Merge branch 'staging' into preview

1 files changed, 6 insertions, 6 deletions

diff --git a/album/homestuck-vol-10.yaml b/album/homestuck-vol-10.yaml
index 7874b21..05a4a86 100644
--- a/album/homestuck-vol-10.yaml
+++ b/album/homestuck-vol-10.yaml
@@ -184,11 +184,11 @@ Commentary: |-
     i step on nobody
     <i>Clark Powell:</i>
     pls make an exception for me
-    <i>Robert J! Lake:</i>
+    <i>Robert J! Lake:</i> (album wrangler)
     is that your actual commentary i'll literally put this all in
     <i>Astro Kid:</i>
     yes RJ literally put this in also Clark I love you but this, I cannot make an exception for. Please go step on yourself.
-    <i>Shannon Murphy:</i>
+    <i>Shan Murphy:</i>
     This is a Strider song and I just wanted to draw both Strider bros in action..
     I felt like a lot of saturated cool colors would really match how the song felt to me as well!
 ---
@@ -628,9 +628,9 @@ Commentary: |-
     I got inspired by listening to a friend's liquid drum and bass tracks back in 2014 (shoutout to you, Justin!), and decided I really wanted to do something along those lines.
     Anyway, life happened so fast this track collected dust until RJ and Marcy yelled at me to finish it.
     Oh if you want to check out Justin's work, go here: <a href="https://www.facebook.com/FliteDnB/">www.facebook.com/FliteDnB/</a>
-    <i>Chiristina Lillard:</i>
-    So I was minding my own businesso ne day, and then all of a suden Solatrus came and asked me if I wanted to do some art for Volume 10. Naturally, I obliged, and I asked him if he had anything specific in mind that he wanted me to draw for it, and he basically told me to draw whatever came to mind. So I listened to the WIP of the track he sent me a few times to get a feel for what I wanted to draw for it, and jotted down a couple of concept sketches for what I wanted to do!
-    The first character that came to mind was Rose for some reaosn, and the track gave me a bit of a Skaianet vibe, so at first I sketched up a little composition featuring the meteor terminal in the Skaianet lab.
+    <i>Lunise:</i>
+    So I was minding my own business one day, and then all of a suden Solatrus came and asked me if I wanted to do some art for Volume 10. Naturally, I obliged, and I asked him if he had anything specific in mind that he wanted me to draw for it, and he basically told me to draw whatever came to mind. So I listened to the WIP of the track he sent me a few times to get a feel for what I wanted to draw for it, and jotted down a couple of concept sketches for what I wanted to do!
+    The first character that came to mind was Rose for some reason, and the track gave me a bit of a Skaianet vibe, so at first I sketched up a little composition featuring the meteor terminal in the Skaianet lab.
     I scrapped that idea because it would've been far too much detail for me to do in less than a week, so I thought I'd do something with Rose making her way towards Jasper's mausoleum, with a view of meteors falling from the sky. After all, a title like Starfall called meteors to mind!
     So I sketched up that idea and liked it enough to see it through to completion.
     Fun fact: Solatrus was surprised that the final track art was so red, because he felt like the music would inspire more blues, but he liked it a lot in the end.
@@ -862,7 +862,7 @@ Referenced Tracks:
 - Homestuck
 - Skies of Skaia
 Commentary: |-
-    <i>Seth Pelle:</i>
+    <i>Seth Peelle:</i>
     Oh, hey. Is it the last track already? Man, where did the time go?
     Wow. This piece has run through my head more times than any other that I've written for Homestuck. I hadn't been on the music team for very long before I felt motivated to create something in my head that could conceivably serve as a compelling closer to the comic, regardless of whether it ended up actually serving as such. Arguably the most thematically significant musical motifs in the comic - "Sburban Jungle", "Showtime", "Skies of Skaia", and ofcourse, "Homsetuck" - would all have their part to play. I first put it down into corporeal form in late 2010 as a full-length piano draft, but it wasn't until four years later that I began working on the final orchestrated version.
     Efforts to complete it over the next couple years were sparse and sporadic at best and fraught with technical issues, but thankfully I managed to make the deadline for the album.