#@anomalous-antagonist

[infinite-protagonist-but-yapping]

it's done... for the uhhhm... third time????????

srsly guys dm me if you want me to hold onto any of ur sprites

credits in tags!!

[sableprince]

assorted NMS oc doodles backlog that i guess i forgot to post? i'm really bad at putting stuff in tags, like this comparatively more serious lore compilation post thing. haha. this trio is stupid.

slightly more serious teluya backstory WIP comic under the cut because it's less goofy

[occasionalsnippets]

Very true I'm scared of those two

Why are they staring at me in the most menacing way possible

Asdlkajsdhl it's the vibes

[doppelcoworker]

((Ooc: @anomalous-antagonist , @c0worker-bryce , @greatestcoworker , and Jasper all walk in a bar ))

((Audio from Until Dawn Snapcube fandub))

[wordsofthespirits]

>[Something stares at Protag. It resembles him, or his doppelganger, but has grey skin, and vibrant red eyes]

"...you..."

>[It seems to recognize him, but Protag has never seen it before. It's smiling, though it's hard to tell if it's friendly or hostile]

>[ @anomalous-antagonist]

🎵: "Interesting... I've never seen this thing before."

[He stays a good distance away from the creature, it may look human, but he knows it might not be.]

🎵: "Tch... What a pain in the ass. Guess I gotta see what this thing does."

[He throws a cassette at it, unfortunately missing where he aimed. It hit the floor.]

[workingprotagonist]

"...help..." "...I want freedom.... please..." >[Protagonist can hear a broken voice coming from behind the boarded door of floor eight. There's a soft humming tone as well, it makes his head feel fuzzy] >[⚠💀⚠] @anomalous-antagonist

>[Protag pauses just as he was about to take another step downstairs, a pulse of fear strikes his heart as he heard the unknown voice.]

>[He stays quiet for a few moments to try and assess the situation as he glances at the door with wide eyes. He remembers Coworker had rushed him past this level before, so he was reasonably a bit fearful.]

[eyeodyssey]

MOON AGE 15 : DAMNATION (English Translation) Moon Age 15: Damnation is a 1988 short comic by pseudonymous author Not Osada, who openly drew influence from the Tokyo Grand Guignol's work in such a way that can arguably give a loose insight to the TGG's mysteriously anomalous works. While only a slight window into what could've existed in Ameya's vision, each contemporary rendering of his world of gore-soaked medical equipment and rusted metal is valuable in what it represents. As mentioned in my prior Litchi essay, the fragments of the Tokyo Grand Guignol we have now are descendants of a cultural phantom, standing as shrouded windows to a strange intangible stage that's positioned somewhere between post-Maruo inferno, industrial subculture and decadent poetry. While Osada’s manga featured notably grizzly and cruelly morbid scenarios, his stories were made explicitly for the shoujo market with a distinctly shoujo-influenced art style. Characters appear almost doll-like with their visual perfections, all while they’re often dismantled and reassembled in bizarre surgical practices by sadistic doctors. Much like how Zera expresses horror to seeing his own imperfect organs in contrast with his youthful appearance, our pristine victims share the same internals as any other slaughtered cadaver, all in a maddening spiral of narratives that contemporary readers often described as resembling descents to insanity. This fixation of the contrast between perceived beauty and grotesqueness is arguably traced back to the Tokyo Grand Guignol’s own works, with lines accentuating the youthful features of certain characters while audience members were known to fondly look back on the actors’ appearances. Litchi himself was described as being a “cute” robot despite the violence it was programed to carry out. It’s possible that this collision is inherent to Ameya’s conceptual destruction of the TGG. A known detractor to poetic writing, he called on a romantic author to pen the screenplays to the TGG’s first three plays so he could “destroy” them in his direction. The use of beauty could arguably be a mockery of it, taking these idealized dolls and leaving them trapped in worlds of fascism and hospital rooms that are haunted by the stinging stench of antiseptics and blood. Plastic hospital drapes were used in place of stage curtains and autopsy films were shown to the wide-eyed characters, who spoke of pure blood and dirty blood, the antithesis of blood, mercuro. What is beauty a representation of in the Grand Guignol’s works with the prominent fascist leanings of the protagonists? Considering the perspectives of our characters where the Hikari Club and the deranged teachers and Nazi doctors are treated as protagonists rather than explicit antagonists, the plays could arguably be read as the decay of a self-convinced beauty under fascist rule. Songs of the pure-blooded ubermensch fading into silence as the singers all collapse, lost in their own delirium as they pump mercurochrome into their hearts and try to rationalize their own organs that resemble the internals of the so-called ‘landraces’ they rendered into lifeless meat. It’s the natural conclusion of fascism, a collapse that occurs in demented violence to the face of a denial of death. I was originally split on publicizing my translation due to copyright-related complications, but after seeing the increasing gatekeeping of TGG materials at the hands of a rapidly growing market riddled with competitive spending and scalping, I feel obliged to share it to the public who (like myself) can’t afford to spend the now literal hundreds that are required to access angura ephemera that was meant to be openly available to the public to begin with. When originally finding this story, the book it was featured in was only 5 dollars. Now it goes for 60 to 200. That's ridiculous. With all the preamble out of the way, the story is under the cut...

While I made my best effort to maintain accuracy to the source material in translation despite my practically nonexistent understanding of Japanese (my translation method is a Frankensteining of language learning videos, a Japanese to English dictionary from the Internet Archive and Google Translate with a lot of localizing and dissection in between), there are several details I feel I should note for the sake of transparency. One smaller one was the inclusion of the term l * lita. It was in the original text, and I was honestly very unsure of including it in my translation as it’s a term I’m personally icked out by. While I was ultimately recommended to keep the line as is for accuracy, I wish to state that it's a term I'm personally very uncomfortable with in what it represents. The other note, which is the more prominent one in the final product, are the references to The Last Attempt at Paradise. In the original text the club members solely refer to their hideout as paradise and Eden, leaving a lot of excess space in the speech bubbles after translation when making the shift from Japanese text to English. The Last Attempt at Paradise was the name of S.P.K.’s 1982 live album that documents their set at the Off the Wall Hall venue in Lawrence, Kansas. Often considered one of their best concerts and a highlight of the industrial genre, the S.P.K. Appreciation Society of Sydney in their All The Way With S.P.K. / American Tour article describes the concert as being the group's “best performance to date”, further adding that they “Flattened (an) enthusiastic audience with massive P.A. amplification of FX bass regeneration”. This insertion wasn’t done at random, as the Tokyo Grand Guignol’s works were heavily engrained in the original industrial scene of the 80s. Both the 1985 and 1986 performances of Litchi began on a playback of the S.P.K. song Culturcide (from their 1983 Dekompositiones EP), and it was likely that use of the track that led to Not Osada’s early fixation on S.P.K.’s music. At the end of Blind Beast, in a sort of reader Q&A Osada is questioned about some of his favorite music. At the top of the list he features the tracklist of the Dekompositiones EP and the track Mekano from their 1979 Mekano / Contact / Slogun single. Interestingly enough he states that he only likes those four songs from the band, following the text with laughter in regards to their remaining discography. I’m unsure if this means he was unimpressed with their noisier work (which would be curious knowing his liking of Mekano with how it originated from their earliest noise-adjacent album) or if he was directed to their later Machine Age Voodoo material and was alienated by it. In the same Q&A he also mentions the band Funeral Party, who featured specially commissioned art by Suehiro Maruo on their Dream of Embryo single. It's apparent that he also had a copy of the compilation album Vision Of The Emortion, as the list also includes C·C·Mekka and Ego'n Mole, who were both featured in the album alongside Funeral Party's only two other documented tracks, Das Sunde and Gears - Night. S.P.K. references are sprinkled throughout this story along with Osada's other Litchi-adjacent entries. Aside from one of Zera's henchmen being named after the Mekano track, it's very likely that the frequent references to Eden are in homage to the lyrics of Mekano. The first lines of the track include the verses "One by one, odd to even. Break the scenes, rudely eden...".

Moon Age 15 was originally printed in 1988 as a two-part miniseries in the horror magazine Complete Collection of Horror and Occult Works - HELP, namely in volumes 5 and 6. While being an early work that derived from the TGG, it still wasn’t the first comic to adapt the Litchi stage play, with Das Blut : Blood and Eternal Girl preceding it with their 1986 publication in Osada’s debut anthology Night Reading Room, sharing the same year as the TGG’s early closure following creative conflicts between Norimizu Ameya and K Tagane (the group's author, who remains anonymous to this day). It’s to be noted however that while Das Blut and Eternal Girl were the first stories to feature the Hikari Club as antagonists, they are only tangentially related with Moon Age showing more distinct Grand Guignol archetypes (musings of the full moon, examinations of the Hikari club’s misogyny, idealization of technology, and even an early rendition of the Litchi robot itself). First kept solely as a brief serial, Moon Age was later reprinted in abridged form as a short story in the 1996 Blind Beast anthology. While copies of HELP are notably hard to find and demand high prices, I was given an in depth view of both volumes that featured Moon Age’s serialization by a collector earlier last year. While the drawings are still the same on a rudimentary level, the length of the serialized version is notably longer than the later Blind Beast variant, with the HELP serialization being over 40 pages while Blind Beast’s is only 24. This was the product of the manga being entirely revised for Blind Beast’s print, with the layouts being drastically altered along with basic revisions of the line art. Certain scenes that would usually take 2 to 3 pages in the HELP version were condensed to 1, resulting in a unique tradeoff where one version feels unusually spacious in its framing while the other is heavily condensed and almost chaotic by comparison. It’s only a thing that springs on you once you compare the two variants, I saw the revised version first and originally didn’t pay any mind to it. One thing that is certain is the polishing of the art. The brush work in the Blind Beast version is refined with a more elaborate sense of weight and flow while the HELP version is notably rough with the prominent use of rudimentary screentones. It reflects as a somewhat rougher variant of the art shown in Night Reading Room. It feels strangely digital, like it’s the product of early computer art. The line-by-line reuse of the decapitation scene from Eternal Girl being shown on the TVs further adds to the strange digital feel of the art style.

Similar to Moon Age, Osada's other stories of the Hikari Club featured the members luring girls to their brutal deaths. In Eternal Girl the members bring in a student and film her mutilation for a snuff film that acts as the story's namesake, in Das Blut they corner another student to the woods where they hang her, and in Jinta Jinta they kidnap a student who bullied one of her classmates to suicide before trepanning her with a strange device that's somewhere between an electric chair and a drill. Not Osada was very recently namedropped in the concluding essay of an English print of Kawashima Norikazu’s Her Frankenstein under the alternate Nagata Nooto anglicization of Osada’s pseudonym. Their name is a curious case as while there is a prominent written variant (長田ノオト), it’s seen numerous English iterations. In Osada’s own English signatures it is written as Not Osada (with the name apparently being derived from a German phrase), but other variants include Osada Nohto, Osada Nooto and Not Nagata. If I'm not mistaken, it could count as one of the first English acknowledgements of Osada's works in print.

[preservationofnormalcy]

For Blodwyn: Hi, I've been getting the same Deja Vu for the last twoelve years, is this normal? it happens no matter what im doing, similar to any normal Deja Vu but at the end of the vision I always seem to cry blood, not in real life though...

yet

Oh my god I was trying to be antagonistic, please stop calling me Blodwyn, it was a dumb name I picked out from a book when I was in my Mall Goth phase. "phase?" but aren't you still-

No, it's a whole thing, Mall Goth and Industrial Goth are apparently...it's different, is the point.

Deja Vu is like, a basic human condition that comes from, like, the biological imperative we had as monkeys to be able to see patterns and recognize predators, or whatever. There's some anomalous stuff that can cause deja-vu-like sensations; but if you're having like, actual visions, that's not deja vu, that's something else entirely. Could be precognition, could be hallucinations, it's hard to tell. Call our appointment number and ask for extension 7. You should probably come in and let OFSO- Such a stupid name.

It really is. You should let OFSO take a look at you. The crying blood part is really worrying.

Also, two or twelve? If you can't nail it down, that's a problem.

[classified-coworker]

Introductions are in order!

Hey, hello! The name's Bryce Stryker. I work at [RECACTED], in... ffiiinance. Finances. I'm sort of a big deal here. And hey, maybe through the power of the American dream, some common sense and survival skills, and a little help, you might make it too! Just don't let it get to your head. Alright? >[⚠🚬⚠]

OOC NOTES UNDER THE CUT

This is an elevator hitch AU blog. Characters and (most) art belong to racheldrawsthis and Studio Investigrave. Concept for AU belongs to me TAGS: Posts: anomaly.post Asks: anomaly.answer Reblogs: anomaly.reblog Roleplay: anomaly.reply Out of character posts: ooc.post, ooc.reblog, ooc.ask.

Current blogs in the AU: @classified-coworker (me) @anomalous-antagonist (me) @workingprotagonist

[ralseifan123]

Half-Life story structure headcanon

I feel like Half-Life can be split up into three distinct acts with an epilogue and a prologue.

The prologue is "Black Mesa Inbound", and "Anomalous Materials"

Act 1 is from "Unforeseen Consequences" to the end of "Apprehension"

Act 2 is from "Residue Processing" to the end of "Forget About Freeman!"

Act 3 is from "Lambda Core" to "Nihilanth"

The epilogue is "Endgame" or the G-Man speech

I feel like this because each of the sections feels pretty distinct from the other

The prologue is like the calm before the storm before the resonance cascade occurs and the campaign "really" begins

Act 1 is the initial Xen invasion with vortigaunts and headcrabs, and also the initial HECU takeover of Black Mesa, it ends when Gordon is ambushed by the Marines and knocked out

Act 2 is distinct because it's when the Black Mesa Incident really goes to hell, with gargantuas and alien grunts running around the surface, the HECU begins to lose control of Black Mesa and eventually ends with them abandoning the whole facility. Act 2 ends for Gordon when he goes underground for the final time after escaping the gargantua from the car park

Act 3 is separate from the HECU-heavy act 2 as it recenters the antagonistic role from the military back to the aliens, It also brings the science team back into a central role in the story and builds up Xen as the Gordon's final destination

The epilogue is self-explanatory as it's completely separate from the rest of the story with the surreal G-Man speech

This post feels really long so im going to end it here, byyyeeeee

[orbital-inclination]

what is the relationship like between rem + molt and the other au travelers? who is in their group traveling with them? how do those like ink, error, and core feel about them?

Dust, Killer, Horror, Cross and Blue all eventually join Molt and Rem. By that point, they have a base of operations and divide into smaller groups (2-3) while traveling to avoid drawing attention to themselves.

Ugh, those two? Anomalous pests. Error views Rem and Molt in the same way as he views everything else. As glitches to be terminated. Bugs in the code he needs to hammer out before it all goes to hell. He doesn't ACTIVELY seek them out, but when they cross paths he won't hesitate to try to destroy them along WITH the AU he wants to get rid of. The apple troop avoids him at all costs. Ink places equal value on all creation, and for that reason, he is forced into a position where he feels obligated to respect all "characters" he comes across, even "characters" like Error. Can art destroy itself? Should art destroy itself, if that is the intention of the creator? What do you do when one Artist's art can only be appreciated through the destruction of another Artist's work? Ink doesn't think of it in exactly those terms, bc I don't like being that BLUNT with meta stuff, but that is the gist of his internal conflict. Molt and Rem passively interfere and that is a PROBLEM for Ink, who believes the "narrative" should be left to play out organically without outside interference. But I don't think their relationship is always purely antagonistic. Sometimes Ink will chase Rem and Molt off. Sometimes he won't. Sometimes he's lonely enough to sit down and just... talk to Molt. (i would go on about this more but this post is already too long KJSDFLSD)

I'm not familiar with Core!Frisk enough to say this with confidence, but if their goals are the same in this multiverse, they probably don't like Rem too much.

As for other au travelers in general? Depends on the traveler. Rem regularly commits petty crimes. He trespasses, he steals stuff. He’s not above blackmail. His gang is guilty of breaking and entering. I don’t imagine that kind of reputation will fly with a lot of people.

[infinite-protagonist-but-yapping]

hes done for now mehehehhehe

[greatestcoworker]

"..Hey."

"...I get that we're strangers... but your 'twin', @doppelcoworker needs... medical attention"

>[The voice sounds like Antag's, but distorted, and layered with static.]

>[ @anomalous-antagonist]

>"Shit– I'm actually busy today.. @c0worker-bryce go look for Jasper, he got attacked!"

[anonymouscomrade]

Goncharov explained:

SCP-2747 is a phenomenon appearing in print and online media whereby platforms dedicated to the discussion of works of fiction begin to mention a nonexistent instance of fictional media. Despite said nonexistence, articles, posts, comments, and other related metacontent created with regard to the nonexistent work of fiction will be found treating it as real. The nonexistent work of fiction can be mentioned by various individuals in varying capacities, ranging from brief mentions in forum posts to being the subject of entire academic essays.

Descriptions, screenshots, photographs of physical copies, and brief segments of text from said work of fiction can often be discovered in SCP-2747-affected media. Descriptions of it are entirely consistent with each other, and it has proven possible to reconstruct whole segments of fictitious media via descriptions of it taken from SCP-2747-generated metacontent. A list of fictitious media generated by SCP-2747 has been appended below (see Appendix A).

Where possible, the affected material can be traced to existing individuals; however, when questioned under duress, said individuals invariably deny having written the affected material, and deny all existence of the fictitious media mentioned within.

SCP-2747 has never been documented in real time; all observed instances thus far have been recorded post-hoc. No instances have been documented prior to January 2008. The reason for this is unknown. conforms to pataphysical observations documented in full in Appendix B.

It is the current hypothesis of the Department of Analytics that SCP-2747 represents evidence of a naturally-occurring anafabula, or anti-narrative: a cluster of interdependent signs, iconography and narremes that, when included to a sufficient extent within a fictional construct, leads to mutual annihilation. First-hand reconstruction of the anafabula's properties is impossible given its anomalous nature, but second-hand and third-hand descriptions have been generated from Observational Procedure LUCID CHALICE and appended below (see Appendix B). It can effect through layers of metafictional narrative, i.e. a metanarrative containing the anafabula will cease to exist within the narrative, followed by the narrative itself disappearing from our reality. The key identifier of the anafabula is that it invariably represents an in-universe antagonist or anathema in all manifestations of SCP-2747, likely due to inherent narreme components indicating its alien, yet centralising, nature.

[doppelcoworker]

>[There's the sound of static outside of @c0worker-bryce's home, a soft hiss, along with quiet, delicate footsteps.]

>[Someone talks to themselves]

"Hm.. isn't this 'brycie's' place...?"

"...maybe he knows where he is..."

>[There's a heavy sigh, and they approach the nearest window, which so happens to be the window to Jasper's current room]

>[ @anomalous-antagonist]

> [ The ever-piercing sound of static haunts Jasper's memories. Once again, they were as strong as they were when he first encountered the creature. ]

> [ Although he looked to be asleep, he was only staying awake late in the night, fearing every little noise that he heard—sadly, this included Bryce's footsteps. ]

> [ And upon hearing that static once again, Jasper froze up under the covers. He didn't even cry or scream. It was like he was dead. ]

[ramblings-from-the-ether]

*barges in once again* Aight, remember Feng Shui?

Basically, one of Howie's Worker Bees goes missing into a portal to the Netherworld, and Howie himself has to go & find him, encountering various factions & individuals along the way.

The EE world is a sort of anomalous "fifth juncture", barely connected to the rest of time & boasting it's own kind of magic. This is kept up by the Painted Shield, a multinational order of magic knights who use Magitek to keep everything else out (also because using pure EE magic anywhere besides it's world of origin produces results that are volatile at best).

Howie will not stop until he can locate Benjamin & bring him home. It does not matter if he has to fight through sorcerers from the mists of Chinese history, demonic cyborgs from a dystopian future, or cyborg gorillas. He will find his Bee.

1) Sounds like a heck of a Jackie Chan-esque Kung Fu movie.

Secondly, the Painted Shield does fit naming conventions (in Taiga at least). We can imagine them being modeled after medieval knights from Monty Python and the Holy Grail specifically.

Next. In the context of making a plot, we can imagine a conflict in the organisation on whether they should send a team to rescue Howie before he alerts the other junctures to the EE world's presence.

{The ghost in charge of finding new paragraph starters has been found to be lacking, and has been sacked} We can imagine Howie not unable to fight his way through practically the rest of time with limited information. Who needs dynamite when you have the personification of the fury of the working class?

{The ghost in charge of replacing the previous ghost is nowhere to be found and has therefore been sacked} Another idea for the plot is that the protagonist is part of the Painted Shields who's plot-based struggles revolve mainly running across the tightrope that is the Painted Shield's many, many concerns regarding exposure risk and what to do with any extra-dimentional intruders. And also finding Howie via the trail of destruction left behind.

{Due to a lack of suitable replacements, the ghost in charge of sacking the ghost who sacked the original ghostwriter has been sacked} Howie could even be a mid plot 'antagonist' whose joining of the protagonist's side via explaining each other's positions paves the way for a greater plot point of fighting whatever kungfu sect leader has kidnapped Benjamin the Worker Bee.

And finally, I can imagine the Painted Shields organisation being in competition with other magical authorities such as the Fleecities and similar institutions in the other EE countries. There will also be the question of if the Painted Shields brings in Howie's other worker bees since they should know their boss.

But if we are to discuss all this in context of making a movie, then we must consider the below:

{The below content has been removed following the discovery of unauthorised outsourcing of writing work to undisclosed freelancers in breach of the work contract between the Sweet Jazz City Museum Ghosts' Union (SJCMGU), Ghostwriters Inc, and Sdn-Bhd Sdn Bhd. We apologise for the interruption of entertainment services, and we thank you for your patience.}