Description



Summoner of Sounds is designed to be a series of interactive community events where video game music will be celebrated by the means of craftsmanship and community interaction.

Community members with experience in music production will be dared to participate in challenges testing their ability to perform well as a versatile video game composer, while the game developers with other areas of expertise are encouraged to to analyze the challenges, and provide the composers with commentary, feedback and constructive criticism.


Table of contents:

  • 1. Event Outline

  • 2. Event Schedule

  • 3. Licensing Rights & Submission Guidelines

  • 4. RMN as a Platform. What do I have to gain?

  • 5. Post-Processing Submitted Material

  • 6. Role of the Composer - Becoming the Summoner of Sounds

  • 7. Role of Other Developers and the Audience - You are not NPCs!

  • 8. Picking Favorites!?

  • 9. RMN Music Pack 2 and Guardians of the Groove







Summoner of Sounds consists of a periodically recurring series of challenges presented to the composers to participate in and for the developers and audience to engage in throughout the year.

Participants aren't obligated to participate in every challenge, but the more challenges you participate in, the greater the reward.

Presented challenges will test the composers' abilities to perform well as versatile video game music producers in a changing environment. Each challenge will introduce a different set of rules and restrictions, and a new concept where the composers will have to find a way to express themselves in.

The challenges may restrict and determine the video game genre that will need to be composed for, the game world setting to be composed for, a specific game instance to be composed for, or a specific manner to be composed in.

While the challenges will present a number of restricted aspects, each challenge will offer choice of freedom and room to stretch around in some of them.

Summoner of Sounds will be running for several months in total and challenges will be issued roughly once every month, or on a similar pacing.

Each challenge of the series will run approximately over the course of one month and the deadline of each challenge will be stated as the challenge and its ruleset are announced.
























Any work submitted to this event will be disseminated under a creative commons license as publicly usable in any way the end-user wishes as long as they attribute the work to the artist in their credits and that they also do the same themselves with any derivative work based on the artist's.

End-users of this material, and any derivative material, will not, however, be able to legally make any money from anything containing these tracks without the artists' express permission.


All works submitted to the event have to be 100% original work of the participants and must contain no copyrighted material, either compositionally or in terms of sampled sounds. Submitted works must contain no arrangements of any material of a different author, and they can not lift motifs from anywhere else, except possibly from the participant's own works.

Submissions should contain as little audio quality loss as possible, WAV file format being heavily preferred.





The RPG Maker Network offers an extensive network of gamers and game developers, both hobbyists and professionals.

This event series is designed to help the composers of the game development community come together, challenge their know-how and showcase their creative efforts, and the rest of the community to come in contact with the composers.

This event series won't have a panel of judges, and there won't be hand-picked winners. Participants are encouraged to challenge themselves and work together towards solving the presented challenges.

During the course of the event series, the composers will be creating video game music in various forms and manners, and build themselves a diverse portfolio while doing so.

The rest of the community is encouraged to provide feedback and impressions on this material and to be in touch with the composers, possibly giving them ideas, or request something specific from within the given ruleset.

RMN will bring the participants visibility, and the yields of each challenge will be shared on RMN's social media during the course of the events.



Each composer has a completely optional step to sign up for post-processing their submitted material.

In the post-process, the composer will be in touch with the event organizer who will help them personally by offering them feedback on composition and mixing details and assist them by creating alternate, OGG file format versions of their tracks with a coded-in looping point, which will enable seamless looping of their songs in the RPG Maker VX and RPG Maker VX Ace engines.

Enabling looping for the songs requires them to be composed in looped structure, with recurring sections.






Summoner of Sounds as an event series will present a series of challenges that will test your abilities as a composer to express yourself in a wide variety of restricted environments. This will help in readying you to have the tools and confidence to perform well as a composer in a wide range of video game projects.

Each challenge will introduce a different scenario where you may need to compose music for different game genre, imply a different game setting through instrumentation, cultural, and musical genre references, or approach the the task by expressing yourself with a very specific perspective in mind.

Some of these scenarios may, and most likely will, require you to research and learn new ways of designing video game music, but they will also encourage you to test yourself, and express yourself in ways that you haven't before, and you will experience the joy of discovering new sides of your creative self.

Summoner of Sounds is an event series that will be running for several consecutive months. It may sound intimidating at first, but you can decide which challenges you want to participate in. However, the more challenges you undertake, the greater the rewards.

If you want to achieve the very best yields, then the series will also test your ability to perform under pressure as you'll need to be undertaking all the challenges.

It will test your ability to practice your trade under discipline, not only when you are motivated, and it will test your adaptability at the times when you'll have to find your creative freedom and inspiration while you still have to make your visions meet with a set of pre-existing rules.

Remember, you are not alone! This is a collaboration event. You may work alone if you wish, but you are allowed, and encouraged to collaborate with other members. Do you have the same Digital Audio Workstation as the other participant? You can work together! And if you feel like discussing how to approach any of the issued challenges with the other participants, then nothing stops you.

Building an extensive network of colleagues and other practitioners of your trade will also work greatly in your favor!

Will you be able to take on the challenge? Can you become the Summoner of Sounds, or even something more?

Introduce yourself at the Composer Introductions!





Video game composers wouldn't be composing music for video games if there were no video games, and video games with no music, or audio, would offer us only an experience with half of the things to sense, than what they do with audio, so let's agree that sound design is an integral part of game design.

Video game audio does not only offer us audio clues on game mechanics, but music activates large parts of our brain on fast rate and communicates us a great variety of information, which married with the visual material will bring the gaming experience to a whole new potency.

That being said, video game directors should not underestimate the importance of solid audio design, and advanced communication with the audio designers plays a major factor at what the end product will communicate to the consumer.

Music helps to communicate ideas which aren't visually present, it may also underline and empower the visual ideas present, or it may change the way we perceive the visual clues completely when the marriage of the visuals and the sound refers to a completely new impression than what either part of the combination would carry across alone.

Video game directors need to be able to communicate their vision to the sound designers and together with them, find a way to communicate this idea to the consumers.

While the Summoner of Sounds challenges will introduce composers to predetermined rulesets, the rest of the community may still engage in the process by discussing each challenge and the methods fit to completing the challenge.

Everyone can take the role of a critic. You don't need to be educated in music theory or terminology to be able to tell whether you find a musical piece fitting for a specific game genre, instance or setting. Communication matters, even if you don’t have the most optimal tools for it.

Express yourself with your own words and impressions. A composer will be glad to hear any of it. Tell the composer what their music communicates to you: feelings, impressions, visual images or atmosphere, for example. Does their track fit the description of the given ruleset?

Everyone may also post ideas of any themes they would like to hear. If the ruleset permits, a composer may very well decide to compose your idea.


While there isn't a panel of judges, or winners for the event, everyone is still encouraged to show appreciation for entries submitted to the event.

Simple feedback and commentary alone is welcome enough, but if you really like some track, give it a star to mark it as your favorite! You can give stars for multiple tracks if you wish. Stars play a part in event visibility and achievement mechanics.

To reward composers with stars post a reply to the event explaining which track, or tracks you want to give favorites for. Attaching a star image to the post helps the process.

Image code for the star:
[img][url]http://rpgmaker.net/media/images/events/sos/sosstar.png[/url][/img]







As of today, one of the biggest, if not the single biggest achievement of the composer community of rpgmaker.net still is the release of our RMN Music Pack!

It's a great quality pack of music that we can be proud of, and an achievement that we were able to put together with collaborative effort and all thanks to the network and community that RMN is.

Reception of the RMN Music Pack was overwhelmingly positive and it has been a good while since its release, so it is time we set our sights on the future, and to the release of its successor, the RMN Music Pack 2!

The journey for RMN Music Pack 2 begins with Summoner of Sounds.

Summoner of Sounds is designed to work as a count down and prepare us to bring RMN Music Pack 2 to a whole new level.

While Summoner of Sounds works also as the countdown for the RMN Music Pack 2, Summoner of Sounds will still be the greatest undertaking of the RMN composer community as of today and it will challenge everyone's creative abilities.

Summoner of Sounds will be creating composers a portfolio, but it will also be creating the community a whole lot of great video game music!

If you like what the composers of the community do and you want to show your support to them, you can be directly in contact with them, but if you want to show your support to the community as a whole and help us arrange events such as the RMN Music Pack, Summoner of Sounds and the RMN Music Pack 2, you can now become Guardian of The Groove and donate to the cause!

Every penny counts and the money will be used first and foremost to have artwork to go with the music and then to offer rewards for participating members. Any extra funds to the cause will be spent on future RMN Music events.

To get the Guardian of the Groove achievement you have to PM Happy after the transaction goes through, so that he knows to apply the benefits to your RMN account.

Thank you everyone! Let's do our best!

Illustrations: カラカモ @ twitter / 烏鴨 @ pixiv
Event concept design, visual design, direction and supervision: Happy @ RMN / Matias Heimlander @ tumblr

Details

  • 05/01/2015 06:57 PM
  • 07/01/2016 11:59 PM
  • 3
  • Happy

Achievements

Registration

You must be logged in to sign up for Summoner of Sounds.

Teams Members Entry
Team Happy!
My Composing Stick is Ready
Team Meat
Sum On Her Off Sow And
Team Failed Harmony
Team Where Am I?
Team The Team
Out of practice, so let's get back in practice!
"Insert Team Name Here"
I'll Do My Best...
Chaos Harmony
Symphony Of Enthrea
Super Merengue Bros.
The Spoony Bard
Music for humanity
Bring back the dinosaurs
How do I Music?
Team Drass
Ark of the Arts
Team Koi
To the Beat of a Different Drummer
Team Toni!
Dysergy
Jingle Jangle Jingle
Ylmir
Azhthar
Team Amazing Hotdog
Firah
Team Last Minute Production
Ogarth Munchies
The One-Ghost Gaggle
Team Giznads
Fungus Happy
Maat Wants His Cap Back
Misoundthropy
Rastapopoulos
Sweaty Angle~~~ <3
OneByOne
Toms Introduction Team!
Team Midi
Legion of One
FoxAudio Creations (AKA Team Oh God Who Let the Furry In Here)
Happy Rainbow Panda Bears
Team Curry
Acidbath
Jar Studios
Aersia Sound Team
Plastic, Meat, Smoke, Metal, and Sugar
Team Megollyen
Niyane's Team
Team Unhappy!
The Sword Of The Crest Heart And The Bird That Learnt That Hope Would End One Day
Team Neutral!
Team Probably Not Appearing In This Event
Scion Genesis
Without Creativity
Team Random
Team Cheese
JStewartMusic
No Excuses!
Team currently busy but what the hell
Team Yup
Uncanny Warriors
Team Jawns AKA Boring Team Name
A Team of One
The Singularity
The Duke's Jukebox
Sound Master
Entry Status Key
  • - Pending
  • - Validating
  • - Accepted
  • - Rejected

Posts

author=Happy
@Giznads: Assault Action: This is a really cool theme with a lot of ambiance and it's definitely one of my top favorites in the events so far. This would fit some climax event of a scifi action game, for example. I just wish so much the mix would be more polished. Right now it sounds too distant with lots of the high frequencies being very absent, while some bass range echoes sound a bit overbearing. Like, at 0:03 and 0:07 you can clearly hear some of low frequency percussion tones getting too noisy. There's some really sweet effects and details in this song, like the distort voice at 01:00 and the the pads at 01:20, man, nice! It must have been a hell a lot of fun making this. 01:38, also, what the hell? I'd pay you for this stuff! Really nice. If you'd work on the mix, this would get tons of favorites from me.
author=Happy
Your Mon's a Scifi Warrior: Now this is funny with that title name. Very catchy beat and groove. Again I feel the mix suffers of some canniness. It feels like the highest frequencies are absent and hence the soundscape sounds somewhat confined, in a sense. Do you apply some sort of high or mid cuts to your EQ? Anyway, great compositions! I wish the mixes would do them more justice!
Thanks so much for the input!
I really didn't have time to mix the track down, I've been busy with two other projects.
But, I definitely agree that the lower EQs, maybe somewhere around 60hz to 150hz, should be scooped out of both tracks a bit.
I'll definitely remember this when posting new songs to the event page.
Anywho, I really appreciate the kind words, buddy.
Look forward to throwing some more songs together.
I just wish I had more free-time to perfect them.
Really fun event.

If anyone's interested in using my songs, but feel the mix is funky, just PM me and I'll mix them down when I have time.
author=Happy
@Anorax:
Call of Chromed Commandos 2nd Mix: Oh man, this mix quality is superb. Does your reverb come from the instrument plugins themselves, or do you have a separate reverb plugin as a mixer track? The reverb qualities are really top notch.
Really? Well, thanks! I usually have a really difficult time with applying reverb to drums correctly.
And as for whether or not the reverb was added by me or not... I don't remember? I'm currently on vacation and I made Chromed Commandos on my desktop (while I'm posting from my laptop), so I can't open it up and double check. I do know that the snare has some natural room reverb from the drum library (more stuff from Impact Soundworks - I find myself using a lot of their stuff lately), but I doubt its all natural room noise.
author=Happy
This theme fits the challenge right on. A: Woo! I can easily imagine some badass troops fighting to this tune. I love the alert sound starting the song off and the guitar melody riffs are really nice. Very much metal chords so. There's many nice details, but most of all I envy the mix quality. This definitely gets a favorite from me.
Well, I'm glad someone likes the mixing! My biggest problem was actually mixing it (you know, besides getting the realistic guitar sequencing down. Surprise! ALL the guitars are fake!); you can listen to the original submission and compare the two. I still have a hard time with understanding what counts as "good" mixing, so I kind of ran at the mixing going "f*** it". I'm surprised it worked out as well as it did, I was tempted to keep mixing before I submitted the second mix—who knows what horrors would have arisen if I had!
I'm still a bit miffed that the EQ I added to the snare cut off more of the rim shots than I'd like... Couldn't route the rim shot away from the regular snare and to a separate Kontakt output though, so you win some, you lose some.
author=Anorax
I still have a hard time with understanding what counts as "good" mixing

Actually, I think everyone does, mainly because there isn't a single way to mix a track. This is also maybe why I've been a bit severe when giving feedback on it. I would have mixed it completely differently, by playing a bit more with the volumes and compression, but I have to agree you really nailed the reverbs, and each element is distinctly heard. So, sorry if my previous feedback was a bit harsh, I was maybe a bit too focused on how I'd have mixed it.

Oh, and talking about mixing and compression, here's my first feedback for the 3rd challenge, for Giznads, on the file sos_darkages_into_the_woods.wav :
Your track feels overcompressed. Whenever the sub-bass synth is heard, I can clearly hear a kind of oscillation in the sound of the other instruments. Also, the volume of your track is so low, you actually have a lot of headroom. I'd recommend you to raise a little bit the threshold of the compressor you use on your master track (usually, on quieter orchestral works, using too much compression on the master track is not recommended), and maybe turn down a bit the volume of the sub bass - They seem to be unusually loud to me, and maybe it is what's throttling your master compression.


Thanks for the advice, Ylmir!
Just realized the program I use has a master compressor set by default in every template I open. I do believe that's the problem.
I guess it's hard to hear on my shitty WalMart speakers.

Here's the remixed version. http://rpgmaker.net/content/events/sos/files/sos_darkages_into_the_woods_remix.wav
Sounds a bit better on my end, please let me know if you hear a difference.
I tried to start with something gloomy, and I thought of swamps and the sort of music I'd play for a soundtrack in one. Creepy wizards, animated trees, and all kinds of creepy critters. Just a warning, I just sorta ended abruptly.

I'm gonna see if I can make a sort of dreary cold weather song too. Like, sorta the mood if everything got killed by winter weather.
author=Giznads
Sounds a bit better on my end, please let me know if you hear a difference.


Sounds better to me as well ! :)
author=Ylmir
author=Anorax
I still have a hard time with understanding what counts as "good" mixing
Actually, I think everyone does, mainly because there isn't a single way to mix a track. This is also maybe why I've been a bit severe when giving feedback on it. I would have mixed it completely differently, by playing a bit more with the volumes and compression, but I have to agree you really nailed the reverbs, and each element is distinctly heard. So, sorry if my previous feedback was a bit harsh, I was maybe a bit too focused on how I'd have mixed it.
Well, the first one wasn't really mixed, per se, and Happy was commenting based on the resubmission. So unless you listened to the revision and upheld you previous feedback... :-)

In fact, it was your comment that made me go back and actually mix my track, so there's always that.

EDIT: I'm bad at not giving feedback on others' tracks. I should really get on that, shouldn't I?
nhubi
Liberté, égalité, fraternité
11099
I've decided I'm going to leave my feedback portion to the end of each month, since I'm not a composer or a student of musical theory or composition the comments and observations I make are all about the way the music makes me feel and where I think it fits, rather than talking about technical terms or offering much in the way of informed advice on how to polish a piece. In response to such I've seen that a few pieces change over the course of a month to become something quite different or more focussed than they were in earlier drafts, and therefore my earlier feedback becomes less relevant.

So unless someone tells me I'm wrong and they get something out of my type of feedback during the creation process, I'll be looking forward to seeing what you all make and I'll be back in the last week of July to listen to all the wonderful sounds that will be on offer.
BurningTyger
Hm i Wonder if i can pul somethi goff here/
1289
author=Happy
@BurningTyger:
My, those high tones are dangerously loud from the beginning. Interesting combination of sounds, though. You could really make a really cool theme with these instruments, though right now I feel the song doesn't establish a clear pattern well enough. At 0:06 the bass pattern that established the song theme in the beginning disappears and the job is handed to the bells which already forget it at 0:08 as they progress to something else. There's cool ideas here, but I feel that the different elements you introduce in different sections change too soon without enough repetition in them. In a sense I was able to follow your song up until 0:22, but at that point there still isn't any repetition, or sensible chord progression, so it sounds like it's just an endlessly changing soundscape, instead of being a song, like, repetition of specific melody, or theme. The instruments made me think of FF7 for some reason, though, and there were some good picks there!
Yeah, some of the melodies /themes got shuffled between instruments during the remixing. *looks at the next submis0son* ooh, middle ages type stuff. I think I can do that, though i am horribly tempted to throw in harpsichord whihc is not period. *Edit* IT HAS BEGUN!
Happy
Devil's in the details
5367
Hey! Anyone made any progress with their chapter 3 entries? It seems things have gotten a bit quiet here. I have personally been busy with other stuff too.

But here's some feedback on the chapter 3 entries so far, and chapter 2 recap will follow soon:

@Shade_Hunter:
Nice atmosphere! Very dungeon-ey. I especially like the tremolo strings. I wouldn't call the instrumentation specifically medieval, but mood-wise this should fit a medieval themed game.

Composition-wise everything seems pretty good up until 0:33 mark, but from there on I feel the instrumentation and melody progression start to lose their presence and the additional details create more distraction than emphasis on the main idea. There's plenty good new melodic ideas from there on, as well, but it feels like they need some cleaning up to stand out more effective. But generally I really like the mood you have going on here! Very somber in a way.


@chenbaiwan:
Instrumentation definitely gives a medieval vibe. I like the heavy percussion hits as they create a lot of ambiance. The chords are really nice too and there are some cool parts like 0:33 and 0:39 onward the small bell instrument details.

I like the main melodic idea a lot as well, but I feel the mix could do it a lot more justice. Right now it sounds like some of the instruments create a lot of ambiance, but the main melodic voice doesn't sit in that same soundscape. It feels like the main melodic voice needs more transparency and reverb of sorts, while still not losing its presence.

Anyway, really nice work with a lot of potential.


@Giznads:
Noble town: Wow, I really love this. That plucked string instrument has a great reverb. (Lute?) The choir pads have really cool detuned effect too. This has a very mysterious fantasy feeling. The woodwinds feel a bit too non-transparent in comparison to the lute, though. And it feels like they could be further back in the soundscape when they come in, instead being so close with no reverb.

Into the woods: Great atmosphere! Gives very "dark fairytale" or folklore-vibe. I really dig this sort of stuff. Very horror-esque. The saturation effect and detune effects add a lot to the atmosphere. I'll have to give this one a favorite!


Mix-wise I think some of the ambiance pads could have more presence and the main music-box thing could blend in better with the backgrounds pads if it had some greater reverb. The mix works like this as well, I just personally feel the mix would have a greater presence in general with the pads having more presence. Anyway, this song has a really great idea!

Into the Woods Remix: Oh I didn't notice there was a remix. Well, I still feel the higher tones of the pads could stand out more, but even as it is now, it does work well enough. I would just personally mix it differently.


BurningTyger
Hm i Wonder if i can pul somethi goff here/
1289
Here's one! Admittedly the Two-recorder bit is more a Baroque thing, but I hope you'll forgive me. Sleepy Village*Edit * raised the tempo a tad.
It's massively unfinished but I wanted to submit something before I ran out of time... http://rpgmaker.net/content/events/sos/files/rakkerflakker.mp3
Happy
Devil's in the details
5367
Oh whoop, it's almost the end of the month again and I haven't touched my submission in weeks! And I was planning to do multiple submissions for this one. Maybe I'll still be able to squeeze something in before the deadline.

Anyone else making progress?

I will post chapter 2 recap later this week as well.
I wasn't able to start making anything either because I'm not able to use a computer currently. ;_; I hope I'll be able to order a working one this time.


Edit: I should have my composition done in the next day or so. For the time being I'll review some of the uploaded compositions.

A Golden Sky at the End of the Storm
I really like this piece because of the nice melody and the melancholy feel (this might sound weird but I'm kind of a sucker for pieces in minor keys). I even felt like learning how to play this song.
But I still think that the low notes could be a little quieter so that the melody stands out some more. This one also doesn't really have a medieval feel in my opinion by itself (although I could still imagine this one in an RPG with a medieval setting). That's mostly because this one sounds like a modern piano piece. But I'm not quite sure if the challenge is to compose medieval music or music that would fit to a medieval setting (which would include but not limit it to medieval styled music). I also like the picardy third at the end. But it seems like this one wasn't really used in medieval music (quote from Wikipedia: "In medieval music, such as that of Machaut, neither major nor minor thirds were considered stable intervals, and so cadences were typically on open fifths"). But like I mentioned, maybe it wasn't necessary to compose something that sounds like medieval music.


The Market Yard
The instruments really give this one a medieval feel. It's still too repetitive in my opinion though. You could've brought in more than one motive for example or you could have varied the motive.


Sleepy Village 1
This one sounds too boring in my opinion. You only have one melody which is played on the mandolin, and then the same on the flute. You could've brought some variety in by letting the flute play something different. And the mandolin is able to play more than one note at a time. So a little more harmonical creativity wouldn't have hurt as well. It was also hard for me to understand the structure, mostly because I couldn't identify the time signature.


Noble Town
I really like the piece overall. And it fits to a medieval town pretty well. I personally would have preferred a little less reverb on the guitar though. I also was kind of disappointed when you brought in the second flute at 0:37 (maybe my ears are also cheating me and it's still the same which only sounds louder because it's higher) and didn't continue the melody at that point. You could've made the piece a little longer this way as well. But that's probably just me.


Majestic Wilderness4
This could almost be straight from a movie. So good job here! I like how the different instruments are cooperating and complementing each other.
But at some points the harp seems to play rather weird chords which leads to probably unwanted dissonances (mostly parts at which it should play a major chord but is playing a minor chord instead). The cello also seems to be a little too loud especially when it starts playing for the first time.
The reason why it sounds like something from a movie is because it's really cliche by the way. But that can be a bad and a good thing.


Suspicious Dungeon
I almost didn't review this because I wasn't really able to find anything bad which was worth pointing out (I guess I'm the kind of guy who thinks that it's easier to learn from your failures than your successes) but I basically had to because I wanted to give it a star. I really like the structure of this one. It has different affects (I hope that's the right word here. At least that's the term for a musical emotional feeling in Germany) which makes it less boring and the motives are really nice too. The only thing which I would criticize is the piano sample which doesn't sound that great.

Hi All

Here is my entry for the next stage! A medieval meets electronic house scifi soundtrack vibe with a mix of real instruments used including accoustic guitar, Koto with strings and trumpets from kontakt and some orchestral styled voc from sonokinetics mixed with an electro moog fest of sequences and synths and is hopefully a little more balanced in the favour of a few of your ears! Hard version available on my soundcloud! lol
Many thanks to those who commented on my track! I have some catching up to do! Kurt :)

http://rpgmaker.net/content/events/sos/files/Interstellar_sunshine.wav
http://rpgmaker.net/content/events/sos/files/Interstellar_sunshine.ogg
Aight, I've submitted my piece: http://rpgmaker.net/content/events/sos/files/Decaying_Church.ogg
I wanted to make a dungeon theme which could fit to a medieval church. Any constructive feedback is appreciated!

I think someone asked this already but I can't find the answer anymore so I'll just ask again (sorry ;_;): Is it allowed to make minor edits to past entries and reupload them replacing the old ones? I'd like to mix them more properly since I didn't have much time to do so back then and I'd like to upload a wav version of them as well.
BurningTyger
Hm i Wonder if i can pul somethi goff here/
1289
maybe can add tothe sleepy village or something