she/they
mostly into mcyt atm (also insane about my ocs but i donāt talk about them much on here lol) also into tma, the mechanisms, land of the lustrous, madoka magica, sonic & dragon ball - my interests change often lol pretty rb heavy + art!!
omg i need to know EVERYTHING EVERYTHING EVERYTHING about the OCs from the animatic you just posted IMMEDIATELY please tell me there's somewhere where i can read every detail of this premise and characters and plot i am so intrigued
ok so first ask im answering because i can't not talk about my OCs.
so its a story i call TIME OUT! (under the tag #TIME OUT! in my blog) and the basics is that it's about a death game (a la squid game, danganronpa, 999, etc) in which the main character (Sandy, the yellow woman) dies like 1/3 of the way through and the mastermind (Maestro, the skeleton robot guy) gets amnesia and is trapped in the game with the rest of them.
i try not to give to many specific plot details or explicit spoilers because i do plan to make it into a real story and dont want spoilers just like. out on the internet, lol. but yeah i cant help myself so i post a lot of vague spoilers anyways
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Look who's decided to show up!
Thanks again for @hemi-demi for looking through the text for me <3
If you are new to this AU, or don't remember: It's called Gertrude is still around or GiSA
You can see my other posts for this au here: Gertrude is still around au on tumblr, or you can check out The AO3 if you want to read all the chapters in one place
I also have a kofi if you like what I do, or want me to draw something for you
A/N: Here's a sister piece to this ficlet, based again on @vampostingtime 's autopilot au, this time giving Cleo a moment with Legs :)
.
The doctor's lucid moments are thinning.
At first, Owen's dead lover had only appeared sporadically. Erratically. Cleo had sensed the truth of the matter only in the aftermath; the sudden shift of breath, the halting of step. The lost moments where Legs' memory would falter, and it was easy enough to dismiss it to a mind stuttering with exhaustion. To human weakness.
It's rare, now, to find Legundo.
When he's present, however, it's unmistakable. Louis carries the doctor's body with poise retained from long-gone muscle memory, his movements sure, deliberate, and his damn smileā
Cleo would cleave that smile from his lips, except it isn't his to ruin.
Not yet.
Not ever.
The doctor's lucid moments are few now, and far between, but they're easy to spot. It's not just the confusion ā that distant cousin of walking into a room and forgetting one's purpose. Neither is it just the sudden intake of breath, as if Louis ā unaccustomed to a mortal form ā sometimes forgets to breathe.
It's the exhaustion.
"This isn't right, doc," Cleo tries ā because they have to try, they can't let him just slip away as if he's succumbing to a sickness in his sleep. As if this is natural. "You've got to see that."
Legundo sits at the edge of the animal paddock, where Cleo had seen the shifting perspectives take place. The low stone wall seems to be all that's keeping him up.
"Do I?" he asks. "Have to see that?"
"They're killing you," she says, because somehow, everyone keeps overlooking that. "They're just being polite about it."
The news of his imminent death doesn't perturb the doctor the way it might the other occupants of Oakhurst. He smiles ā not in that damn benevolent way that Louis twists his mouth, but with a grief that asks: you understand, don't you? "I really thought it'd be over by now."
She doesn't want to understand, doesn't want to give him the inches of a rope that'll he'll use to hang himself by.
She understands, but she doesn't have to admit it.
"What would be over?"
"This," and he gestures to himself. "Every time I feel myself lapse, I think, maybe this is the last time. Maybe I don't come back after this."
"There must be a way to stop this. You're a doctorā"
Legs laughs ā and, oh, she's going to miss it ā and rubs tiredly at his eyes. "Of science. Medicine. Of real, rational conditions. Not ghosts, I don't know how toā" He breaks his comment off. He offers a wry smile that Cleo doesn't believe. Not for a moment. "They hardly taught how to cure possession at medical school."
"They didn't teach you how to cure vampirism either, but you're still trying," she replies, because they are not going to let Legs just let this happen. "Maybe there's a book out there. You don't know there isn't."
"And you don't know that there is." He reaches out to her, a show of comfort, of understanding, and sheā
She flinches, before they can stop themselves.
(There had been another hand, the same but not the same, not the same in any way which mattered, which had reached out to her before. And they hate it. They hate how Louis has poisoned even this.)
Legs withdraws his hand. He doesn't even look hurt at the rejection ā just sad.
"It'll be fine," he says ā and the words could be Louis', it would be easier if they were, but this is Legundo, and a different kind of anger takes hold.
"How are you okay with this?" She's raising her voice, but they don't care. Let the whole town hear. Let Owen hear. Dammit, let Louis hear, in whatever depths of Legs' soul he's currently buried beneath. She rises to her feet. "How are you okay with any of this?"
"Cleoā"
"No. I've been in your shoes, doc. Not... not exactly," she remedies, because they're not sure there's really ever been any shoes quite like the fuckery that's currently going on. This is some tailor-made shit. "But not having control. I understand that, doc. You know I do."
He meets her gaze. He looks exhausted. Sallow. "I know."
"They win by making you believe that you have to accept this," she says. "They win when you choose not to fight."
"Not every battle should be fought."
"And this?" She stares down at him. "What if it was happening to someone else? To Abolish, or..." and she pauses to consider who's left. "Or Apo?" because, for whatever reason, there seems to be an understanding between the doctor and the soldier. "Would it still be okay?"
"That's differentā"
"The hell it is." She kneels down before him, bringing their eyes level, and this time it is they who reach out. Her hands curl around the doctor's, and they can feel each pitted scar, each callused welt across his skin.
There comes the sudden, terrible fear that this might be the last time she holds these hands in hers.
"Come on, doc," she says. "We still need you."
The smile returns, and Cleo amends their previous judgement: it's not grief. It's the sorrow that comes before grief, the final vigil beside the dying patient. "The world doesn't need an old monster like me."
"It doesn't need a monster like Louis, either," Cleo says, because she doesn't have time to unpack the full weight of Legs' statement, not when there's never any way to know how soon the possession will return.
"Better Louis than me."
"And how would you know that?" Cleo realises their grip has tightened by the hitched wince, and forcibly loosens her hands. "How would you know he's like? He arrives on the scene, and you ā what ā get boxed away like a forgotten toy, and you just hope he means well? He's killing you, Legs, and calling it a kindness."
"And the last time Owen lost Louis, he murdered every living soul in Oakhurst," the doctor says.
"Damn Owen," Cleo says. "Damn him, and damn Louis."
"Cleo, I have spent... weeks trying to avert a war between vampires and humans," and he sounds so tired, morbid humour curdling at the edge of his voice. "Only for Louis to step in and immediately defuse the situation. If this is how we create peace, I'm happy with that."
"Well, I'm not. And, I'm telling you, doctor, we will find a way to stop this. We're not letting you go without a fight."
Something shifts within Legs then ā a resettling of sorrow, an eased tension ā and Cleo almost lets herself believe he's shucking off the apathy...
But then she sees that damn benevolent smile, and she knows he's lost again.
Louis shuffles back into the doctor's bones, posture sharpening and grief discarding. In its place sits polite, patient pity.
"Didn't you hear the doctor?" Louis asks. And he sounds so reasonable. So kind. "He's happy with this."
@mytoomanybookstoread yesss your tags are everything to me
Lord, grant me a character who allows themselves to be angry :) Cleo is one of my favourites, because she absolutely takes no bullshit, and this entire scenario is just cowpats as far as the eye can see. (They're so angry. But, like you said, there's so much to be angry about and especially when it's mixed up with grief.)
And casual platonic touch, my belovedddd <3 Given both their backstories and characterisations, I'd be wholly surprised if either are prone to contact. (Am I also personally touch-adverse, so casual contact is often used in my fics as a sign of quiet trust? maaaaybe)
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Iāve been looking through some of the stuff the fandom does and thinks in regards to TMA, andācall me a snooty bastard if you wishāI think theyāre missing out on a lot in relation to how they interact with the show.
The two episodes that come to mind are MAG102: Nesting Instinct and MAG103: Cruelty Free. I find that a non-insignificant number of people undermine the horror in these episodes. Specifically, they mock 102 for what they believe to be an absurd premise of a man falling in love with a beetle, and they refer to 103ās Monster Pig as cute, in some regard, for its proclamation of Dylan Anderson as āFriend.ā I could speak at length about how this completely overlooks the nuance of both episodes, but youād know better than I, and I wouldnāt want to embarrass myself popping the hood of a car you helped to design.
I suppose what Iām asking is, how do I avoid this tonal dissonance between work and fandom when doing my own projects? It has been a persistent worry of mine, that whatever I make shall be undermined by an innate desire in many fandoms to sympathize or soften, especially when such things are deleterious to full enjoyment of the work.
I cannot state enough that I do not aim to be pompous or establish that I am better than anyone. I am not. That is why Iām asking a superior artistāyouāfor advice.
Hey,
I got bad news for you. You can't avoid tonal dissonance between a work and it's fandom. If you try you will likely sabotage the work and alienate the fandom.
Examples:
1) Spoonfeed your audience their opinions in the work?
Your work becomes didactic and alienating.
2) "Correct" audience opinions outside the work?
At best you're ignored, at worst you're now perceived as an asshole.
3) Double down on the negatives to deliberately alienate audience sympathy?
Your work just became edgelord nonsense.
At the risk of going all Buddhist on you...
Your discomfort will fade when you stop trying to control people.
You cannot make people do what you want. You can only make the path you desire for them to take as easy as possible. If people are taking an unexpected path, ask them why because there is clearly a need your path isn't providing. Then you can either a) continue and modify your path to better meet that need b) accept that you cannot cater to that need and continue as you were, losing those people in the process c) quit the path.
It's all valid, even option C.
I know that's not a satisfying answer. I suspect you probably wanted some practical advice on steering audience reception via the execution of the work itself but this is, I think, a more helpful response.
Accepting other people's readings without being consumed by them is profoundly difficult, especially when people are harmfully projecting themselves onto you and your work but its the best advice I've got.
TLDR: You cannot control how people engage with your work. All you can do is make the work as well as you can, learn a lesson then make the next thing different. Sometimes the lesson is "make the desired reading more obvious" sometimes it's "some people will always be contrarian" and sometimes its even realising that you were saying something you weren't aware of at the time. Either way, you have something to work with next time and if you give it the consideration it deserves your work will improve over time.
The Mechanisms Zine project has now officially begun!!
A community project, by Mechanisms fans for Mechanisms fans, in the form of a collection of art made by us listeners to celebrate our beloved space pirates and their music
Are you an artist? Are you a Mechanisms fan? Would you like to participate in a few months-long project with other fans, combining your interest with art, and possibly even getting the end result recognised by The People themselves if we're lucky? Join The Mechanisms Zine!!
As of now, the project is in a very very verrrrrry early stage, so I am mostly looking for people to help organise the zine, which means that mod applications are open :}
They will remain open until the end of the week, and I am simultaneously opening artist applications too, which will remain open for a little longer and will have a longer response time
Link to the mod applications
Link to the artist applications
Once again, please share this as much as possible, I need a maximum of people to see this!!
tucked away in a corner of the archive of the starship aurora, thereās an old advert with a familiar face.
[image id: two versions of an illustrated advertisement for āKatabasian Computing,ā featuring ashes o'reilly from the mechanisms. they lounge on an ornate armchair, one foot coming down to rest on a tasseled pillow. they wear black-and-white oxfords and a dark 1920ās style suit with a black coat over top; the trim of the coat looks like circuitry. the symbol of the acheron, a simplified skull with circuitry coming out of its exposed brain, floats to the left and right of their head. above the border of the ad is the paper name, āThe Oracle,ā and the date June 18, 2022. underneath it is the name āKatabasian Computingā and their slogan; āThereās no processor more powerful.ā the second is the same drawing, just without the effect that it has been printed on a folded and stained piece of old paper. (without the acheron skulls).Ā end id.]
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