OUUUUUUUUUH YOU WANNA VOTE FOR MY FRIEND’S OC SOOOOOO BADDDDDDDDDD *uses my evil gay mind powers on you*

@original-character-championship

Bracket C Round 1

Poll 16

Restag Davenport (@blurryumbrellas) vs. Tooey (@faerieorbitars)

159. Restag Davenport (@blurryumbrellas)

He/Him

Restag should win because why not? He's an attention whore and needs something more to fuel his ego. In all honestly though, it would be just so silly funny if he did win :)

Restag is a 42 year old guy, he can do some silly magic things sometimes. He sports traingular glasses with a deep red tint, longer fluffy hair with a bang in front, a streak of white following suit. Along with his dark pants and red button down, Restag wears a sleeveless black turtle neck muscle shirt of sorts, a gold heart necklace around his neck which he holds close to him. He also sports a gold hoop earing on his left ear. In addition to facial hair, Restag has two hand scars in the shape of X's as well as scars on his face, one going up on his right side, and one down on his left.

160. Tooey (@faerieorbitars)

He/Him

So Tooey is my MC/Yuu for Twisted Wonderland (the game with Disney villains as anime boys) and I thought it would be funny to make my MC be twisted from Audrey II from Little Shop and I was right it’s very funny. You know that classic shonen/isekai protagonist trope where the main character convinces everyone in this strange world to believe in the power of friendship? Well Tooey is like that except he’s secretly trying to eat them all the whole time but in a comical double twist he accidentally gets it to work on himself too. Talking about teamwork and collaboration and spending time with these guys all the time accidentally got him to process his own loneliness and changes him for the better before he gets the chance to do anything bad. He’s so cringefail that he has the teeth to back up his badness but doesn’t use them because he thought these guys were too funny to eat. And I didn’t even write him a liar revealed scene or anything he just keeps it to himself. He is so silly with it.

About 5’9”, brown skin and reddish-brown eyes. Dark brown voluminous curly hair with green tips. His lips have a slight purplish tint to them, and his teeth are all completely sharp. He has very slight dimples. The inside of his mouth is purplish and distinctly plant-like, with a muscular looking leaf for a tongue. Usually wearing a disheveled NRC school uniform, with no jacket; just the shirt with a loose collar, copper-y vest half buttoned, a loose tie, and black Doc Martins with embroidered red and purple roses.

Kristine Nielsen

Aidan Quinn

“The Young Man from Atlanta,” about an aging couple whose only son has died young,  is the wrong play by Horton Foote to revive –- it’s dated, and overrated —  but one can guess why the Signature theater and director Michael Wilson have picked it over other Foote plays that would be a better fit for 2019.

It was one of the plays that Signature premiered as part of its season devoted to the playwright in 1995, when it won for Foote, at age 79, the Pulitzer Prize in Drama. The play was restaged on Broadway two years later, and though it ran for only 84 performances, it marked the playwright’s return there after an absence of 43 years.

“A Young Man From Atlanta,” in other words, revived the theatrical reputation of a prolific playwright who had become primarily known as a screenwriter: He had won Academy Awards for both “To Kill A Mockingbird” with Gregory Peck and “Tender Mercies” with Robert Duval.

But over the previous half century, Foote had written more than 50 plays. Director Michael Wilson took a new look at nine of them, all of which were set in the fictional town of Harrison, Texas, based on Foote’s birthplace of Wharton, Texas, and inspired by the story of Foote’s father.  Foote died in 2009 ten days short of his 93rd birthday, and nine months before Wilson mounted “The Orphans Home Cycle,”  a chronological ordering of those nine plays so that they traced 28 years in the life of one man and his extended family, which I just included in my list of the top 10 plays of the decade.

In these plays, his characters soldier on through their sorrows without much fuss, just as the playwright depicts their everyday struggles with an engaging simplicity, which under the surface contains a deep well of feeling.

Wilson has gone on to direct two more of Foote’s plays on Broadway, Dividing the Estate, and The Trip To Bountiful, starring a transcendent Cicely Tyson. It makes sense that he would want to try his hand at the one that won the Pulitzer. Wilson employs many of the same design team as he did in the Foote plays he directed, but the effect is not the same.

Some of the characters from the  “The Orphans Home Cycle” are in “The Young Man From Atlanta,” now older and living in Houston. Will Kidder (Aidan Quinn) is now 64 years old and, as the play begins, he is a self-confident executive in a wholesale grocery company where he’s worked for four decades. Yet his conversation with a younger colleague soon veers to the death of his son, Bill. At the age of 37, Bill drowned on a business trip to Florida, when he walked into a lake.  “Everyone has their theories…I’m a realist. He committed suicide. Why, I don’t know.”

Shortly afterward, Will’s boss enters his office to fire him, saying apologetically that the company’s in trouble and the position needs a younger man.

Will tries to put a positive spin on what’s happened, telling himself he’ll start his own business.

At home, Lily Dale (Kristine Nielsen) doesn’t even pretend to be on top of things. She was a composer and a pianist, and has neither written nor played a note since her son died.

There are a half dozen other characters in “The Young Man from Atlanta,” mostly in scenes that feel slow-moving and tangential. (I need to say here that I don’t blame the actors, many of whom – Kristine Nielsen, Aidan Quinn, Jon Orsini, Stephen Payne — I’ve seen give far more memorable performances in other productions.) But the most important of these characters doesn’t have any scenes at all. The title character never appears on stage.

The man, named Randy, was Bill’s “roommate” in Atlanta, ten years his junior.  Will doesn’t like him; he says during the funeral the young man “got hysterical and cried more than my wife.”  There are other such unmistakable clues. A former maid of the family (standout Pat Bowie) pays a visit; the sole purpose of this scene seems to be to talk about what a terrific five-year-old Bill was – that he was “pretty” and didn’t like baseball, although Will kept on trying to interest his son in the game.

So,  Bill was gay, and he committed suicide. The only facts really open to question are: Did the young man from Atlanta take advantage of Bill, and is he doing so now with Lily Dale, who’s been seeing him secretly without telling Will and giving him gifts of money?

No characters utter a single word (even in euphemism) about homosexuality, a silence that of course would probably be characteristic of a conservative (explicitly Republican) couple in Houston in 1950. But I struggle to detect anything in the play that sufficiently separates Foote’s attitudes in 1995 from his characters’ in 1950. To the characters, homosexuality cannot be discussed, and homosexuals are invisible. But the playwright keeps both off the stage as well.

And then, the gay man has apparently committed suicide – a hoary plot line for a drama first produced some 30 years after Stonewall!  Way back in 1968, “The Boys in the Band” made fun of just such a lazy, hateful  fate that was near-universally imposed on fictional homosexuals.

Now, each of these unenlightened elements in the play separately might be defended as artistic choices in keeping with Foote’s frequent approach of keeping feelings unspoken. I understand that the play bears a superficial resemblance Death of A Salesman – that Will Kidder like Willy Loman has chosen self-delusion in pursuit of the American Dream,  and defined success in ways that destroy the soul. I’d also hate to be one of those critics who seem to see every work of art through the fixed lens of their personal (and often self-righteous) political worldview.   But there are so many other plays by Horton Foote that are so lovely, so affecting, and don’t feel as if they are written with the same prejudices and limitations of the time and place in which they are set.

  The Young Man from Atlanta

Written by Horton Foote. Directed by Michael Wilson.

Scenic design by Jeff Cowie, costume design by Van Broughton Ramsey, lighting design by David Lander, sound design and original music by John Gromada

Devon Abner as Ted Cleveland Jr., Dan Bittner  as Tom Jackson, Pat Bowie as Etta Doris, Harriet D. Foy as Clara, Kristine Nielsen as Lily Dale, Jon Orsini as Carson, Stephen Payne as Pete Davenport, and Aidan Quinn as Will Kidder.

Running time: 2 hours and 5 minutes, including one intermission

Tickets: $35-$55

The Young Man from Atlanta is on stage through December 15, 2019

The Young Man From Atlanta Review: Not The Best Foote Forward “The Young Man from Atlanta,” about an aging couple whose only son has died young,  is the wrong play by Horton Foote to revive –- it’s dated, and overrated --  but one can guess why the Signature theater and director Michael Wilson have picked it over other Foote plays that would be a better fit for 2019.

Hey all!

To anyone who has voted for Restag in the @original-character-championship thing, I just wanted to be sentimental for a moment, and thank you! 💜

I never expected him to be a public character, more so an inside joke, in a way with friends. It means a lot to me to see how much you guys like him and what not, and it just makes me really happy to know something I made, which can joyously impact people.

Either today or tomorrow I'm going to make a masterpost about him for propaganda so you guys can get to know him a little better, hehe 🤭

But again, thank you so much for your support ❤💜💙

VOTE RESTAG ‼️‼️

He won’t be mad at you if you don’t…. @original-character-championship

“Unless you’d like me to, of course ~💛”

This is just your daily reminder to vote for Restag and Mave this week in the @original-character-championship

(Restag TODAY!!! Mave THURSDAY!!!)

Doodles I did yesterday yippee mostly featuring Restag and Mave because silly <3

@original-character-championship

Yall like Restag right? Aight cool, enjoy some doodles of him and my human design for Gaster n Grillby being very not homosexual 😳🫣😜🏳️‍🌈

VOTE RESTAG ‼️‼️

He’s not just a “one outfit” kinda guy… @original-character-championship

AAAAND, since I'm still up, have a mini Restag doodle sheet. To be real, though, whether he wins this bracket or not, thank you guys a ton for giving this guy all the love in the world ❤️💜💙 We appreciate it ~

@original-character-championship

VOTE DR. RESTAG DAVENPORT ‼️‼️

“There’s more to me than good looks and a cheeky smile.~” @original-character-championship

I promise I’m not dead! Writing an album and having art block will do that to you tho- anyway FOLLOW ME ON ART FIGHT ‼️

I’m looking forward to all the attacks and the like! (Hopefully I can keep my promise to myself ‘n actually do more this year 🫠)

I promise I'm not dead! I'm just really inactive on most social media's nowadays- anyways have some of my OC Restag cuz idk what else to post, enjoy! ~ He is VERY pansexual by the way

Also yes that is my design for Human!Grillby, why do you ask?

Restag Masterpost ~ 💛

Also as more propaganda for @original-character-championship

Full name: Dr. D.W Restag Davenport Age: 42  Height: 6’4” (193 cm) Pronouns: He/Him (but hey, if you use whatever pronouns, he’s not gonna kill you) Sexuality: A RANGING Pansexual Birthday: April 9th

Credit to @bonetrix-arts for the bottom 2 drawings

Backstory: So fun fact, Restag actually is inspired by a silly lil skeleton man named W.D Gaster (shocker I know awawa). Anyway! Long story short, in this RP I was in, Gaster had grown extremely weak, and rather than dying out and being sent back to the void again, Gaster had begun to inject himself with DETERMINATION. Albeit, small amounts, not enough to turn him into an amalgamation, however, he had begun to use it so much as a boost to battle, that instead of his body rejecting it and turning him into a puddle of goop…Gaster had gained a corruption. Within this AU that me and my friends had, a corruption of someone simply was their violent and darkest side of them. Sans’ had a strong resentment towards Gaster, and was very protective of those he cared for. Gaster would begin to notice rather violent headaches which he thought were just due to him having a lack of sleep, however…it was something much worse. Restag was born, living now as a subconscious to Gaster. Restag’s evil intents to bring Gaster back to his roots of being a more evil scientist were quick to die, Restag’s motives now being that of basically to take over Gaster, and use his body as a vessel of sorts (very Jekyll & Hyde vibes lololol). Restag had begun to grow more powerful on his own, from starting off at taking over Gaster’s consciousness to doing the same, but Gaster would have no memory of his actions. In secret, Restag had begun to build his own body (kinda handplates style with like- bone marrow n all that) eventually breaking free of Gaster, and shortly becoming his own person.

Now for the human version of this bastard, that's probably gonna change a bit plot wise, however, essentially have the same turnout and what not. If you read this far, thank you, and know Restag appreciates it too.

Got an Ipad Air (5th gen.) today!!! Enjoy some silly guys I doodled instead of working on a midterm project 🤭

I BRING PROPAGANDA FOR MY BESTIE’S OC RESTAG!!!!! EVERYONE GO VOTE FOR HIM ON TUESDAY HE’S SO KISSABLE ALL THE TIME AND I LOVE HIM THANK YOUUUUU

YIPPEE YIPPEE YIPPEE