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jibunbosh · 2 days

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Mesmerizer is a satire of TikTok, YouTube Shorts, and the rest of the modern short-form vertical video format

A brief thematic analysis.

I'm sure there are countless people already interpreting the imagery and details in this wonderful song & MV, like here and here, so I won't spend too much time retreading that ground. Miku and Teto are dancing. Miku gets hypnotized. Teto signals for help, but gets hypnotized at the end as well.

That part is obvious enough, but that's still pretty surface-level. What is this seemingly hyperspatial horror scenario supposed to mean to us?

While checking to see if anyone before me's already come to the same conclusions as I did and if I should bother not writing this text post at all (lol), I came across udin's great analysis video. She comes to the conclusion that the song tackles themes of disillusionment with reality and the ways we indulge in escapism to relieve ourselves of the pains of the world.

I agree with that reading! From practically the very beginning, we have Miku call to us - the viewer - to push away our true feelings. Teto comes in to peddle a solution, inviting us to surrender and empty our minds - in her words, "pretending to know nothing."

You, the viewer, are a critical character in this masquerade. For nearly the entire video, Miku and Teto's eyes are unfailingly trained on you. Or, well... perhaps they can't actually see you, but they can see a camera, or whatever other aperture the point of view is supposed to be from. And they know they're being watched. (Who else would Teto be sending distress signals to?)

Let's put a pin on that for later.

udin notes very early on that Miku and Teto are, conspicuously, kept in vertical frames - very similar to the video formats of TikTok (and Instagram Reels, and YouTube Shorts, and whatever other clones of the format exist.) You know, just like the animator Caststation's Rabbit Hole fan MV that went viral some months ago.

Hey wouldn't it be crazy if the song's producer, 32ki, released Mesmerizer shorts too haha. Wouldn't that be crazy.

Wow, wild.

These short-term vertical videos are captivating & alluring. If you're reading this, it's more likely than not that you've also found yourself caught up in them at least once, scrolling through the infinite algorithmic slurry and forgetting about the real-life issues you have at hand. Would you say, then, that you felt hypnotized? Mesmerized, even?

And so these two invite us to join their world and focus on the... uh... rectangle.

Their dances are repetitive, following the same loop. Their outfits are distinct, but their choreography isn't. They're copying the same formula, repeating it ad nauseam to the best of their ability.

They're doing a fucking TikTok dance.

Back to the pin I told you about earlier, with Miku and Teto looking at a camera.

Miku sways with the camera, eyes looking directly at it like a swinging pocket watch. She's been looking at it the entire time, after all. We've been seeing her via our screen this entire time, but, again, she doesn't necessarily see us. She's beholden to the camera, which she dances for day after day, caught up in its spell. She's hypnotized by it. Eventually, she breaks.

Teto, on the other hand, resists. For a while, anyway.

Despite her being the one jumping to us with the "solution" at the beginning of the MV, there's very quickly good reason to question how much agency she has in this. She dances for the camera as well, but she doesn't want to. She's signalling for help. She wants out.

Many content creators (as much as I personally loathe the non-specificity and soullessness of the term) have struggled with the adaptation to the short-form video format, and the preference the algorithm has had for these captivating, bite-sized videos. They're catchy, and easily drive up metrics. Practically anyone who's publishing their work via video format online needs to learn to adapt or fall behind, even if that means whittling their content down to fit the frame, the time, and people's shortening attention spans. Sometimes, that means compromising on specificity and completeness... or, in other words, the true representation of a full work.

The song's writer, 32ki, has been releasing songs on YouTube for several years. Their first YouTube Short, however, was posted only a year ago: a short, whittled-down segment of their previous song, CIRCUS PANIC!!!, hoping for it to win the ProsekaNEXT song contest. It was their first song to achieve widespread popularity and hit a million views.

The shorts, however, aren't the "true" versions of the song. The full song just won't fit.

We're being mesmerized as consumers of this endless stream of content, rather than appreciators of music and art. However, that relationship isn't completely symmetrical across the plane that is the 4th wall. Miku and Teto are trapped not by their attention spans, but by a compulsion to project their "truthful acting" and peddle that window into a colorful, problem-free world.

We, as the collective audience, need not dwell on any one thing for too long - we need only swipe, and move on to the next video. However, Miku and Teto are trapped behind the screen for eternity, day after day.

They're the only characters we get to see, of course. There's no evil 3rd voice synth character that's plotting to keep them trapped in there. We can't put a face to whatever force is hypnotizing them and trapping them behind the screen. It's faceless - like the inscrutable algorithms of YouTube recommendations or the TikTok For You page, or the impersonal corporations that develop & maintain those aforementioned apps. Miku and Teto's likenesses, on the other hand, are being exploited and extracted from for their entertainment value, being strung along by that metaphorical hypnotizing force like puppets on a string.

Many people, represented by Miku, enjoy their success on such platforms. It's freeing and liberating to throw oneself wholeheartedly into such an endeavor, of course! Others, represented by Teto, harbor their doubts of the emotional veracity of such a medium, but know they have little choice lest they face destruction... perhaps not literally as a person, but as an idea.

Wouldn't it be easier just to let oneself be swept away by it and give in?

#mesmerizer #analysis #kasane teto #hatsune miku #vocaloid #rambles #text poast

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demonpiratehuntress · 1 day

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Good to know you're doing great, and that's fine (and Yes Inumake Toge 😍😍 🥺🥺) How about Zoro x reader (reader is the daughter of Gold Roger but uses a different last name she's two years older than Ace and her identity is a secret, she does tell Zoro in private after they get together) them having triplets together all look like Zoro (all have his sense of direction lol) just the shenanigans of reader having three lost Marimos 😂 she's very amused by it (it makes sense considering her sense of direction is non existent too 😂 the crew has five direction challenged members yikes) also she's a fighter (has Uzui Tengen's swords lol... I'm only adding this part cause I don't really like reader not being a fighter sorry if that's inconvenient you can remove it, I'm not asking for battle scenes just a note to point out) she's his height (the struggles of my tall ass constantly having to imagine how tall a character is for them to be taller than my 6'4 ass 😂) and kinda hot headed

i love the idea of Zoro's and reader's children being directionally challenged just like him lol. i can do this idea, because i am also directionally challenged :) i just don't know who Uzui Tengen is, but I did google him to make sure! i hope you enjoy this :) so sorry it took so long!

taglist - @kabloswrld

it runs in the family

Roronoa Zoro x F!Reader

summary - the ask ^-^

warnings - not proof read

It was hard enough having one lost soul to take care of. Watching Zoro was like watching a child, needing constant focus and attention to keep him from wandering off. Everyone takes turns watching him, but it ultimately ends up being your job most of the time because it's so exhausting.

"I'm going to that weapons store over there, be right back."

Your head snapped up when you heard him say that, eyes going wide as you immediately lunged forward to grab his wrist.

"It's right over there!" He protested, "I won't get lost."

You snorted and raised an eyebrow, "Babe I've seen you walk across the street and get lost. I don't believe you for a second. Sit down."

He grumbled and complained, but listened and took his seat next to you again. The two of you were waiting for the others to come back from their respective tasks, having finished your own (no thanks to Zoro, you had done it yourself). You swore you looked down for two seconds and when you turned to say something to him, he was not there. You shot up instantly, looking around for a mop of green hair.

"That idiot-"

You found him soon enough, and he was making his way to the weapons store just like he wanted. You were quick to scramble after him, knowing if you lost him now it would take you a whole day to find him. Maybe two.

"Zoro!"

The man grunted as you grabbed his ear, shooting you a pained glare as you twisted it and pulled him in the other direction.

"Dammit woman, at least let my ear go!"

"You need a leash!"

"..."

And that's pretty much how it goes every time you have to babysit your husband. It only got worse when you found out you were pregnant, and produced three exact copies of the swordsman. Three little menaces with his hair, his features, his personality, and your eyes. That's about the only thing they got from you.

To absolutely no one's surprise, they turned out to have a horrible sense of direction just like their father.

To be honest, you were a little relieved they hadn't inherited anything from you. As the daughter of the famed Gol D Roger, you were just as much at risk of being captured and locked up forever - or executed - just because of your parentage, like your younger brother. Only Zoro knew who your father was, as you kept the secret as possible. Even then, you only told him because you wanted no secrets between the two of you, which you'd promised each other on your wedding day. It seemed so long ago, with everything you'd been through, but you were more than grateful for the swordsman.

Not just for keeping your secret (you were pretty sure he forgot the day after you told him) but for protecting you to a point. He knew you could take care of yourself, he'd seen how skilled you were with your blades. He wasn't overbearing, because you were already a strong fighter, but he protected you in other ways, like keeping you from getting into dangerous situations that risked exposing who you were - like that one time in Water 7 when Garp absent-mindedly noted that you reminded him of Gol D Roger, Zoro quickly changed the conversation. He was dumb, but he was more perceptive than he led people to believe.

All these memories, of meeting him and dating him and eventually marrying him, flooded your mind as you gazed down at your sons. A soft smile on your face, you admired just how much they looked like their father, something you had hoped for but the others teased you for.

But you found out soon enough that although having three little kids running around was hard enough, it was made worse when you and the crew found out about their lack of directional sense.

"Zoro!"

You smacked the back of your husband's head hard, immediately waking him from his nap. He glared up at you for a moment before seeing the furious look on your face and immediately became nervous.

"Where are the boys?!"

"They were right over-" He pointed to the nearby swing, "-there."

"Uh huh, and where are they now?" You crossed your arms.

He scratched the back of his head, getting to his feet, "Uh..."

You smacked him again, "Dumbass. You're just lucky this island isn't as big as all the other ones we've been to!"

But as it turned out, searching for your lost children wasn't hard. They were only a block away from the small park Zoro had taken them to, huddled together on the side and looking around in confusion. In true Roronoa Zoro fashion.

One of them spotted you and yelled happily, dragging his siblings towards you and your sheepish husband. You smiled and scooped two of them up, leaving the third to be lifted into Zoro's arms.

"You guys know you're not supposed to go anywhere without me or your father," you scolded, holding back a smile at how cute they looked glancing at each other before looking down.

"Sorry, mommy. It won't happen again."

And they sound so cute, so sad, you just have to smother their little faces with kisses until they're laughing and pushing your face away.

"Ew, mom!"

But of course, it does happen again. Because they're Roronoa Zoro's children, they always manage to get themselves lost. The next time it happened, you were visiting Vivi in Alabasta. As you and the others were caught up in greeting the princess, your overeager kids found some other kids to play with and went off with them without telling you or Zoro.

Your husband, bless him, tried to go after them but got himself lost in the process. How you know? Sanji found your kids and brought them back, but said he hasn't even SEEN the swordsman.

"Babe you are the LAST person who should go looking for lost people!" You sighed when you found him, shaking your head. "It always ends up like this."

"Those are MY kids-"

"Clearly," you pinched the bridge of your nose. "Anyway Sanji found them, so let's just go." You dragged him back to everyone else, ignoring the way his eye twitched at the mention of the cook.

That's not to say you were good with directions, because you were also bad with them. Sure, you had a better idea of direction than Zoro did, but the crew was still a little wary about sending you anywhere alone.

You and your family tended to butt heads about it, especially when you were all shopping for things you needed. Zoro would claim what you were looking for was in one aisle, while you asserted that it was in another.

It was quite funny for the crew actually, watching the five of you argue and then run off in different directions, only to forget which way you came from and struggle to get back. They had a blast when you took the kids to a carnival where there was a maze, because they found their way out relatively quickly. All the while you, your directionally-challenged kids and your even more directionally-challenged husband went in circles.

"I think it's this way."

"No, no, it's definitely this way!"

"Trust me, I know where I'm going!"

"So do I!"

You two were so busy arguing about where to go that you didn't notice your mischievous children sneaking off to try and find their own way out. Much like Zoro, they hated arguing and they wanted to just take action instead of thinking. By the time you realised it was too quiet, they were nowhere nearby.

"Oh my God, not again!" You face-palmed, then whirled on the swordsman, "This is your fault!"

"Mine?! You wanted to argue!"

Steam was practically coming out of your nose and ears, but you took a deep breath and calmed yourself. One of you had to be reasonable here. So without a word, you turned and walked in one direction while your thick-headed husband went in the other.

"(kid 1 name)! (kid 2 name)! (kid 3 name)!" You tried calling, hearing their voices call back out to you every time you did. But as soon as you thought you were getting close, you would call again and their voices would be even further away.

They were going in the opposite directions.

"Hey, kids!" You called again, "Just stay right there for mom, okay? Stay where you are."

Eventually you do find them, but now you have no idea where you came from so you have no idea where to go. Outside the maze, the rest of the crew is fast asleep as they wait for the five of you to figure it out, Nami being the only one staying awake just in case you made it out earlier than they expected.

You didn't.

"We can't take you guys anywhere," the redhead complained, making you laugh.

Yeah, that was pretty much what the Straw Hat crew had to deal with.

A/N: i hope this lived up to your expectations! i wasn't sure how to piece it all together so just tell me if i missed anything in your request, or if you're not satisfied with any of the parts! :) im open to criticism!

#one piece #op #one piece x reader #one piece x you #zoro x reader #zoro x you #roronoa zoro

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canmom · 2 days

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so hades 2 huh

it's fun! i am more convinced after actually playing it than i was in the runup to it. the green colour palette looked a little drab in the videos but it works better for me fullscreen in game, and I really like the second zone's design. the major aesthetic change does go a little way towards making this feel like 'new Supergiant game' instead of just a rehash of the first game.

the difficulty floor is higher than the first game. i think it's well-tuned to go into if you've beaten that one. so far i've played 6 runs, seen the first boss in 5, and and beaten her in 2 of them; yet to get more than about halfway through the second zone after that tho!

the new mana mechanic is kinda interesting, lots of tradeoffs to make. it's a bit more granular than the cast in the first game; you use it to do powered up versions of your attacks, and spending it also charges up the Call-equivalent.

i'm increasingly intrigued by the setting, and i really like some of the side characters like arachne. i think the time skip was a good decision - the story of Zagreus et al. was definitely done. the epilogue ending of the first game was way too neat.

still, starting a revenge plot in media res is curious. especially when Nemesis lampshades the lack of personal motivation. compared to Zagreus's very pressing and relatable motivation (run away from my abusive dad), Melinoë's motivation is a little more abstract - this seems to be deliberate. but it does a fair bit to sell the sort of 'desperate resistance base' setting. it definitely seems rather like they're setting up a twist down the line. but it lacks the immediate emotional hook of the overbearing patriarch in the first game. curious to see how it will work once I've seen more of the story.

as far as the new gods, I'm fascinated by the decision to make Hephaestus and Hestia both be Northern - probably Yorkshire. it's always fun hearing regional UK accents in games. they do also both feel like responses to the criticism that Jen Z never designs fat characters lmao. still, they are good designs. both have satisfying mechanics. Selene also has a really good design I think.

the other gods' mechanics have naturally been redesigned to fit the new game. still broadly the same themes, e.g. Zeus will still be lightning based, but different interpretations of what that means, so for example you have 'hitting an enemy produces a lightning blast behind them' as the primary Zeus mechanic instead of chain lightning. which definitely keeps things fresh. Melinoë's kit has a lot of directional attacks and, with the Cast now being an AOE which slows/freezes enemies, there's a lot more emphasis now on positioning enemies to set up AOE attacks which is interesting.

the witch stuff is quite fun in an admittedly slightly cheesy way. it's definitely pull on aesthetic currents which aren't at all Ancient Greek, like the pointed hats. but hey! I can get into it, it's not like the game's aesthetic has ever been all that strictly historical. even if I am still scratching my head at 'so mote it be'. apparently it's an archaic word meaning 'may', i.e. 'may it be so'.

of course the main thing is, the actual moment to moment gameplay is fun. it flows just as the first game did, and it's just as addictive with the way it spreads out story breadcrumbs. the vfx and such look great, the movement is already super tightly tuned (tbf it's basically the same as the first game with the addition of a new 'hold dash to sprint'), and there's a already good variety of enemy mechanics.

there's some obvious placeholders for some of the UI art and character portraits (notably none of the keepsakes have been drawn yet), but overall it's surprisingly polished for an early-access build. all the voice acting is already there - it's fun seeing the Supergiant voice cast return in new roles.

the meta progression element... there's some neat ideas, like an upgrade system with a limited set of slots that very much calls to mind NieR Automata's chip system. so there are some stronger tradeoffs to make; it's not as simple as 'spend resource, get better' as it was in the first game. and it's clearly possible to advance quite far even without a lot of meta resource investment. so far it definitely feels like my main limit is skill, and I'll progress further once I learn more of the enemy patterns and figure out what builds I like to play.

(though I guess the idea with this kind of game is that the power ups quietly boost you and make it feel like you're getting better a lot faster than you are just learning the game lmao)

overall, it's just really fun to have another Supergiant game to sink my teeth into haha. I still wish they'd continued their streak of coming up with new IPs each time, because they'd come up with fantastic settings, but there's plenty of interest here still.

also the more I work in game dev the more I can appreciate just what a ludicrous amount of polish there is in Supergiant's games. I can only imagine the amount of work it must have taken to tune the feel of everything this tight.

#computer games #hades 2

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perpetual-fandom-brainrot · 19 hours

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Shadow (Dark Link x Reader x Link)

Summary: The reader accidentally stumbles into Dink's boss room while scouting ahead for monsters.

MASTERLIST Warnings: 18+ themes such as gore, graphic descriptions of death and fatal injury, emotional/psychological manipulation, etc. coming up. Reader actually dies and is revived. This story is not suitable for small children and easily disturbed individuals.

The temple is completely silent aside from the moves of yourself and your best friend, Link. At first he'd warned you to stay in the safety of Kakariko, but lost that argument when you'd held your own in a sparring match.

Now, the two of you gaze upon the expanse of the room you'd emerged from. Lots of water, as expected, fills the area. You notice a plethora of hookshot points, platforms, and tectites. None of them see you or Link as you swim past them to a hallway entrance. You find that it leads to an underwater passage.

In fact, most hallways do, you realize as you trail Link throughout the temple. Most of that trailing is spent picking off monsters Link can't get to, helping point out puzzle solutions, and quickly stealing Navi's attention if her timing is inopportune. Conversation between Link and yourself is scarce, both a strategic decision and a comfortable one, especially for you. Too many other things might come up right now, things that will cause more problems than will be solved if you choose silence. So you do, especially underwater, where magic is your lifeline. Both you and Link have fully stocked up on bottles of magic for this reason.

That magic almost goes to waste when a sing-song voice calls Link's name. You resist a gasp as your attention is drawn to the literal princess who produced it. How in Hylia's name is she here? You suppose, as the sacred house to the water medallion, it's technically still part of the Zora domain, but you distinctly remember hearing how all of Hyrule's royalty is dead, hiding, or otherwise decommissioned. Perhaps Ruto is safe here? When you look to Link's face to read his expression, he looks shocked and semi-afraid.

"It's me! Your fiancée! Ruto! I never forgot our vows from seven years ago." The princess' words horrify the hero and leave you nearly choking again. Fiancée? Vows? Seven years? She's not serious, is she? "You were so mean to keep me waiting," definitely serious, "but this moment can't be for love. My domain, I know you saw it's completely frozen! A man named Sheik freed me from the ice. The others haven't woken, so I need your help to save them! As my future husband it's your duty!" Ruto, finally ready to drop the marriage topic, proceeds to explain the temple's three water control points, and even leads you to one of them. She's gone by the time you and Link reach the top, most likely continuing ahead without you.

Link reads over the symbols on the wall, muttering to himself the whole time you're inspecting this tiny room. A soothing song comes from that ocarina of his mere moments later. The water level lowers, much to your intrigue. Magic must be part of the architecture here, you think. Instead of vocalizing your curiosity about the subject, you wordlessly follow Link into the next room and help pick off the monsters you find, grabbing the map out of the chest that appears. After examining it, you decide to head back for the bottom floor. The string of rooms brimming with monsters and puzzles begins with that simple jump down. A puzzle, a new room, some monsters, a key. This process repeats twice to get you to the second water control point, which also has to be activated through song.

This one raises the water, although not as high as it was earlier, allowing you and Link to enter a newly revealed passage. It leads deeper into the temple, where the new area leads to a puzzle, more monsters, and another key.

"Is this what every temple is like?" You ask, fingers tapping against your weapon's grip point.

"Yep." Link grunts as he stores the key in his satchel. "There's usually more foes than this," he adds. Your chest swells and tightens at the same time, your eyes going wide with a harsh realization. He could die here. You could both die here. What if one of you gets fatally injured in the midst of a difficult battle? It would be a choice between saving the other person or trying to fight off the monsters quick enough to still have time to do so. What if you ran out of healing items?

"We should split up soon," you find yourself blurting, partially for good reason and partially for the selfishness of not wanting to potentially see Link die.

"Why?" He asks firmly. He was difficult to persuade when it came to your accompaniment, you hope this might be easier.

"We have no idea what to expect in here! Monsters, items, locked doors, sure we know that. Not what kind of monsters, or how many, or where any of those item chests might be. Plus, if you run out of supplies before we split up, I'd be able to smash a jar here and there to bring you back more."

At your words, the same reluctance from Kakariko this morning crosses his face. You know Navi can identify new monsters for him, but you also latch onto the glimmer of consideration adorning his eyes at your offer to pick some off and scavenge for extra items.

"Fine," he finally says, hesitance mostly gone. Warmth blooms in you at his trust that you can handle yourself on that level. This isn't something any random Hylian can handle. You keep that thought in the front of your mind as Link dives back in the direction you came from. You follow soon after.

The third and final water control point sits above a room containing a water geyser puzzle. You draw your bow to shoot the crystal once you and Link both stand on it, raising you to the door leading to the control point. With the water only partially filling the temple, the point you've entered appears to be a vantage point over the temple's main area. It becomes level with everything else when Link brings the water up, and on you go to the next locked door.

You instantly shoot down two waiting keese on the wall behind the door, returning it to your gear when no more show up. Link yanks you back as you attempt to step further into the room. You're preparing to be annoyed, but immediately take notice of how the room is built. You would have fallen clean off the area you now stand on and landed on a platform about 10 feet below you. That platform leads to more platforms, one of which sits on the same wall and four others slowly fall down a waterfall's current. You groan when you notice the hookshot platforms. Link laughs softly beside you.

"The hookshot is uncomfortable!" You whine in defense, while a much worse feeling creeps up your spine. How many rooms has it been since you last encountered a monster? "Tell you what, I have to get used to it anyway. Let me scout ahead now! I'll tell you all about the next puzzles when I come back," you hastily promise before snatching the hookshot from Link. You cross the room before you can back down and before he can protest. The next room, another hookshot puzzle which contains a crystal, almost makes you want to rip your hair out. You don't, instead keeping a cool head as you pass through the room, alternating between bow and hookshot to activate the crystal and cross gaps between the platforms.

You're about to celebrate when you see one last hookshot point, but your face goes pale when you notice spikes directly underneath it and a slime creature bigger than you waiting on the other side. With sword drawn, you hook onto the ceiling, immediately doing a downwards spin-slash to finish it off when you drop to the floor. The next door is not locked.

The room it leads to is not inhabited. Instead of monsters, puzzles, or chests, you're greeted by a peaceful scene. An endless expanse of calm, shallow water expanded on all sides. The only disruptions are the door you came from, the door leading forward, and a small sand mound with a leafless tree sitting between them. You take a step forward and find that the water reflects your face perfectly. You feel oddly safe to take another step despite no visual of solid ground. Your feet sink slightly, but nothing more. You walk, then pause when you notice the door ahead has bars on it. The room is empty, isn't it? You turn around in a panic, trying to spot anywhere a monster could hide. In the water maybe? You take a second look at the surface, only to see a lack of your reflection. The pit of your stomach sinks. This room, and whatever is going on, is fueled by magic. This thing didn't need to hide from you, it could hide itself.

"You're not the hero," a voice sneers, sounding as though the room itself is speaking. That tone, that slight rasp anyone else would miss, it sounds just like-

A hand suddenly covers your mouth, your body being pulled backwards against another. Your instincts call on your weapons, but your assailant grips your wrist with superior strength. A sob begins building in your throat. This is a foe, one who is clearly prepared for Link and not some Hylian girl. You're dead. You'll never get to run around the village again. You'll never get to train with a sword again. You'll never get to tell Link-

"That's right, you'll never get to tell Mr. Hero-boy that you loOove him~" the voice purrs against your ear, his its tone cruel and mocking in a level whisper. Your lungs freeze when you process the words' true meaning. this thing knows your deepest secret and deepest fear. Worst of all, its voice sounds almost like Link's with the exceptions of a heavier rasp, being slightly deeper, and a permanent sadistic venom lacing every word he it spoke.

"I'm so touched you know who I am," it continues. Your body is jerked in a 180-degree spin and shoved to the ground, leaving you sprawled out and disoriented. You're still reeling from being winded like that when you notice a blade at your throat and freeze. A familiar blade, only darkly colored rather than the hauntingly beautiful silver you're used to. You slowly bring your gaze upwards, eyes meeting Link's face when you fully meet the monster's. It's Link?

"I am not that foolish child of the light," it says with a snort, still sounding calm and deadly whilst amused. "No, I am the stronger and more courageous warrior he could not bring himself to be. That Link, that hero that you love so much, he will never be what you think he is. He will never be what I am. I will pry what is rightfully mine from his sinking corpse." The last sentence is a growl full of venom and jealousy that has you trembling. Something tells you this monster really does stand a chance against the mighty hero of time. You would be mad, you should be mad, but his blade still sat against your neck. You don't dare to move or speak as you try to form a plan.

"Tell you what, here's a plan:" Link's evil copy presses his blade against your throat more, "I kill you, possess your corpse, and force hero boy to choose between letting it kill him or mangling it in order to stop me!" The monster says it like it's trying to suggest a fun new game you haven't heard of before. His eyes are wide with a sadistic kind of glee, one that enjoys seeing you so terrified, meanwhile something in you stirs. At first it's slight, something you bite back, but you can't just let him talk about Link like that.

"Don't even-" Evil Link begins, slashing his blade, but you roll away in time to get slashed on the shoulder instead. It isn't too deep of a wound, but you need to make quick work of this foe or else you'll lose your edge. Springing up, you jump backwards before drawing your sword and shield. The monster charges at you with a cry not unlike your Link's. You try not to think about it as you raise your shield to parry the incoming slash. With the opening it creates you manage a minor slice on his its shoulder. It isn't the monster's sword shoulder, but if it causes any struggle it's worth it.

As you take the second to acknowledge your handiwork, you find your own wrist being slashed at. You get a mild cut, hand starting to shake as you force yourself to support your sword. You back away in even steps, Link's dark version matching your pace. He It suddenly sinks back into the floor below when you're about to reach the other door again. Your reflection not returning keeps you on guard. As you survey the room for the monster, its words pop back into your head. It talked about Link like he's nothing! You internally seethe. Clinking behind you gathers your alert and you turn around just in time to brace your shield against his blade. It bounces backwards harshly enough to dent your shield and send the monster stumbling into the wall behind him. You step forward and slash at him again, inflicting a gash on his arm that's severe but not deadly. He drops his sword and shield, one arm now too hurt and one arm holding the gash. He only grits his teeth at you and glares before disappearing again.

You smile victoriously and saunter back to the door leading forward. I never could've gotten a hit on the real Link, you think as you reach for the bars over the door-

Wait, what? Your heart speeds up immediately as you retreat from the door. That's impo-

You feel warmth travel down your abdomen, a very heavy warmth that makes you instantly sleepy. You yawn and reach down to try to pull it over you like a blanket, hands wrapping around something. Your hazed mind doesn't realize the object is sharp as you weakly tug on it, becoming frustrated when you have no success pulling it up. You tear up, but a soothing feeling settles in your throat when you try to cry rather than choking. Slowly, you find yourself falling asleep as your vision fades out.

You wake up what feels like hours later, to Navi's concerned voice and a fairy missing from your inventory. Exhaustion is still burrowed into your bones and unconsciousness keeps a desperate grip on the corners of your mind.

"Y/n! Y/n! Thank Hylia! What in her name happened here?!" The fairy's voice is fast, full of panic. You open your mouth to speak, but as the memories fade back you can't even begin to process it. Saying it proves impossible when you burst into tears, resisting the urge to scream when your body instinctively tries to choke.

"I- I'll get Link! Stay here!" You reach to try to stop Navi when she flies towards you, but you're too fatigued and a sharp pain in your abdomen stops you. You lose the ability to keep your cries silent. It hurts so badly, you don't even want to breathe because even that causes pain. You swear you can feel it in your organs, even. The little blue-winged fairy carefully, silently, sifts through your belongings and extracts the hookshot before she leaves the room. You curl up in the water, which no longer bears your reflection in the absence of the shadow being, and lift your armor slowly to peek at the wound.

Despite having a fairy's healing applied, the wound is horrendous, and looking at the surrounding skin has you in hysterics. Inflamed, red, with a bubbling rash and several tender bruises already visible. Not to mention the stab wound sitting in the center, looking somewhat scabbed over but still obviously new. You try not to think too hard about it, or about anything except Link, as you slip into the simplicity of the morning's memories for comfort.

"Link! Link!" You call excitedly as you jog towards the Death Mountain gate to greet the currently blue-clad hero. You notice he's brandishing a different sword than the famous Blade of Evil's Bane. "New tunic and a new blade in the same day? Awesome!" You cheer, skipping next to Link, who stays quiet beside you. "Where're you headed now?"

"Water temple," Link grunts. When he notices the spark in your eye, visible concern replaces his typically stoic expression.

"Do you need extra eyes?" You ask eagerly. "An extra blade to back you up?" Link turns to you and grabs your shoulders. You know what he's about to say when he opens his mouth.

"Y/n, it is my job to save Hyrule. Not yours. I'll be back before you know it. You're safest in Kakariko," he says in a firm yet comforting tone. A cheeky grin spreads across your face as you form a plan.

"Let me spar you! How about that? If I can't defend myself against you, I'll stay here!" You announce. Link sighs with a defeated look as you celebrate and prepare your gear.

The door opening and Link's alarmed exclamations bring you back to your unfortunate reality. You open your mouth to try to explain, but break all over again when he gently moves to shush you. You can't help but flinch away from his hand. He looks confused, hurt for a moment, before he notices a fairy missing from your healing items. Potion is immediately poured into your mouth, your eyes tracking the seams on the leather covering his hands. You physically relax as the calm warmth of healing comes over you, a much different and more blissful warmth than the one you remember from earlier. You drift back to sleep, barely registering a pair of arms lifting you as you fade away.

You wake in the middle of Kakariko. It's the middle of the night and it's foggy. Everyone is inside for the night. The village is dead silent. The moon and stars are absent, yet a gentle light is barely visible through the fog. It's beautiful, and red. You think it may be a torch at first, other villagers you can't see, but the light seems to shrink as you approach. Curiosity fills you, urging you forward. More characteristics about the light become distinct the closer you get. The source splits into two separate ones when you're what seems to be a few feet away. Their shape becomes perfectly circular.

Your blood goes cold. You freeze in place when you see Link. The evil one, the one made of darkness. The one who had... encountered you in the temple. A smirk crawls up his face as he yanks you towards him and pivots. You feel the edge of the abandoned well dig into your back. You don't have time to process how his eyes aren't red, how his hair turned white, how his skin turned grey. How he looks more human now. He completely fills your personal space, his body pressed wholly against yours as he tips you backwards over the edge of the well, lips poking your ear.

"Welcome home, y/n~" he whispers before shoving you over the well's rim. A scream rips from your throat as you fall into infinite darkness, Kakariko village, your home, getting smaller and smaller. You flail, you cry, you helplessly try to grab for anything that will get you out of this. The air feels like it's moving too fast for you to breathe.

"Help! Help!" You scream out desperately as your heart twists and your stomach flips inside out. Your hands finally grip something you can't see, and you squeeze as hard as you can, not caring when you feel tingling in your knuckles. You pray to Hylia for safety as you clench your eyes shut.

You wake in Kakariko, in your bed, in Link's arms. You tense, prepared to scramble away from him, and burst into tears when you process that this is your Link. Your hero, your best friend, your crush, not the monster that-

You choke at the thought. Link gently brings you into a full embrace, one you desperately want to find comfort in, but all you can think about is how many times that's happened to him.

"D- Does it a- always hurt?" You choke. Link lets out an audible breath and holds you closer.

When he departs for the temple again, you want to beg him to stay. You want to cry to him and tell him everything eating at your brain. Instead, you insist he at least takes your remaining healing items. Two fairies and five potions. You made him pledge to give the bottles back when they were empty, those things took years to gather. All you can do now is wait and hope he makes it back safe and sound.

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just-some-random-girl · 3 days

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I scratch my head in confusion every time I see Stolitz antis who hate the ship for being "toxic" and then turn out to be Blitzker/Blitzika/Stolas x Stella shippers, when those ships are more toxic then Stolitz could ever be.

Not saying that Stolitz is sunshine and rainbows by any means. It's definitely unhealthy to a degree, but Striker literally tried to murder Stolas twice, and I doubt Blitzø will ever forgive him for that. Blitzø and Verosika do have a chance of reconciling, but it'll take a while and right now Verosika doesn't look like she'll be over her breakup anytime soon. She also ordered her posse to gangbang Moxxie without his consent just to spite Blitzø, so I don't think he'll just gloss over that so easily to get back with her. And don't even get me started on Stolas x Stella, a marriage that had no love to begin with and only came to be for the purpose of producing a precautionary heir to the Goetia throne.

Meanwhile the entire point of Stolitz is that both Stolas and Blitzø are trying to make their dynamic work better. They want something more of their relationship than just boinking. Both sides know that they've wronged each other. Blitzø has shown on several subtle occasions that he repicrocates Stolas' feelings for him. He saved his life from Striker in Harvest Moon Festival. "Just Look My Way" is all about Stolas knowing he owes an apology to Blitzø for treating him like a sex object. The only reason he did in the first place is because Blitzø seduced him first and he thought that was what Blitzø wanted out of a realtionship, only to realize that he only seduced him to steal the grimoire behind his back.

You can dislike Stolitz as much as you want, more power to you. I don't care if you wanna ship Blitzø with Striker or Verosika, go right ahead. Hell, I don't even care if you wanna ship Stolas and Stella together as long as you acknowledge the fact that it's abusive and loveless. But PLEASE don't be a hypocrite and contradict yourself.

#helluva boss #stolitz #stolas goetia #blitzø buckzo #striker helluva boss #verosika mayday #stella goetia

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raina-at · 24 hours

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Mouse

In celebration of this fandom and how much fun I'm having right now, with the May prompts and the fic club, have a bonus ficlet set in my theatre universe . (Another one of my AUs ticked off the list) (short premise for those not familiar: John is a stage manager and Sherlock is an actor. Mary, Molly and Sally are all part of John's crew.)

This is especially for @totallysilvergirl and the members of the Johnlock fic club. You all know why.

Warning, mention of an accidental animal death.

Also, this is loosely based on a true story.

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“What on Earth are you doing?”

“Be quiet,” Molly shushes Sherlock as she drags him through the stage door into the green room area.

“Oh thank god.” John sighs in relief as he sees Sherlock enter the room. “Save me from this madness.”

“Sit back down, Watson, this is all your fault after all!” Mary snaps. She’s pregnant again and the glare she gives him is filled with the homicidal rage of the permanently uncomfortable.

John sits back down and sighs. “Okay, fine. Let’s get this over with.”

Molly pushes Sherlock into a chair. “You be quiet now, we’ll be done in five minutes.”

Molly sits on Mary’s other side on the floor and takes Sally’s hand, completing the circle.

Mary gestures to Molly. “Do you have the object?”

Molly produces the live mousetrap and puts it in the middle of the pentagram Mary has drawn on the floor.

“I hate to repeat myself, but what the actual fuck are you doing?” Sherlock asks, watching them with a mixture of curiosity and disgust.

They all turn their heads in surprise, because they all know how rarely Sherlock swears.

“We’re doing an exorcism,” Molly explains. “John killed a mouse and now we’re haunted.”

“I didn’t, I repeat, DID NOT kill a mouse!” John very nearly yells, sick and tired of this argument.

“You left the live trap open over a bank holiday weekend,” Mary growls. “The bloody mouse sprung it, died of thirst in it, and ever since we’ve had one accident after another. First my fucking brand new moving head blew on its second night, then Molly twisted her ankle, and yesterday you were nearly hit by a stage wall.”

“So did I understand this correctly? You, rational, adult, competent professionals, had a few easily explained accidents and then came to the inevitable conclusion that you’re being haunted by the angry spirit of a common house mouse?” Sherlock asks, steepling his hands under his chin.

“Duh,” Molly mutters, rolling her eyes.

“Anything to say, genius?” Mary asks, glaring at Sherlock in a way that makes John hope that Sherlock will consider the words that come out of his mouth next very, very carefully.

“You need sage,” Sherlock says after a moment of silent contemplation. “And candles.”

“You’re not fucking serious!” John stares at Sherlock as if he’s grown a second head, which would frankly have surprised John just a tiny bit more than the current development. “You’re superstitious? Since when?”

“All actors are superstitious,” Sherlock says, ducking into the tiny theatre kitchen. “It’s the better safe than sorry principle.” He comes back with mixed herb salt and some tealights. “This should do nicely. Budge over.”

He sits between Sally and Molly and takes their hands.

“This must be what going mad feels like,” John mutters, but he takes Mary’s and Sally’s hands and completes the circle.

Mary shushes him and lights the candles. Then she shakes a bit of the salt over the live trap. She turns to John and gestures to the trap. “Now apologise.”

“But I—”

“I said,” Mary says with a smile sharper than a battleax. “Apologise.”

John clears his throat. “Um.” The thing is, he is sorry. He never meant to cause an animal’s death, even indirectly. They only ever use live traps for a reason. But he feels slightly ridiculous all the same.

He knows this is necessary, though. Theatres are places where legends and superstitions and rituals live for generations. Case in point, no theatre person in their right mind would ever refer to the Scottish play by its actual name. Case in point, you never say good luck backstage. This is no different, he knows this.

Of course the knowledge doesn’t stop him from feeling completely ridiculous as he says, “I’m sorry, mouse spirit. I didn’t mean for you to die. Please forgive us and stop haunting our theatre. We’re really sorry.”

He puts a piece of cheese into the trap, and every member of his crew follows suit. Sherlock contributes another sprinkle of the herbal salt, and then Mary, in lieu of setting the trap on fire, which would trigger the smoke alarm, bashes it in with a cricket bat. It’s horribly loud, but the trap is unusable afterwards.

“Be at peace, little mouse,” Molly whispers, and John can see the tears in her eyes.

They all share a long look over the mouse trap, and then they burst out laughing.

“You’re all insane,” Sherlock says, but he’s laughing as well, and there’s a lot of affection in his voice.

“Yup,” John answers, still giggling a bit. This is my crew, he thinks. Dangerously foul-tempered, certifiably insane, scarily silly at times. And I couldn’t love them more for it. He looks at Sherlock, who’s watching him with sparkling eyes and so much unguarded affection, and he smiles. “And you fit right in.”

----

Tags under the cut as usual.

@calaisreno @keirgreeneyes @lisbeth-kk @catlock-holmes @peanitbear @meetinginsamarra @friday411 @inevitably-johnlocked

#johnlock #bbc sherlock #take two #johnlock fic club #the mouse incident #you know who you are

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thelasttime · 20 days

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taylor and jack have been working together for 11 years besties i think we have to let go of the "fire jack" idea

#.txt #please...#like it's so much //more// than producing at this point

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thelaurenshippen · 5 months

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this is a genuine question not at all meant as a rude gotcha, but I feel like I've seen lots of people cite the relatively low barrier of entry as a huge advantage of podcasts as a medium, "if you have access to decent audio tech you can make a podcast" etc etc. So where does the need to sell a script come in? Is it a financial thing, and IP thing, something else?

this doesn't read like a rude gotcha at all, it's a really good question! there is a much lower barrier to entry when it comes to podcasts compared to tv, film, theater, etc. (though not as low as writing a book if we're talking about hard resources - you can technically write a book with just a laptop and a dream and then self publish! though as a writer who has written a lot of scripts and four books (3 published) writing a book is a much bigger psychological burden imo lol).

the need to sell a script, for me, is entirely a financial thing. if I had the money to produce podcasts at the level I want to entirely independently, I would! I know how to do it! but, unfortunately, I really only have the funds to produce something like @breakerwhiskey - a single narrator daily podcast that I make entirely on my own.

and that show is actually a great example of just how low the barrier is: I actually record the whole thing on a CB radio I got off of ebay for 30 bucks, my editing software is $50/month (I do a lot of editing, so this is an expense that isn't just for that show) and there are no hosting costs for it. the only thing it truly costs me is time and effort.

not every show I want to make is single narrator. a lot of the shows I've made involve large casts, full sound design, other writers, studio recording, scoring, and sometimes full cast albums (my first show, The Bright Sessions had all of those). I've worked on shows that have had budgets of 100 dollars and worked on shows that cost nearly half a million dollars. if anyone is curious about the nitty gritty of budgets, I made a huge amount of public, free resources about making audio drama earlier this year that has example budgets in these ranges!

back in the beginning of my career, I asked actors to work for free or sound designers to work for a tiny fee, because I was doing it all for free and we were all starting out. I don't like doing that anymore. so even if I'm making a show with only a few actors and a single sound designer...well, if you want an experienced sound designer and to pay everyone fairly (which I do!), it's going to cost you at least a few thousand dollars. when you're already writing something for free, it can be hard to justify spending that kind of money. I've sound designed in the past - and will be doing so again in the near future for another indie show of mine - but I'm not very good at it. that's usually the biggest expense that I want to have covered by an outside budget.

but if I'm being really honest, I want to be paid to write! while I do a lot of things - direct, produce, act, consult, etc. - writing is my main love and I want it to be the majority of my income. I'm really fortunate to be a full-time creative and I still do a lot of work independently for no money, but when I have a show that would be too expensive to produce on my own, ideally I want someone else footing the bill and paying me to write the scripts.

I love that audio fiction has the low barrier to entry it does, because I think hobbyists are incredible - it is a beautiful and generous thing to provide your labor freely to something creative and then share it with the world - but the barrier to being a professional audio drama writer is certainly higher. I'm very lucky to already be there, but, as every creative will tell you, even after you've had several successes and established yourself in the field, it can still be hard to make a living!

anyway, I hope this answers your question! I love talking about this stuff, so if anyone else is curious about this kind of thing, please ask away.

#lauren writes things #audio fiction #producing #also I say I don't like doing it anymore #but that's exactly what briggon andrew and I are working on #it's gonna be a show where we just split profits equally bc I can't afford to pay them lol #and I'll be sound designing it myself #so apologies in advance #also my GOD lauren can you be succinct once in your GODDAMN LIFE #why are all my posts so long i'm so sorry #also I don't get into it in this post #but using my book example as a jumping off point #obviously it is MUCH more complicated than that #bc self publishing/promoting/etc.#and writing the book in the first place!#is an ENORMOUS effort #as is making an audio drama!#also the grand irony in this #is that the show i was referencing in my original post is a show i first came up with to do independently lol #a two person show for briggon and andrew in fact #and then I happened to mention it to some producers I know and they liked it #so that's a show I COULD make for no money!#but they want to pitch it out and there's no harm in asking around #and in the meantime i just came up with another show for briggon and andrew haha #lauren answers things

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anglerflsh · 24 days

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for the statecraft/political thing, im trying to figure out the semantics of a government with shapeshifters in it, they naturally have lots of different body types but also odd disabilities that need to be accounted for like inability to shift/fly/magic illnesses etc. As far as i have its just that most of the power is with the citizens but they do have a figurehead ruler that tries to deal with other systemic conflicts imbalances and issues with immigration (as little as there is bc you need magic to get in), asylum, and healthare stuff. Theyre kinda smaller scale than usual after a big war made a lot of lives lost and scattered and theres someone that is supposed to be the rulers right hand specifically so if the ruler is unfair they can be killed and selection begins again. Most of the city is laid out around a round central square and is roundly shaped in general but im thinking that other nearby towns would be shaped differently based on the occupants veiws and magic abilities. This particular city is mainly focused on community, but still has poorer sections where people are less magically inclined and those sections tend to fall into disrepair. If you got snything at all, critique or addittion, city plans or politics, its much appreciated and i hope you have fun!!

Alright!! It seems like you're dealing with an elective monarchy that is coadivated with some sort of public assembly or council. This is a mixed type of Government, and it's a nice one. I'll leave some consideration and some questions that you could consider to further the system under the cut ^^

The ruler has power only over a specific set of issues - all of which from what you've said seem to me to fall into Domestic/Internal Social Politics. And I'm assuming all that the ruler does not decide is then handed to the citizens, again, from what you've said. I'd say to narrow down what exactly is competence of the monarch and what is of the democracy - does the ruler choose on wars, do they rule the army, or are those decisions of politica estera left to the democracy?

The ruler isn't in a hereditary position! Fascinating. This combined with the specificity of their duties would make me think that this role would ideally be taken by someone who's specialised in the field… you could either make this position elective, with candidates coming either from the general public or some sort of nobility group (families with a lot of wealth and power, of that have had a lot of governmental roles in the past, that sort of thing), or you could make it selective and make it be chosen by some sort of group - Depends on how democratic you'd like to make this: before hereditary positions were the norm, kings were chosen by the upper class from the upper class, so you could go with a similar set-up.

Is the right-hand able to take any decisions, or are they only there to act as a check? Are they also elected, and if so, is it in the same way as the king? Does the right-hand change after the king is killed, or does it stay the same person? It reminded me a bit of the consul system in Rome, so maybe looking into that might help.

If every other decision is taking by the citizens, you do have to figure out how exactly that happens, too Is there a popular assembly of every single citizen voting and debating and proposing decisions? That works in small settlements, but you seem to be working with a multi-city state. There are a couple of ways to go about it, I can suggest either to divide the territory in electoral colleges - by geography, by class, by census… anything, really - and have voting happen per-college to reach a final consensus (like the roman republic did with centurie/curie/tribù), or to have each place elect a rappresentative that can then go to some other collegial organ where the decisions happen.

Are there smaller decisional organs, like city councils, to decide on smaller matters that only pertain to a certain place? Can anyone propose something to decide on, or just some group/s? Does your country have a legal system? If so, are there laws that only the ruler can make, or are they within the realms of the democratic system? What's the justice system like? Is the ruler also the highest judge, like in medieval monarchies, or is that system completely different?

Who is in charge of the execution of the decisions? Is there a burocratic system of government workers?

Are there associations of traders in the same field who decide the inner regulations of that type of work (think le Arti in italian medieval times) or is that left to the government? If so, to which half of it?

This system sounds really cool! Hope all my questions can help you figure it out a bit more, remember that if you're writing a story you don't need to have all this figured out! Just the parts that matter for the story to make logical sense. Like, if you never touch on commerce or on the justice system you can leave that out completely. !! thanks for letting me play in this space I'd suggest you to look up the two or so different irl systems I mentioned for inspiration

#[.asks]#solary-cycle #infodump tag #worldbuilding #there are More Things I haven't touched on but this is mostly a me giving a nudge to your initial starting point #a few of the More would be what are roads like! how's the agricolture - what are these people actually Living Off Of and how is it produced #is there a religion? is there more than one?#etc and etc #again I'm not an expert!! I'm just a history student who likes to ask questions about this and there is so much I haven't touched yet :')

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