#but they still perform and show the audience the techniques they had learned and how well they can bring the music the had practice

[13threbagel]

I just realized that the arguments used on generative AI are basically the same as those used on NFT. They treat anything on the Internet as free to use and completely disregard the fact that copyrights exist for everything that someone made on the Internet.

Just because something exists in a public space doesn't mean it is in the public domain (free to use, copyright-free).

You'd think that's a no brainer but apparently not. And when they broke those boundaries, they just go, "Oops, it's already in the model/chainblock. You should have never upload them publicly/minted it first so you can keep the work to yourself."

sth sth demean human desire to socialize and part of that involve sharing things they are passionate about, aka the thing they had worked on to connect with other people. And taking it for yourself and disregard the original artist is insanely disrespectful sth sth

[tobiasdrake]

Fun Fact: Goku is not the main protagonist of the 21st Tenkaichi Budokai. My favorite thing about this arc is its perspective flip on who Goku is and what he means to the story.

The Muten-Roshi first introduces the idea of the Tenkaichi Budokai at the start of Goku and Krillin's training.

In typical Goku fashion, Goku doesn't understand what they're talking about and yet is probably gonna win 'cause. Y'know. Goku. The arc leading into this made a pretty compelling argument that Goku's all but invincible and unstoppable. He's a strange little monkey boy who breaks everyone that goes against him.

Fitting his role as an adaptation of Sun Wukong.

Going into this, the Muten-Roshi lays out what he wants the boys to learn:

Roshi doesn't want this to be about vanity or self-indulgence. The tournament on the horizon is simply a motivator. The philosophy he wants to instill in these boys is Dragon Ball's core theme: The yearning for self-improvement.

Having something you're improving yourself for can be useful in keeping you on track but the focus is on the journey to get there, not the destination. Goku and Krillin aren't supposed to win the tournament. They're supposed to sharpen themselves into the kinds of people who could win the tournament.

...but it quickly becomes apparent that Roshi's methods will need some adapting to work with Goku's... Goku-ness.

Goku is a beast. Teaching him is going to be an ordeal.

This sets up a significant conflict to come. Not a conflict for the characters, but for the story: How do you even have a tournament arc for a character like this? Goku was created to be a funny little guy who eats challenges for breakfast.

So the day of the tournament comes to pass, and we're introduced to the "enigmatic" Jackie Chun.

It's not hard for the audience to tell who this man is, but the kids are fooled and that's what counts. At this time, we're still primarily in Goku and Krillin's perspective. Hoo-wee, this here tournament sure is gonna be a humdinger!

(That's Goku. That's what Goku sounds like. He's a backwoods hick who speaks informally and irreverently with a rural accent. I genuinely wonder what Goku's reception would have been like if his dub acting had faithfully reproduced his dialect.)

We stay with Goku through Krillin's first match.

While Jackie's first match seems poised to set him up as the archrival to be beaten.

Roshi's first match here seems set up to demonstrate how tough he's going to be to beat. He's the final boss of this tournament. Goku's going to need to take him out in order to overcome.

But Goku's first match, on the other hand, reminds us that Goku's been nerfed ever since the end of the previous arc. Losing his tail messed up his balance and he's been off ever since.

Everything we've seen from him during their training and the preliminaries was Goku fighting at a handicap. As of this moment, the gloves are off. The Monkey King is back in full form.

This is all good tournament stuff. We have a powerful rival, the strongest opponent around that Goku could possibly take on, but we've been given more than enough reason to believe Goku's up to the challenge.

We're inclined to root for Goku because he is our main protagonist. We're experiencing this world through his eyes. He wants to win the tournament. So we want him to win the tournament. We like it when characters we like succeed.

The semifinals are... interesting, through that lens. Four contestants are left: Goku and Krillin, as well as Jackie Chun and Namu. But Jackie's match with Krillin doesn't go by so easily as his fight with Yamcha.

Against Krillin, the Muten-Roshi has to work for it. Krillin's underhanded style brings him a hair's breadth away from victory. To win, "Jackie's" forced not only to reveal his ability to perform the Kamehameha, but also to introduce the Zanzoken/Afterimage technique for the very first time.

Though Goku pierces the illusion instantly. This fight shows us that the Muten-Roshi has his limits. Krillin didn't tax those limits too hard but this was still a harder fight than you might expect. Further, nothing he did here is shown to be truly threatening or ominous for Goku's chances.

Quite the opposite, even for the Zanzoken that clinched the match, we see Goku follow along just fine. He's gonna be alright in the finals.

By contrast, Goku's match with Namu sees him effortlessly dominate. He's invincible, he's unstoppable, and the closest he ever comes to defeat is when he accidentally dizzies himself from spinning around too much.

Goku eats Namu alive. He takes the best Namu has to offer and gets right back up without a care in the world.

It's the end of this match that lays out who the underdog in this upcoming match actually is.

Roshi watches Goku eat Namu for breakfast and he comes away shaken. Rather than wondering if Goku has a chance at winning this, we're left with the impression that he can't possibly lose. Goku is too strong, he's too invincible, to ever possibly lose this.

And it's here, in the wake of Goku's unbelievable shitstomp of a semifinal round, that the switch occurs. Because now that we've laid out that Goku is invulnerable, that Goku is almighty, that Goku's triumph is inevitable... suddenly, Roshi lays out the stakes of this arc.

If Goku wins this tournament, Roshi fears that victory will go to his head. He'll become proud and complacent. An arrogant brat with more power than he knows what to do with and no will to learn. Looking ahead to characters like Tenshinhan or Piccolo or Vegeta, characters who only began to work on themselves once Goku humbled them and gave them mountains to climb, it's easy to understand what he's talking about.

Though Roshi later questions whether this was really necessary, right here in this moment, we feel it. Just like that, the entire perspective of this arc has flipped. We move into the finals not wondering if Goku will win, but staring down the barrel of the invincible and unbeatable protagonist we've known from chapter 1.

The Monkey King Son Goku breaks every opponent that comes before him. He can't be beaten. He can't be stopped. He is all-powerful and invincible and an instant master of any technique you come at him with. He's absolutely favored to win this thing after that semifinal.

And for the sake of his development as a person and as a martial artist, the greatest master that our world has to offer, the man who would seek to educate the impossible, must. Take. Him. Down.

Jackie Chun is not the final boss of this tournament. The final boss is Son Goku.

The final match of the tournament is a Sisyphean ordeal, as Roshi breaks out every tool in his toolbelt only to be stymied at every turn by the sheer impossibility of Son Goku.

You can feel Roshi's growing frustration as Goku matches and overcomes everything in his path, devouring Jackie Chun as he devoured Namu in the preceding match. Whether that means matching his, the old master's Kamehameha:

Or one-upping his Double Zanzoken with a Triple Zanzoken:

With each passing chapter, we are experiencing Goku through the lens of an adversary. Rather than being privy to Goku's private monologue, it's Roshi whose thoughts we sit with as he tries again and again to find an answer to this impossible foe.

Every chapter (but one) ending the same way: Roshi tries. Roshi fails. Goku learns and analyzes and internalizes Roshi's abilities, making himself stronger. And Roshi's back gets closer and closer to that wall.

A fun playtime for Goku and the fight of his master's life.

And when Goku finally, finally goes down, we feel, viscerally, how hard this battle was fought. Roshi pulls this off only by the skin of his teeth; A victory that is, in its own way, as desperate and nail-biting as the battles with Vegeta or Piccolo or Majin Buu, despite the smaller scope.

You can feel Roshi's spirit dying inside as Goku asks that. But the job's done. The lesson has been implanted. The shape of Goku's future has been forged.

And the things he learned here today are values he will carry with him for the rest of his natural life (and beyond). That is the triumph of the 21st Tenkaichi Budokai.

...whether or not it was actually necessary to go this far, on the other hand, is left up in the air.

We can't ever truly know the results of the choices we didn't make. But the choices Roshi did make on this fateful day would become the first step in shaping the greatest martial arts master in the universe.

[sebbyisland]

WHAT COULD THIS MEAN LETS UNPACK. Shiguma has invited Akane to be the Zenza/opener for his large public event, one known to help keep rakugo appreciation alive in the community. We now also have a better idea of what makes his performances so enrapturing—to the degree he is considered an "Ookaban," or a Shinu'uchi who has truly elevaed the craft. During his performance, Shiguma uses small, defined movements to encourage the audience to imagine the entire world of the story. This is a powerful technique that even has the power to “kill” as was explained in the prev chapter because people become so enraptured in his stories they will even ignore fire alarms (which is crazyyy btw). It's THAT intense.

This is what makes him "Shiguma the Tear-Jerker," master of Ninjo-banashi (this also explains why Maikeru is so good at Ninjobanashi lol) . It’s easy to believe the purpose of this arc is to once again establish a goal post that Akane needs to aspire for, especially since we know she doesn't have much experience in emotional/dramatic Rakugo. The last time we had Akane become "wowed" by someone else's degree of rakugo skill, it was ALSO a horror story, performed by Kaisei Arakawa (more on this later)! However, unlike that scene, we now have the additional plot element of the mysterious "Shiguma's Art" that was passed down from the Kashiwaya school. Which is actually the true focus of this arc, since it's heavily implied that Akane is about to learn Shiguma's Art herself!

Back in chapter 118, we find out Rokuro Kashiwaya is trying to reveal the secrets of the "Shiguma's art," a secret story originally passed down from the Kashiwaya school. Immediately after the reader is told this, we cut to a flashback of a younger Akane watching as Shiguma silently stares down at the ground in a formal seated position.

Akane can tell he's practicing rakugo not because of any genius intuition, but because she remembers her dad doing the exact same thing. And she was correct! When she asks him about it, Shiguma is first avoidant, "It has nothing to do with you," but then affectionately ruffles her head and says she'll tell her when she's a "full-fledged artist." Shiguma's secrecy + the timing of the scene basically all but screams at us that he was practicing "Shiguma's art" and he already passed this on to Akane's father before his Shin'uchi test.

Okay, so, Shiguma wants to pass down this cool secret story. Based on his solo-performance and how we've seen both Shiguma and Akane's dad practice, this is a story that requires using minimalism to maximum impact. About maintaining a still, intense atmosphere full of anticipation that completely enraptures the audience similar to the younger Akane watching them, all those years ago. We will soon get more details about how this works since Shiguma has acknowledged that Akane as a "full-fledged artist" and promised to teach Akane this very same story after his solo-event.

But that's not even the most interesting aspect of this whole arc! One of the side characters astutely observes that this all seems to be a pattern for Shiguma . His student's "rite of passage" into Futatsume, as they become a "full-fledged artist."

Shiguma takes them out around town for a day, then has them open for his Solo exhibit. Just like Akane. Keep in mind, the solo exhibit is not just about Shiguma and his Futatsume-to-be, but about connecting rakugo to the greater public on a deep level. That is the greatest lesson they gain from all this--that small things like taking in the "color of the city," as Akane calls it, is essential to gaining a deeper understanding of how to connect to the audience. Of rakugo itself. Doesn't that sound familiar? Small things amounting to a big impact? That's right, it''s the very same draw of Shiguma's Art.

This all comes full-circle, because back in the beginning of the story, chapter 2 opens with a focus of Shiguma's mentorship of Akane consisting of showing Akane around town. This initially caused a comedic misunderstanding leading to rumors of them having an immoral affair. Of course, in reality, he was teaching Akane rakugo on a fundamental level.

Does Shiguma teach Shiguma's Art to ALL his students? Probably not. Not only is Shinta the only student we explicitly see practicing Shiguma's Art, he's also clearly burdened by it. When Akane learns that Shinta refused to join other rakguo schools after his expulsion, she recounts when her father mention his goal to "carry on Shiguma's art."

This single page places another level of weight on "Shiguma's Art" as a role, an identity, not just a methodology. Look at Shiguma's face when Akane reveals this information! He's unsettled! Shinta speaks with clear intention to carry on the name of Shiguma. He has so much loyalty to Shiguma's Art he refuses to continue rakugo under any other school (which brings the question: why did the original Shiguma leave Kashiwaya, then?). So, no, I don't think everyone who graduated past Futatsume gets to learn Shiguma's Art. After all, it's not like every student under Kashiwaya learned about it, either. It's a mystery how Rokuro found out in the first place...

To recap: we've established that "Shiguma's art" is both a methodology and a secret Ninjo-banashi story to SELECT students of the Shiguma school, likely taug ur with the intention for you to inherit the school. It's a great honor that basically represents the foundation of Shiguma that can be felt in many extensions of Shiguma’s mentorship style. The current Kashiwaya master passed it on to Kiroku, but instead of staying within the Kashiwaya school, Kiroku went on to make his own school with Issho and the current Shiguma. The original Shiguma taught it to the current Shiguma, but probably not Issho. Then, Shiguma taught this technique to Shinta with strong intention, but that didn't work out because Shinta failed the Shin’uchi test. From what we've seen so far, Shiguma's Art emphasizes that "less is more" when it comes with connecting to its audience. It's most effective in creating an intense, emotional atmosphere apt for Ninjo-banashi stories.

That's all well and good, but then what relevance does this current rakugo story have? If this is really all about Shiguma's Art, then does it REALLY matter what story Shiguma performs during this solo-event, as long as it's emotional and shows off his skill as a Shin'uchi? Why would this performance "hold a special meaning" for Akane, specifically, if it's nor even guaranteed for EVERY Futatusme to learn Shiguma's Art after the solo event?

That has to do with the nature of the story Shiguma is performing, "Shinigami" or "Gods of Death" (spoilers for people who are not familiar with the story). We left off in Akane-banashi with the protagonist of the rakugo story being taken into a candle-lit cave by one of the gods of death. Every candle's represents the life of a human soul. In this story, it's revealed that the quack doctor, our protagonist, has accidentally switched out his own candle with that of his dying patient. As such, he is about to die. The god offers to let him light his current candle with his "former" candle so that he can renew his life. However, he fails (the exact reason varies between versions), and dies. His death is a morbid lesson to the audience that you shouldn't bite off more than you can chew, for consequences will follow.

The most haunting part of this story is when, after watching the protagonist struggle to stay alive, his candle finally goes out. All the life is snuffed out of the protagonist. Now, this might be a reach, but I think the pose that both Shiguma and Shinta were seen practicing is going to directly translate to how he performs the protagonist's death in "Shingami." Think about it. The complete stillness of a tragic death that came too soon--isn't that the ultimate way to make minimal movement have the largest impact? Furthermore, a haunting line from "Shinigami" is a taunt that the protagonist receives from the god "That which has been traded cannot be returned." Isn't that such a good segue for the weight of Shiguma's Art? That Akane’s father refused to go to any other rakugo school after he had to leave Shiguma Arakawa? That Rokuro is now trying to return what has been traded to the Shiguma school???? This was such a good story to introduce Shiguma's art because it ties to both the past and the future of the story on multiple levels, similar to the impact of Maikeru’s Shin’uchi test. Furthermore, it usually a particularly popular rakugo story, so similiar to the use of "Jugemu," seeing how the characters interact with the story helps to emphasize their level of skill.

In addition, I've wanted to see Akane-banashi adapt "Shinigami" since I first started this series. I am so beyond happy about its role in the narrative. It feels like a personal gift ahhhhhhh.

You can watch variants of "Shinigami" on Youtube! Performances by Kyotaro Yanagiya w/eng subtitles here and an English rakugo performance by Kanariya Eiraku here :) I personally really enjoyed them both.

Furthermore, remember how I mentioned Kaisei early on in this paper? Like way back? That's because if Akane is the representative for the future of Shiguma, and Rokuro as Kashiwaya, then Kaisei is the face of Issho Arakawa in this story and will no doubt be brought in the fray of the Shiguma Art drama. With this in mind, isn't it interesting how the last major performance we saw of Kaisei was a Ninjobanashi that highlighted how he, too, captured the audience, but with a much more outwardly scary story about death? One that is terrifying because of the ego of the character's, not the environment/gradual build up of horror in Shinigami? And that his origin also started by meeting a Shinuchi as a child, like Akane, and that he took on rakugo in honor of his mom who was in a rough spot for reasons out of her countrol, similar to how akane was influenced to honor her dad through rakugo? But Kaisei cared about proving himself by having the means to live/leave poverty, whereas Akane was focused on how she enjoyed the art of rakugo? It's almost as if Kaisei has a different approach to rakugo than the Shiguma school...it's almost as if...he's taught by the master of Shiguma's rival, Issho....it's almost as if......Isho's rakugo is more so about the rakugoka's ego delivering a powerful story, whereas Shiguma's rakugo is about influencing the audience, and this is why that disagree so strongly about Shinta's Shin'uchi test, where he was able to connect with the audience but fell through on maintaining he composure and ego......it's almost as if this entire story hinges on the debate on the purpose of telling stories. This is what Akane has to decide on for herself. That's why we are reading Akane-banashi (story).

[lesbianwyllravengard]

Alrighty here’s mah lil ranty rant (But long, many apologies I dunno how I could shorten it)

Let’s start with Ada bc mommy- I mean mommy- I mean- (/j)

Ada Wong:

-So I see a lot of people trash Ada for the fact her personality seems to be more cold. She has distant she’s cruel (although she still seems to have lines she won’t cross, like with Wesker and the Las Plagas sample). I see people complain about that but I would like to make a hot take, here: it’s actually better. She’s a mercenary. She’s a gun for hire- her job has to be cold because she could be betraying her friends at any given second. In the older games, she was sort of just… I don’t know… A bit too human for the job, and the role in the story that she is meant to fill. I see people describing her as a Bella, and honestly, I strongly disagree. In fact, I would argue that the original was more of a Bella then the remakes. This is because all she was really there is for the generic “Ooh look pretty woman, bad ass eye candy” trope. I’m not saying that she didn’t have any depth as a character- I’m just saying that the remake gave her much more credit as a character, and made her much more interesting.

all right, moving onto the old man. (#1 Wesker hater over here I’m sorry I’m not sorry lol)

Albert Wesker:

-I know that I hate this guy, but even I have to appreciate that out of quite a few of the Weskers that have been made, this version is just better written. I see people complain that he is too angry and honestly, I disagree. The fact that he has a hidden anger, makes sense from a character perspective. And he’s getting increasingly more cheesed off at Spencer for obvious reasons. No wonder he’s pissed. Personally, I think the fact that they’re showing that he has emotions- he’s just learned to control them- is honestly much more compelling. I still hate the guy, but I can see where he’s coming from- in a twisted and a messed up way.

yeah. That’s it l. that’s all I got for him. I don’t really like him that much so he doesn’t deserve a whole essay like Ada imo. (Still like his character, though he’s very interesting.)

that’s my rant. Thanks for hearing me out -> I know this was ridiculously long. That’s why I asked permission first. I basically just wrote an entire essay in your asks and I am so sorry lmao

hjadsg no need to apologise. I may have to contest you for #1 wesker hater tho,,, 👀 I hate his guts too

BUT you're absolutely right the DLC added so much depth to their characters. and personally made wesker MORE hate-able to me personally because we just further see how messed up he is, to the point where even Ada - who has had to numb herself to the details of the job to survive - had visible negative reactions to his genocidal nonsense. I loved Lily's performance in the base game but she especially got to shine in the DLC, she absolutely nailed the cold look with emotion hidden underneath. Ada's cold exterior is her armour against her own emotions, she can't take a second to feel as that could be the second she dies, she doesn't have the luxury of emotional vulnerability; even though she does feel, she does care, she cannot afford to let herself. And little things like eye movements, lip twitches, subtle body language, and her inflections were all techniques Lily used to portray that tumultuous relationship between Ada and her feelings, and Lily did fucking amazing at it. Best Ada performance ever. Ada's never been allowed that depth before because she's always had to be palatable to the male audience :) so I'm glad she's finally getting it. And Wesker finally feels like a real villain, rather than just another power hungry white guy (which, he very much is, but now there's depth to it lol). Wesker's dialogue in the DLC is scary, and it makes the audience more aware of what exactly he believes and what his motives are. This DLC added so much to the base game that really drives it as my favourite RE game.

[meep--tm]

if it helps i would read your completely self indulgent oc fic i love other people oc's send it to me please show it to me rachel /ref

ANON... for you. this is the first section of the specific thing i was referring to. the only context i can give are that yabis and shoki are two tieflings me and my friend luca played in a dnd campaign years ago (shoki was luca's character, yabis was mine) and latched onto and turned into our own seperate OC thing with their own mini story

i wrote this a while ago now but i like them so much i dont even CARE

👍

Somewhere downstairs, a gnome has taken on the mantle as the evening’s entertainer, and the drunken crowds have fallen silent.

It’s a natural fact of travelling bard-dom that wherever you may go, there’s about one peer for every ten sets of ears; Yabis learned this years ago and has kind-of, a bit, almost, sometimes made peace with it. There’s no one way to perform, after all - some carry a lute or a lyre, some carry nothing, some carry it all (although that’s only those with the luxury of a caravan) - and Yabis likes to believe they’re more unique with their technique than others. To linger on their self-doubt in the face of their competition would just concede the match, and would only foster bitterness; Yabis has a great amount of respect for their fellow performers, no matter the form of their craft or how much of Yabis’s business they may steal. It would hardly do them any good to go about as if they were deserving of special treatment. For one, no one wants to befriend a stuck up bastard - a bard who doesn’t network is hardly any bard at all - and for two, Yabis was homeschooled. They’re already fighting an uphill battle.

This is all to say that Yabis has a natural inclination to rush to the defence of any stray bard they may meet on the road, as it only makes sense to. It’s a lot more effort to be mean than it is to be kind, and you never know when you may need a performance partner. The current problem is that this bard, the gnome downstairs, is butchering The Moon Has Left Us Lonely - one of Yabis’s favourites - with the carelessness of a child’s off-key rendition of happy birthday. He’s singing as if a hag has replaced the lining of his throat with tree bark. He’s playing the lute as if he woke up this morning with new hands and is still determining how one should move their fingers. It’s unbearable.

“Somebody,” Yabis croaks as they’re ascending the stairs to the first floor, “should say something.”

A couple steps above, Shoki stops, turns on one foot, and stares down at them. Her expression is flat. Yabis stares back.

“To the gnome,” Shoki says. It feels like it should be a question - it isn’t.

Yabis nods heavily, grip tightening on the bannister. This is the first time Shoki has made eye contact with them in hours. “Needs to be told.”

“Hm.” Briefly, Shoki glances past the stairs and through the doorway towards the small sliver of the main hall that’s visible, and presumably to the bored patrons taking sips from their frothing mugs of ale. It’s packed tonight. Getting a room upstairs had been a nightmare, and Shoki had been forced to sit at the bar during Yabis’s performance instead of her usual routine of hiding in a corner booth; the house is full of tired labourers in need of relief. The perfect audience. As it is now, nobody is so much as humming. “I think he probably knows.”

“But he’s still going,” Yabis insists, also looking behind them now. One of the men at one of the tables notices her and waves, cracking a smile, which makes Yabis feel even worse because they’re not even in the room and they’re still managing to steal the show from this poor luthier. They wave back anyway. “Bombing. Everybody hates it. He’s still playing.”

A chord is hit particularly violently, ringing throughout the air with a sickening twang, and that horrible voice drags itself lifelessly over a line that Yabis had always found to be notably meaningful, one about elders and their children and the tragedies inherent to existing as either. It’s such an offence to the ear that an entire table of disgruntled women with scars on their faces take final swigs from their cups before scraping their chairs back and making for the door. The whole thing is one of Yabis’s stress nightmares come to life.

When Yabis wrenches their eyes away, they find Shoki’s looking down at them again - differently this time. More of her black sclera is visible than normal, the white irises of them looking dimmer and yellowed under the tavern’s lamplight, even though her broad figure blocks most of it. Yabis is largely standing in her shadow right now, actually, which is a thought that they carefully avoid lingering on in the name of acting well-adjusted and normal.

Today’s events have been unusual for the two of them, and especially for Yabis. Shoki could be thinking anything about them right now. This is another thought that Yabis is carefully avoiding.

Recent developments aside, her single minded focus on Yabis is a lot. Yabis is no stranger to being studied like this, but it always feels strange coming from Shoki - maybe it’s knowing that she has more knowledge packed into her head than Yabis ever has or ever will, or maybe it’s the unfeeling mask that she sports the majority of the time, or maybe it’s the disarming sweetness Yabis feels from her at times like these. Shoki’s hard to read on a good day, and today has been far from a good day. 

It’s alright. Yabis thinks her stoic “I don’t care, ever, and I didn’t ask, please don’t talk to me,” thing is pretty cute, actually, most of the time. Like she’s a cat or something.

Instead of trying to decode the look, Yabis studies her right back. There are flecks of muddy, dried blood scattered throughout her hair, the days-old plait falling over her shoulder the way tree branches fall over a stone-brick wall in winter, all splintered and dry. She looks pale, being a shade of lilac as opposed to her usual purple, with a dark flush running over her cheeks and nose and ears through the combined efforts of the sharp winds outside and the well-fed hearth by the bar. A dark bruise is already turning a sickly yellow at the hinge of her jaw, and her breathing sounds vast, and she seems to be slightly favouring her left foot.

(Yabis knows they probably haven’t fared much better themself; the fight today had been tougher than they had prepared for, and they still feel the stinging of a fresh scar spanning across their thigh, even after all of the healing spells. There’s a dried trickle of blood running from one of their ears, hidden under their mass of hair; even here, holding onto the bannister, they feel themself swaying slightly in place. It’s a miracle they had the energy to entertain tonight, and even more of a miracle that Shoki waited for them downstairs instead of disappearing upstairs for a bath. They’re not sure if they would’ve done the same, were the situation reversed; a bath sounds really good right now.) 

As the mutual scrutiny continues, Shoki’s mouth twists uncomfortably, unsure of what it’s trying to express. She looks tired.

“We won’t be able to hear him by the time we’re up in our room,” Shoki says eventually, her tone measured but equally as inexplicable as her face. “If it matters that much to you. I also,” she says, and she looks away now, resuming her pilgrimage up the stairs, “have earplugs in my pack. Help yourself.”

Yabis smiles and follows close behind, taking two steps at a time, feeling like they’ve won something. That was probably the best response they could hope for right now - it repeats itself between their ears a few times, help yourself, help yourself, help yourself - and the slight relief is wonderful. They just about have the mental fortitude to resist pulling their hair over their face and chewing on it as they ascend to their room for the night, if only because they don’t want to end up spitting out mud.

[boyslit]

Vinian - 5★

Title : Vivi the Magnificent!

Path : Nihility

Element : Imaginary

Combat Type : Debuff/CC

Faction : Masked Fools

Introduction : The life of a traveling magician can be difficult but Vinian finds enjoyment wherever they go. If it can’t be found, it can be made, and seeing the astonished faces of the crowd is their greatest joy. There’s always a trick up their fashionable sleeve, to delight and amuse both the magician and the audience.

Combat Kit and Voice Lines under the cut

we stay silly :3

— Ability

(*Combat kit isn't 100% set in stone, still fiddling with it)

Basic ATK : Hidden Arsenal - Vinian produces several throwing knives from their coat and throws them all in quick succession at a single enemy.

Skill : Mirror Box - Imprisons an enemy in a trick box for 1 turn; when they are released, sets Disorientation on them for 2 turns - makes them auto-attack a random ally instead of using skill or ult (same as Dominated from Kafka. Could make them attack themselves instead?)

Ultimate : Grand Finale - lights go dark. A single spotlight highlights a large painted wheel to which an enemy is strapped. Vivi produces two handfuls of throwing knives and an eerie grin. deals massive damage to a single enemy and x2 damage to enemies with Disorientation

Talent : Over Here! - Vinian can evade an attack every five turns by trading places with an illusion. The turn count carries over from battle to battle. An enemy whose attack is evaded with this Talent gets the debuff Disorientation for 1 turn.

Technique : Keep Them Guessing - resets the turn count for ‘Over Here’ to 4, and randomly shuffles Vinian in the attack order for the first turn.

Possible Idle Animation: Takes off hat, inspects inside, makes a surprised :O face and after winking at the camera (no matter where camera is in relation to them), disappears into their hat which spins and settles onto the ground upside down. Pops back out after a second with a spray of flowers.

— Eidolons

Happiness is for Sharing - adds a 50% chance to trap an extra enemy in Mirror Box

Joy for Your Troubles - if Vinian is afflicted with a status effect when Over Here! triggers, trading places with the illusion causes the status effects to disappear.

Simply Dizzy with Bliss - Extended the duration of Disorientation on enemies by +1 turn.

Unwavering Euphoria - +2 to Basic and Skill

Jubilation of Victory - When Vinian defeats an enemy, they are shuffled randomly in the turn order and the count for Over Here is set to a random number between 1 and 4. This can only occur once per round.

Elation Beyond Measure - +2 to Ult and Talent

— Character Lines

First Meeting : Gather 'round, everyone! Guaranteed to amaze and delight, Vivi the Magnificent will perform for you a show unlike any you've ever seen! Now, watch carefully—you won't want to miss a single second of this spectacle!

Greeting : You know, you really ought to keep more tidy. Why—goodness! You shouldn't be storing coins behind your ears, friend! (laughter)

Parting : Alas, our time together has come to an end, and I must bid you adieu. Don't frown so, my dear. We shall meet again, I'm sure.

About Self - [Magic Shows] : I started performing magic and sleight of hand at quite a young age, to supplement my family's earnings. I got exceedingly good at it, and suddenly I found my performance in such high demand I hardly knew what to do! Soon I had to pack up and take the show on the road, traveling the stars and delighting all sorts of people with my illusions before taking off again.

About Self - [Hat] : Ah, you're wondering how I manage to make myself disappear with only this simple hat, are you? *clicks tongue* Don't you know a magician never reveals the secrets of their tricks? But since we're such good friends, I'll give you a hint: this one has a bit of help from a higher power~

Chat - [Children] : Kiddos make the best audience, honestly. Wide-eyed and full of wonder, and they haven't learned to be skeptical of things that shouldn't be able to happen. They'll cheer and laugh without restraint, their cheeks all rosy and their little eyes a-sparkle with joy… now that's what makes everything worth it, you know?

Hobbies : I took a bit of interest in fashion along the way, out of necessity at first, but it's become a fun and soothing past-time for me. Vivi's stage outfits are all designed and hand-made by yours truly. *small gasp* You know, I'm working on a newer, flashier one for Garidon-II in a couple months. Want a sneak peek?

Annoyances : I don't get too many hecklers, but I suppose their presence is how one knows one's made it. If they get too rowdy, I can simply incorporate them into my show, and they seem to learn their lesson quickly enough.

Something to Share : Shall I teach you a little something to dazzle your friends with? Watch carefully. Practice the movements and the misdirection at the same time. That's half the work of illusion - they'll watch the flash and completely miss the real work being done.

Knowledge : I can't possibly keep track of how many different worlds I've been to. After a while they all start blurring together, and that's how I know I need a good vacation. My favorite? Ahhh... well, Epsilon has become something of a second home to me, you might say. Some of my favorite people in all the universe hang around there~

About Madame Brughel : A new friend, but a dear one. We've had the most wonderful time together dodging her terrifying suitor and enjoying all the joys the city has to offer. I'll be so heartbroken when we have to part.

About Giovanni : Now there's an interesting fellow! Seems very committed to that mask. He is, of course, also committed to the bit, to laughter and amusement like the rest of us, but one has to wonder why he keeps that thing on... sometimes I wonder if he bathes with it on, you know?

<pending more once we actually meet some people on Penacony>

— Combat Lines

Battle Begins - Weakness Break : Let's begin, shall we?

Battle Begins - Danger Alert : Perhaps we're out of our league here… still going to try? That's the spirit…I think.

Turn Begins I : I'll try not to hog the spotlight~

Turn Begins II : Break a leg~

Turn Idling : The show must go on, my dear… we've not a moment to lose.

Basic ATK : Hah!

Skill : Can you find your way out? Good luck…

Hit by Light Attack : Oof! Mind the coat, will you?

Hit by Heavy Attack : Augh! They're getting serious now…

Ultimate: Activate : And now, for the grand finale!

Ultimate: Unleash : 1x: Ah, a volunteer! We can't keep the audience waiting… let's give them a show to REMEMBER! (2x: It was knife to meet you, but I'm afraid I have to cut our time short!)

Talent : *giggles* Missed me!

Downed : You haven't-seen the last…of me…

Return to Battle : Ta-daaah~!

Health Recovery : My gratitude is yours, darling.

Technique : *light gasp…. a soft pinging noise as they wink* *self-satisfied hum when they reappear*

Battle Won : How exhilarating!

Treasure Opening : Let's see what sort of trinkets have been left for us, hmm?

Successful Puzzle-Solving : And there you have it!

Enemy Target Found : Let's have some fun, shall we?

Returning to Town : Let your hearts be at ease, for Vivi the Magnificent has returned once again!

[leaderoffestivals]

CROSS FIRE: Epilogue 1

Madara: Well then, shall we get going, ‘Leader’?

Kuro: Yep. I’ll be countin’ on ya, ‘Leader’.

Scenario Writer: Kino Seitarou (with Akira) Season: Summer Characters: Kiryu Kuro, Mikejima Madara, Nagumo Tetora, Sazanami Jun, Otogari Adonis 

<A few days later. During the filming of the CROSS FIRE Promotional Video.>

Adonis: Fufu. So, here you are as well, Anzu. I’m really glad I was able to work together with you thanks to this recent Shuffle Project. 

Once the shooting of this video is over, most of the work for this job will be completed; only the main show will be left. I can’t help feeling a little dejected about it, but still—

Thank you for giving us such a fun job to work on, Anzu.

And, although you may be feeling a little uncomfortable on this set filled with men, I hope you’ll be able to relax and enjoy the show anyway. 

Jun: Thanks for all your hard work, Anzu. I’m all changed into my outfit too. 

It has been a truly wonderful opportunity to witness Anzu’s talents as a Producer up close and personal through this Shuffle Project. I’d definitely have to thank Ibara and Ohiisan for their pushiness based on that alone, huh!

Nope, it’s nothing. I’m just talking to myself, please ignore me ♪

Come to think of it—this outfit has a really foreign style, doesn’t it? Or should I say it has a fantasy feel instead? 

Madara: Well, it’s an image PV we’re filming after all, so they’ll definitely want the storyline to stand out from reality so as to grab everyone’s attention. 

The concept is about two factions fighting in a temple——

It seems Anzu-san decided on the casting direction after learning about the showdown between Kuro-san and me. However, we reeeally didn’t expect it to fit so well with the ‘anything goes’ spirit of CROSS FIRE!

Kuro: ‘Anything goes’, you don’t say. That only takes me back to the practice match we had the other day. 

I honestly didn't expect ya to bust out so many moves I’d never seen before—or that you would throw in a whole bunch of mind games to boot. The match ended up bein’ such a mess, or I should say—

Ugh—We ended up turnin’ the match into such a terrible mud-fight, hittin’ out at each other’s weaknesses. I don’t ever wanna have to fight like that ever again. 

Madara: Haha! Ohhh, come on now, Kuro-san. You say that, but weren’t you enjoying yourself thoroughly back then, too? 

It’s unfortunate the match resulted in yet another draw due to the time running out, but with this, there are no longer any regrets or grudges between us now! Most importantly, we managed to have fun during the match without any injuries at aaall!

All’s well that ends well! Don’t you think so too~, Kuro-san?

Kuro: Tch! Where do you get the bare-faced cheek to be sayin’ such chummy words? It’s obvious as hell you were mercilessly aimin’ fer my face back then.

It’s true though—I’m really glad neither of us got hurt as well. If we’d gotten injured, we wouldn’t be able to carry out the rest of our work after that.  

Jun: Ahaha! All of us in the audience really enjoyed watching that white-hot match as well!

It was so entertaining to watch Mikejima-senpai fight, switching up tactics and techniques so as to not let his opponent have a break. 

Nagumo-kun has been going around Seisoukan, enthusiastically telling everyone he meets about how amazing Kiryu-senpai’s performance was, too ♪

Kuro: Oi, Tetsu. Don’t go around broadcasting the incident far and wide like that. You’ll have people wonderin’ why you’re still gettin’ excited over a fist-fight at yer age. 

Tetora: T—that’s not true. In fact, I think it’s something to be proud of!

I’m sure I won’t be forgetting about that match anytime soon. Every single move Taisho made has been deeply etched into my memory!

I really wish the filming would start quickly so I can start moving my body too. I just can’t endure waiting any longer! ♪

Kuro: Oh, is that so? Well, if Tetsu’s that happy fer my sake, I guess that’s a good thing too. 

Even so, you better not be dwellin’ too deeply in the achievements of the past, because we have a job to do in front of us today. 

Tetora: Of course! I’ve already thoroughly memorised the job flow and can start filming right away!

Mikejima-senpai and the others, who’ve spent several years wandering after refusing to abide by the teachings of the temple, will return to stand in front of Taisho once again——I can’t help but remember the practice match with this setting; it’s such a thrilling setup that stirs the blood!

Adonis: Haha~! Are we going to have a rematch with each other so soon? We definitely won’t lose to you this time. 

I was worried about how I would fare at first, because I don’t have any experience in acting. However, I’ve heard this image PV will not be using our voiced lines directly as they are. 

Thanks to that, I’ll be able to put all my focus into the action. 

Jun: Hehe! That’s what you say, Otogari-san, but haven’t you been fervently memorising your lines? I saw you murmuring your lines to yourself when we were doing our muscle training together.

I guess deep inside, you must be thinking it would be such a shame if you couldn’t do justice to your character, right~?  

Adonis: Fufu~. You might be right about that.

However, I do think that it would be enough to do just that for this job, this time. 

Witnessing Kiryu-senpai and Mikejima-senpai’s battle up close has got even me wanting to speak to everyone in BUTOUKAI through the language of fists, too. 

Pitting oneself against the other in a contest of strength bound by the spirit of sportsmanship seems to be like… … a way to connect with your opponent’s heart, or something close to it.

Jun: Don’t say it like it has nothing to do with us, Otogari-san. This time, we’ll all be fighting together, too.

Although we’re just a shooting a promotional video and not having an actual showdown, I’m really looking forward to sparring with Nagumo-kun during the filming. ♪

Tetora: Fufu! I’m gonna have to apologize to Senpai beforehand, cos I’ve been training my body fastidiously for this day, so I definitely won’t be losing to anyone in a battle of strength ♪

Madara: Umu! It’s great that everyone’s is so fired up. ♪ We trulyyy are the Shuffle Unit of comrades who share the common interest of muscle training, indeed!

Well then, shall we get going, ‘Leader’?

Kuro: Yep. I’ll be countin’ on ya, ‘Leader’.

Madara: … … Hahaha. Doesn’t it feel reeeally weird to be having two Leaders?

Are you truly fine with this? If we were to judge solely on the content of the practice match, I would feel Kuro-san had the upper hand.

Kuro: Nah. The results are the results, aren’t they? It’s totally on me fer not bein’ able to KO ya.

This ain’t the Dragon King Competition where victory can be decided by superiority. Let’s have a showdown to determine the true victor in the future, however many years from now. 

Madara: Ho~. That sounds like a reeeally distant future, indeed! I’ll be happy to accept your challenge anytime you want to, though!

Kuro: There’s no need for ya to be holdin’ yer breath for that. I already said I’ve had my fill of fightin’ with ya, haven’t I?

Besides… …

Madara: Huh? Besides—? 

Kuro: Nah, it ain’t nothing at all.

Madara: Mu. It looked like you were about to say something, though? What is it? Keeping secrets is reeeally bad, you know~?

Kuro: It ain’t what you’re thinkin’ at all. It just sounds pretty dumb if I were to say it out loud, that’s all.  

Madara: Haha! Can it be you’ve been wanting for us to be Leaders together from the very start, Kuro-san? Wow~, I’d be very happy if that were true~ ♪

Kuro: Well, that’s pretty much it. You and I are comrades in training after all, so let us support each other as we run down this final stretch, like bosom buddies will. 

(… … Haha. I say that, but honestly, I wouldn’t have been able to keep everything together if you hadn’t been here to share the leadership role too, Mikejima. 

If I had to manage the demands of the CROSS FIRE management execs, as well as those of everyone here in BUTOUKAI as Leader on my own, it would’ve been way too much for my body to handle.

Practice and singing, shooting the PV and performing as round boy… … And on top of that, after the practice match became such a hot topic, a slew of special programmes were hastily added as lead-ups to the main show as well… 

We were already hella busy enough as it were.

Haha~! I guess it’s because this Shuffle Unit’s a one-off job, so everyone ended up being way greedier than usual, wanting to experience more things. I’m really fortunate to have such a reliable ally by my side ♪) 

Madara: … …? What’s going on, Kuro-san?

Kuro: Nah, it’s nothin’ ♪

Let’s announce the heroic figures of our BUTOUKAI with a resounding roar to the world. 

Madara: Yes, let’s. The enemies of yesterday are the friends of today; Let's go capture our amazing synergy and teamwork on camera. ♪

—————-To be continued——————-

Chapter 13  /  Epilogue 2

Translator’s Notes: 

[itsuki-minamy]

"CRUSH ON BABY" (PART 3)

NOVEL: REI RAIRAKU (GORA) / ILLUSTRATION: HIROKO UTSUMI

TRANSLATION: NARU-KUN

* List of Chapters

All the songs Yozora made were lively and dynamic. He had the power to make you want to dance with him. At that time, Hibiki didn't have the technique to make the sound dance, but once he learned that technique, he wanted to make Yozora's sound dance with his own hands.

"It's definitely a lot of fun."

"Haa.", Yozora let out a stupid voice. It was a voice somewhere between a sigh and an exclamation.

"Well, yes. It's fine. Good luck."

He knew he wasn't serious, but that was enough for Hibiki.

"Because you promised me!"

Pointing at Yozora, Hibiki left the room, flushed with excitement. He felt an irresistible desire to quickly touch something that might make a sound.

"Hibiki-kun!"

When he stopped and turned around, Minase, who seemed to be chasing him, was looking at Hibiki.

"Strive you."

Unlike Yozora's voice telling him to let it go, Minase said it in a clear voice.

Hibiki was happy and nodded with a smile on his face.

After that, Hibiki asked his parents to let him go to piano lessons. He learned the basics, but classical music didn't come to his senses, so he started playing the guitar in high school.

He discovered that composing on the keyboard, playing the guitar and singing suited his style.

In high school, he joined the light music club, and Hibiki's band became so popular that they even had enthusiastic fans from other schools.

When he performed in live shows, his popularity increased even more, and Hibiki himself began to feel that he was moving people's emotions with his music.

From time to time, he would search for "Yozora's piano". Thanks to the rare name, Yozora was successful and he was able to learn the information on how to win the competition.

After graduating from high school, he took up band activities while working part-time. Although the band members changed several times, Hibiki continued to play his own music.

But at that moment, no matter how much he searched for it, he couldn't follow Yozora's news.

++++++++++

Currently, live performances of "Lonely Sleep" are held two to three times a month. Hibiki has a strong desire to sing in front of people and is not stingy.

The band's current sales alone are enough to earn a living at the moment, and they are at a crossroads as to which direction to turn the band's helm from now on.

Hibiki muttered to himself as he walked down the commercial street from the south exit with his guitar slung over his shoulder.

"Ah... I want to sing Yozora's song!"

No matter which way he walks, he wants to sing Yozora's song once. Still, he wasn't going to rush it. He jokingly said it many times, but he doesn't want to force him.

After ten years, he was able to find Yozora, whom he had no idea where or what he was doing, through Minase. Yozora, convinced that he would be a celebrity in ten years, gave up music and became a waiter, though he doesn't remember the promise he made to Hibiki. Even so, now, the paths of the three people who were there at the time crossed again, that little miracle warmed in his palm.

He saw a familiar figure standing in front of the live house. Regulars who often send long letters. A fan named Miike, whose face and name he has completely memorized.

Today there is also a concert of "Lonely Sleep" in that place. The venue will open after rehearsals, so it's too early for the audience to arrive, but he wondered if he was waiting to get in.

Hibiki didn't care and he kept walking.

"Good job."

He knew him well, so he raised his hand slightly and greeted him. Miike waved his hands, as if he suddenly had too much to do.

"Ah, eh, eh."

He was called and stopped his feet. When he turned his face, "What?", the behavior of both hands turned violent.

"It's about the song I sent you in the letter the other day..."

"Oh, thanks. But I can't sing it. Sing your own songs properly by yourself."

As Hibiki said that, Miike clutched the area around his stomach with his restless hands.

"...I heard that Hibiki wanted someone to write a song."

"It doesn't mean that anyone can do it. I want someone in particular to compose it. For a long time, I've been dreaming of playing a song that that person does."

Hearing Hibiki's words, a dark shadow passed over Miike's face. Hibiki saw that shadow as an emotion that could be classified as jealousy. For Hibiki, it was a familiar feeling. He has seen many times how he comes to mind when it comes to love and talent.

"I get it. Yes, I get it. Hibiki, if you want that sound, it can't be helped. I'll admit it."

There was a feeling that the conversation didn't fit well, but Hibiki tried to end the conversation. But before Hibiki could open his mouth, Miike called out "Hibiki." in a melancholy voice.

"..."God bless you, who was supposed to be someone, now you're nothing.". I felt that the lyrics that Hibiki's voice sang along with that melody could save my heart."

The lyrics Miike uttered are from a popular song called "Bless".

"I received a blessing from Hibiki. This time, I will give my blessing to Hibiki."

After saying that, he turned on his heel and left. Hibiki stared at his back.

"What do you mean?"

He thought he was a strange fan, but he had no idea what he was thinking, what he was convinced of and what he had decided.

Hibiki bowed his head and went down the stairs from the living room that led to the basement.

The band members were already at the venue and preparing their instruments. The atmosphere that was unique in live before the staff was busy working, and the tension that was unsatisfactory changed smoothly.

Hibiki likes to sing. He likes the feeling that the atmosphere in the place is created by the music and the customers resonating with the music.

Hibiki raised the corner of his mouth and jumped onto the stage.

He continued with the rehearsal while he uttered sounds according to the PA's instructions.

Just as he was singing the song "Bless" that Miike was talking about, he saw Minase in the audience.

Today he asked Minase to do his hair and makeup again, but it was too soon.

"What's up? It's really early, right?"

When he called him after a series of trials, Minase had a difficult expression on his face that was different from his usual easy-going smile.

"No, there's something I want to talk to you about, Hibiki."

"What?"

"Before this, remember we talked about the passionate fanatic the other day? He gave me a very long letter."

"Ah, Mike-kun."

Yasushi, who was next to him, interrupted as he took over the base again.

"Hey, that person was waiting for you to come today, right? Hibiki, were you able to talk?"

"Mmm. Yes, it was something like that. And...? What happened to that person?"

Minase looked towards the stage.

"At the last concert, I saw someone who looked just like him. Standing in front of the stage, he looked around the audience as if searching for something... At that moment, I had a vague sense of familiarity..."

"Eh? Did you recognize anyone?"

"I felt like I knew, but I couldn't remember and I was stuck. But just now, on a whim, I stopped by my parents' house and pulled out an old piano competition program. His name was Shuichi Miike. That's the name of the person who sent the fan letter, right?"

Hibiki widened his eyes.

"That is..."

"He's the same age as Yozora-kun and he used to play the piano. He's not an acquaintance of mine, and I've never talked to him, but I've seen him compete with Yozora-kun in competitions a few times. It was always Yozora-kun who won."

Hibiki remembered the dark shadow that fell on Miike's face when they spoke earlier. Emotions classified as jealousy.

He felt an unpleasant sensation creep up from his feet.

Hibiki took his cell phone out of his pocket. He called out to Yozora, but he didn't answer him.

"Eh?"

"When he approached me earlier, he said that he would give me a blessing. I thought I didn't fully understand so I ignored him, but... if he knows that Yozora is the person that I want him to do a song..."

The loud and unpleasant feeling crept to the top. Minase said:

"I'll go check on Yozora-kun."

"I'm going too!"

"But, Hibiki, you have a show now."

Hibiki turned around and looked at Yasushi.

"Sorry, Ya-san! I'm just going out for a bit!"

"Oh, hey..."

"I'll be right back!"

When he looked into Hibiki's eyes, his eyes burned, and the two of them kicked the ground at the same time and began to run.

Yozora stared at a photograph of a familiar person in a music magazine.

Preparations for the opening have already been completed. Today's garnish is prawn and mushroom garlic, and he also finished making the usual curry. The cleanup was completely finished, and he was killing time until he opened the store.

He bought the music magazine because it featured the group as a notable indie band. Hibiki in the photo sat there with serious eyes that contained sadness. He usually sees him with a nasty, frivolous smile, but he knows that he's not the only face he has.

When he listened to Hibiki's live performance, he could feel the seriousness with which he approached the music and how much he enjoyed it.

After perusing the article introducing Hibiki's music, he closed the magazine. He accidentally bought it, but it's obvious that if Hibiki sees it, he'll be teased again. He hid it at the back of the shelf, at the bottom where the magazines featuring Minase as a model were kept.

He heard that Hibiki would also be performing live today. Since live performances are usually held on Saturdays or Sundays, Yozora can't go see him often because he can't close the shop frequently during rush hour, but the music Hibiki and the others played at the concert in alive that he experienced last time still lingered in Yozora.

Yozora slid his finger over the bar counter. Tap-tap-tap, he moved his five fingers and tapped on the counter. There were black and white keyboards lined up on his head, and he moved his fingers as if he were playing imaginary keyboards.

Hibiki's music was in a different direction than Yozora's previous music, but he came up with several phrases that matched Hibiki's voice and atmosphere.

― No, I won't. I have stopped playing music. Hibiki says that I made him a promise, but I don't remember.

As he excused himself, the door to the bar opened.

There was still some time left until opening time. The front tag should still say "CLOSED", but since he was already ready to receive the guests, he didn't mind letting them in.

With that in mind, he said, "Welcome.".

He was a young man of twenty-five, dressed in a crisp white shirt and pants. When he walked in with his head down, he pointed to the counter and said, "Come in.". But he stayed there and didn't move.

"Customer?"

"I thought you had suddenly disappeared from the world of music, but you ended up in a place like this."

The young man said quietly.

"Eh?"

Shaking his body in confusion, the young man slowly raised his head.

"Don't you remember me? I guess I wasn't in your eyes at all."

When he confronted the young man, the memory of him bubbled back.

What he remembered was the appearance of wearing a formal suit for the stage. During the days when he spent every day with the piano, he had met this young man several times in contests. Saying that he didn't meet his eyes was pretty sharp, but really, even if he recognized his face, he almost never should have exchanged words with him. He didn't remember being talked to like that, so he frowned.

"If I remember correctly, you have participated in the same piano contest several times in the past. Your name is..."

The name did not come out. Seeing Yozora's face as he tried to trace his memories of him, the young man shrugged his shoulders and laughed darkly.

"My name is Shuichi Miike. I remember your name and face so strongly, but you know me only like you've seen me before. As expected of a genius. I wasn't even a match for you."

"Miike-kun, please stop involving yourself in weird ways. There should only be subtle points of contact that you couldn't even call known. You suddenly ran in, what the hell is going on?"

"You were always the one. Both for the competition judges and for Hibiki."

"Hibiki?"

Yozora frowned at the name that suddenly appeared.

"What are you talking about?"

"Hey, why are you working as a waiter?"

Miike's story had no context and didn't turn into a conversation. Yozora sighed and shook his chin.

"It has nothing to do with you. I'm sorry, but if you're not a guest, could you go home?"

"I heard that you suddenly dropped out of the university and disappeared. The up-and-coming pianist Yozora Kamijo, who was a student while he was performing, dropped everything and disappeared."

Miike entered the bar. Yozora involuntarily took a step back.

[hdtaejin]

⌇⌇ 𝐩𝐨𝐥𝐭𝐞𝐫𝐠𝐞𝐢𝐬𝐭 ⤷ self para: 2nd evaluation ⤷ mentioned: npc(s) / wc: 584

there's a difference between ambition and greed. ambition is for people who use their heads. there's organization and purpose in ambition, twelve step plans and vision boards and manifestations stitched into the fabric of reality—a whole tapestry of calculations and tightened threads. greed is an act of unraveling. less direction. more appetite. greed is for people like taejin, led by their noses and looking for something to sink their teeth into.

he goes all out on this evaluation.

maybe it's because the creative parameters are set so freely, all stages of production being up to the trainees, that taejin finds himself wanting to do everything. show everything. song. dance. rap. performance. from the day they were given this assignment, taejin had sprinted out the gates hungry to prove something and looking nowhere but straight ahead.

when he performs "ghost", there's a feral bite to it that's a different kind from the original. more raw, more rough around the edges. energy that crackles, barely contained in the first half of the song that rips through the surface as soon as the track stutters into the industrial chaos of its last chorus. taejin throws off his black leather jacket to reveal a ripped, sleeveless white tee underneath. he lowers his eyes, wipes his mouth, and mimes a left hook in time with the dings of the bell on the track, transitioning into a choreo that combines krumping with the techniques he learned while training in the ring. there's adrenaline burning through him the way it does when he's sparring, and for those few moments he feels hyper-aware of every muscle in his body. they're responsive in ways they hadn't been during rehearsals, and he tears through the outro hitting every beat dead on its head.

it takes a while for him to come down from that high. he barely catches the tail-end of ahn haru's commentary—something about showcasing his versatility by choosing a darker concept—but manages at the last second to bow jerkily in response. the rush of blood in his head still sounds like a roar.

jang heiran is next, and her focus is on his vocals. she praises his decision to challenge himself this round, saying that while unpolished, he showed a range of styles that proved he had the potential necessary to adapt himself to different genres down the line. she mentions her surprise at his stability, which held on despite the quick pace of the choreo, and she ends with a comment that said she could tell how much he had practiced for this evaluation. she smiles briefly in approval, a small ripple on the calm surface of her face.

choi yohan just looks at him like he discovered something interesting.

"full of surprises as always, yang taejin," he says after a pause. "haru already said what i wanted to say in terms of concept execution and stage presence, but it bears repeating." he glances back at the trainees in the audience, then at the judges sitting next to him. "i don't think a single person in this room was able to take their eyes off you the whole time you were on stage. that's impact."

he levels a stare at taejin.

"i don't know what kind of headspace you were in to perform like that, but i don't want you to forget it. we're in the endgame. this is what i mean when i ask you to give me your 200%, and now that i've seen this side of you, i'll expect nothing less."

[diteach]

The Grand Gala

Had to wake up at 5am that day.

More under the cut.

A couple of fun facts first:

I actually don't do standard. Not yet. What I do is classified as National Dances, and more specifically, I dance a regional variant. I had started learning the standard waltzes and a bit of tango when I still didn't have a partner, but had to stop because my current partner was too far behind and we are focusing only on regional dances at the moment.

Traditionally, my school has always taught Regional/National Dances before teaching Standard. It is very rare for our couples to only do one or the other. This is both because our National Dances are "simpler" than Standard, but still similar enough to it that they can help you build a rock solid foundation for more complex routines (and eventually compete internationally in Standard), and also because my own teacher is a many-times champion of that discipline. The events organized where I live often include both National/Regional and Standard. The Gala was no exception.

Right, so: wake up at 5am and travel 1h+ to get to the location.

Beautiful place. It's an old building in the middle of the town square, covered in tall windows, so if you pass by, you can look inside. It was a great marketing move, honestly. Apparently, in the past, it was used as a hub for selling and buying cattle. It's shaped like a big rectangle. On one side, there were the stage and the dance floor, in the middle we had the dressing rooms, and on the other there was the lunch area.

We're all dressed in the school tracksuit (our official color is bright orange, so we looked like a pack of highlighters - very fun), and it's time for the huge group photo. Recently, one of our dancers passed away, and my teacher wanted to dedicate the day to him as well, as he should have been there with us. He choreographed a picture where we formed a huge heart, and it was very touching. After all, the Gala was not supposed to be an official event, just a big party for us students, so we were free to be as extravagant as we wanted.

The entire morning was dedicated to lectures on both National/Regional and Standard technique. Two lecturers from other schools were invited, and we had a great time. The National/Regional lecturer actually opened my eyes about how to achieve the perfect posture. He said: "Ladies, imagine you're at the Olympics, and you're competing in high jump."

It really blew my mind. It was so obvious.

I also managed to refresh some notions about weights and centers of rotation (at least I think the lecturer used this term?) in Standard. The lecturer showed the 18 basic steps of the English Waltz and really focused on the details. How to balance your weight, the correct directions, what compression and decompression stages are made of and how to achieve harmony in going from one to the other, and many other things. What I found extremely pleasant was that he was just teaching theory, but still managed to keep us entertained for more than an hour by engaging directly with the audience.

Lunch was honestly the most surprising part. The volunteers serving at the tables were no older than 18, and I suspect they may be students of some hotellerie/hospitality course. The menu was huge, and the food was delicious. The entire lunch lasted 4 hours in total. I dozed off a couple of times at the table, I think. Luckily, I was in good company.

In the evening, we got to show off our best outfits and perform for the public. My partner and I surprisingly sucked less than usual, which makes me hope for the best for this upcoming comp season. We even managed to do a bit of Viennese at the end. Who knows, maybe we'll be confident enough to participate in the national championship and maybe even place. Just maybe. I will not post pictures of the night because of the paralyzing fear that someone might recognize me even though I know none of my followers, but trust me, we all looked SO good.

There were many many guests throughout the day.

The event was great. I just wish I wasn't such an awkward creature so that I could have bonded with more people than just my usual group. Especially the younger dancers. I guess I'm too old to be friends with the youngsters and too young for the elderly.

I strongly recommend suggesting organizing a gala to whoever is in charge at your own school or academy because it's just a big party where everyone has lots of fun and is also great publicity.

Can't wait for next year already. This was the first of many, hopefully.

[971518k]

under the gun (2024) (언더더건) [review]

tw: poverty, child labour/slavery, violence, misogyny, alcohol misuse

<under the gun> is a romance web drama directed by hong chunggi. You can watch the drama on Viki or YouTube

disclaimer: the review is based solely on my opinion on this drama. since my job title is related to evaluation and i love theatre, i wrote this review to practice my skills in evaluating screen and theatre plays. the review is not sponsored. the bias occurs in my review process as i am focusing on evaluating zuho’s performance, and i am an advocate for combating poverty and slavery. the review has some limitations. i am evaluating the series through westernised/european lenses. moreover, i am still learning the terminology and techniques used in theatre. finally, i am sorry for any spelling or grammatical mistakes. english is not my first language, so i hope i am not too difficult to understand, but please let me know if i can clarify anything for you.

the storyline describes the situation in which go gun (baek zuho) is a teenager who works in a poker club and a convince store (child labour/slavery) to support his family. his sibling, his sister, is hospitalised for a long time after diagnosed with leukaemia. additionally, one of his parents, his dad, is a former poker champion who eases his pain by misusing alcohol. cha seyoung is a transferred student who encourages gun to put his fears aside and tackle his problems head-on. to save his family, gun is joining the korean poker league.

at this point, i am focusing on evaluating baek zuho’s character, go gun. apologies for not evaluating any other character development but it takes time to write a good series review. go gun is an interesting character development. on one hand, the drama deals with the child labour, and the stigma and discrimination against children in schools, especially those who are not interested in going to college or uni. it is important to remember that children have different needs, views, experiences and beliefs that can affect them in the classroom. it’s a story for another day. regarding child labour, the drama didn’t dig into the details of this particular issue but it is a good start for the audience to read about it. i like the fact that zuho wants to gain some perspective on the social issues through his work. he is an extremely great fit in dramas and films where the main plot is about social justice and social issues.

go gun is rounded, meaning that he captures the audience’s interest and attention go gun has a complicated life. the audience gets the information about his motives and his actions which lending the story more credibility. go gun shows interesting moments in the series as he experiences conflict (internal or external). regarding the character growth, go gun reveals how he experiences sadness, anger, jealousy, anxiety or love. in the arresting scene of the drama, zuho reveals his feelings and emotions, anger and frustration as he tries to escape the situation he portrayed his emotions in a very convincing way. the scene was so intense and emotional.

despite the lack of a strong character development, zuho’s character becomes the center of attention and makes the story interesting to watch. yet he had so much to offer. go gun’s character is not well written and there are small changes in character growth. overall, zuho’s is both dynamic and rounded character that i like because he is so engaging and relatable that I empathize with that character.

considering that the character is a bit more complex than the others I would like to make suggestions on zuho’s acting abilities in the futurte. zuho failed to convince the audience that he is a survivor of slavery, or someone who is at risk of poverty or struggles in his life research should have been conducted on the basis of child labour and poverty before the filming began. for example the script writer, the director and the actors should have visited supporting centres and talk with the beneficiaries. by that logic the actors could have a better understanding of the circumstances in which the survivors of slavery are living. i highly recommend zuho to go through the chekhov or stanislavsky’s acting methods in order to get a better idea of the situation in which the story is being told.

to improve his acting, i have attached the same list of recommendations for his performance in this post. zuho has improved his voice over since the last time, but he needs to work harder on his tone and put emotion into it as he voice is huskier than it should be.

last but not least, I have identified prominent themes and underlying messages conveyed by the drama. I use two examples in this review, the way they depict the relationship between go gun and cha seyoung, and alcohol misuse firstly, the script writer has a misogynistic stereotype of women as they depict cha seyoung as extremely overprotective, manipulative, possessive and obsessed without any boundaries or respect to go gun. she is very curious about his life and his relationships. it feels like she “sneaks her nose everywhere.” cha seyoung and go gun have a push and pull relationship to the point where it becomes very uncomfortable and boring. It seems that both have attachment issues and they are just try to find comfort in each other. it’s a red flag to me.

secondly, i don’t like the way they depict alcohol misuse. it’s either a superficial stereotype of alcohol misuse or just bad acting/script. the writer should have been used evidence on this issue in order to avoid criticism. moreover, the actor should have got in touch with support groups to get a feeling for his role.

the production value is good but I am not providing an in-depth analysis of this one because it takes time to write a good review.

to summarise, zuho’s performance is very interesting and i recommend you watching <under the gun> in your spare time.

[crystal-in-nagasaki]

japanese traditional performing arts: noh

In February of this year, I was lucky to have the opportunity to join a workshop in Kumamoto to learn about the Japanese traditional performing art called Noh.

There are several traditional performing arts that Japan is known for including Kabuki, which relies on heavy costumes and makeup, and Bunraku, which uses puppets. In contrast, Noh is characterized by its use of masks and precise movements. Let's learn more about Noh!

According to Wikipedia, Noh dates back to the 14th century and is the oldest of Japan's traditional performing arts to still be performed today. The shows often incorporate the use of masks, costumes, props, and dance-like movements along to music to tell a story. Noh actors are highly skilled and train for many years, often from the age of three, to perfect their craft.

Real Noh actors who have trained their whole lives in the art of Noh came to Kumamoto to give a demonstration to foreigners in the area. Apparently there are currently no official Noh stages (which are distinct in design and function) in Kumamoto, but they are advocating for the creation of one to share the art of Noh there.

Noh stages consist of a simple and undecorated pavilion covered with a roof and with a connecting bridge where the actors can enter and leave the stage. Since the art of Noh relies heavily on the actors' movements to tell the story, no sets are used except for a single panel with the image of a pine tree. There are also no curtains used, to strengthen the connection between the actors and the audience.

Several props can be used in a Noh performance, but traditionally each actor carries only a single fan which is used to represent a variety of objects in storytelling, such as a sword, a flute, or a writing brush.

The costumes are usually elaborate and made of silk with several layers. But the most important part of each costume is the mask. Masks are traditionally made from Japanese cypress wood and painted with natural pigments on a base of glue and crushed seashell. Each mask is specially designed to indicate the character's age, gender, and social class. Since the mask's expression remains fixed, an important part of the craft of Noh is using body language and movement to express a character's thoughts and emotions without relying on the face. Masks are very important to Noh institutions, and some schools of Noh still hold masks that were created centuries ago as prized relics of their craft.

Apart from the actors themselves, Noh performances are also accompanied by a small group of musicians who sing in a rhythmic chant and play the drums and flute. They dress in black in order to keep the audience's attention on the actors.

At the start of our demonstration, the actors first showed us how to walk. There is a specific technique used by actors in which they arch their spine and move their feet, which keeps their posture straight and gives their movement a gliding effect. The feet are kept flat on the ground and slide forward. They also keep their arms raised and in front of them. It seemed simple at first, but it gets tiring to hold your arms up after a while. The actors told us that during their training they must hold their arms like that for hours at a time.

They also let us try on the traditional Noh masks. They brought several different masks, each representing a specific character. I tried on a small mask with a red face, which they said is meant to depict a drunk male character, who is usually used for comic relief. They also had masks for demons, warriors, and nobility.

After this they picked just one volunteer to dress completely in a Noh costume, complete with wig and mask. They picked a man and dressed him as a female character, using a mask with a small face and a wig of long black hair. The actors worked very quickly to dress him, but there were many layers and it took a bit of time. I can't imagine how long it must take in a real production.

Next they transformed his character. They said it's a common storyline in traditional Noh in which a character can become consumed by jealousy and then turns into a demon. So they changed out the character's mask and wig to show the transformation. The mask was now a terrifying demon face with horns, and the wig a bright and wild red color. They instructed the volunteer that his movements must also change to reflect the character's emotional change. Instead of being more demure and gentle, they should now be quick and jerky. They asked him to walk around the room and whip his head around to look at all of us, and it was so scary!

At the very end, one of the seasoned Noh actors performed a short routine for us to show us what a professional Noh performance might look like. We weren't allowed to record or take pictures of this part, but it was really cool to see the way he glided across the floor and kept very controlled movements.

This was the end of our Noh demonstration. I learned a lot about Noh and had a lot of fun trying out the movements and the mask! I would love to see a real Noh performance someday.

Thanks for reading and I hope you found it interesting too!

[mobileappdevelopmentsolution]

How to Create an SEO Strategy To Survive the Impact of AI

Artificial intelligence and machine learning have caused major shifts in how search engines operate. As AI capabilities rapidly improve, search engines like Google are relying more on advanced algorithms and neural networks and less on traditional SEO tactics.

While this creates new challenges for white-label SEO, with the right strategy focused on high-quality content and user experience, there are still many effective ways to optimize pages for search in an AI world.

The Impact of AI on SEO

In recent years, artificial intelligence has had a transformative effect on the field of search engine optimization. A decade ago, SEO services largely depended on straightforward tactics like keyword targeting, backlink building, and metadata optimization. However, modern search engines like Google now use extremely sophisticated AI and machine learning systems to analyze pages and determine relevance.

These AI capabilities allow search engines to parse pages based on semantic meaning instead of just specific keywords. They can better understand the context and intent behind searches to match queries to optimal content. And they are getting increasingly effective at determining the expertise and authority of pages through analysis of content and links. ‍

This shift towards AI has diminished the power of traditional keyword-focused SEO techniques. Tactics used by top SEO agencies, like overloading pages with target keywords or cramming keywords into metadata, now provide a little boost in search rankings. Meanwhile, tactics aimed at manipulating search algorithms, like using keyword-rich links or content, can actually hurt rankings.

While disconcerting at first, this shift powered by AI presents new opportunities as well. Pages that might have been buried previously due to a lack of backlinks or keyword volume can now rapidly gain traction if they offer high-quality content tailored to intent and reader value. AI has leveled the playing field in many respects.

The key to white-label SEO success is targeting the human audience while leveraging AI's capabilities. Optimizing for long-form readability, expertise building, semantic relevance, and overall user experience can position pages to thrive in modern search.

 Focusing on Creating High-Quality Content

Creating high-quality content is one foundational element for any SEO agency that wants to remain successful & essential in an AI-driven world. When looking to gain search visibility and traffic today, the most important consideration is producing content that delivers exceptional value for readers and site visitors.

Search engines powered by deep learning algorithms have become highly adept at analyzing content to determine the overall quality and usefulness. Google's RankBrain algorithm specifically parses pages syntactically and semantically to evaluate authority, depth, and insight. Creating content solely to target keywords or rank for specific searches provides little benefit.

Instead, sites should focus on publishing in-depth, thoroughly researched content on topics that engage the target audience. Well-written guides, long-form explainers, and data-driven analyses perform exceptionally well in AI-powered searches thanks to the wealth of information they contain. Conversely, thin pages with little substance routinely get buried or filtered out of prominent results.

Here are some key elements of high-quality content designed to survive the impact of AI:

Comprehensive Research and Insight

Content should provide ample information and insight into the topic at hand. This requires thorough research from diverse sources to create a complete picture. Any claims or facts presented must be backed up by citations and data to reinforce authority on the subject. Articles should deliver insights and analysis beyond what readers can easily find on their own. This shows search engines the depth of knowledge and effort put into creating the content.

Original Perspectives and Reporting

Rehashing the same information and perspectives found on thousands of other sites adds little value for readers. To stand out, content should present original analysis and viewpoints on the topic. First-hand research, interviews with experts, and thoughtful commentary demonstrate the unique assets your site offers. This original reporting has become increasingly important for any top SEO company’s success.

Clear, Concise Writing and Structure

Even when covering complex topics, content must be broken down into clear, easy-to-digest writing. This involves using plain language suited for a general audience, avoiding jargon and obscure phrasing. Content should have a logical narrative structure with transitions between ideas. Sections and lists help break down information into scannable sections. Clear writing has always benefitted readers, but now it also helps search engine AI better extract information.

‍

Media Elements and Interactivity

Charts, data visualizations, images, video, and other interactive embeds help engage readers while also breaking up blocks of text. These elements also provide additional signals search engines can use to understand page topics and content better. Surfacing media elements in search snippets can entice users to click as well.

Value and Utility for The Reader

Most importantly, all the content should be crafted to address the needs and interests of readers directly. Answering and anticipating key user questions demonstrates the usefulness and value of the content. Meeting reader needs earns trust, elevating page authority in AI assessments.

By focusing efforts on publishing high-caliber content across these elements, sites can significantly improve search visibility through AI-based algorithms. Favoring substantive value for readers over keyword quotas or link metrics sets sites up for sustainable SEO services success in the AI era and beyond.

Optimizing for Semantic Search and User Intent

Another key shift in white-label SEO powered by AI is optimizing content for semantic search and user intent rather than just specific keywords. Modern search engines analyze the overall meaning and context of pages in addition to targeting keywords.

For instance, Apollo Digital's strategic optimization for semantic search and user intent led to a single blog post generating $25,000 in revenue. By addressing the pain points of SaaS founders in a 14,000+ words post, enriched with visual elements and a Smart Content Filter plugin, the content attracted over 11,000 page views and 20+ leads in the first month. The use of relevant semantic keywords and a targeted promotion strategy across 12 channels, including ads on platforms like Quora and Facebook, contributed to the post's virality and overall success.

To fully capitalize on this, sites must take a holistic semantic optimization approach to satisfy user search goals.

Conduct In-Depth Keyword Research

The first step is researching keywords not just for volume and difficulty, but also the intent and meaning behind queries. Reviewing search trends and related questions provides insight into the reasoning and goals of users searching for a given term or topic. Understanding the full context around keywords is crucial for optimizing semantic relevance.

‍

For example, the intent behind a query for [best practices for SEO] may focus on introductory education for newcomers to the field. Whereas [advanced SEO techniques] convey very different user goals. Optimizing pages for each of these related keyword themes requires catering to very different semantic intentions.

Craft Content to Match Search Intent

With insight into query intentions, sites can create content expressly designed to satisfy specific user needs. Each piece can be crafted to align with semantic search goals: tutorials for newcomer education, comparisons for purchase decisions, and troubleshooting for solving problems.

Optimizing individual pages for clearly defined semantic intent makes them exponentially more findable in search for queries signaling those needs. And pages strongly aligned with intent routinely outperform only those loosely related to vague keywords.

Use Natural Language and Readability

Keyword usage should flow naturally within written and visual content while maintaining strong readability. Forcing awkward keyword cramming creates a poor user experience while diluting semantic signals. Discussion of key topics using synonyms and related terminology reinforces relevance.

Likewise, a clear page structure with descriptive headers and metadata ensures both visitors and search bots can easily extract semantic meaning. This natural language optimization balances search engine targeting with human readability.

By holistically aligning content with core semantic intent for key searches, any SEO optimization company can greatly strengthen discoverability and rankings. Users find pages better suited for their query goals, while search AI identifies stronger signals revealing what content is about and who it serves.

Comparison of Core On-Page Optimization Factors

Building Expertise, Authoritativeness and Trust

As search engines rely more on AI, they are getting extremely efficient at analyzing signals to determine the expertise and authority of pages and sites. Known as E-A-T (Expertise, Authoritativeness, Trustworthiness), these core elements of high-quality sites are becoming essential for success.

Establish Clear Site Expertise

Having pages and writers dedicated to specific topics allows sites to build recognized expertise in those areas. This establishes clear authority for searches within those themes. An automotive site with dedicated new car reviewers and mechanics has inherent advantages for "review of new Honda Civic" searches versus general sites.

Curate High-Quality External References

Sites should demonstrate knowledge of influential references, research, and quotes within their niche. Citing recognized industry experts and authoritative external sources shows a command of the broader topic ecosystem. This helps establish overall authoritativeness through connections to trusted domains.

‍

Transparent Company Details and Contact

Providing clear company information like addresses, contact forms, and bios of key contributors helps build user trust through transparency. Quick response times and proactive communication also demonstrate respect for audiences. Sites from undefined entities struggle to develop relations and authority.

As search algorithms analyze these expertise and authority signals, sites can optimize content to reinforce their capabilities and trustworthiness. This earns the page merit in AI assessments to rank for relevant searches. Users also inherently place more trust in sites demonstrating deep understanding versus generic pages. Organic optimization for expertise pays dividends across the board.

Optimizing Site Architecture and On-Page Factors

While high-value content is essential for SEO services in an AI world, optimizing site architecture and on-page factors makes it easier for search bots to access, crawl, index, and categorize pages appropriately. A content-first approach must still be complemented by key technical optimizations.

Page Speed and Performance

Slow-loading pages negatively impact user experience, hurting organic search rankings. Performance is analyzed by AI algorithms as one of many relevant signals. Optimizing pages for faster load times through image compression, efficient code, caching, and more benefits SEO services.

For instance, Etsy improved site speed by implementing progressive image loading, caching, and code optimizations. These enhancements helped improve organic clicks by 16% year-over-year.

Mobile Optimization

With Google's mobile-first indexing, sites need responsive pages tailored for smartphones and tablets. This improves accessibility along with crawlability for Google bot and other search robots. Clear navigation and minimal blocking elements also aid crawling.

‍

URL Structure

URL paths should reflect the semantic page structure using relevant keywords and phrases. For example, www.site.com/buyers-guide-seo-tools  clearly conveys page content.

Dynamic URLs or overly complex parameters can inhibit proper indexing.

Headings and Metadata

Proper page titles, descriptions, and H1 tags help search bots segment and categorize pages for improved relevance. These tags should focus on defining page purpose and establishing a hierarchy of critical topics covered.

Media Integration

Images, videos, and other rich media not only engage visitors but also provide additional signals for search engine comprehension. The alt text describes non-text elements while tags attach metadata.

Together, these architectural elements and on-page optimizations reinforce page content for search bots while providing a better experience for human visitors. AI-powered engines use these signals judiciously in assessing overall quality and relevance.

Conclusion

The rise of artificial intelligence presents both enormous opportunities as well as significant challenges for any top SEO company looking to optimize organic search performance. As search becomes increasingly driven by machine learning, many familiar search engine optimization tactics are becoming obsolete.

However, while AI disrupts some traditional SEO services & strategies, it also opens new pathways to success by focusing on expertise, authority and delivering true value to audiences. Any top SEO agency that adapts to leverage AI’s capabilities can actually excel in modern search environments.

Still, sustaining search visibility in the long term will require embracing constant change. With search algorithms rapidly evolving, no single white-label SEO approach will remain optimal forever. Maintaining agility, continuously tracking performance, and optimizing based on the latest learning will be imperative.

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Claim your edge and take the next step towards search dominance!

[seyoonlgc]

WORKSHOP 001

Okay, so when Seyoon first heard about this one-on-one meeting, he was quite nervous. His first thought was oh shit, I am in trouble! Someone at the dorm finally got fed up with the fact he kept on kicking all of his dirty laundry under the bed and reported his unsanitary ass. Or maybe they noticed the five pounds he gained over the past three months because, for some reason, all the fat he gathered always went straight to his face. Perhaps it was all of the noise he was making because he was just starting some drum lessons and actually sucked...

Anyway, he still went because what else was he going to do? Flee from the window?

what do you think are your strengths right now?

"Uhhh, I think I am a...decent singer, okay performer, and not too terrible at dancing since I've been working hard on it lately...?" He should probably try to sound more confident but to be honest, he hasn't been training for that long and knew he wasn't as great as some other trainees, especially after watching a few performances at the Family Concert. "Oh, my English is fully fluent, but that's hardly anything to boast about since I am Canadian, right?" Seyoon laughed. "Does being a fast learner count as a strength? Because I learned most of my Korean after coming here post high-school graduation." The fried chicken place work experience really helped since he made tons of conversation with customers.

what are three skills that you would like to work on starting 2024?

"There are so many things I need to work on." Like his sleep schedule, but nobody needed to hear about that. "My dancing could still do with a lot more practice. I was also thinking about learning more about my best angles and how to pose for pictures...Oh, I've been wanting to learn a new instrument, maybe drums." Singing came to him naturally and his voice had always been clear and stable. What he needed to work on was technique and control, which enough time and experience should give him. Dancing, however, was a challenge. He simply wasn't gifted and should he debut, that might be something he'd have to continue working on.

if given a chance, what types of gigs would you be interested in participating?

"Project-wise, I would take anything the company gives me." Beggers can't be choosers, and as a nobody, Seyoon was well aware of the fact he was on his knees. Especially since he wasn't from a rich family and had no connections in Korea. "If I get to choose, I think participating in a musical would be fun." He would be on a stage in front of a live audience and showcase his singing and performance skills. "A drama would also be amazing. I'd be happy even with a very minor role." Like dead soldier #4, unlucky guy who first discovered the voodoo doll, the villain's brother who appeared in a random flashback or the protagonist's cousin who only get to show up once in episode 6.

during your time here in legacy, what are some of the lessons that you've learned about yourself?

This question was the only hard one of the bunch because it required more self-reflection, which Seyoon typically didn't like doing.

"I guess I learned that I am not the best and that there are always more talented people out there. In order to compete with them, I have to work hard. A lot more than I originally expected when I auditioned for Legacy." That was an honest answer. Seyoon had hoped for a smooth path but realized nobody was here to hand him anything on a plate. "Some people are way ahead with their ambition, goals and clearly organized priorities." Seyoon rested his chin over folded palms. "I think there is still a lot of growing up I have to do."

[optionalcausality]

No but listen. Listen.

You're part of a business. The boss is a bit of a confidence man, a puffed up faker of a hedge wizard, but he knows his audience and delivers what they want. It's a job, for you. It's better prospects than what you had before, and now, six years in, you know the pattern of it. You travel your seasonal circuit with your small familiar group, and your companions' names and faces swap out over the years, and you remain.

A lot of hired hands don't last. You know that for a lot of folks there's a bit of the idealistic travel-fantasy in their minds when they sign on, and when it tempers with experience they'll begin looking forward, perhaps looking to settle somewhere, to turn the skills they learned into something more stable, less dependent on good weather and open trade.

You've seen a few, too, who had already travelled, who by voice and clothing and manner had not been raised in the place where they approach you for work. Some wanderers, some pilgrims, maybe. A few with restless bones. A few who (you will learn) have grown beyond a personal time of troubles. A few who only hope, one day, to grow beyond theirs.

You take on a young hand called Bear, tall, laconic, with a way of soothing spooked horses and charming the village dogs. You don't pry, but you're aware that his few belongings are well-kept, that he keeps to himself, that he leaves a conflict rather than participate. You see him practicing his footwork for the fight scenes and you recognize someone who has done something like this before. You have the unsettling realization that perhaps this man's previous experience had not taught him how to miss a target.

But Bear is still so young, and not as dependable as the boss would like, and one day the boss demands assurance of his good behavior -- one of the hired hand's belongings. You hear music that night, short sweet sections of song wafting out of the boss's wagon, and you realize belatedly that it was a music box, that its new custodian is only just realizing the value of what must be a finely wrought prize indeed.

You realize with a sinking feeling that no matter how perfectly the hired hand performs, at the end of the year your boss will find or invent some flaw in his efforts, and when the hired hand eventually goes, that music box will remain.

Towns and time pass by, and the seasons turn, and the circuit continues.

You aren't close enough to see everything that happens the day your boss and the company part ways. You are arranging the end-of-show tomatoes into sling-stlye baskets to hawk amongst the crowd when you hear the usual pattern of Sir Gallant's intro break off. You see movement on stage; you hear, after a moment, the vamping begin, the crowd-distraction techniques being deployed.

You start to make your way backstage. It takes time; you have a good portion of the crowd between here and there, and you lose crucial seconds debating if you should tarp the tomatoes against potential theft or predation.

(Later, you will come back to see a wide-eyed girl, maybe ten, standing next to your tomato baskets. She will look at you and her whole frame will relax from a guard's rigidity to an easy stance, and she will nod and leave, entrusting the tomatoes to your care.)

((You will learn her name in five years' time, in a different town, when the new boss isn't sure if the girl's not too young, perhaps for the hired hand position she's asking about. That's okay. You're sure, and you say so.

She gets the job.))

But now you arrive in time to hear rapidly retreating -- sprinting -- footsteps, which you will not know until later belong to your boss, tendering his immediate resignation as part-owner of the company.

You see, mere moments later, when a woman emerges from your former boss's wagon, and your line of thoughts judders to a stop.

You know Bear's features well enough after so many stops together. The face that emerges isn't his, but close kin -- cousin, sister?! -- with turquoise hair and finer clothing than you are used to seeing on merchants. Bear's sister has a staff and it is a wizard's staff and you were about to yell what are you doing here but your self-preservation catches up and you yell nothing.

You recognize the music box that is tucked under her arm as she exits. Her path could cross yours if you step forward to block her. You flash back to the realization that Bear had not been taught how to miss.

She walks past you and you nod respectfully and hope that you do not stand out in her memory. You feel that it would be unwise to be associated with this moment. With the tether that had been employed to keep Bear arriving timely to his scheduled performances, or with the one who had kept it.

Later that day, after the crowds had dispersed and immediate damage control had been done, you will not wonder at your former boss's failure to appear. You can't know what happened, what words were exchanged. He is just absent, immediately and, you suspect, permanently.

And no wonder.

For you have been sharply reminded, as your boss had long forgotten, that when you choose to trap a bear, it is not the trapped bear's wrath that should be feared most, but that of their family.

And it is a truth that you will never need reminding of again.

I enjoy intimidating Suvi who, for the circus people, just looks like Eursulon's younger sister