Or in the words of a very funny man: "See you in hell, Pachelbel."

I'm no musician, but I know enough Music Theory to know that Cellists simply play one note for bars on end.

Not so sure about Japanese

It does! Yomi ni au, Pacheruberu! Do note that this is technically grammatically incorrect, since the ~u form rarely makes it intact in most sentences. It's more correctly translated Yomi ni aite, but that might be just my instinct talking.

If you want to get really pedantic, Yomi ni aeru is close, but it translates to "I can meet you in hell". A case can be made for Yomi ni aimasu, but then again that wouldn't really rhyme since the u sound is dropped in the end.
 
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So, on a quick looksee at Pachebel's Canon, is it hated due to being insultingly simple, or is there another reason?
 
So, on a quick looksee at Pachebel's Canon, is it hated due to being insultingly simple, or is there another reason?
It's hated by cellists because cello's part is 8 whole notes....endlessly repeated. For the whole song. Shinji's not kidding about being able to play it in his sleep. It's just that boring if you're playing the cello part.
 
54 times. People counted, because they had nothing better to do.

And now I want to write an omake about them singing the Taco Ball Canon, but Shinji seems like he would sing tenor, and aside from Rammenstein jokes, Asuka would probably be alto, so I have no idea who would be covering the bass/baritone part. (Gua~ca~mo~le, gua~ca~mo~le). Unless Tabris sings bass, but that would just make things weirder.
 
This is absolutely adorable. My blood sugar is makiHNNNNNNNNNNNNNNNNNNGGGG- oh, where was I?
All that's left is for Asuka to give into her urges and initiate the "Israfel Special".
 
Found a little typo that I don't think has been mentioned:

Knowing they cared for her was almost too good the (to) bear.

Other than that, nice piece. I think those many flashbacks feel a little out of place though, especially considering the previous scenes that this snippet is following. From what I gather, their intention is to juxtapose Rei's and Ritsuko's situations at the end there (and to explain just why Asuka would suddenly be playing the violin), but I don't really feel like the way it's done fits with the rest of 'Advent'.

If you are planning on ending this gargantuan chapter here, maybe you could make this snippet into an interlude of sorts?
 
Found a little typo that I don't think has been mentioned:
Ooops. Fixed, gracias.
I think those many flashbacks feel a little out of place though, especially considering the previous scenes that this snippet is following. From what I gather, their intention is to juxtapose Rei's and Ritsuko's situations at the end there (and to explain just why Asuka would suddenly be playing the violin), but I don't really feel like the way it's done fits with the rest of 'Advent'.

If you are planning on ending this gargantuan chapter here, maybe you could make this snippet into an interlude of sorts?
I've been wanting to show Shinji and Asuka playing together for a while, but there just hasn't been a good place to slot it into the narrative. I did want Rei to come back to this, though, so the chain of flashbacks.

The next scene will be Ritsuko having a long dark midnight of the soul, yes. The whiplash contrast with Rei's homecoming is deliberate. Rei comes home to music, love, and hugs, Ritsuko comes home to emptiness, solitude, and the crushing realization that this is all Gendo will ever seek from her. If I hadn't been utterly wiped out, I'd have written it as part of the update. Now it goes in the next one, though I may try to poke at ACoS this week first.

And this chapter... ye gods. I've been considering going back and breaking Ch 8 up, and making the latter half 'Ch 9 - Advent', and renaming Ch 8 as 'Fear And Loathing In Tokyo-3', but that means the work of slogging back through and changing all the threadmarks, etc, so I've been avoiding it. I figured there was enough drugs and loathing in Ch8 to support the Hunter S Thompson ref. :)
 
Ooops. Fixed, gracias.
I've been wanting to show Shinji and Asuka playing together for a while, but there just hasn't been a good place to slot it into the narrative. I did want Rei to come back to this, though, so the chain of flashbacks.
A humble suggestion on how you might handle the music scenes: Start the section in the narrative present, maybe with them setting up. Then move into the flashbacks as Shinji or Asuka recalling the events. (I do think this section works better all together, even though it introduces something that hasn't been referred to before.)

To end the flashbacks--I'm not sure which: Either shift back to Shinji and Asuka in the present, now playing; or jump to the Rei sequence leading to her discovering the musicians. The first, the standard method, would make more clear that we are back in the present, but the second might have a stronger emotional effect.
 
This should bring us back on topic.


Apparently Asuka has had enough and decided to seize Rei all for herself. Whatcha gonna do now, Shinji?

I think you'll find that Eva threads have much less reasonable wanking



This is a an ad for an Eva card game - there's another associated with the same game that (along with a spot of old cowboy songs) put a plot bunny in my head that I've been jotting down notes and doing research for over the last couple of months; I'd have put pen to paper by now but I'm lazy as heck, and also owe more time to my family. Anyways, here's the other image:

Just saying, but I would totally read/watch Evangelion as a Western.
 
So... anyone up for writing this spaguetti-western?

A pair of omakes in that vein would be pretty good practice for any aspiring authors looking for something simple to dip into, methinks. :)
 
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