The Horror Of The Moon

[00:00:09]This video is sponsored by Squarespace.

[00:00:12]In April of 2025, a short animated video titled The Moon Wakes Up was published to YouTube. In it, astronauts react with horror as the moon slowly grows a gaunt, shadowy face and begins moving towards Earth. The clip went viral now sitting at over 45 million views and having spawned countless copycat animations, parodies, and Roblox games. You know, that's how you really know you've made it. The creator, Mr. Friend, has subsequently continued the series, releasing 14 total episodes of The Moon Wakes Up. And while they still get millions of views, it feels like maybe the plot has kind of uh gotten away from them at this point. The moon wakes up was a lot of people's first introduction to the idea of cosmic horror and astrophobia, but the trope is far more common and has been around for far longer than you might think. The moon is said to be a feminine and soft star and to disengage moisture at night and attract, not remove it. The proof given for this is that the moon by her aspect melts the bodies of wild animals that have been killed and causes them to putrify. and that when people are fast asleep, she recalls the torper and collects it into the head and Thor's ice and unstiffens everything with moistening breath. This is a quote from ancient Roman author Plenny the Elder in his seminal work natural history where he describes what would later be known as moon madness. He believed that the moon saturated the earth with moisture as it drew closer, filling our brains with water at night and leading to madness and epilepsy. The term lunatic was derived from the late Latin word lunaticus, literally meaning moonruck.

[00:01:48]And this idea of becoming moonruck or moonsick, continued well into the 1600s.

[00:01:54]In Shakespeare's Athell, after committing an unforgivable act, Athell cries out, "It is the very error of the moon." She comes more nearer earth than she was want, and makes men mad. 100 years later, it was written in commentaries on the laws of England, a document which would go on to influence our modern-day legal system, that quote, "A lunatic is one who had understanding, but by disease, grief, or other accident, has lost the use of his reason." A lunatic is indeed one who has had lucid intervals, sometimes enjoying his senses and sometimes not, and that frequently depending upon the change of the moon. Though we like to think that we're a lot more sophisticated now than in 23 AD or the 1600s, these fears and superstitions around the moon are still really common in our culture. The moon is just kind of weird and scary and fascinating. And even with all of the scientific knowledge that we have today, it still has this gravitational pull on us, pun intended. There's no genre where this fascination is more apparent than horror. And it goes far beyond The Moon Woke Up. From games to movies to ARG's and web series, from cancerous moonscorching to moons falling to Earth to malicious afterchool TV mascots.

[00:03:09]Today, I want to explore several pieces of horror media connected by one central theme, the moon and its terrifying psychological effects. Before we continue, I just want to give a huge thank you to the sponsor of today's video, Squarespace. Squarespace is the all-in-one website platform for creators to stand out and succeed online. Whether you're just starting out or managing a growing brand, Squarespace makes it easy to create a beautiful website and engage with your audience with Squarespace's intuitive drag and drop editing, beautiful styling options, tons of visual design effects, and a whole library of templates. Literally, anyone can build an amazing, epic, custom website to fit their needs. Not only can you sell products, but Squarespace makes it easy to offer services and get paid all in one place. From consultations to events and experiences, you can attract clients and grow your business with Squarespace. And for that extra professional little touch, Squarespace domains is a great way of giving your site a unique name. Every Squarespace domain comes with advanced privacy and security tools included to ensure your domain remains online and protected. And Squarespace provides everything you need to bring more of your dream to life.

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[00:04:31]And now, let's get back into things.

[00:04:41]It's easy to take analog horror for granted these days. There are literally hundreds of public service announcement emergency warning videos that use stock footage and those little stickmen to tell spooky stories about entities.

[00:04:54]They're always called entities for some reason. It's an incredibly popular genre. But before all of this, there was the series that started it all. The series that coined the term analog horror and laid the groundwork for countless iconic series to come. Local 58. Local 58 is a horror web series told through scattered recordings of a local West Virginia TV station called Local 58 WVTV.

[00:05:19]On the surface, Local 58's programming seems perfectly normal. Weather reports, news updates, cartoons, and movies. But something isn't right. Over the course of decades, from the ' 60s through to the '9s, all the way into the 2010s, we see that someone or something is trying to take control of the station to broadcast their own surreal and disturbing programming. The first video uploaded to the channel, you are on the fastest available route, shows the programming schedule for the night with the midnight movie on at 12:05 a.m. and paid programming running from 1:55 a.m.

[00:05:52]The words paid programming quickly disappear before the screen abruptly cuts to handheld footage taken from inside of a car. Continue on Park Drive.

[00:06:02]Then in 500 ft, turn right onto North 38th Street. You will arrive at your destination in 2 hours and 28 minutes.

[00:06:10]>> According to the timestamp, this was taken in November of 2014 at around 200 a.m., which begs the question, why is this person on a 2 and 1/2 hour trip in the middle of the night in the pouring rain? At 3:22 a.m., the GPS reroutes due to quote unquote traffic ahead, even though it's literally the dead of night with no one around. It ominously directs the driver to turn off onto a quarry utility road in 10 miles.

[00:06:38]>> Head east for one quart of a mile, then follow signs for do not enter.

[00:06:44]Continue on unnamed road. Then in 300 ft, turn off your headlights.

[00:06:50]>> After switching off their headlights, a deafening roar echoes from the darkness.

[00:06:54]And just as the headlights are turned back on, we catch a glimpse of a twisted humanoid creature. We have arrived at our destination. You are on the fastest available route makes it clear from the get-go that things are not right with Local 58. There's this unshakable feeling that the station is trying to tell us something, trying to convey a message. But what that message is, that's kind of the whole mystery. The story is kept intentionally vague, leaving lots of room for discussion, debate, and community puzzle solving.

[00:07:25]There are endless theories, but one thing that everyone can agree on is that the moon is central to the mystery of Local 58. The earliest mention of the moon comes from the video weather service, which once again starts with the station's usual list of odd late night broadcasts being interrupted, this time by a quote unquote weather warning.

[00:07:53]The station's usual broadcasting schedule appears again briefly before being cut off. But pausing the video, we can see that the 2:15 a.m. program is called Blood of the Before it gets cut off. From here, there's a power struggle between the station and whatever mysterious entity is trying to take control. A new warning written in all caps claims that the meteorological event is safe to view and orders viewers to go outside now. Seconds later, black text on a red background reads, "Look at the moon." before being highlighted in white to reveal the full sentence, "Do not look at the moon." The two forces struggle for control. One darkens and lightens the screen to make text unintelligible, while the other desperately changes the colors and location of the text so viewers can read it. and their message is clear. The moon is dangerous. Eventually, the entity gains full control of the station, broadcasting an eerie final message.

[00:08:49]It's in the light. The moon came in. He found me through the mirror. Moonlight, white, white like eyes, not light, but blood. I drown in him. If you are afraid, we will look together. The slow descent of the moon is accompanied by a chorus of haunting screams and whales.

[00:09:06]Sometime between 1978 to 1988, The Station airs a show for children at 4:15 a.m. The show in question is a cartoon called Cadaavver about a skeleton wandering through a graveyard. Hoping to find his girlfriend, he excitedly peers into one of the graves only to see this and then this. Adab's demeanor understandably changes. He looks scared, his jaunty walk replaced with a nervous shuffle. As he continues walking, we see that the everpresent moon hanging in the sky is no longer smiling and notably passes over the top of a tree rather than behind it. Is this just an animation error or something more sinister? Peering into another grave, Cadaava sees a cavernous hole stretching endlessly down into the darkness. After descending into it, he walks weakly through a long stretching cave before collapsing in exhaustion. staring up through the same hole he once looked down, he sees the moon, huge and looming, begin to slowly slide into frame. When we cut back to Kadaava, his skeleton has become an inanimate corpse.

[00:10:10]Local 58 cheerfully thanks the audience for watching. One of the most spine- chilling entries in the entire series is Contingency, which takes place sometime between 1963 to 1969.

[00:10:36]An address from President Lyndon B.

[00:10:38]Johnson claims that the US has succumbed to enemy forces and calls upon American citizens to act to preserve the dignity and memory of the United States. He himself has already taken action in the company of family and loved ones and urges every man, woman, and child to do the same before the moment passes by.

[00:10:57]Let our united resolve echo through history. Even in defeat, we refused to yield. Even in defeat, we claim victory.

[00:11:05]Viewers are then instructed on how to take action. And at first, the instructions are vague and cryptic.

[00:11:12]Honor liberty by taking the final and greatest liberty of all. It is a privilege to be called to action. Use the method most available to you at this time. Your courage will inspire others.

[00:11:23]There is nothing to fear. The message soon becomes painfully clear. The time has come. Access to a loaded firearm is ideal. Place muzzle upward to roof of mouth. Thank you. Join your neighbors, your family, your god. Your local law enforcement has been ordered to ensure your compliance. It is against the law to delay. This message will repeat until there are none to read it. The broadcast sickeningly instructs viewers to tend to children before themselves and use a calm tone of voice, calling children and pets the smallest patriots before the message quickly cuts off. Local 58 apologizes and claims that the contingency message was a hoax, but faintly overlaid on the screen is a hoax apology card directing the station to claim that the message was a hoax in case of an accidental broadcast. In a blink and you'll miss it moment, the phrase, "The 51st state is not a place," flashes on screen. The moon is sometimes jokingly referred to as the 51st state.

[00:12:19]So, it's been speculated that this message is trying to convey that the moon isn't a place. It's a living being, which leads us to Skywatching. Sometime between 1998 and 2002, Local 58 airs a program called Skywatching with Hank Hyiderman, which is quickly interrupted by a completely different title card consisting of plain red font and shaky handheld camcorder footage. The camera lingers over constellations like Orion's belt and Plleades before settling on his throne. The moon is covered in fleshy organic matter, huge craters filled with veins, and strange buildings. Its most notable feature being a huge arrow pointing downwards. Well, its most notable feature aside from this. A huge skeletal creature appears from the darkness either on top of or emerging from within the moon. Viewers have theorized that the moon is an egg or a nest for this creature or that alternatively the creature and the moon are one whole being fused together in an unintelligible mess of veins, rock, and bone. The man recording the video stands in front of the moon and raises his hands up as if in prayer as the words rejoice burn into the screen. There's a sort of indescribable horror as you look up at this incomprehensible thing in the sky so distant and alien that for all we know it could be a vessel for something far larger and more terrifying or a living being in and of itself. Whoever is hijacking Local 58's broadcasts want us to look up at this being, a being so unfathomable that simply looking at it seems to cause mental and or physical harm. In Wither Service, agonized screams are heard as the moon is shown.

[00:14:01]In Show for Kids, Kadaava dies after looking at it. And in Skywatching, the cameraman reverently worships the moon as if brainwashed. Understandably, many fan theories revolve around aliens. Fans point to videos like you are on the fastest available route and nightwalk which tells the tale of the woman in profile a shadowy creature with two faces which has been reported as an urban legend around Mason County.

[00:14:24]However, the creator Chris Stra has denied this theory, claiming, quote, "The next episode won't help dissuade alien theorists, but the only alien I'm interested in portraying is the concept of something utterly foreign and unmappable to human consciousness." I'm sure at this point you're already drawing comparisons between Local 58 and Love, Crafty, and Horror. Both explore the ideas of being so huge and incomprehensible that our mortal minds can't understand them. To look upon them is to become mad. Coincidentally, these are also the same themes found in many real world stories of moon madness. The idea of the moon as a cosmic entity so huge and incomprehensible that just to look at it or be around it is enough to break the mind. In the short one minute video, a look back, Local 58 shows off logos and bumpers from various eras, thanking viewers for watching before a chilling piece of text appears on the screen. We send our signals through their domain. Did we really think they wouldn't add their own? The sky is the domain of far larger, more intelligent, and powerful beings than we could ever have realized. And for years, we've been sending our broadcasts out into the emptiness, never thinking they could be seen, let alone tampered with. There's no big sci-fi alien race threat to humanity in Local 58. Just the horror of the unfathomable huggeeness and darkness of the cosmos which is more alive and aware than we could have ever imagined.

[00:15:51]For these unknown cosmic beings, Local 58 is nothing more than a vessel to convey their message. And their message is to look up. This is of course just one interpretation based off of a couple of videos in the series. This isn't even touching on videos like Real Sleep, a hypnotic tape which tries to convince the viewer that dreams are bad, or newer videos like AdSpot, which disparages AI and shows off quote unquote real intelligence, which is obviously deeply horrifying because this is Local 58.

[00:16:21]It's been debated whether there is one solid narrative underpinning the entirety of Local 58 or whether it's more of a deeply connected anthology dealing with themes of cosmic horror, media distrust, and corrupted nostalgia.

[00:16:34]I tend to on the latter side, but there are compelling arguments for both. And there are so many fantastic videos that thread together all of the videos on the Local 58 channel and weave this in-depth mythology. To me, Local 58 is a series about manipulation and control. The Local 58 station is constantly fighting against cosmic entities trying to interrupt the signal, both vying for control over the broadcast. As viewers, we're caught in the middle, completely at the mercy of whoever is controlling the screen. At first, it seems like a black and white, moon bad, humans good situation, but there's a lot of nuance there. The cosmic entities are clearly trying to use Local 58 to lure humans into looking at the moon. And you know, that's not good. But we're shown through broadcasts like Contingency that this manipulation doesn't exclusively come from supernatural forces. It also comes from the government and media, which use broadcasting to shape our behavior through fear, censorship, and authoritarianism. The TV is a weapon and it's being used by both sides, by both heaven and earth. And the most terrifying realization in all of Local 58 is there is no them versus us. There are no sides. You can't trust anyone.

[00:17:52]A lot has been said about Majora's Mask.

[00:17:55]It's easily one of the most studied, theorized, and dissected games in history. And for good reason. For a series which up until this point had been about saving Hyrule, rescuing the princess, and being the epic chosen hero, Majora's Mask was a stark tonal shift, exploring themes of death, grief, and the ephemeral nature of life. The game is set in the parallel world of Terina, which has been thrown into chaos by Skull Kid, a mischievous imp corrupted by the demonic Major Mask and forced to do its evil bidding. Under the Mask's influence, the moon is pulled onto a collision course with Earth and is set to crash in just 3 days unless Link can stop it. Completing the entire game within that time frame is impossible unless you're a speedrunner, which forces you to constantly rewind time to relive Termin's final days. The game has this fleeting, impermanent feeling. Every act of kindness, every problem solved is inevitably going to be erased. The satisfaction of helping the people of Terina is replaced with anxiety, knowing that their happiness is only temporary, and moments later you'll have to undo it all. No matter how many quests you try to complete, by the end of the game, there's no way to help everyone. While you're preventing one tragedy, countless others are unfolding across the map. The game really rejects this classic idea of the fantasy hero who saves the day and solves everyone's problems. instead kind of embracing this more nuanced and complex truth that you can't really save everyone. The events of Majora's Mask are set off when the iconically terrifying happy mask salesman is robbed of his precious Majora's Mask and tasks Link with finding it. It's no wonder then that the core mechanic of the game revolves around collecting strange and creepy masks which Link can wear to gain new abilities. Three masks in particular, the transformation masks which allow Link to become a Deku scrub. Goron and Zora are pretty disturbing. Each one is forged from the restless soul of someone who died tragically before their time.

[00:19:53]The Deu butler's young son, the Goron warrior Dharmmani, and the Zora guitarist Mikow. Putting on each mask triggers a cutscene where Link screams in agony as their memories flood into him and he physically transforms. Even worse, to progress through the story, Link must impersonate these characters to their closest friends and loved ones.

[00:20:13]Yeah, you basically have to walk around in a dead person's skin suit and laugh as them to their pals. Uh Link is a good person, right guys? The Gorans celebrate Dmani's miraculous return, believing that he somehow survived even though his restless spirit still wanders Snowhead.

[00:20:29]Link performs in the Zora band, hiding the truth that the guitarist Mikow drowned in the bay just days earlier.

[00:20:36]The Deu butler sadly mentions that Deku Link looks like his son, not knowing that he's essentially puppeting his dead body around. It's such a profoundly unsettling core mechanic for a game.

[00:20:48]Even when you're bossing your way through temples, stomping the bad guy and saving the day, you're reminded constantly of the lost soul whose body you're inhabiting and the terrible lie that you're hiding from their closest friends. Everywhere you go in Terminina, you just can't shake the feeling that something is wrong. Things are not as they should be. And nothing encapsulates that despair more than the moon. The moon in Majora's Mask is one of the most iconic visuals in all of gaming. And rightfully so. The giant snarling rock hangs ominously in the sky throughout your entire playthrough. A constant reminder of how little time you have left. So then why does nobody seem to take it seriously? It's almost comical how many characters seem completely oblivious to the giant moon with a face that's clearly about to crash into Earth. But most of the inhabitants of Clocktown are too busy with their own matters to even notice what's going on above them. The Rosa sisters are diligently practicing their dance for the Carnival of Time in 3 days. The bartender, game clerks, and shopkeepers remain at their posts doing business as usual. In keeper, Anju is more concerned about finding her missing fianceé Kee.

[00:21:54]And the postman continues his daily route as he always did. Kids play in the street. Milk is served nightly at the milk bar. And weirdly, all seems right in the world. The town guards are the only ones actually raising any concerns.

[00:22:07]They can be found in the mayor's office pleading for the town to be evacuated, but are quickly shut down by Muto, the head of the Carpenters, who has been preparing day and night for the Carnival of Time. You cowards, do you actually believe the moon will fall? The confused town folks simply caused a panic by believing this ridiculous groundless theory. Only a handful of other characters actually directly mention the moon and its terrifying appearance throughout the game. In Clock Town, two juggling twins from the Gorman troop will mention that they're practicing for the town carnival, which only happens once in a blue moon, or in this year's case, once in a really, really scary redeyed moon. In the Astral Observatory, Professor Shikashi will allow you to look through his telescope to see a blue tear-shaped crystal falling from what he believes to be the moon's eye. He later states, quote, I have been enamored with the moon since I was a child. Now I spend my days gazing at it from here.

[00:23:00]The moon has long been considered a mystical body which people have woripped and feared. That alone shows how the moon has a cosmic influence that affects our daily lives. But lately, there is something quite strange with the moon.

[00:23:12]It seems as though it's being pulled down by something and is slowly drawing closer. Even these comments by the astrologer and the juggling twins take on this sort of casual tone. nothing close to the sheer horror and panic that they should be experiencing in the leadup to their horrific death by giant rock. It feels like the whole town is in denial and the moon is weirdly this huge elephant in the room. But as the hours tick by, things begin to change. The ground shakes as the moon draws closer.

[00:23:41]Slow, distorted music begins to play behind the bright and cheery Clocktown theme. The guards look upwards, clutching their hands at their chest.

[00:23:49]Slowly, the town begins to empty out until you're standing alone in the dark and deserted streets of Clocktown.

[00:23:55]Streets which were once filled with life. The true horror of Majora's Mask is how subtly over the course of 3 days it reveals more about the inhabitants of Clock Town and explores their increasing grief, fear, and sadness as they begin to realize that the rumors aren't just rumors. Take for example the master swordsman, the boastful teacher at the sword training school where Link can study the blade for a modest sum of rupees. If approached for lessons on the third day, he will respond, "Rumors are spreading which suggest the moon is falling, but you can breathe easier as long as I am in town. Tonight, I shall cut the moon into pieces. If one does not have such skill, he cannot teach the way of the sword to others. If you wish to be as powerful as I am, then I shall teach you until nighttime." Despite his braggadocious claims, if you enter the training school after midnight, a sign has been put up claiming that he has gone on vacation and not to look for him. In a secret hidden room at the back of the school, he is in fact hiding in a corner, shaking and crying out that he's scared and he doesn't want to die. The ever stubborn Muto shares a similar fate. He's the biggest proponent for the theory that the moon falling is just a silly rumor and remains staunchly opposed to evacuating the city, especially in the leadup to the Carnival of Time. However, even after convincing the mayor not to evacuate the city and go ahead with the carnival, by the final evening, most of the town has fled anyway, including his own apprentices.

[00:25:19]In his final hours, Muto stands alone in the town square, yelling at the moon to just fall already if it's going to fall.

[00:25:26]It's hard to know whether he has finally come to realize his fate or if he's still in denial to his last moments. On the surface, Cremia and Romani seem like two normal sisters who live on a farm and sell milk to the citizens of Clock Town. But digging deeper reveals one of the saddest stories in the entire game.

[00:25:44]Premier has been managing the ranch since her father died and is struggling to juggle her work duties with raising her rambunctious younger sister, Romani.

[00:25:52]Things at the ranch are unstable. The cows are bothered and broken bottles keep turning up around the property, which is revealed to be the work of the Gorman brothers, who own a rival business and try to sabotage the ranch at any chance they get. They suck.

[00:26:06]Despite this enormous pressure, Cremier has no choice but to bottle it up, pun intended, and remain strong for the sake of her sister. If Link helps her deliver milk to Clocktown, she'll secretly confide in him that she's often lonely.

[00:26:20]Later, she'll admit that she knows things aren't going to be okay, that they're not safe from the moon at the ranch, even though she's pretending and putting on a brave face. On the final night, she gives Romani an alcoholic drink, Chateau Romani, which she's always wanted to try, but has never been allowed to since she's just a kid.

[00:26:37]Premier also promises to make her a mask to signify her newfound adulthood. She asks Romani to come sleep in her bed tonight, likely knowing that the drink will knock her younger sister out for the night so she can sleep peacefully, never knowing the horrible fate that befalls them. The image of Creier, who never really got to experience life outside of working and providing for her sister, holding her tight at night, waiting for the worst to happen while she sleeps peacefully, is heartbreaking.

[00:27:04]One of the most iconic and painstakingly long quests in the entire game is that of Anju and Kefe. The quest, which takes place over the entire 3-day cycle, sees you helping inkeeper Anju find her fianceé Kefefe, who has been missing for a month. Upon finding him, he'll reveal that he and Anju are to be married on the night of the carnival and that they promised to exchange sun and moon masks as a sign of their love. However, a month before the wedding, he was turned into a child by Skull Kid, and his mask was stolen by a thief. Since then, he's been taking refuge behind the curiosity shop, where many unsavory characters often sell their goods, watching through a hole in the wall and waiting for the thief to come in and sell the mask. You may be thinking that it would be way easier for Cafe to just go to Anju and explain what happened. And firstly, this is Majora's mask, so nothing can be that simple. And secondly, the in universe explanation for this is that Kefe promised Anju that next time they met, he would have his mask, and he doesn't have it. So, he's embarrassed and doesn't want to show up cuz he wants everything to be perfect. But, you know, honestly, just communicate, guys. After tracing the thief back to his hideout and retrieving the mask, Anju and Cafe are finally reunited in an empty room at the end. With just an hour to spare before the moon crashes, they exchange their masks and create an entirely new one. The couple's mask, which is filled with their love. Please take refuge. We are fine here. We will greet the morning together. I think it's moments like these that show us the true nature of Majora's Mask. It's a game about grief and loss and how death comes for us all.

[00:28:37]But it's also a game about the time in between. It's about those three days before the moon crashes into Earth where there's still time to do good in the world, to be happy, to love, and be loved. Kefe and Anju have wasted so much time trying to find each other that by the time they do, they only have an hour. But instead of being heartbroken, they're happy in each other's arms, grateful for the time they do have, despite the clock constantly rewinding and undoing all of that happiness, we still got to see and experience it, even for a fleeting moment. The beautiful melodies of the Zora band after Lulu's babies are saved. The joy of the Goron baby when he can finally go outside and watch the Goron races. The smile of a farmer who gets to see his beloved chickens grow up. These are all fleeting moments, just mere hours or even minutes away from being undone. But the joy of them stays with you. Everything slips away. Nothing is permanent. But in the world of Majora's Mask, whether you have 3 days or 3 hours, there's still time to do good in the world, and that good stays with you.

[00:29:48]Fear and Hunger is a brutal game. Your first few minutes will probably be spent getting mauled by dogs. And if you survive that, then you'll spend your next few minutes getting beaten to death by guards. And if you survive all of that, then you have to play the rest of the game. The story is set in the medieval kingdom of Rondon, where four unfortunate adventurers descend into the cursed dungeons of fear and hunger to rescue the enigmatic mercenary Lagard, who is trapped deep within the labyrinth. From the moment you set foot inside the dungeons of fear and hunger, the claustrophobia sets in. The vice grip tightens. The atmosphere becomes unbearable. Rusty nails scatter the floor. Enemies can permanently dismember and even decapitate your party members on a whim. And there are countless twisted horrors waiting around every dark corner. From telekinetic blobfish to body snatches to this thing that I don't want to think about ever again. To the new gods, mortal humans who ascended to godhood deep within the dungeons of fear and hunger. One wrong step, one missed attack, one bad coin flip could all result in death. And with save points few and far between, you really don't want to die, but you will again and again and again and again. And this is the cruel yet irresistible pull of fear and hunger. The game was released in 2018 by Mero Habberonin and went largely unnoticed for several years, passing under the radar as a niche game with a small but dedicated fan base.

[00:31:11]However, in 2023, several popular video essays covered the game and shone a light on this previously hidden gem.

[00:31:17]Nowadays, you would have had no idea that Fear and Hunger was ever an obscure title. Its subreddit has almost 100,000 members. There are thousands of pieces of fan art, and there's a constant stream of memes and short form content built around the game. Fear and Hunger 2 Terminina was released in 2022, taking place 350 years after the events of the original game in the war torn Eastern European town of Priville. 14 passengers on a train bound for Priville suddenly find themselves stranded and forced to participate in the Festival of Terminina, a gory 3-day battle royale where only one can make it out alive. Of the 14 passengers, eight are playable characters. Dan is an intelligent and inquisitive doctor who has come seeking answers for his wife's murder. Abella is an engineer working for an underground rebel group. Osar is a yellow mage guided by the disembodied head of an ancient wizard. Olivia is a kind and gentle botonist in search of her missing sister. Karen is a strong World War journalist who has come to investigate a mysterious figure called Kaiser. Marco is a shy and reserved boxer on the run from the police and the mob after killing his ex- boss, a dangerous mobster who forced him to commit criminal acts in exchange for a boxing career. Levi is a traumatized teenager who was drafted as a child soldier at age 13, spending years in the trenches until he finally snapped and fled back to his hometown of Priville. And lastly, Marina is a young student of the Ministry of Darkness with a talent for the occult, who is returning to Priville after receiving a letter from her father about her mother's strange and untimely death. The other six non-playable passengers consist of timid celery man Tanaka, Chef Henrik, Marina's childhood classmate Samury, mysterious sailor August, vengeful military officer Pav, and Caligura, who is basically evil incarnate. Together, these 14 contestants are thrust into the Terminina Festival and forced to fend for themselves. Some form alliances and others begin to hunt each other indiscriminately. The name Thean Hunger Terminina is not just a coincidence considering what we just discussed earlier. The game is very heavily inspired by Majora's Mask and wears these inspirations very clearly on its sleeve. The game takes place over 3 days. Each character has their own daily schedule and will move independently around the map. And the game's already tense atmosphere is compounded by the constant looming threat of a supernatural moon. See, it's not just the hostile war torn landscape of Preville, the roaming monsters, or the other bloodthirsty contestants that you have to worry about. The Terminina Festival is orchestrated by the trickster moon god Rare, a deceitful and jealous old god who inflicts contestants with moonscorch, also known as moonlight cancer. Ultraviolet radiation was discovered in 1801, and the first description of melanoma actually came just a few years later. Ever since then, we've been acutely aware of the dangers of the sun. And you know, at this point, the idea of tanning or getting a little sunburn on vacation or using sunscreen is so familiar to us that I think we kind of forget how horrifying the whole thing is. We orbit around this giant, incomprehensible flaming star, which is too bright to look at with the naked eye and emits invisible radiation that mutates the very DNA inside our cells and causes cancer. That's terrifying.

[00:34:32]Fear and Hunger Terminina is one of the only pieces of media I've personally seen that really taps into the horror of astral radiation. Throughout the 3-day festival, Rare inflicts moonscorch on the 14 contestants, twisting them into horrifying and warped monsters. Despite being a deceitful trickster god, he's also closely associated with the theme of truth. He doesn't just turn them into monsters. He turns them into manifestations of their worst fears, their deepest secrets, the truth that they've been hiding deep down. Olivia's moonscorched form is the mechanical dance. Her body morphing into a hulking metallic vent, her arms becoming long, thin, rusted blades. Her face still retains some small semblance of humanity, but her wide hollow eyes and pleas for the player not to look at her reveal her inner fear and horror.

[00:35:22]Throughout the game, it's subtly hinted that Olivia has some deep-seated anxieties around her disability and being confined to a wheelchair. When asked about her condition, she'll be reluctant to talk about it. And reading her mind will reveal that she hates the pity stairs that come with sharing her story. If she joins your party, she'll ask you to tell her if she becomes a burden at any point, and later she'll apologize for slowing the party down.

[00:35:46]When encountering Olivia's doppelganger in the woods, it's almost mockingly running around in circles, fully able to use its legs without the assistance of a wheelchair, which horrifies Olivia.

[00:35:56]Mechanical Dance is the culmination of Olivia's fears about her disability and the way other people perceive her. She fears that people can't look beyond her wheelchair to see who she really is. And so in her moonscotched form, she has literally become one with her wheelchair, confined to a cold mechanical body, stripped of its humanity. During her boss fight, she'll cry out that she's always been this way, which heartbreakingly shows us how long she's seen herself in this light. Levi is easily the most disturbed character in the entire game, having experienced more trauma and grief in his short life than anyone else, which is obviously saying a lot. Levi was born into a violent household and was eventually taken away from his father and placed in an orphanage. Unfortunately, his situation only got worse as the staff were extremely abusive and neglectful towards the orphans, and his time there was cut short when he was conscripted to join the war at age 13. He fought for years and became an exceptional soldier, but witnessed horrors beyond his comprehension, which led him to substance abuse. Traumatized and addicted, Levi finally deserted the army at age 18 and fled back to Priville, the only home he had ever known. Levi's life sucks and is awful, and there's things that happened to him that I haven't even included in this brief description because they're too graphic. But needless to say, he has a lot of trauma.

[00:37:16]Levi's moonsced form is the weeping scope, a shivering, sobbing figure which sits on the floor, hopelessly gripping the huge metallic gun growing out of its head. Years as a child soldier left Levi with a warped view of his own humanity, seeing himself as a living weapon who is incapable of love and can only inflict pain and suffering. His deepest fear is that he has no humanity left and his only use is to be an indiscriminate killing machine, which is why his ultimate form as a literal weapon of destruction is so twisted. His helplessness, fear, and guilt over his past are apparent in the weeping scope's demeanor. It cowers on the floor trying to make sense of its own form and frequently skips turns in battle to cry.

[00:37:59]Karen's moonscorched form is the Valkyrie, a human bird hybrid with flowing blonde hair, huge sharp claws, and vast wings which carry the shadows of soldiers. On the third evening of the festival, Karen talks about her job as a war journalist, remarking, quote, "They started calling us vultures because we'd always circle around the battlefields looking for a scoop, but I'd call us more like Valkyries, immortalizing the people who fought and are now gone.

[00:38:24]That's what I keep telling myself at least." The Valkyy's design represents both of these perspectives. It carries the memories of soldiers on its back in this patriotic victorious image. But the monster itself is dark and twisted, covered in armored plating with its claws at the ready. A vulture waiting to claw at the scraps of a news story.

[00:38:43]Marco is another character struggling with guilt about his past. He spent many years as an underground boxer until his sister fell in love with a powerful mobster who persuaded Marco to come work for him as a professional fighter. He organized a professional boxing trainer for Marco and began setting up bigger and bigger matches. But just when things were starting to go well, the mobster revealed his true intentions and blackmailed Marco into killing his next opponent in the ring. Otherwise, he would hurt his sister. Though he obliged, Marco was filled with guilt and regret and realized the only way out of the criminal world was to kill the mobster and flee the city, which is how he ends up in prayerville. Marco's moonscorched form is the giant, a grotesque, hulking creature whose torso is a mess of eyes and teeth. Its head and arms are huge, shapeless bags of meat, almost resembling punching bags.

[00:39:32]When fighting the giant, it will cry out the world guilt repeatedly. The giant represents Marco's remorse for his past violence. The lifeless body gripped in the giant's hand is likely the opponent that he had to kill in the ring, an image which haunts him constantly. Much like Levi, a life of violence has left Marco afraid that he has lost his humanity, seeing himself as a hulking beast of violence who can only inflict pain, which is heartbreaking since despite his tough exterior, he is truly a caring and compassionate character. He forms a close bond with Olivia, promising not to leave her side until he can get a wheelchair for her and reassuring her that they'll all make it out safely, even though he knows it's not true. He shows kindness to the player character, too, telling you to never give up on your dreams and offering to hold your hand when up in the narrow rafters. He even has these moments of kind of innocent childlike wonder. For example, when he starts ribbiting back at the toads in the woods before getting embarrassed when you notice, according to Rare's skin bible, his moonlight reveals the truth under the human filth. Though it can be debated whether his version of the truth is more accurate than that of the human filth. Re's quote unquote truthful moonlight is more than likely just another one of his tricks. After all, what cruer trick is there than to make someone's deepest, darkest fears about themsel manifest? To confirm to them that yes, they were right all along.

[00:40:52]They are a monster. They're hideous.

[00:40:54]They're unlovable. Even with all the gruesome, gory, horrifying ways you can go out in fear and hunger, moonscorching is truly the crulest fate there is. Fear and hunger as a series is very interested in themes of humanity and godhood. Characters are nothing but insignificant pieces of dust, pawns, and play things for powerful and otherworldly gods. Even if you rise up to the game's brutal challenge and win, and that's win in quotation marks, by the way, you'll still often find yourself as just a cog in the god's grand scheme, just another way to advance their plans. Rare is the ultimate representation of this. He's literally the moon, a huge cosmic being watching over humanity, pulling the strings for his own plans or just for entertainment. He is so otherworldly, so powerful, so astronomical in scale that anything next to him is just a puny speck of dust. Unless you do the boss battle and fight him and win. You know, technically that is a part of the game also, but you know, just ignore that.

[00:41:53]R's moon scorching obviously bears a very striking resemblance to early reports of moon madness, violence, insanity, even twisting into horrifying new forms as told in early werewolf folklore. Fear and hunger truly understands the terror of the cosmos and how strange, mysterious, and influential the moon is.

[00:42:19]I saw the TV glow is kind of an odd inclusion for this channel. I don't usually cover movies, not because I don't love movies, but because it's just not really what I tend to cover, and also copyright with movies can be kind of a nightmare. But this video wouldn't exist without it. It's a beautiful, disturbing piece of moonlight horror and the very thing that got me thinking about the moon and how and why it's used in so many horror stories in the first place. If you're anything like me, you went into I saw the TV glow assuming it was a coming of age teen drama about identity and gender. And it kind of is that, but it's also so bizarre and fantastical and strange. There are giant ice cream monsters and psychic planes and alternate realities. The film has this nauseating dreamlike quality where you never really know what's real and you feel trapped inside the same glowing neon nightmare world as the characters.

[00:43:13]The film appropriately begins with a character watching TV, and yes, it is glowing. Owen, a shy young kid from the suburbs, is enraptured by a supernatural monster of the week show called The Pink Opaque, which airs late at night on the Young Adult Network. The Pink Opaque centers on Isabelle and Tara, two teens with supernatural powers who fight a new monster every week. The girls first met at a sleepaway camp and now despite living on opposite ends of the county communicate over the psychic plane using their powers which come from a ghostshaped mark on their necks. The monsters are all sent by the malicious Mr. Mlancholy the big bad of the series who wants to stop Isabelle and Tara once and for all by sending them to the midnight realm. The pink opaque is basically like if Goosebumps or Are You Afraid of the Dark had a baby with Buffy the Vampire Slayer. And like those shows, it oscillates wildly between corny and silly and downright terrifying. The show plays into a lot of almost creepy pasta-esque tropes. The late night show on a random channel that no one knows. The silly kid show having extremely dark themes and content. Later on, we even see Owen revisit episodes of the show to find out that they've changed mysteriously. Given director Jane Shoenbrron's previous movie, which actually centered around a creepy pasta-like internet challenge, I wouldn't be at all surprised if the pink opaque is purposefully harping on these ideas. But I'm getting way ahead of myself. Let's get back to the story. At an after hours school event, Owen is immediately drawn to moody loner Maddie, who sits hunched over in a corner reading an episode guide for the pink opaque. While Maddie is standoffish at first, she appreciates his genuine interest in the show despite having never seen it due to his 10 p.m.

[00:44:49]bedtime. To his surprise, she invites him over to her house on Saturday night to watch it. On the drive home, as Owen asks permission to go stay at a friend's house, we see his strained, distant relationship with his mother and especially his father, who he seems afraid of. At the sleepover, Owen and Maddie connect deeply to the show and the characters of Isabelle and Tara with Maddie telling Owen that sometimes the show feels more real to her than real life. She also reminds him to be out of the house early or her dad will break her nose again. Another unfortunate similarity that the two share, we see Owen walking home after the sleepover under a pink tinged sky and to cut with footage of Isabelle smiling and spinning through a sunlit forest. If it wasn't obvious at this point, Maddie and Owen are both queer. You know, if the scene where Owen walks under a giant trans flag at the start of the movie didn't make it obvious enough. The film explores the idea of the queer awakening through media. Maddie and Owen come to understand things about themselves through the pink opaque, whose characters and world they relate to intimately. After the sleepover, Owen is too nervous to talk to Maddie. 2 years later, their only form of communication has been through tapes of the pink opaque, which Maddie leaves for Owen in the school's dark room, accompanied by drawings, notes, and episode summaries.

[00:46:04]When they finally reunite in person, it's awkward and stilted. Owen tells Maddie that something is wrong with him and senses that his parents know, too.

[00:46:13]Even if they don't say anything, he feels like someone has taken a shovel and scooped out all of his insides, leaving nothing. And yet, he's still too scared to look within and check. When they watch the pink opaque together again back in the basement where it all started, Maddie sobs uncontrollably from the shadows of the dark staircase. She whispers that she's leaving town, that she'll die if she stays there, and asks Owen to come with her. She draws the ghost symbol from the pink opaque on his neck in an intimate scene. Mattie knows she's going to die if she remains stagnant, stuck in the fear and repression, suffocating in suburbia.

[00:46:46]Running away symbolizes a huge step towards independence and embracing her own identity. But while for Maddie, this feels like salvation, Owen is terrified at the idea. The next morning, he desperately scrubs the mark off his neck and shows up at the door of a family friend, confessing that he's been lying about where he's been staying on Saturday nights, begging to be punished and pleading not to be taken away. Later that year, Maddie disappears without a trace. This moment represents a huge turning point in the story as our two characters make two wildly different and uniquely scary decisions that dictate their entire arcs throughout the rest of the story. One chooses to stay the same and one chooses to change. We cut to 8 years later, obviously a huge time skip, though Owen's life remains as bleak as ever. He works at a cinema where he's bullied by his co-workers and lives alone with his father, his mother having died from cancer years earlier. On the way home from work one night, he stops his car at a downed power line, which is surrounded by ripped up pages from Mattiey's pink opaque episode guide. He picks up a page about an episode titled Escape from the Midnight Realm, which is essentially a title card for the next section of the movie. Because late one night while Owen is at the grocery store, Maddie shows back up and she drops a bombshell. The Pink Opaque isn't just a TV show. It's real life. She is Tara and Owen is Isabelle. She's been back back to their old sleepaway camp and they're in grave danger. Owen recalls the season 5 finale. Mr. Melancholy lurs Isabelle and Terara back to their old camp where he abducts them, cutting out their hearts and forcing them to drink Luna Juice, a glowing blue poison that steals their memories and puts them into a deep sleep inside the Midnight Realm. Mr. Melancholy taunts Isabelle as she begins to lose consciousness. The Midnight Realm is a wonderful prison, and soon she won't remember anything. Her real name, her heart, her superpowers. She won't even know she's dying. He buries the girls alive, still choking and writhing and struggling. And then the episode just ends. Mattie urges that this wasn't fiction. The reason that their whole lives have felt so wrong, why time has moved so strangely, why they've never felt like themselves is because they are inside the midnight realm. Owen and Maddie are just hollow shells of Isabelle and Terara, and their real bodies are alive and breathing and dying under the soil, slowly succumbing to the lunar juice. Maddie explains how she went back. that after years of moving cities and changing her name and nothing ever feeling right, she paid someone to bury her in a coffin under the earth.

[00:49:17]Quote, I said to myself, "This is crazy.

[00:49:20]What you're doing is crazy." But another part of me knew that it wasn't, that it was survival, and that I didn't have much time, that what felt like years in this world was actually just seconds.

[00:49:30]So, I waited. And then the first fade full of dirt hit the box and then another, and then another. I screamed as loud as I could for help. I apologized for the whole thing and I begged God for someone to come along and save me. And then I was clawing my way up out of the ground. I was at the surface gasping for air, rain pouring down on me, thunder and lightning. And I was finally there back at our old sleepaway camp just like I was waking up from a bad dream. That whole life, that whole reality where I was, Maddie Wilson drifted away like a brief hallucination that after a few moments I could hardly even remember.

[00:50:01]And all of those memories that had felt so real washed away with the rain at our old sleepaway camp. And I was me. I was finally me again. This revelation brings so many puzzle pieces together. So many little details that seem strange or disconnected or nonsensical just fall into place and seem obvious in hindsight. Despite their 2-year age gap and teenage awkwardness, Owen and Maddie are magnetically drawn to each other from the moment they meet, as if they've always been connected. They go to void high school, or VHS for short. Like Isabelle and Terara, they only meet a few times in the real world and communicate mostly through tapes of the pink opaque, their own version of the psychic plane. When Maddie gushes over Terara and how cool and hot she is, and when she cries seeing Terara beat up the goofy monster of the week, it's not just a romantic crush on a fictional character. It's self-love. Maddie loves this version of herself so much, but it takes her years to discover that this has been inside her the whole time. The only thing police find after Maddie disappears is her television set burning in the yard. Her symbolic destruction of the physical barrier between Maddie and Tara. Owen shares a similar connection with Isabelle. After watching the show for the first time, he remains straightfaced while his inner joy is shown through shots of Isabelle smiling and twirling in the sun. In an early episode of The Pink Opaque, Isabelle is scared of her powers and what's inside of her, asking Tara if she's a freak, but Tara says she's special. Owen and Maddie have a similar conversation on the bleaches. Him confessing his fear of what's inside and her comforting him, telling him that maybe he's just like Isabelle. Maddie confronts her fear. She claws her way back to becoming her true self. And so many times she tries to get Owen to come with her. She reassures him. She tries to connect with him. She tries to force him. But no matter what she tries, it doesn't work because the only person who can make that decision is Owen. The film depicts coming out as a gross, violent, painful act that requires you to essentially die and be reborn to kill the part of yourself that you've created as a shield. The part that makes you feel safe, the part that is slowly killing you. And then of course there's Mr. Melancholy, the evil and deeply unsettling moon at the center of I saw the TV glow. The midnight realm is repression and Mr. Melancholy represents the internal and external forces that keep us there. literally melancholy, but also fear, self-doubt, insecurity, uncertainty. He represents societal pressure, the expectation to just be a man. Being weird or different or unique is unacceptable. You must conform or die. Isabelle and Tara are different. They're brilliant and brave and special. And to punish them, Mr. Melancholy tears their hearts out and traps them inside a nightmarish dream where they inhabit alien bodies, disconnected from their memories and who they really are. I'm sure I don't need to explain the allegory there. Mr. Melancholy's grotesque physical form only appears a handful of times throughout the film, but just like our moon, he's a fixture in Owen's life, ever watchful, pervading everything around him. He's forced into a waking dream where nothing and no one is real, where he can never connect with anyone or truly be seen, where he is forced into a body that does not resemble his own. Like the moon, dysphoria is a constant looming presence. Shame and repression become everyday facets of life. And it's really interesting that this movie depicts the moon, which has historically been depicted as a feminine star, as a very masculine presence in Owen's life. It's been speculated by fans that Owen's father is a physical manifestation of Mr. Melancholy inside the Midnight Realm. From a young age, Owen is scared of his father, and one of his few lines of dialogue in the movie is mockingly asking his son if the pink opaque is a show for girls. After viewing the season 5 finale, Owen crashes his head through the TV in a flurry of sparks, desperately trying to get back to his real world. His father suddenly bursts in and wrenches his head out of the TV, forcing him under a hot shower as he screams. The big, beautiful, bald head of Fred Durst in the living room scene intentionally resembles the pale round spectre of Mr. Melancholy. In fact, he was literally painted white in that scene to achieve maximum moon head. Mr. Melancholy knows that the beauty and power inside Isabelle and Tara is so strong that they could easily break out of the midnight realm. And so he watches them. He uses their fathers and other figures as vessels to enact his punishment, his shame, his repression to keep them afraid and trapped. Interestingly, after the hot shower incident, Owen walks outside to see two pale figures standing ominously outside of his home. These are speculated to be the Midnight Realm versions of Marco and Polo, Mr. Melancholy's henchmen. In the pink opaque, they take the form of grotesque warped moons with their prominent facial hair and female bodies, leading some to speculate that they represent dysphoria, the physical side of Owen's fears of coming out. After all, what is dysphoria if not a henchmen of shame and repression. The ending of I Saw the TV glow is not a happy one. 8 years on, Owen works a dead-end job at a fun center and has a family that we never see. He rewatches the pink opaque on streaming and they aren't at all how he remembered them. They're corny, cheap, and terribly acted. He feels ashamed and embarrassed. Sometimes he lets himself wonder if Maddie was right. If somewhere out there there's a version of himself who is beautiful and brave and full of love, but he inevitably just dismisses it as a childish fantasy. He withers away, ages rapidly. His health deteriorates as Isabelle's body slowly dies. His wheezing, ragged breasts reflect Isabelle's increasing struggle to breathe under the dirt. And after a manic breakdown at work, he throws up a mixture of neon blue Luna juice and blackened soil. In a desperate and radical act of self-exloration, he cuts his chest open with a box cutter, glowing static pouring out as he finally, for a brief moment, feels at peace with himself. Not awkward or stiff or uncomfortable or scared, but truly happy. And then just like that, he puts his shirt back on, gets back out onto the work floor, and apologizes to everybody for the whole thing. This is what a life under Mr. Melancholy looks like. It's the horror of conforming and apologizing for who you are to people who will never truly see or hear or understand you. Instead of living for herself as Isabelle, Owen has lived a life in service of societal norms, of being a man, of conforming and never causing a scene, which has killed her in a far more gruesome and horrifying way than burying herself in a field ever could. While Tara is alive at Sleepaway Camp, awaiting her return, Isabella's final moments are spent deep underground choking on dirt and lunar juice. Mr. Melancholy will always be a constant fixture in our lives, watching, sneering, trapping us in cycles of self-doubt and fear. But it's up to us whether we endure the pain of stagnation or the pain of change. Isabelle's story is bleak, but there is a message of hope, a recurring motif throughout the movie, a chalk drawing on Isabelle's street which reads, "There is still time glowing brightly under the moonlight."

[00:57:13]For Isabelle and for everyone, no matter how deep you're buried, no matter how tight Mr. Melancholy's vice grip on you.

[00:57:20]There is still time.

[00:57:23]The moon means something different to every story. And I think that's what's so awesome about it. It represents control and manipulation, impending doom and the fleeting nature of life, twisted transformations and deeprooted fears, repression and uncertainty. This giant floating rock in the sky has awakened so many unique and varied fears within all of us. And all of these wildly different interpretations are so fascinating to me. These are modern takes on beliefs, fears, and superstitions that go back hundreds, even thousands of years. The moon has accumulated so much lore, so much history, and mythology and folklores. From ancient lunar deities to 17th century diagnoses of moon madness to tales of werewolves and shape shifters that change form under the light of the full moon. And it's this long storied history that helps us build our understanding of modern horror and its fascination with the moon. Because the kind of beautiful thing is, yeah, we've always been afraid of the moon, but we've also always been drawn to it, curious about it, eager to explore what it means to us. Just as we used ancient art and folklore and mythology, we use games, ARGs, web series, and movies to explore our relationship with it in the modern day. As we've explored, these stories are often scary and unsettling, but just as often, they're beautiful and filled with hope. From the small moments of humanity in the unrelentingly bleak fear and hunger to the fleeting but meaningful time spent in the world of Majora's Mask to the message that there is still time and I saw the TV glow. And these pieces of media aren't always easy or straightforward. They're surreal, filled with symbolism and metaphor. They build on real history and culture to not just explore these ancient and deeprooted fears we have about the moon, but so many other painfully human anxieties that we experience all the time. That's what's so fantastic about horror and world building and art and analysis. It's not just the incredible creativity and self-expression of it all, though obviously that is a huge and awesome part of it, but it's also the space that it allows for us to be curious, explore difficult emotions, or ponder complex weird questions. There are no concrete answers to any stories and everyone's going to walk away with a different interpretation. I mean, I know there are going to be so many people who walk away with a completely different interpretation than mine. But it's not about finding one concrete answer. It's about sparking curiosity and creativity.

[00:59:49]Things which despite the moon's spooky reputation, it really seems to bring out in all of us. You may have noticed that I didn't bring up local 58 in that little uh conclusion there, and that's because I don't think anything good has genuinely ever happened in Mason County.

[01:00:03]Thank you so much for watching. I really appreciate it. I really hope that you guys enjoyed the video. I know it's a long one, but I kind of couldn't stop writing about all these stories. I wrote so many pages of just notes and I really had to whittle it down to like an hour.

[01:00:19]So, uh I really hope you enjoyed. I loved talking about them. All of these pieces of media are things that I've been obsessed with for a minute. They're all things I'm passionate about and the moon links them all. So, uh, I really wanted to cover them all. Let me know if there are any other topics that you want me to cover in the future or you think would be interesting. Let me know your feedback. Let me know how you feel about the moon. And uh, yeah. Okay. I'll see you in the next one. Bye. A huge thank you to my Garfield overlords over on Patreon. Lilac Muffins, Jessica Kowberg, Tory James, Jenna Bins, Mrs. Silv, Buskaboo, Mazipan Eating Duck, Leopold the Rabbit, Tony Terror, Waljix, Usurpius, TMA, Trouser Mouse, Ocean Gremlin, Curvish Sundown, Bonso, Blog Bag, Eden Cassidy, Kia J. Parker, Hazy, Blue Wolf, Katrina likes 5B stuff, Michelle Olsen, Matt LRJ, a riddle wrapped in Enigma hidden by a question mark, Simon Xavier, St. Marie, Brily, Helm, Hamburger Hand, Doz Blint, Astrian Vortex, and Jesse Chisum. Thank you guys so so much for the support. It means the world. If you want to join these guys over on Patreon, the link will be in the description. And yeah, thank you so much for watching and hope to see you in the next one. Bye.