfaction from her insatiable conquests*
* from king to king, she seduces, usurps and takes everything within her grasp.
Not knowing what to expect, but seeing what she is capable of; her own servants are totally at her mercy. Suathra generates tension, in every scene, by vacillating between a seductive femme fatale persona and merciless fury. Generating unease, and tension whenever she speaks; her type A personality, projecting the same unrealistic expectations, and dissatisfaction on everyone under her command.
Her sweetness is a calm before the inevitable livid tantrum. Her terror is from the unpredictability – the sudden, cruel dispatching of those who oppose her, including her own troops.
As intelligent as she is, and dedicated, her hubris is being high strung, with a cruel unrelenting temper, that foments her bloodlust when eliminating threats to her ambition. Such that she loses track of the big picture, temporarily risking more than it’s worth* , but eventually returns to an equilibrium of cold blooded calculation, and long endured subterfuge, to attain her conquests.
* in that way, like the Joker
A dangerous foe, that outwits and overpowers her targets, with a tenacity that is a force of nature.
Voice style: Suathra:
Nayka Captain: (Nay – ( ay as in bay) Kuh ( uh as in ‘duh’) a slightly higher pitch than your voice on the sample Maxxene. Key is sounding like a different character than
Suathra, by sounding younger, or less dominant.
Nakya’s Hiss the ‘s’ sounds in their words: ( ess) Key their enunciations of the ‘s’s affect a hissing that is reminiscent of a snake.
For example: “ No,.. Misss tressss,.. pleassse, no , no, I beg you,.. …..It wassss me,… Sssuathra, Misss Tressss, … yesss, but I wassss, wrong, …
Segment 1“No,..Mistress, .. please, no,,..no,.. I beg you, “
2nd Segment “… have mercy!,. ,.., urk,.. uhk, … gacck,..”
3rd segment: mmmmgh, … acck, … uhmpp,..
( final sound, like a television death scene),.. uhhh,..( then silent)”
[ Vocal Directions: Segment 1, like in a Creature from the Black lagoon, where someone is backing away, speaking panicked, terrified. Haltingly, staccato, for the’no’s ‘. ‘Mistress’, enriching the ‘ss’ of the s’ss , to possible affect an alien like tone to the Nayka ( which are like V’, aliens which look human, but have alien parasites). ‘Please’, a rising tone ( 5 second count: like a wail, whining). each ‘no’ crescendo of urgency. Last phrase: “ I beg you!” sounds almost like crying, mixed with exasperated terror.
Segment 2: slightly increased volume for 1st phrase, like a scream. last three words, like sound effects, imitating someone being grabbed, and choked
Segment 3: volume decrescendos 4 second count. 1st word, 2nd word ( shrill, high pitched), 3rd word ( 6 second count, lower , guttural or baritone, trailing off. Last word, like a Looney Toons cartoon bugs bunny, pretending to be dead: like a sigh, that fades out 3 and ½ sec count.”
Applications: Scene demonstrating the sc-fi rules of the physiology of the Umbreed. They are stopped by anything except decapitation ( ie,. “The highlander” franchise; Connor Mcleod of the Clan Mcleod, )
Also, a stock dying sound effect for structuring the scenes in the visual novel quest game. Or general scope use, to be spliced or arranged later.
Scene: The convincing act, shows how intelligent, and good at imitating, the umbreed are. Suathra, distracted by the pleas for mercy, overlooks the obvious: The umbreed cannot be killed by hanging, their heads are approximations of the external shape of human heads; and immutable. Only severing the head ( like a vampire, highlander, or quick regenerating mutant) prevents the umbreed from working in conjunction with it’s host. The umbreed themselves, require a host, to gain threshold in this dimension, once separated, they begin to phase out to their dimension of origin. ]
Nakya Captain: “ “, .. Yes,… but I,.“
“,was wrong .. please,,.. have mercy!“
“ ,.. please, ,..please don’t execute me,… I won’t betray you! “
[vocal directions: Phrase 1: an inhale, of dread, and speechless ness.,.. then, like a kid, caught lying, begins to try to explain.
Phrase 2: then sort of breaking down Phrase 3:( begging in a higher pitch, incrementally – like a desperate entreaty.
Application:Suathra is approaching her, with a menacing look, and powers up her Vimril Blade. ( sound of vimril sword). ]
Suathra:“ Take away her headless corpse. ”.
[vocal directions: said callously, like describing in a bored, annoyed tone, for the waiter to put the left overs in a clamshell
Application: The guards who witnessed her ruthlessness, are quick to respond, and she delegates the cleaning up of the messes she makes, to others; typifying her often nihilistic attitude. Differentiating Suathra from the anti-heroes, for her intentional terrorizing of her subjects. Generating some empathy for those who serve her; it isn’t the soldiers, but Suathra who foments the terror. ]
Suathra: “ Take her head,,.. to the Vault!”
[vocal directions: First Phrase: as though musing aloud, trying to sound like a tyrant whose very whim could be the difference between relief or horror.
Second phrase: a crescendo of intimidation; a tone of rising menace: for example: Monty Python, skit, referring to the ‘comfy chair’. Or , speaking pretentiously of something, in an increasing ominous tone: like thrilling, suspense radio serials “ The Indiana Jones, in the ‘Temple of Doom’” ( rising emphasis)
Application: Suathra summons the Nayka henchmen, and Wikkoth priests, to take the Umbreed hosts immutable remains, to keep in the Vault of Mnemoth, where they will not come to avenge, and retaliate, as undying, Dullahan ex-patriots. As empress, she keeps a close eye on her enemies, and those that betray her; even for imagined slights. Archtypal Arch Villainess, despot – terrorizing her subjects, by making examples of others, so the rest cower in abject fear, and don’t dare question her. ]
Pronounciations: Vimril: Vim ( ‘im’ as in Tim) – ril ( as in bill)
Nayka Captain: “ Officers, Behead the hybrids with Vimril Blades”
[vocal directions: (a variation of above phrase, from Nayka, in Nayka character inflection- slightly higher pitched than Suathra) said relatively quick, within clear concise enunciation – conveying a snapped off line, said in haste, and apprehension. As in dismissing a thought, that is disconcerting, and needs to be dealt with, and annoying problem, weighing on her mind.
Application: The newly appointed Nayka Captain says this after Suathra barks the order, upon discovering the team of Oro, Gharvesh, Jindravia, Sjera, breaking into her castle in Dracken dour, with Carrenna, the newly discovered hybrid with the ability to call the weather elemental accompanying them; the one thing Suathra truly fears, because if Carrenna discovers and master’s her natural gifted powers, she will be able to easily stop Suathra from opening the corridor to Xth’raddon’s invasion force: the Umbreed hordes from Nyhaelos.]
Suathra: “Bring me her head!”
[vocal directions: a barked order, with an edge of aggression, hostility – louder volume, crescendos ; resembling the Red Queen in Alice in Wonderland; a sardonic stereotype, whose phrase is reoccurring; setting a tone, and referencing a draconian and cruel, merciless, tyrant.
Application: The soldiers of Suathra, have remained silent, and merely look back and forth, at each other, none taking action or saying anything. Her first command was met with inaction, so the 2nd one is repeated with greater fury.]
Suathra:“Decapitate these women! — They’re hybrids!”
[vocal directions: the first word is enunciated delicately, as though brandishing a feared word – (for example: “Dee- Cap – ih – Tate!” with a 5 second count duration. A big stick to intimidate, the volume is slightly raised, like a bully trying to scare someone. “ these women” is said with an emphasis on these ; as someone looking through produce, and picks one:’,.. these’
– a sort of rising tone, with a sustain for a fraction longer than normal pace;
The last word in the phrase is said in an even more rising tone, sounding slightly hysterical; like an impatient diva, expression impatience, verging on warning signs hinting at an imminent temper tantrum. For example: “WoMEN!!!”
The second phrase is delivered didactically, like a teacher, explaining a history lesson, with emphasis on the last word, – as in “ they are ‘Spies!”, – the second phrase’s tone, explaining the command in the first, without doubt; a presumptuous tone, conveying contempt for ‘hybrids’.
Application: The Clandestine team arrive to assault castle Drackendour, and as Suathra flees through a corridor, she yells to her remaining Nayka to get them. They however, are like dogs scared of the bigger dogs, and rout. Most of Suathra’s threats are not heeded, as the Seasingers unite to form a superior force, to counter her Campaign of Terror, and drive her Nayka back.]
Suathra: “ Cut off her head!”
[Vocal directions: on first word, emphasized, with a rising tone. asked, impatiently, like an annoyed, brat; who expects everything they ask for, instantly.
Comedic scene, where the guards are portrayed as three stooges, ( resembling the comedic tone of Monty Python’s Holy Grail, the guard skit, where they say “ You want us to go inside, and you will come and get him.”
Application: Now that no one has reacted to her first two commands, she inquires, still not cognizant that the soldiers have no more confidence in her. To the audience, Suathra is beginning to be revealed as relatively powerless without her Umbreed drone legions. Leading her to seek Xth’raddon’s power, despite it resulting in the Maelstrom being unleashed in Aethyrvast. ]
Suathra: “ I said, ‘ Cut,.. Off, .. their,..heads!”
[vocal directions: ( first phrase, an incredulous tone – rising pitch and volume on the second word: I Said!!, legato, sustain on the last syllable of said: se – uhd!- the word is carried out about twice as long duration for the pacing of the normal speaking pace- for emphasis.
The second phrase, is said in muted rage, louder than average, but not as loud as the implied level of anger, – like someone so angry, they are taking breaths, to project their voice for, but muting them – clenched teeth.
The pacing, reflecting a paroxysm of rage; temperamental ( like Alice in Wonderland Red Queen). The tone, is steel like, almost guttural – within character;. This line, is said with the same tyrannical confidence, and expectation that they be followed.
Application: Suathra, sees the lack of action from the Nayka soldiers, as misunderstanding their orders, she rephrases, as if explaining her directions more clearly ]
Suathra: “ Behead the hybrids *- prevent their incantations “
[vocal directions: said relatively quick, within clear concise enunciation – conveying a snapped off line, said in haste, and apprehension. As in dismissing a thought, that is disconcerting, and needs to be dealt with, and annoying problem, weighing on her mind.
Application: Suathra says this after seeing through her sorceress monitor, the team of Oro, Gharvesh, Jindravia, Sjera, breaking into her castle in Dracken dour, with Carrenna, the newly discovered hybrid with the ability to call the weather elemental accompanying them; the one thing Suathra truly fears, because if Carrenna discovers and master’s her natural gifted powers, she will be able to easily stop Suathra from opening the corridor to Xth’raddon’s invasion force: the Umbreed hordes from Nyhaelos.]
Suathra: “ Am I Queen?”
[vocal directions: She asks, sounding preoccupied with what she is done. Like someone looking at a department store shelf, and talking into a blue tooth to her boyfriend. An understated set up for a chastisement: for example:in pulp fiction: ‘Is Marcellus Wallace a ***** … Then why did you **** him like one,….”
application: Suathra, glowers, then strides away from the captain, takes a Vimril sword off the weapon’s rack* adjacent to the throne, hefts it for weight and balance, holding it up to the moonlight streaming in from the atrium . Then, while facing away from the captain, who has lowered her gaze, and is looking nervous.
* like Captain America: The first Avenger, when the red skull is preparing to blast the officers with a powerful alien weapon: he talks to them casually as he readies to fire it ]
Suathra: “Answer me! “
[vocal directions: Imperious tone falling tone on the first word, Starts high, loud and shrill. 1 sec count each syllable of the first word : “AN- SIR! mee! two second count on last word, in a lower tone than the start tones.
application: Like an angry parent shouting at a child who isn’t responding; if the parent were furious, and impatient, and being mean. Said like a military command from a drill sergeant:” Answer me soldier!” or “Answer me trooper!”]
Nakya Captain: “ It was me.”
[vocal directions: First two words, a meek/hesistant confession, in a slightly lower volume, but with the stoicism of soldiers at attention. Tonesounding like a flinching expression is on the face, and cowering attitude; last word, like a sigh, or confession, given in resignation
application: The Nayka guard, an Umbreed host, answers with the personality of an alien freshly learning the nuances of human verbal expression, and behaving to achieve desired effect – rather than actual genuine reactions to emotions. Imagine an android that is programmed to portray an array of emotions, and follows an algorithm* to choose how to express corresponding feelings to the data they are conveying, like a foreign language. So can be acted, as overly demonstrative, or extra dramatic”
* definitions: algorithm:a process or set of rules to be followed in calculations or other problem-solving operations, especially by a computer.”a basic algorithm for division”
Suathra:“ I will make her beg for mercy! ,.then, she’ll and tell us everything – ,.. ha, ha, ha, ha”
[ Vocal directions: first phrase: Said, like someone gleefully, describing how they will retaliate, proud, self congratulatory, with emphasis on beg – in a mocking, legato on the ‘eggggg’ of ‘beg’ in a sing- song playful tone, up until the last word: after “ I will make her beeegggggg for -” She turns, to an aggressive, hateful tone, ‘ mercy!” said icy, within the same decibel level ( not a shout, just going from a silky sonorous playful tone, to an abrupt, spiteful tone for ‘ mercy’ – sounding callous, and mean.
Middle phrase – said as one daydreaming, thoughts that please her, – as though proud and self assured, of her cleverness;; slightly higher pitched than Suathra’s character’s speaking tone; ‘everything’ said like a purring, indulgence, in her desired ambition: word duration extended, so each sound of the three syllables is a rich, mocking gloating sensual legato –
last phrase: trailing off, giddy self satisfied laughter; almost higher pitched, hysterical girlish voice; still within sultry character.” ]
Voice style: for Zaydimar: from sample page : seductive, husky, silky tones; doesn’t have to be husky ( or seductive) all the way through; key, is a mature adult woman; with deliberate pacing of speech; indicating gravitas ** .
** Definitions: gravitas: dignity, seriousness, or solemnity of manner.
of Fictional Names*:
Zaydimar:( Zay ( –ay as in ‘Pay‘) di (‘I ‘as in ‘dig’) mar ( ‘ar’ as in ‘scar‘)
Ral’Jun: Ral (‘Ral ‘as in ‘Pal‘) Jun ( -‘un‘ as in ‘racoon‘ : ‘joon‘)
Suathra: Soo- oth ( as in moth) Ra ( as is para )
Scheherazade: Shu ( as in shut) hair uh zod
Matriok: May tree ock ( as in clock)
* All Names original, except Scheherezade.
Excerpt Segment A: “Intro”
Dialogue: for Zaydimar in “quotations”=- blue font
Zaydimar: “ I am Zaydimar. “
[Vocal Direction: First phrase is said mysteriously, and transcendental – as someone looking out into a sandstorm, and remaining serene. The character has an edge of a silky, feminine aura, that is enticing and rich, but also contains a matronly groundedness – which others seek her counsel and leadership from.
Zaydimar: “ I became Executioner of Ral’jun, to escape my own execution,…”
[ Vocal directions: First Phrase, explaining something one is ashamed of ( like a mistake, or cruel behavior), slightly remorseful, but matter of fact – conveying that she had no sense of a choice: she had to survive.
“ Executioner of Ral’jun” is said like a prestigious, or lofty position: for example: “ I became the Chairman of the Grand- Council‘.” As an impersonation, of the pretentiousness** associated with that role.
** Definitions: Pretentiousness: attempting to impress by affecting greater importance, talent, culture, etc., than is actually possessed
A deeper voice, than usual, just to emphasize that title – with a sweeping, and longer duration for the syllables, stretching out its enunciation**,( slightly), to signify a reference to a grand expectation, (invoked by the title).
**Definition:Enunciation: the act of pronouncing words. Make sure your enunciationis clear when ordering in a restaurant so you don’t get roasted lamb when you really wanted toast with jam.
Second phrase: Said like an excuse, (or explanation) – with entreaty**; like a mother explaining to a child why they couldn’t afford a bicycle for his birthday. A hint of shame, born of desperation – a plea for understanding and compassion, for her shortcomings.
**Definition: entreaty: an earnest or humble request.
Emphasis on ‘own execution’ -rising tone; for example: “ We ate the starving cow, to prevent our own starvation. “]
Zaydimar: “,..each head I took, lived in my nightmares”
[ Vocal directions: First phrase, ‘haunted‘, almost trembling with sorrow ( or shame). Voice decrescendos**, and becomes staccato***. 2 sec pause before the last phrase – to compose oneself, after speaking of a traumatic, all-time low, (where someone loses a piece of their dignity, and invariably, starts to break down and cry, if ever they speak of themselves in that situation).
**Definitions: Decrescendo: an indication to gradually decrease the volume of the music
***Definitions: staccato: with each note sharply detached or separated from the others.
Vocal directions: Second phrase, remembering something terrifying, evoking in the listener the magnitude of how the speaker was haunted by nightmares ( a tone expressing, lost sleep, misery, agony; a whispered, foreboding** tone, like someone not wanting to speak about it in a normal voice). Whispering about it, as if trying to hide from it. For example: “ The Troll is sleeping in the kitchen’. (voice , slightly lowered to a whisper, so the troll won’t hear) ]
** definitions: Foreboding: fearful apprehension; a feeling that something bad will happen.implying or seeming to imply that something bad is going to happen.
“Like Scheherazade’s tales, the sultan married a new girl each day.”
[ vocal directions: First phrase silky overtones – the beginning of an exotic story, resonant duration between first half of sentence and last.
Last half as though speaking matter of factly about something novel,( and interesting; like reporting colonists on Mars have had their first baby) ]
Zaydimar: “If her stories failed to amuse him,..”
[ Vocal direction: The tone goes from storyteller/pacifying tone, to a premonition-for- something (a warning tone); pause, after the last word; said with a rising tone. For example: “ If the cooling system failed,..” ( preceding a terrible outcome such as, “,.. the space shuttle would burst into flames.”).
The tone invites listeners to speculate what’s next. Creating momentary suspense. Drawing the listener to pay close attention to each word, as the story gets more bizarre. ]
[Vocal Direction: Drawn out duration , exaggerated ‘Cartoony‘ sound effect: 1 and a half seconds long.
Application: For accompanying hand across the neck gesture – like a cartoon character making a sound effect to signify being killed, ‘urrkk’, or ‘uhhgh.’or something similar – like Daffy duck in Looney Toons. ]
Zaydimar: ”,.. it was off with her head.!”
[ Vocal directions: last phrase said as though telling a cautionary tale, emphasizing the danger that befell others, to frighten the listener, to beware . Slightly increased volume, crescendo** on last three words – slightly imitating the tone of hostility the villainess used to say it. Like someone transitioning into an impersonation.
**Definitions:Crescendo: with a gradual increase in loudness.
Application: Flashback scene, showing the Villainess giving a death sentence – using the archetypal** phrase. ( similar to the Red Queen in Alice in Wonderland: depicting Suathra as an over the top tyrant; like Cruella De ville, or any Disney villainess ]
**Definitions: archetypal: very typical of a certain kind of person or thing.recurrent as a symbol or motif in literature, art, or mythology.relating to or denoting an original that has been imitated.
Zaydimar: “ Villainous sorceress, Suathra, had ensorcelled him. “
[ Vocal Direction: Telling a story in a Disney movie – in a soothing tone, like reading a book aloud to put the listener to sleep.
The first phrase, in a tone expressing disdain** for the villainess.
** Definitions: disdain: the feeling that someone or something is unworthy of one’s consideration or respect; contempt.
The name ‘ Suathra‘ said like a notorious villain, as though the word itself is ‘scary’.( For example, the way fans of WWF speak of intimidating characters, with some showmanship, implied character, and acting to emphasize an attitude, or reputation). Suathra, said chillingly, with a whispered, breathy hiss, making the word last a second longer than the pace of other spoken words. ( For example: “ I, am Draaacullaaa,…” (dracula, ) )
Last phrase, as though speaking of the unlikely. The tone, conveying the narrator’s feeling: “Can you believe it? “ ]
Behead: ( Bee ( as in baby) Head as in Ned) = BEE-Hed.*
* after several actresses have consistently mispronounced this word, They pronounced it buh ( as in bus),
I am clarifying it, as Bee-Hed,
Pronounciation Correction: Warm-up
I. Read the two inflections for the word behead, for proper pronounciation:
Narrator: “Behead.” ( Bee ( as in baby) Head as in Ned) = BEE-Hed.*
* after several actresses have consistently mispronounced this word, They pronounced it buh ( as in bus),
I am clarifying it, as Bee-Hed,
Excerpt Segment B: “Zaydimar’s Loathed Job”
Zaydimar: “Disguised as an executioner – I wasn’t beheaded like all the other girls.”
[ Vocal direction: First phrase, relating an unusual tale, expected to be interesting to the listener, (because of it’s unexpected turn of events); as though expecting the audience to be incredulous, using the tone: “You won’t believe it, but I won the lottery.”
Second phrase: conveying an ordinary occurrence was not the outcome. For example : “ I didn’t get a ticket,..” prelude to “ ,..instead the cop gave me a warning.” An implied sense of how inexplicably fortunate the person telling the story feels, for being spared the normal outcome.]
Zaydimar: “ Instead,…”
[ Vocal direction: a sigh of weariness, or admission that it wasn’t such a perfect solution; having its drawbacks, and new problems.
Zaydimar: “It was my job to, chop off their heads.”
[Vocal Direction: First phrase a grim and sober relating, of something confessed from the past – (expected to be received poorly, but stated as a matter of fact, for the sake of honesty)
Second phrase ( Italicized phrase), said with a tone of irony** / surprise; rising tone. Different tone than the first half – signifying the turnabout, (vocally). For example, “ I didn’t get hit by the water pistol like all the other kids, instead, I sprayed them with the water pistol.” – said solemnly***, (or more serious), to emphasize the importance the experience had for the speaker. Like, conveying “ you don’t understand, I wasn’t just a good boy, I was the preacher’s son.”]
** Definitions: Irony: the expression of one’s meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect.a state of affairs or an event that seems deliberately contrary to what one expects and is often amusing as a result.
***Definitions: Solemnly: something done in a serious manner or in a way that reflects a ritual or tradition. An example of something that would be described as acting solemnlyis how we all should behave at a funeral.
Excerpt Segment C: “Zaydimar Rescues her Friend and Escapes”
Act I. Zaydimar Renounces her role as Executioner
[Insert flashback: ]
Zaydimar : “Head on the block prisoner.”
[ Vocal direction: a cold, forceful, but detached/icy tone; an affected tone throughout the interrogation – reflecting the putting on of a role: ie,. Like Christian Bale’s Batman – (but NOT as over the top, guttural, or conspicuous; just an ominous, slightly hissing, grim-reaper tone; still clearly Zaydimar, and a feminine voice, just a little bit grimmer) ]
Zaydimar: “ What’s your name?”
[ Vocal direction: demanding perfunctory questions, sounding like an ominous and menacing character.
Zaydimar: “I remember you from school.”
[ Vocal Directions: Her voice is now without the ominous tones, sounding like a friendlier person – who suddenly breaks character, to greet a close friend. A seemingly incongruous **gladness in her voice; remembering happier carefree times. The light streaming through an overcast sky, seems to confuse the prisoner.
**Definitions: Incongruous: not in harmony or keeping with the surroundings or other aspects of something.
Application: She is standing above him, in a legs wide apart position, still holding the Executioner’s scimitar, and smiling, as she seems to break from character, forgetting her costume, and just being herself: enjoying seeing her friend again. He however, doesn’t understand what is happening, since he doesn’t recognize her in the costume. ]
Zaydimar:“Wait, …Your name’s not on the list. Ooops – Our mistake. “
[ Vocal Directions: Back, in grim-reaper character: she leans forward, and puts a black leather gloved hand on the prisoner’s shoulder, to reassure him. Being resourceful, she invents a pretense, to release her friend, (without drawing too much attention to her self or revealing herself).
Last phrase, a smiling, pandering customer service rep who is prepared to placate, and apologize for mistakes: an over the top, bright warm tone. Like a cartoon character, Disney, or kids show host.
Application: She sounds like a not very experienced actor, trying to act.; slightly conspicuous**. The man, whispers ‘ ,.. Zaydimar?,…” – almost stammering in dis belief, whispering the question, in confidence; like someone visiting Santa Claus in the mall, then suspecting the actor is someone they know: “Uncle Bob? Is that you?” Zaydimar, (rather than responding), continues to pretend nothing unusual is going on, persisting to use the fabricated tone of a customer service representative. ]
** Definitions: Conspicuous: standing out so as to be clearly visible.attracting notice or attention.
Zaydimar: (laughter: ‘Chuckle’)” he, heh, he,.. “
[Vocal Directions: In grim reaper characters: Subdued laughter, that escapes, and is almost like a nervous phrase; for example, when someone can’t remember what they are talking about, and say ‘like’ repeatedly, or ‘um’. Volume decrescendos, trailing off – embarrassed, not wanting to draw more attention; squelching themselves within 3 syllables: conveying a tone of: “Innocent mistake; no hard feelings. ” like a non-specific apology. “
Application: Her friend, kneeling over the block, looks up, and hesitantly starts to raise his head; then shiftily, looking to his right and left; with a suspicious look; like a rabbit ready to run.]
Zaydimar: “You’re free to go. “
[ Vocal Directions: In grim reaper character: She looks side to side to see if any superiors are watching . Then nodding her head with a big smile, says her line – like someone who has been looking forward to return a favor, and be in the position to grant a boon, now finally getting a chance to do a good deed, is savoring it, and doing it with aplomb**.
** Definitions: Aplomb: self-confidence or assurance, especially when in a demanding situation.
Application: The man is helped to standing by Zaydimar, who removes his bonds. She gestures, then pushes him toward the stairs to descend the scaffold, and flee. Waving her hands like someone would shoo away a child or pet.]
Zaydimar:“Have a nice day, sorry for the inconvenience!”
[ Vocal Directions: Breaking from character: slipping, back to Zaydimar’s normal voice – for the first phrase: like the bright attitude in a Monty Python skit, (where Chris Palin is acting super agreeable, so that it is sort of humorously conspicuous. Or like Jim Carrey, speaking in super friendly tones, when it’s obvious to the audience, he feels otherwise); the humor, is in the incongruity of tone, with the setting.
The first phrase is said bright, and encouraging; like physician, or friendly telemarketer, or phone sales representative, (whose call is being monitored for quality assurance). As though it’s more for the sake of anyone listening, (to make things look ordinary, or proper).
The second phrase: back in grim reaper character:a slight crescendo, and vigor, that is winning – seemingly out of place in the setting. ( perhaps – like comedy shows, like Kristen Bell in the “The Good Place”, speaking with slightly exorbitant** zest***; (derived from daily vocal training, and sheer vocal power).
** Definitions: Exorbitant: to describe something that is really just too much!
*** Definitions: Zest: great enthusiasm and energy.
Application: Her friend looks stunned, (going from a meditative state of staying calm before the execution, resigned to it, to suddenly, an unexpected, turn of events, where he now needs to muster adrenaline to escape for his life). The expression on his face, shows that he hasn’t fully processed what has just transpired.
Each phrase said by Zaydimar; (who is disguised, and unrecognizable at the time) – is in a tone like a friendly fast food service, (instead of the expected monotonous fatigue expected from service staff; tired of ‘acting’ friendly, all day , every day. ) ]
Excerpt Segment D: “Arena Champion – Zaydimar”
Zaydimar: “ Refusing to execute my friend,… “
[Vocal directions: Zaydimar in her normal Story teller voice, with gravitas, slight seductive quality. Setting up the enunciation of the following line. For example: “ Refusing to join the club, ..” in a rising tone, and “ we found other clubless people, and formed our own.” in a lowering tone. ”
Zaydimar: “ ,… we escaped to a neighboring city,…”
[Vocal directions: Sounding like the start of a new chapter ( or new life. A tone that signifies freedom, and achieving a level of higher ground, and respite from former troubles. Like the beginning of a new adventure. ) The latter half of the sentence, sounding higher in pitch, lighter in tone, as though relaxing from a tense former situation.
Zaydimar: “,… where I discovered: Arena Combat.”
[ Vocal directions : the first phrase is said as a premonition, for the emphasized last phrase: ‘arena combat’ – said as though something really enjoyable, exciting, and epic. Almost like the tone WWF announcers use to hype an event; almost an impersonation, more of a reflection, the tone shift, signaling the whole new world of ‘combat sports‘; a slightly lower tone, more intimidating, like reaching a beast within, a dormant animal side, that craves competition: For example: “ around the corner, was: a lamborghini “ or “ At the grocery store, I was in line behind ,… ( insert favorite celebrity )” . Sort of hallowed, respect, awestruck tones.
Application: Zaydimar, has been touring a new town, but when she walks into the amphitheatre (where gladiators are stretching, practicing, warming up, doing moves, brandishing weapons); there is a hushed sense of awe,- (being impressed, and excited, at this sport, that is within her skill set, and looks like something she is an expert at). Like a body builder, (or fitness aficionado), who sees a mega gym, (with fancy machines, and is really impressed, and inspired to try the new workout machines); it is a treat. ]
Zaydimar:“I was quite good.”
[ vocal directions: humbly, with a tone, understating her performance, (in a way, implying it was more than ‘good’). Emphasis on ‘quite’; using a silky tone, ( as in smooth, almost seductive, but without the over tone of overt sensuality). Preoccupied, recalling the full experience, as something great, but using words that are far simpler.
Application: Zaydimar is recalling her many victories, and is depicted with arm raised, and crowd roaring, as the announcer declares her champion. ]
Zaydimar: “ The crowd adored me. “
[Vocal directions: wistfully,( as an opera singer remembering her glorious youth, still stunningly attractive to 20 year olds, before reaching middle age). The tone for the word ‘adored‘ emphasized, by a rising tone and sustain of the word, for a duration of an extra second and a half: for example: “Frosted Flakes, taste Grrrreat!” – “ The crowd Adooored me.” The tone for ‘me’ , sounds beaming and self-satisfied, like someone who is hugging themselves, after doing something they and others are proud of.
Application: Zaydimar, is narrating, a montage of her most famous arena wins, and the moment of the crowd roaring; while she stands on the platform, arm upraised like a champion, and is given a gold medal. For Example: after a boxing match, after an olympic match, on the rewards podium; after someone wins on a televised talent show, singing show or awards ceremony.]
Excerpt Segment E: “Zaydimar – Militia Hero”
Zaydimar: “ When the city was attacked. I joined the militia”
[Vocal directions: First phrase: The tone reflects, recalling a time that was sudden and worrisome: for example: “When grandfather died, mom was really devastated, it took her three years to stop mourning.” (Like someone talking about a hurricane, or unexpected tragedy or stressful event).
Application: A depiction of horse riders, from Suathra, on a BlitzKrieg mission -( storming villages, with torches, leaping over walls; siege machines, bursting rubble, from cannon balls, and enemy flags waved viciously, from spear tips, as the villagers scatter in terror, some cut down, stumbling in the streets, people panicking, crying, and running for cover; until the city guard react to hold back the invaders, with a phalanx of shield bearers. ) ]
Vocal directions: Second phrase: Sounding like a Marines recruiting testimonial. The speaker is full of purpose, and determination, that inspires the listener to want to have similar qualities of character: implying that joining the militia, is something courageous and righteous. Zaydimar’s altruistic act, signifies her beginning to use her skills, to protect those around her; on her way to being worthy of Matriok.
Application: Image shows riders, clamping down helmet face plates, from their armored steeds( as they are assembled to ride to face Suathra’s invading horde). They appear competent and glorious. Zaydimar seems like a Valkyrie. A visual contrast to the former Arena brawler, and the foreboding Executioner outfit.]
Zaydimar: “ My fighting skills, brought freedom, protected the weaker.”
[ Vocal directions: First phrase, said like a military recruitment ad. She speaks confidently and matter of factly about where she came from, and where she went as part of the militia. The benefits are listed:
second phrase: ‘brought freedom!”, second word of phrase, said in increasing volume, with a joyous, proud emphasis. Coming from someone who feels redeemed from past mistakes and shame.
Third Phrase: said as noble virtues, evoking inspiration, and expressing gratitude for being in a role that was wholesome. Like someone sharing the way it feels, to do something for pure good intentions. A relief, and antidote to the way she felt when doing her loathsome former job as Executioner of Ral’Jun.
Application: Image shows a montage of the militia, (armored horse riders, rescuing fallen villagers, blocking the strikes of Suathra‘s invaders, and rushing in with shield, like a battering ram, to grab a fallen villager before rubble falls on them). ]
Zaydimar: “ The weak had the potential to be strong, I taught them. “
[Vocal directions: First phrase: Said reflectively, as though she had grown in maturity from soldier, to officer, and was now in a position to train militia persons. The first phrase said as though encouraging, like a coach, or personal trainer, giving a motivational speech. The words ‘weak’, and ‘strong’ are emphasized with a rising tone and and a ½ sec longer duration of enunciation. For example: a speech by a charismatic leader: “ One day, the poor, will hold hands with the rich, and walk side by side.” Indicating the two categories are being related.
Second phrase: ‘I’ emphasized, with slightly higher volume, and half second duration increase, indicating she ‘owned’ the new found leader ship role, and was declaring it with confidence, pride, and embracing the role as Teacher.
Application: First phrase: A view of soldiers coming to the training camp, looking out of shape – ie, Mulan, Disney cartoon movie. Followed by a training montage, and then standing in line, looking in shape, and ready.
Second phrase: View from behind the soldiers standing at attention, while Zaydimar is giving them a speech, (followed by the camera zooming in to a close shot of the smiling – visibly pleased leader). Visually demonstrating the different appearance, and state, of being a champion; how it contrasts with the former, as executioner. Zaydimar clearly was distressed as Executioner, and didn’t enjoy the task -now she clearly is pleased with being a leader, and enjoys training the weak, to be champions. ]
Zaydimar: “ A Champion of the oppressed,..”
[Vocal directions: Said as part of a ‘run-on phrase‘, ( like a narrator; completing an origin story, and wrapping it up) with conviction, as a motto. ‘Champion’ said with a respectful flourish, like a lofty ideal she strives for – how others view her; which she tries to live up to.
Application: She stands in profile, like a dramatic patriotic image, next to a flag, with armor, and colorful ceremonial capes, and ribbons – like medieval pageantry**; For example, the way ‘Captain America’ is usually depicted. The noble soldier. Like a World War II ad, or radio recruitment commercial. ]
** Definitions: Pageantry: elaborate display or ceremony.
Zaydimar: “ ,…Zaydimar the Executioner: to the wicked. “
[Vocal directions: ‘Zaydimar‘ is said in a husky /silky tone, that shifts to a harder tone and slight volume crescendo, for ‘Ex-e-cu-tion -er’: each syllable enunciated clearly and deliberately; with a pause at the colon (: )Said in a tone of forceful ownership, of a lethal role.
Second phrase, directed with hostility toward the ‘wicked’ ; whispered, like a threat, made more ominous, by the resonating sustain of the word, said in a menacing tone; as though daring the wicked, through snarling, clenched teeth; implying the calm before a tsunamic unleashing of fury.
Application: She is depicted, with a superimposed image, from her Champion armor, to an overlay, in the executioner outfit – visually referencing her nefarious role; indicating, the lethality, is being directed at the ‘wicked’ : shown battling the hordes of Suathra’s Nayka* – armies). ]
* Black spider, alien host, Umbreed armies
Excerpt Segment F: “ Matriok Zaydimar”
Zaydimar: “As Matriok, I created a safe haven, for women, in oppressive patriarchal societies.”
[Vocal directions: First phrase: Said like a chairman before a committee, objectively speaking of weighty matters. Implying she is accustomed to the highest levels of political leadership.
Second phrase: said like a politician, describing their achievements. ‘Safe haven‘, and ‘for women‘ said in pleasant, reassuring, soothing tones. ( a rising tone).
Last phrase: ‘Oppressive’ is said with some disdain, ‘patriarchal societies‘ is said as though describing a third world country, or some obsolete, primitive and regressive anomaly.
Application: She is seen speaking in front of a crowd gathered in a temple, meeting hall, of women who are considering joining her nation of Nashona; where she is the current High Matriok. ]
Zaydimar: “ For those that would harm us, my arm is ready.”
[Vocal directions: Said, as though mature, not elderly, but slightly older than the early militia days, she is peaceful, and tries to preserve it with wise negotiations, but there is a steel remaining in her voice, expressed in the latter half of the first phrase, ‘ would harm us‘ ;
There is stillness ( a four second pause) lingering at the end of the first phrase; signifying, to the listener, the change of tone in the last phrase: for example : “you would prefer to stay on our friendly side, because the lioness, you won’t see coming, and is ready to rip your face off”.
A full, forceful enunciation of every syllable in the last phrase, like turning on a faucet, to high; demonstrating, the thunder can be brought, at any moment. Beware.
Application: Zaydimar stands in attention, like a salutatory motto**, which the new members of the tribe of Nashona, repeat. Signifying the expanding people whom she leads, and the growing forces of Zaydimar the Champion.]
** Definitions: Motto: a short sentence or phrase chosen as encapsulating the beliefs or ideals guiding an individual, family, or institution.
Zaydimar: “I am Zaydimar The champion.”
[Vocal directions: Signifying a rebirth, different purpose, a new role, purity and freshness. Like in Lord of the Rings, when asked by the companions who saw him disappear fighting the Balrog, and Gandalf responds: “ I am Gandalf the White.”
First phrase: “ I am Zaydimar..” sounds like the narrator at the intro.
Second Phrase: “.. The Champion.” said in a crescendo, with emphasis, on ‘Champion’. Said with pride, and flourish. Inspiring respect from the listeners, by virtue of her own self-respect.
Application: She looks to the worried officers in her troop, and the viewer, with a fist raised, like in the arena where she found her natural strength, – despite being 40 years older: as if to demonstrate: ‘ I am as strong as I ever was’. ( Indicating, the strength demonstrated, is of her character, her righteousness; undying; her immutable, unconquerable soul) . Despite time, loss, and grief, and weariness, and hardship, she remains, a Champion at heart.
Outnumbered, and a fresh legion of Umbreed hordes unleashed from a Portal, with most of her legions decimated – the fatigued loyal war generals of Nashona seem dubious, when Suathra, calls for a duel; between a Nashonan Champion and one of her alien Champions.
When Zaydimar sees there is no one from her forces able to face the monstrous Daugrove*, a dread settles into the War generals. A sense of defeat spreads like poison gas amongst the few Nashonans still standing on the battlefield. In this moment of doubt, she offers to confront the Daugrove – and rallies the circle of loyal generals, worried for her safety, by her assertion.
It is the attitude, from which they feel the impact of the declaration – at her age, and exhaustion from over night battle; they are nearly dizzy, and barely able to stand. Rather, than giving into fear, her example, motivates them. A nobility almost like martyrdom. Moves the remaining fatigued, to never give up.