Mizu Touch-Starved Head-canons
The way this women is probably so touch starved yet emotionally constipated. She just wants to touch you, but I think she’d rather get into another fight with an army than admit that.
You feel your braid shifting on your collarbone and you startle, your face jerking down as you instinctively take a half step back. You see familiar, slim fingers rubbing the end tail between fingers. Your eyes trail up the arm to see Mizu’s gaze on where she’s holding your hair. Blue eyes meet yours over the rim of her glasses. Her expression is unreadable, face blank. She turns and continues down the path, unaware of how your heart is beating faster at how she just… helped herself to touching you more intimately.
Mizu will grab your wrist to lead you through crowded streets filled with merchants and locals so you don’t get lost. Over time and instances her grip ends up lower and lower until she’s leading you around with your hand in hers. You ask why she doesn’t do this to Ringo, he’s the one more likely to run off. She tells you she’ll just listen for the bell, and dryly asks if you’re trying to get one too.
She walks so close her shoulder constantly brushes up against yours. You try to sidestep to widen the gap to prevent accidentally stepping on her foot. She always sways closer immediately, fast enough you start to realize it’s on purpose.
Brushing of shoulders turns into brushing of hands, and hers twitch each time like they do when they’re ready to rip her sword out and cut down her enemies. But they twitch closer to your fingers than to the sheath.
Brushing also turns into leaning. In the inns, next to the campfire, when she’s stitching herself up. Her weight leans into you and you in turn lean back to keep her upright. Her eyes flick toward you, glancing out of the corner, before going back to her needle.
When guards come through the inns looking for the onryo rumored to have swept into town, her head tilts down, using her kasa to conceal her face. She definitely did not need to also tilt it to the side to the point that you can feel her warm breath tickle your neck. Goosebumps rise on your skin, hand spasming at the sensation. Your opposite hand comes up to rub at the raised skin, and you hear a huff of amusement. Cool fingertips press against your neck, the lightest touch, before her hand is back at her side. Only Ringo catches her fist clenching, and then forcibly unclench before you can see.
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Welcome 양띵 to the QSMP!
I know that the current state of the QSMP is a bit iffy and many may not feel comfortable watching QSMP right now (valid response), but I still feel like a warm welcome to these new Korean creators is still needed regardless as they are being introduced to an international community, which is a very scary thing ngl.
So welcome 양띵 or Yangdding who will be one of the new Korean CCs!
She streams on CHZZK and her channel can be found here.
Her Youtube can be found here.
Fun fact: She was the first YouTuber in Korea to reach 1 million view and is considered to be the one to create the foundation for Korean Minecraft content.
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The Architecture of Rain World: Layers of History
A major theme in Rain World's world design that often goes overlooked is the theme of, as James Primate, the level designer, composer and writer calls it, "Layers of History." This is about how the places in the game feel lived-in, and as though they have been built over each other. Here's what he said on the matter as far back as 2014!
The best example of this is Subterranean, the final area of the base game and a climax of the theme. Subterranean is pretty cleanly slpit vertically, there's the modern subway built over the ancient ruins, which are themselves built over the primordial ruins of the depths. Piercing through these layers is Filtration System, a high tech intrusion that cuts through the ground and visibly drills through the ceiling of the depths.
Two Sprouts, Twelve Brackets, the friendly local ghost, tells the player of the "bones of forgotten civilisations, heaped like so many sticks," highlighting this theme of layering as one of the first impressions the player gets of Subterranean. Barely minutes later, the player enters the room SB_H02, where the modern train lines crumble away into a cavern filled with older ruins, which themselves are invaded by the head machines seen prior in outskirts and farm arrays, some of which appear to have been installed destructively into the ruins, some breaking through floors.
These layers flow into each other, highlighting each other's decrepit state.
The filtration system, most likely the latest "layer," is always set apart from the spaces around it. At its top, the train tunnels give way to a vast chasm, where filtration system stands as a tower over the trains, while at the bottom in depths, it penetrates the ceiling of the temple, a destructive presence. (it's also a parallel to the way the leg does something similar in memory crypts, subterranean is full of callbacks like that!)
Filtration system is an interesting kind of transition, in that it is much later and more advanced than both of the areas it cuts between. This is a really interesting choice from James! It would be more "natural" to transition smoothly from the caves of upper subterranean to the depths, but by putting filtration system in between, the two are clearly demarcated as separate. The difference in era becomes palpable, the player has truly found something different and strange.
Depths itself is, obviously, the oldest layer not only of subterranean but of the game itself. The architecture of Depths has little to do with the rest of the game around it, it's a clear sign of the forgotten civilisations that our friend Two Sprouts, Twelve Brackets showed us, there's not actually that much to say about it itself, it's mostly about how it interacts with the other layers of subterranean.
That said, Subterranean is far from the only case of the theme of layers of history. It's present as soon as the player starts the game!
The very first room of the game, SU_C04, is seemingly a cave. It is below the surface, the shapes of it are distinctly amorphous rather than geometric. (well. kind of, it doesn't do a very good job of hiding the tile grid with its 45 degree angles.)
But let's take a closer look, shall we?
See that ground? it's made of bricks. The entire cave area of outskirts is characterised by this, the "chaotic stone" masonry asset is mixed with brickwork, unlike the surface ruins which are mostly stone. This, seemingly, is an inversion of common sense! The caves are bricks and the buildings are stone. This is not, however, a strange and unique aspect but a recurring motif.
This occurs enough in the game for it to be clearly intentional, but why would materials such as bricks be used in otherwise natural looking terrain?
The answer lies in the "Layers of History" theme. This is in fact, something that happens in real life, and it's called a tell
To be specific, a tell is a kind of mound formed by settlements building over the ruins of previous iterations of themselves. Centuries of rubble and detritus form until a hill grows from the city. Cities such as Troy and Jericho are famous examples. The connections to the layers of history theme are pretty clear here, I think. Cities growing, then dying, then becoming the bedrock of the next city. The ground, then, is made of bricks, because the ground is the rubble of past buildings. The bones of forgotten civilisations, heaped like so many sticks!
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