#'fascinated with the mechanics' type of perspective

[cant-reed]

if i put an image description beneath a read-more tab thingy, do screen readers still read it or will it just not be read unless its in the body of the post or embedded in the image?

[xanderjkz]

Charlie Dalton- Misery Behind Walls

I finally figured out what makes Charlie's character such an interesting one (from my perspective)

There are alot of interpretations of his character but what the fandom can agree the most on is that this mf cares about his friends. Almost in a way that is above regular standard.

Okay sounds weird but why did I say it when it's never really shown? Well he often is in the moment when the other poet has a breakthrough in the movie. When evil Tom literally made Neil's day worse, he was the first to speak to him. But to base this little theory on a bigger proof I'd like you to remind the only scene where this big care is vocalised:

"Fiete you're going insane!" I'll be not be misinformed about my state of mind! Let's move on! He literally asks so many damn questions that Knox gets annoyed with it. And the tone Charlie uses in that scene isn't one to mock him or put Knox in question. He's just curious if Knox has thought this through. Because he cares!

But why? What is so damn interesting about this dude caring? What makes Charlie the way he is?

Charlie somewhat hides his care for his friends behind the nice wall of Humour. Humour is beautiful, it's Twistingly and contently a nice way of escapism. Humour is provoking a peal of laughter out of someone and that's what Charlie does. But over the years when you use this way of coping you start to twist in the wrong way. It's a wonder how anyone who uses this type of coping mechanism can even recognise themselves in the mirror. After a while, you hide your internal feelings behind a wall too. For yourself you become unrecognisable.

But why?

It's established in the first 10 minutes of the movie that Charlie is from a family of bankers who are fond of him continuing the legacy. And we know that he is from a wealthy family. And most wealthy kid trope in media follows the structure of pressure and unobtainable views. Wealthy people don't want to be touched by anything lower. So they have to obtain this image of untouchability. This is probably the way Charlie has been raised. Money is more important. And like most wealthy kids, they get neglected for that money.

Every kid wants love. And this is what Charlie probably chased. And still is. And love can be interpreted in lots of ways but as I see in myself, I always tried to get attention so they think of me. If they can't love me, then I should at least linger on their minds. So what's the quickest way to gain attention and potential Recognition?

(Here he more tries to loud than funny but the need for the same thing is still there)

He started to build his personality in a way that would later bring him to complete self-isolation. He doesn't give a fuck about money. And he most definitely doesn't want to go down the same way his father did. But something in him always wanted that recognition, so he didn't go against anything.

But then Keating happened

So we made clear that something inside him can't separate personality from coping, right? So what happens when a teacher comes around with the opinion to go against the system? Doubt? Anger? Or fascination?

Visionary

Charlie, if asked, def would've told you that life comes to him how it wants to be. As long as he makes his friends happy, then he is fine. Not happy but fine. So when Keating tries to bring new things into the mix, everybody began to rethink their story.

Todd got more comfortable

Neil pursued something he always wanted

Knox got the guts to ask a girl out

So what's up for Charlie? He becomes vulnerable with himself. As he lost his personality in humour so did the familiarity with himself. So every lesson he becomes more bold and Indulgent in poetry and the revolution.

But a journey to find oneself takes long. God a 16-year-old won't find it within 4 months. But for what it's worth he tries. Throughout the movie, these boys drift apart from tradition and self-destructive ideologies. The first time Charlie makes this change in his consciousness is this one:

(Love how he looks in the angle)

Doing poetry doesn't bring attention to himself, not in the way we established he needs. So why is he doing this now?

"You yap too much, we get it" well fuck you, I'm getting to the better part

The reason for his somewhat impulsive reaction is the way he saw himself in Keating. Keating is a poet, but Charlie at first doesn't care about that. What he does care about is the cheeky way Keating moves his lips. From the comments about Meeks and Pitts names to the way he openly makes a name for himself. He thinks of Keating as this older version of himself. And he doesn't know what to do with it.

(Again this is going on in his head without him actually verbalising it to himself. Everybody does that, just writing it down)

So now this boy is chasing something he thinks can bring him to the Keating kind of level. In this path, he slowly becomes more radical with his thoughts, in a way that is pushing things over the edge. But in a boiling kind of way.

First, we have him ripping out the page. Then, the playboy scene and then this one:

I'd like to believe that this was the first time that his inner self formed a sentence. In scenes before that one, he is fidgeting around, trying to really get into it. He liked what he heard. And while he is still clinging to this version poisoned on humour, he's getting out of it. BUT

This scene is where he lets himself go. And it's safe to assume that something must have happened between the pic before and now. What is it? Heck, I know. All I know is that he tested the water and realised it's alright. (Again he is a 16-year-old boy, every 16-year-old has doubts) so everytime we do see him in the cave, he's wearing the damn hat.

So what have we established:

He cares deeply for his friends

He hides his need for recognition behind jokes

He somehow lost himself in it

He sees himself in Keating

Then learns how to be his inner self again (partly)

And he's doing poetry! Or Poetrusic...

But why did I say partly? Well, this movie is called DEAD Poets Society. And who died at the end of the movie? Ofc His CHILDHOOD best friend Neil. (This is heavily implied but even if they aren't, Neil was the closest to Charlie). He was probably the first person to know about it and definitely jumped into impulsiveness. In a way where he takes over the responsibility. Let's be real if this was at the beginning of the story he would've been one to be non-functioning but after he got his punishment and faced his worst, he knew that there are things to not be self-centered about. It's obvious that Charlie told the others. I mean, these boys look so distributed that they definitely couldn't form any sentence to the others. So it is Charlie. It had to be.

But he does let his emotions out. Not vocalising them but he shows the others that he understands. Particularly in three scenes:

1.

2.

3.

( I literally wrote something AMAZING BUT FFS TUMBLR DELETED IT)

These scenes show him care and breaking. He let's his voice break while shoving snow into Todd's mouth. To clean Todd and to drown his thoughts aswell. He has to be there but God he breaks. Because he cared

He cared so damn much for Neil. And it was that stupid system that took him away. His inner self is caring, Poetic and confronting. But how?

With all his emotions that are directed at the system regarding Neil's death, he does his first rebellion. And that not singing. The singing is only a recognition of the fact that evil Tom isn't at fault. Being in the front row and not singing? Fucking provoking.

So what's next? Now that he has found his last finding piece? The confronting kind? Not the part hiding behind humour? (If you notice he hasn't cracked a joke since Neil offed. Ofc bc the times are dark but he could've said one after the funeral. But he didn't, he was just angry)

Well....

His last scene.

He knew what would happen once Cameron walked away. He knows his roommate too much. But the reason why he punched Cameron wasn't for the fact that they couldn't work it out on the remix but more for the fact that he saw Cameron as the system. As Cameron kept digging, Charlie thought that this was the way out. Every person who experienced grief knows it's all over the place and often not understandable. If I could explain it, I would say that he had the hope of starting the rebellion needed. But he couldn't.

He failed at confronting it to its most effective stage.

He managed to comfort his friends, he managed to change his mind. But sometimes confronting ends at the start.

But it was he who failed, not the mindset. It was the rest but most importantly todd who continued it...

It's sad to not hear anything after his expulsion but I think it would be even more heartbreaking. Charlie is a lot of things but the most important one is that he is a boy. Utterly experiencing things he shouldn't have. To think that he ended his time at Welton, disproving the thing he mostly cared for (which was attention to himself) just to find himself while so is...beautiful. He broke free and now has to be alone to find his future. This is both tragic and hope-fulfilling. Wherever he ended up, I hope Charlie learned to deal with Neil's death as well...

Or I'm delusional and he's just a 16-year-old boy without depth.

Again characters are always up for debate and everyone has their interpretation. I finally wrote down mine and think it's important to share. Do with it what you want but please remain polite. Except when you crack a joke

I want jokes 🔥

[egg-emperor]

Maybe Eggman admires Big for being fat and physically capable. Eggman takes pride in the size and shape of his body so maybe he gets excited whenever he sees another fatty who can perform athletic feats.

Yesss I do like to imagine them both feeling a type of kinship. From Eggman's perspective, meeting another fat guy who is also very strong and comfortable with his body, though not in the extremely egotistical way he goes about it lol

And for Big it's finally meeting another guy who is fat and is the same height. He's used to always looking down at everyone else and being the fat one. And one of my favorites which makes part of this canon: he has a funny mustache like Eggman!

This is so cute he looks at Eggman and thinks "hey he has one just like me!" the boys are both beautifully fat and have precious whiskers and have the cutest ship name of BigEgg, a perfect match fhsjfnskgdgh 🥰

I can see Big finding it cool that they both have big round bellies, are tall, have whiskers, and if he saw body hair on Eggman's chest and tummy he'd think "he has a bit of fur like me too!" 💜 I like to imagine them having fascinations and curiosities with their similarities and differences so they compare what they both have and explore what they don't with each other

Because then they also have a bunch of perfect opposites attract attributes, like Big lives in nature while Eggman's world is all mechanical, Big is simple minded and Eggman is a 300 IQ genius, Big is chill af and Eggman has a terrible temper, Big is selfless and cares for his friends and Eggman is selfish and only cares about himself, Big is pure hearted and Eggman is evil hearted

They're so underrated man. With that there's another similarity between them irl too, in the way that Eggman and Big are commonly hated, seen a joke, or at least not cared about for various reasons in fandom, a lot of the times being because they're fat and not "conventionally attractive" and very misinterpreted characters

Big boys gotta stick together and give each other the loving they deserve! ;) ❤️🥚💜🐈

That's why I really wish Eggman could win the poll so we could see them in the Sonic Channel art together! When he inevitably doesn't I'll do it myself and finally completely draw them together and post it because if the rest of the fandom is gonna deny us from letting that happen officially then I'll have to do it myself :P

[grey-sorcery]

Title: Psychic Abilities: First Steps

Suggested Reading

Biases in Witchcraft Dualities Psychic Abilities & Mental Illness Shadow Work: First Steps Energetic Senses The Subtle Body Warding Basics

*- Closed or Semi-closed cultures/practices This article uses yellow text, which may be difficult to read outside of dark-mode.

Understanding Psychic Abilities

Psychic abilities often refer to skills or talents enabling individuals to gain information or influence beyond the scope of human senses or scientific understanding. Such capacities are frequently posited to transcend the boundaries of time, space, and matter. While they can be classified into various types – such as clairvoyance (perceiving remote or hidden information), telepathy (transmitting thoughts), and precognition (predicting future events) – the mechanisms underpinning these phenomena remain the subjects of controversy and speculation.

 Historical Perspectives

Throughout history, diverse cultures have recognized and integrated the notion of psychic phenomena into their daily lives and spiritual practices. From ancient civilizations like the Greeks and Egyptians, who consulted oracles and seers for guidance, to indigenous tribes who believed in the power of shamans and medicine people to communicate with forces beyond human perception, psychic phenomena have occupied a significant niche.

In the medieval period, psychic occurrences were often intertwined with religious or supernatural explanations. Those who claimed to possess these abilities were either revered as divinely gifted or, conversely, vilified and persecuted for heresy or witchcraft. Notably, the Renaissance and Enlightenment periods began to scrutinize such claims, emphasizing empirical evidence and rationality. This shift led to a decline in the public acceptance of psychic phenomena as mere superstitions or the result of charlatanism.

Modern Interpretations

In contemporary times, the debate surrounding psychic phenomena has bifurcated into two dominant perspectives: the skeptics and the proponents.

Skeptics, often armed with a scientific background, posit that claims of psychic abilities lack empirical evidence. They argue that such phenomena can be explained by cognitive biases, logical fallacies, or mere coincidences. For instance, the confirmation bias might lead someone to remember only the instances when a psychic prediction was accurate and dismiss those when it was not. They also highlight instances where purported psychics have been exposed as frauds, using tactics such as cold reading to feign genuine abilities.

On the contrary, proponents assert that the existence of psychic abilities is a genuine and untapped dimension of human potential. While acknowledging that fraudulence exists, they argue that there are genuine cases that defy conventional explanations. They contend that science, in its current form, may not be adequately equipped to understand or measure these phenomena. Some postulate that advancements in neuroscience, consciousness research, or quantum physics might one day elucidate the enigmatic nature of psychic abilities.

Types of Psychic Abilities 

Clairvoyance

Derived from the French words "clair" (clear) and "voir" (to see), clairvoyance essentially translates to "clear seeing." Clairvoyance refers to the claimed ability to gather information about an object, person, location, or event without any known humanly means. This phenomenon is often described as receiving visual information in the form of symbols, colors, or visions. Throughout history, many societies have revered clairvoyants as powerful figures. In some cultures, they played significant roles as advisors to rulers or as mediators between the physical and unseen worlds. Contemporary society, with its emphasis on empirical evidence, often views clairvoyance with skepticism, yet there remains a persistent cultural fascination with this ability. In many spiritual traditions, clairvoyance is seen as a heightened state of consciousness, a gift or a skill that connects the individual with higher dimensions or spiritual guides.

Telepathy

Stemming from the Greek words "tele" (distant) and "pathos" (feeling), telepathy can be understood as "distant feeling." Telepathy is the purported transmission of information between individuals without using known human sensory channels or physical interaction. It encompasses the transfer of emotions, thoughts, or even complex ideas. From ancient legends to modern science fiction, telepathic communication has captured the human imagination. While empirical research in telepathy remains inconclusive, it is a recurrent theme in popular media, underscoring the human yearning for connection. Mystic traditions may regard telepathy as a manifestation of universal interconnectedness, suggesting that at a deep level, all consciousness is one and separateness is an illusion.

Precognition

The term derives from the Latin "prae" (before) and "cognitio" (getting to know), effectively meaning "foreknowledge." Precognition involves knowledge or perception of future events before they occur, without any logical basis for such foreknowledge. This might manifest as dreams, feelings, or intuitions. Predicting the future has been a universal human pursuit, with precognitives often serving crucial societal roles as prophets, oracles, or seers. However, contemporary views on precognition are split, with skeptics pointing to cognitive biases as explanations. Many mystical traditions suggest that time, as humans perceive it, is an illusion. In such a framework, precognition might be understood as accessing timeless dimensions where past, present, and future coexist.

Claircognizance

"Clair" (clear) combined with "cognizance" (knowledge) indicates "clear knowledge." Claircognizance denotes an intuitive ability to just "know" something, without any logical basis or prior information. Individuals with this ability might suddenly know facts, insights, or understandings without knowing how they acquired them. The concept of inherent knowledge or insight is recognized in many cultures, often attributed to divine inspiration or profound intuition. However, in a world valuing empirical data, such spontaneous knowledge can be met with skepticism. Some spiritual interpretations posit that claircognizance is a connection to universal knowledge or the collective consciousness, suggesting an innate ability to tap into an omniscient source.

Clairsentience

Combining "clair" (clear) with "sentience" (feeling), clairsentience means "clear feeling." Clairsentience refers to the ability to physically feel or emotionally sense the energy or emotions of people, places, or events. This might manifest as gut feelings, sudden mood changes, or physical sensations. Empathy and heightened sensitivity have been recognized across various cultures. While some view clairsentience as a heightened form of empathy, others approach it with caution due to its inexplicable nature. Within mystical traditions, clairsentience might be seen as an enhanced sensitivity to the energy or vibrations of the universe, reflecting a deep interconnectedness of all things.

Compulsion

Derived from Latin "compellere," meaning "to drive or push together." Compulsion, in this context, refers to the purported ability to influence another's thoughts or actions without overt persuasion or physical interference. Historical records are replete with tales of individuals who held sway over masses, their compelling presence seemingly altering the will of others. Modern interpretations often approach such claims with caution, exploring psychological mechanisms behind suggestibility. Some spiritual interpretations suggest compulsion is an exertion of one's will or energy over another, tapping into the subtle dynamics of interwoven consciousness.

Common Misconceptions

While psychic abilities have been recognized and debated for centuries, modern society often conflates them with broader supernatural phenomena. To distinguish: psychic abilities are often defined as potential innate capacities of the human psyche, whereas supernatural phenomena encompass a broader range of occurrences that supposedly defy natural laws. An example of such a conflation might be equating clairvoyance solely with ghostly apparitions or haunted locales, limiting the nuanced understanding of psychic phenomena. This conflation can be attributed to myriad factors, including cultural narratives, folklore, and limited exposure to diverse interpretations of psychic occurrences.

The Hollywood Influence

The entertainment industry, particularly Hollywood, has significantly molded perceptions of psychic phenomena. From sensationalized depictions of mediums speaking to the departed in horror movies to superheroes with telepathic abilities saving the world, these portrayals often prioritize spectacle over accuracy. While they capture the imagination and offer thrilling narratives, they may distort or exaggerate the nuances of genuine psychic experiences.

Hollywood's penchant for dramatization means that psychic abilities are frequently portrayed with an added layer of spectacle, potentially leading the general populace to harbor unrealistic or skewed expectations. For instance, telepathy in movies might be showcased as characters having fullblown conversations without speaking, while actual anecdotal accounts might reference fleeting impressions or emotions.

Skepticism and Belief

Public opinion on psychic phenomena is polarized, with skeptics and believers often at odds. Skeptics caution against gullibility, pointing to instances of fraud, the influence of cognitive biases, and the lack of empirical evidence as reasons for disbelief. On the other hand, staunch believers might dismiss skeptics as close minded or overly analytical.

However, a nuanced view acknowledges that both skepticism and belief have their merits. Blind skepticism might close one off to exploring uncharted territories of human experience, while unbridled belief risks being deceived by charlatans. An informed approach considers available evidence, remains open to possibilities, and constantly seeks deeper understanding, free from dogma.

New Age Influences and How to Avoid Them

The New Age movement, originating in the late 20th century, amalgamates various spiritual and metaphysical beliefs. While it has popularized many esoteric concepts, including some pertaining to psychic phenomena, it often does so without rigorous foundation or context.

To avoid undue New Age influences when exploring psychic phenomena:

Educate Yourself: Delve into historical, cultural, and scientific perspectives on psychic abilities. Understand that the New Age interpretation is just one among many.

Question Sources: Not all literature or speakers on psychic topics are reliable. Discern between those who have done comprehensive research and those echoing popular yet shallow narratives.

Practice Discernment: Be wary of commercialized aspects of the New Age movement, such as workshops or products that promise quick psychic awakenings without any substantial groundwork.

Theosophical Influences and How to Avoid Them

The Theosophical Society, founded in the 19th century, aimed to explore, study, and disseminate knowledge about the mystical and unknown. However, its interpretations of psychic and spiritual phenomena are specific to its doctrine.

To steer clear of Theosophical biases:

Broaden Your Horizon: While Theosophy offers a rich tapestry of esoteric thought, it's essential to explore other cultural, philosophical, and spiritual perspectives on psychic phenomena.

Recognize Distinctive Theosophical Concepts: By identifying core Theosophical tenets, one can differentiate them from other psychic or spiritual beliefs.

Engage in Open Discussion: Interacting with a diverse group of thinkers, researchers, and practitioners can help in discerning Theosophical influences from more universal or varied interpretations.

The Science Behind Psychic Abilities

Psychic phenomena have long captured human curiosity, leading to extensive investigations, both informal and academic. Over the past century, numerous institutions have endeavored to study psychic abilities under controlled conditions. These include efforts by prominent universities and independent research bodies.

One well-documented approach has been the use of Zener cards — a set of five symbols (circle, cross, waves, square, star) — to test for extrasensory perception (ESP). Participants predict the sequence of cards, and results are assessed against statistical probabilities to discern any significant deviations suggesting psychic abilities.

Another area of interest has been the study of telepathy, where participants, often in isolated chambers, attempt to transmit or receive thoughts, images, or emotions. Success rates beyond chance levels could, in theory, indicate telepathic capabilities.

Controversies and Criticisms

Despite the extensive body of research, psychic phenomena remain a contentious topic in the scientific community. Some of the primary criticisms include:

Replicability Issues: A foundational principle of science is that experiments should produce consistent results when replicated. Psychic phenomena, however, often lack this consistency, leading many to question their validity.

Methodological Flaws: Critics often point out potential flaws in the design or execution of psychic experiments. These could range from insufficient controls, potential biases, or even fraud.

Statistical Interpretations: While certain psychic studies claim statistical significance, skeptics argue that these could be anomalies or the result of incorrect data interpretation.

Potential Explanations

Given the elusive nature of psychic phenomena, several hypotheses have been proposed, ranging from the purely physiological to the quantum mechanical:

Subconscious Perception: Some suggest that what's perceived as psychic ability might be heightened sensitivity to subconscious cues. This could mean picking up on subtle body language, temperature changes, or even pheromones.

Quantum Mechanics: Some posit that the nonlocality principle in quantum physics, where particles can be interconnected over vast distances, might provide a framework for understanding psychic interconnections. Though this argument tends to be provided by those who do not understand quantum theory.

Unified Field Theory: Drawing from physics, some speculate that a yet to be discovered unified field might explain the interconnectedness of consciousness. Though this argument also tends to be provided by those who do not understand quantum theory.

Potential Biases Within Scientific Approaches

While the scientific method prides itself on objectivity, biases can infiltrate any field of study, including investigations into psychic phenomena:

Confirmation Bias: Researchers, like all individuals, can unconsciously favor data that aligns with their preexisting beliefs, potentially overlooking data that contradicts their hypotheses.

Publication Bias: Studies producing positive or sensational results are often more likely to be published than those with null or negative findings. This can skew the available literature and public perception.

Cultural and Historical Biases: Western scientific paradigms, rooted in materialism, might inherently dismiss phenomena that don't fit within this framework, whereas other cultures might approach the same phenomena differently.

It's crucial to approach psychic research with an awareness of these biases, ensuring comprehensive and balanced investigations.

Comfort with Paranormal Explanations and Experiences

Across the globe, individuals vary in their comfort levels with paranormal explanations. For some, a spiritual or mystical interpretation of an event is natural and enriching. For others, such interpretations might provoke discomfort, skepticism, or even fear.

Some cultures have rich traditions of spiritual and mystical experiences, making paranormal explanations more accepted and integrated. Direct personal experiences with phenomena that defy conventional explanations can either enhance comfort with the paranormal or, paradoxically, provoke greater skepticism. Awareness and understanding of various phenomena, whether through formal education, personal research, or exposure to diverse viewpoints, can influence one's comfort levels.

Developing Psychic Abilities: A Comprehensive Approach

The initial phase in understanding psychic abilities requires identifying subtle indications that point towards their potential presence. Historically, various cultures have believed in the capability of certain individuals to perceive information hidden from the regular senses. These potential indicators might include:

Heightened Sensitivity: Some individuals report a heightened sensitivity to their surroundings, especially in terms of emotions and energies. They often feel strong empathic connections, allowing them to sense the emotions and moods of those around them, even if subtly expressed.

Frequent Déjà vu: The sensation of having experienced something previously, even when encountering it for the first time, may indicate a potential psychic inclination. While this phenomenon can be explained by various neurological processes, some interpret it as a sign of precognitive ability.

Predictive Dreams: Though dreams often arise from the subconscious mind processing daily events, some individuals note dreams that appear to foretell future events. While not always accurate, these dreams' predictive nature often stands out due to its specificity and detail.

Practice Techniques

To nurture psychic abilities, one must employ certain techniques and exercises that are designed to enhance these potential faculties. Here are some scientificallyacknowledged methods that might be beneficial:

Meditation: Meditation is a tool that aids in focusing the mind and building awareness of one's thoughts and surroundings. By practicing regular meditation, individuals can develop a heightened sense of intuition and possibly tap into deeper levels of perception.

Mindfulness: Being present in the moment can help individuals become more attuned to their surroundings and the subtle energies therein. Practicing mindfulness, like meditation, can be a foundation for honing psychic skills by fostering a keen awareness of the world around us.

Exposure to Varied Stimuli: Engaging with diverse environments, cultures, and experiences can sharpen one's intuitive skills. By exposing oneself to a broad array of stimuli, it becomes easier to identify patterns and connections that might not be immediately obvious.

Consistent Training

Consistency is vital when cultivating any skill, and the development of psychic abilities is no exception. Regular practice and a commitment to growth are imperative. Keeping a record of experiences, feelings, and intuitions can be beneficial. Over time, patterns may emerge, providing insights into the development and accuracy of psychic abilities.

Seeking feedback from trusted sources helps in gauging the accuracy of one's psychic perceptions and offers opportunities for refinement. Engaging with literature and scholarly articles on topics like parapsychology, cognitive science, and neurology can provide a rounded understanding and facilitate better practices.

Identifying Cognitive Bias

While exploring psychic abilities, it is crucial to be aware of cognitive biases. These are systematic patterns of deviation from rationality in judgment, where individuals create their own subjective reality from their perception. Examples include:

Confirmation Bias: The tendency to seek, interpret, and remember information in a way that confirms one's preconceptions. In the context of psychic abilities, this might manifest as remembering only accurate predictions while disregarding inaccuracies.

Apophenia: The human tendency to perceive meaningful patterns within random data. This could lead individuals to believe they've identified significant psychic insights when, in fact, they're drawing connections from unrelated events.

Identifying Mental Illness Symptoms that Seem Like Psychic Abilities

It is essential to differentiate between genuine psychic experiences and symptoms of mental illnesses. Some symptoms can mimic psychic phenomena, such as:

Hallucinations: These are sensory experiences in which a person can hear, see, smell, taste, or feel something that isn't there. While some might interpret these as psychic visions or messages, they are often associated with conditions like schizophrenia or bipolar disorder.

Delusions: Strongly held beliefs despite evidence to the contrary. For example, believing that one has a unique ability to predict events or read minds, when, in reality, evidence does not support these claims.

Hyperactivity and Racing Thoughts: Conditions such as bipolar disorder can lead to periods of hyperactivity and rapidly changing thoughts, which can be misconstrued as psychic energy or heightened intuition.

If you or someone you know shows symptoms of mental illness, you can find a list of assistance and services at the end of THIS article.

Psychic Abilities and the Mind

The intricate network of the human brain, with its myriad neural connections, governs how we think, act, and perceive the world. Central to our understanding of psychic abilities is the role of cognitive functions. These are the mental processes that allow us to carry out tasks, make decisions, and interpret the world around us. A cornerstone of cognition, memory allows us to store and retrieve information from the past. It's been posited that individuals who claim to have psychic abilities might have an enhanced or different utilization of memory, allowing them to recall events or details others might overlook.

The capacity to concentrate on specific stimuli or events in our environment is critical for any psychic exploration. An acute sense of attention might enable some individuals to pick up on subtle cues or information generally unnoticed by the average person. Processing Speed is the time it takes for an individual to interpret and respond to stimuli. A heightened processing speed might allow for faster interpretation of sensory input, which some argue could be linked to certain psychic phenomena.

Role of Subconscious

The subconscious mind, operating below the level of conscious awareness, is a vast reservoir of thoughts, memories, and feelings. Its role in psychic abilities is a topic of significant interest.

Our subconscious continuously processes information, even when we are not actively thinking about it. These processes can lead to sudden insights or "gut feelings" that seem to come out of nowhere but might, in reality, be the result of the subconscious working behind the scenes. While dreams are a regular part of the human experience, some propose that they can serve as a conduit for psychic information. The subconscious mind, active during dreaming, might present information in symbolic or direct ways that could be interpreted as precognitive or clairvoyant insights. The subconscious mind plays a pivotal role in our emotional responses. Some individuals claim to "feel" others' emotions, suggesting that their subconscious minds might be more attuned to emotional stimuli from the environment.

Perception and Intuition

At the intersection of psychic abilities and the mind lies the realm of perception and intuition. These faculties determine how we interpret the world and react to it, and they play a potentially significant role in psychic phenomena.

Enhanced Sensory Perception: Some who claim psychic abilities report a heightened sense of sight, hearing, or other senses. This enhanced perception allows them to detect stimuli that others might miss, potentially leading to insights that seem psychic in nature.

Gut Feelings: Intuition, often described as a "gut feeling," is a form of innate understanding or knowledge without the need for conscious reasoning. While everyone experiences intuition to some degree, its role in psychic abilities might be more pronounced. This intuitive sense might be more developed or refined in some individuals, leading to perceptions that are out of the ordinary.

Pattern Recognition: Humans are naturally inclined to seek patterns in the environment, a trait that has evolutionary advantages. However, some propose that those with psychic inclinations might have an enhanced ability for pattern recognition, allowing them to see connections or insights that might elude others.

Ethical Considerations in the Exploration of Psychic Abilities

The exploration of psychic abilities is not merely an introspective journey; it often intersects with the lives of others, especially when abilities are employed to provide insights or guidance. Herein lies the critical juncture of ethical use versus misuse.

Objective Approach: It is paramount for individuals claiming to possess psychic abilities to approach every situation with an objective mindset. Allowing biases or personal beliefs to interfere can lead to skewed interpretations, which might misguide those seeking counsel.

Financial Exploitation: With the commercialization of psychic readings and related services, there is a risk of financial exploitation. Ethical practitioners should be transparent about their services' costs and avoid exorbitant fees or manipulative tactics that compel repeated visits.

False Claims: Authenticity and truthfulness are fundamental. Individuals should refrain from making unsubstantiated claims about their abilities or the results they can achieve, as this can mislead and potentially harm others.

Respecting Privacy

Delving into the personal lives of others, whether intentionally or inadvertently, comes with significant ethical implications.

Unsolicited Readings: It is ethically questionable to provide unsolicited readings or insights into another person's life or situation. Even if one believes they have valuable information, it is essential to respect boundaries and only offer insights when explicitly asked.

Confidentiality: Similar to medical or therapeutic professions, individuals offering psychic services should maintain strict confidentiality. People's personal information, emotions, and situations should never be divulged without explicit consent.

Consideration of Potential Harm

The potential repercussions of psychic readings or interventions are not always immediately apparent. Therefore, a deep sense of responsibility and foresight is required.

Emotional Impact: Interactions can leave a lasting emotional imprint. Whether the information shared is positive or negative, practitioners must be sensitive to how it might affect an individual emotionally and mentally.

Dependency: There's a potential risk of individuals becoming overly reliant on psychic insights, sidelining their own judgment or decisionmaking abilities. Ethical practitioners should encourage autonomy and personal growth rather than fostering dependency.

Physical Actions: On rare occasions, insights or predictions might prompt individuals to take specific actions in their lives. It's crucial for those with psychic inclinations to understand the weight of their words and the potential physical ramifications they might have on others.

Psychic Abilities in Different Cultures

The concept of psychic abilities, while interpreted differently, exists in some form across various global cultures. Each culture's perspective provides a unique lens through which to understand and appreciate these phenomena.

Eastern Perspectives

In many Eastern traditions, psychic abilities are often interwoven with spiritual and philosophical systems.

Buddhism: Within Buddhist traditions, especially in Tibetan Buddhism*, there are references to "siddhis," which are supernormal powers attained through meditation and spiritual practice. These can range from clairvoyance to precognition. While these abilities are acknowledged, they're often considered secondary to the ultimate goal of enlightenment.

Hinduism*: Ancient Hindu scriptures, particularly the Yoga Sutras of Patanjali, detail various psychic abilities termed "vibhuti." These abilities are said to emerge as one progresses along the path of yoga. However, they're treated with caution and are not the primary focus of spiritual development.

Daoism*: In Daoist traditions of China, psychic phenomena might be attributed to the harnessing of "qi" or vital energy. Daoist practitioners often engage in exercises to cultivate and balance qi, which in turn can lead to heightened abilities.

Western Perspectives

The Western world, influenced by a mix of JudeoChristian beliefs, scientific rationalism, and GrecoRoman philosophies, has its own take on psychic phenomena.

Ancient Greece: Oracles, like the famed Oracle of Delphi, played essential roles in ancient Greek society. These priestesses were believed to possess the ability to communicate with the gods and offer prophecies.

Medieval Europe: During the Middle Ages, individuals who claimed to have psychic abilities or other supernatural powers often faced persecution, associated with witchcraft and heresy.

Modern Era: With the rise of spiritualism in the 19th and 20th centuries, psychic abilities gained renewed interest. While often met with skepticism, especially from the scientific community, there remains a segment of the Western population that believes in and seeks out psychic experiences.

Indigenous Beliefs

Indigenous American Cultures: Among the Navajo*, there are individuals known as "hand tremblers" who are believed to diagnose illnesses or predict events. Similarly, the Lakota Sioux have "heyokas" or sacred clowns, who act in ways contrary to societal norms and offer unique insights.

Aboriginal Australians*: Dreamtime stories and spiritual beliefs play a central role in Aboriginal culture. The concept of "Dreaming" refers to both the ancient stories of creation and the personal dreamjourney of an individual, which can offer guidance and insights.

Shamanic Cultures of Siberia*: The term "shaman" originates from the Tungusic peoples of Siberia. Shamans in these cultures serve as intermediaries between the human and spirit worlds, accessing knowledge and healing through altered states of consciousness.

Maori of New Zealand*: The Maori have "tohunga," experts in specific areas, including those who interpret signs, dreams, and omens. They play a crucial role in guiding societal decisions and understanding the world.

African Cultures: Among the Dagara* of West Africa, there are individuals recognized as having a unique connection to the spirit world, often identified at a young age and trained to serve the community. Similarly, the Zulu* of South Africa have the "sangoma," traditional healers who diagnose and treat illnesses and communicate with ancestors.

Psychic Abilities and Personal Growth

The exploration of psychic abilities transcends mere curiosity about the supernatural. For many, it is an avenue towards profound personal growth, fostering a deeper understanding of oneself and one's place in the larger tapestry of human experience.

Self-awareness and Understanding

The journey into psychic phenomena often demands a heightened sense of selfawareness. This introspective path can lead to significant personal revelations.

Delving into psychic practices necessitates continual selfreflection. This process can unearth previously unrecognized aspects of one's character, beliefs, and motivations. Such insights offer opportunities for personal development and transformation. The exploration of psychic abilities can help individuals distinguish between their inner voice — that intuitive sense of knowing — and the cacophony of external influences. Recognizing and trusting this voice can guide decision making and foster a stronger sense of identity.

Some individuals believe that their psychic inclinations provide clarity about their life's purpose or direction. By tapping into these abilities, they feel more aligned with their personal and spiritual goals.

Emotional and Mental Health

The intertwining of psychic exploration and emotional and mental wellbeing is multifaceted and profound.

Processing Trauma: For some, psychic practices serve as a conduit for addressing and processing past traumas. By confronting these issues, individuals often find a path to healing and acceptance.

Managing Stress: Techniques often associated with psychic development, such as meditation and mindfulness, are beneficial for managing stress. These practices promote relaxation, mental clarity, and emotional balance.

Boosting Confidence: Recognizing and honing psychic abilities can bolster confidence. Individuals often feel empowered by their unique insights and the validation they receive from accurate perceptions or predictions.

Influence on Relationships

The ripple effects of psychic exploration extend into interpersonal relationships, shaping interactions and connections in various ways.

Enhanced Empathy: A heightened sensitivity to the emotions and energies of others can foster deeper empathy. This understanding can lead to more compassionate and supportive interactions with loved ones.

Navigating Conflicts: With increased intuition and perception, individuals might find it easier to navigate conflicts. Recognizing underlying issues or emotions can facilitate communication and resolution.

Building Trust: For those who share their psychic experiences with close friends or family, it can foster trust. When perceptions or insights prove accurate, it reinforces the bond between the psychic individual and those they interact with.

Psychic Abilities and Shadow Work

Shadow work refers to the process of confronting and understanding the darker, often suppressed facets of oneself. The interplay between psychic abilities and shadow work is intricate.

Unearthing Hidden Fears: Psychic experiences can bring to the surface latent fears or insecurities. These revelations, while challenging, are essential for personal growth. By addressing these fears, individuals can move towards holistic wellbeing.

Confronting Denial: Denial is a defense mechanism, shielding individuals from painful truths. However, psychic insights can pierce this veil, forcing a confrontation with realities one might prefer to ignore. This confrontation, though initially unsettling, is a step towards authenticity and selfacceptance.

Integration for Wholeness: The culmination of shadow work, when combined with psychic exploration, is the integration of all aspects of oneself. Recognizing and accepting both light and dark facets lead to a more balanced and whole self.

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[crumblinggothicarchitecture]

tbh it's not just insinuation of you doing some class discrimination that is gross, other things listed by them as accusations towards you are at least equaly as disgusting, if not more. "ableism, classism, racism" i'm sorry, i didn't know swift is disabled, poor or non-white, oh wait, she is neither of these. yes, grammar policing can be used to discriminate, but when it's used to punch down people, who actually belong to these categories.

also there are literal college courses focused solely on swift's writing, but you as someone with english lit degree can't do some grammar analysis on your private blog? is other anon as offended about these courses and sending them emails about how discriminatory it is to pick apart someone's writing? of course not, because the only people, who would spend money an that type of a course are rich ts fandom cultists, who wouldn't say anything, that might be actually critical about swift. also anon doesn't actually care about picking apart someone's writing, they only care about swift's writing being put under some criticism, because otherwise they would be sending offended emails to every school or critic for the crime of literary analysis.

it's almost as if swift trained these people with her never ending victimhood and copying, to look in her name for any struggle to steal whenever she is being criticized. not an ounce of critical thinking or just common sense to look at it for a second and realize that these don't apply to swift. "so yeah not a good look" yeah, but not on crumblinggothicarchitecture

Sorry, this took a minute for me to get to <3. I appreciate this perspective. I didn't even mention that in the ask, but it's so weird to accuse someone of being racist, ableist, classicist just because I analyzed Taylor Swift’s poor grammar. Swift is the one who calls herself a writer and claims she one of the best writers on the planet right now. So, it stands to reason that I would use my English Degree to analyze her grammar if, for any reason, I felt she actually wasn't a good writer.

If I say that someone isn't a good writer. I'm not going to just state that and leave it there. Obviously, it's on me to effectively argue my point. I do, however, have ways to argue my point. So, naturally, I will get into some linguistic or literary criticism of Swift.

I'm not sure that Grammar-Anon really understands what I am trying to do here. Besides, I think you're right about them not knowing that linguistics is an actual academic discipline. Are the people who dedicate their whole lives to studying and teaching grammar also being racist, ableist, and classicist? LOL.

The English language is such a beautiful medium for expression. It's one of my favorite languages, among many, to read poetry in because it has such an amazing breadth of vocabulary words with which to express emotion. In most linguistic study, it is the mechanism of language itself that scholars pull into study. Fascinating stuff- and people study it all. There are scholars whose life's work revolves around understanding AAVE dialects, or understanding Louisiana Cajun dialects, or understanding mid-Atlantic dialects, or Jewish-New York regionalisms. This is just a short list of regionalist dialects I've personally read about in the last few months- however, the list is expansive and covers much more than just the American continent. For instance, there is a whole subset of academic study centered on the post-colonialist use of English Language in India. Scholarship in this field often takes into account feminist theory, Marxist theory, or Post Colonialist theory. (Again, I just listed my favorites, but there are many more theoretical lenses through which people study the impact of grammatical praxis).

This is something people make into their whole life's work- it's not somehow offensive to participate in low-stakes grammatical analysis of Taylor Swift.

You're right, some people just can't handle the idea of putting her work under the microscope because it would impact their narrow-world view if someone said actually Swift is a bad, unoriginal writer. Imagine the meltdown if twitter Swifties found me :O

I've been giving Swift a pass for years, mostly because I would dismiss her music as simple pop-music. It's meant to be fun. I would listen to it, because it was an easy break from the dense, challenging stuff I would read for classes. However, now I'm going to tear apart Swifts work. It's the principle of the matter now because she seems to think she's the greatest American poet to ever live. I am both bored, as summer approaches and I have nothing else to work on, and frustrated that she's pretending to be a poet.

She's not a tortured genius. She's a trust fund baby who got as far as she did on mediocrity because of her parents' money. We "wouldn't last an hour in the asylum" where they raised her- Ha. She wouldn't last a second working a part-time job after school to pay rent. I get upset when people accuse me of some type of classist's attitude purely because I use my education when they know nothing about my story. I got a lucky break.

Education is my road out of abject poverty. Nothing else was going to save me. I did it all on my own, with the help of a bunch of scholarships, lucky breaks, and really wonderful teachers. Now, in my real life, I am the teacher now. I want to root for people. I critique for the sake of wanting people to improve their skills.

Taylor Swift's arrogant attitude and unwillingness to face criticism just gets under my skin. So, what do I do? I'm not fond of ad hominem attacks. Instead, I will make some good arguments about her bad writing and have some fun in the process. :)

So yeah- I guess it's not a good look.

[reflections-in-a-critical-eye]

I've asked myself many times over the course of three years about how would I react to information that comes to contradict a specific image I have about people. And the answer would differ, more or less, depending on a myriad of factors, such as my mental wellbeing, my attitude toward the fandom, the group, the members, etc. The truth is, I only knew how I would respond the moment it happens and I was pleasantly surprised in a way. I see it as a sign that I'm doing better or at least I'm on the path of doing better.

These are things that I didn't want to allow to come to surface in the way I used to handle the BTM blog. Perhaps because the point was to create a platform in which I could offer the rational, researched perspective which I considered to be the correct one. I'm not retracting any of that. I still believe that it is possible to offer a more complex perspective if I can back it up with knowledge from various fields, but it was also one of my defense mechanisms.

Without expanding on the personal reasons, it has become very easy for me to separate my rational and emotional side. So much, that even when I should be staying in the moment and let my emotions take space, I can't really do it, I need to come up with a rational explanation so it can make sense. I then applied this to BTS as well. I couldn't just say I like this group when someone would ask, I would have to tell them about all the studies I read and how my fascination is mostly intelectual, when in truth it was both. I used to talk about jikook only in the context of analysis, be it GCF through semiotics or various types of interpretations when it came to their performances or fandom reception in terms of their dynamics. It had to be in the context of rational fascination and curiosity because I was merely trying to justify myself on why I care that much about two strangers that I look at on my phone. Again, my intellectual curiosity is real, but that has always been only one side if the coin, but it was one that I pushed.

It's about shame actually. I can't actually accept that I have such an interest. It doesn't fit with the idea I have of myself. And sometimes I don't like it because it makes me question my intellect, my critical thinking. How can I be so good academically and at the same time I fear that I've fallen into a fandom trap? I'm smart, right? Right?

I'm sure a lot of people have dealt with or ar going through this process of cognitive dissonance. How does one deal with the mere idea that something they believe in based on their understanding of the world, their ability of decoding (not in a conspiracy sense, but in a Saussurean way) can turn out to be wrong? We see something that resembles a specific behavior that we are surrounded with our entire lives, sometimes we ourselves engage with, but we've identified it wrong on others? Of course, it's through the visual medium, one that is edited. It's a puzzle with large chunks missing, but we're getting a general idea of it. But we can be wrong. So how do we deal with that? Well, I don't have a correct answer.

Me in 2020/2021 would have been more affected because my mental health was not good. I was functionally depressed and I clinged so much onto BTS, Jikook and the small community that I found myself in at that time, that I would have felt a lot more torn than I am now.

A couple of years later and having to actually go through a situation in which my understanding of people's relationship might not be accurate, I realized I'm fine. And I think it's because it made me really register just now that I finally learned how to have fun with it. It took me three years. By having fun, I mean genuinely being able to simply enjoy the little things. I'm still on the path of not being ashamed for liking kpop or spending time talking about the dynamic/relationship of two people.

What prompted this post was reading what is currently being written in the jikook tag. Yes, I had this big introductory chunk that perhaps people won't bother reading, but I'm doing it for myself. If I can't be honest while writing stuff into the void for strangers to read, then what is the point?

I get frustrated very easily. I like debates and contradictory points of view, but not always. And that's because I like to be right. Almost all the time. So when I see something that I believe it lacks logic or I find it absurd, then my fingers are itching. I don't comment or DM people, I can control myself. I'd rather get out of the app and do something else.

What I want to say is I was surprised at how much fanfiction is being written. More that usual. Shipping contains a big deal of fanfiction by its nature. Gestures and events taking place at different times are interpreted and having information added that fills the gaps. People do that because they have to make sense of what they see.

They like to make relationship timelines. They speculate on first kisses and first sexual experiences. That's their imagination. None of us has any way of knowing. The element of fiction is heighted when people feel like they are losing control of the narrative. When they are unsure of what they are seeing. Which is what usually happens in the shipping community on a yearly basis. Anons flooding the bloggers' inboxes because they need confirmation or they didn't get any ship content in a month or two which means something is wrong.

There's this understanding that the shipper/supporter is delusional while the one who stops shipping is the rational one. From what I've observed throughout time and mostly now, that is a false distinction. The so-called rational fan makes use of fiction just as the shipper. The difference is in purpose. One talks about why the supposed romantic relationship is real and the other tries to refute that. But both categories seem to need fiction in order to build their arguments. That is because none of them have access to someone's private life and relationship, so the gaps need to be filled with speculation. There is no right or wrong version here, despite how much the idea is being pushed. And me writing about this won't make a difference. It's simply how the fandom works. The one who position themselves on the side of anti-delulu will always be seen as the less crazy one. The similarities will fade for the collective consciousness of the fandom.

I think it's difficult for a lot of people, regardless on which side they find themselves on, to accept that the option of simply not knowing is enough as well. Or knowing, but without getting anal about it. But it's hard and they write posts after posts, anons are sending asks over asks because there has to be a firm answer. Only a few allow themselves to be in between lines.

I'll bring back something that I always used to say. Shipping and involvement in the fandom is a lot more about us and less about the people we're talking about. It's about fullfiling some needs, of needing a community, of focusing on the idea of love. Those things can still be done in a way that still makes the experience enjoyable. But not everyone can and I'm not blaming it.

There's a way to just like how people behave with each other and imagine things without adding so much weight to it. Regardless of the true nature. It's our imagination, there's no need for a moral inquisition to tell anyone how to think or that they should stop thinking a certain way. Touching some grass is a cliche and an expression I ended up hating, but I do believe that being connected to discourse on a daily basis can really alter our sense of reality and what we consider to be real issues. We really should pay more attention to that and take some distance if necessary.

[pandor-pandorkful]

It's time for another ADHD-fueled ramble! This one is about Homestuck, kind of. Saw a post about someone never reading it in spite of being a tumblr oldie, and that lead to some introspective reminiscing. Maybe it's interesting, maybe it isn't.

I reckon a lot of folks who read Homestuck were kind of peer-pressured into it. I was no exception, though the pressure applied was relatively passive. And if my memory serves me, I started reading Homestuck on MS Paint Adventures before I was a regular tumblr user... sometime in 2011, I think? The year I took off between grad school year 1 and 2, or maybe just slightly before that...

Anyways, around that time I noticed most of my Silent Hill fan art buddies on deviantArt suddenly switched to drawing trolls pretty much non-stop out of the blue.

I felt confused, and kinda left out. I was already feeling like being so overwhelmingly distracted by grad school had permanently damaged my connection to those friends...

So in kind of a last ditch effort to not lose yet another friend group, I dove headfirst into the webcomic, hoping to understand why the steady stream of old man yaoi had been replaced by weird preteen aliens.

If you've read the majority of Homestuck, you know what an effort that was. Its first few chapters are incredibly long and slow paced. By the time I even caught up to the trolls actually being visually introduced, I think my SH-turned-HS friends had moved on to something else entirely. :B

(Later I'd learn that the majority of HS fans during the height of it's popularity were, uh, kinda "fake fans". In that they skipped directly to the troll chapters. :B)

Granted, I had taken the longest possible road to catch up with MS Paint Adventures. When it comes to comics, any comic, I am a completionist. Maybe it's the anxiety from feeling like I'm always missing out on CONTEXT due to ADHD... My brain is broken and I must read everything in chronological release order, so that nothing is missed. (This is a big reason I never got into superhero comics.)

Homestuck was only the current series on MSPA, there were several other completed or abandoned series as well. So I started at what seemed like the very beginning, with Jailbreak. By the time I was done with Problem Sleuth I was very hooked on the throwback to text-based adventure games meets forum shenanigans baked into a comic formula.

Homestuck itself was delightful, from an adventure game mechanics perspective. It had all the frustrating backtracking and plodding story of a classic hardcore adventure, as well as the wild traditional-format-breaking jankiness of the experimental web comics imagined in Scott McCloud's "troubled middle child*," Reinventing Comics. (*as he described the book to me when I asked him to sign my copy lol)

No wonder so many readers skipped straight to the troll chapters! You really had to have a very specific string of incredibly niche, nerdy interests in order to appreciate the slow-burn of the chapters leading up to the trolls... and apparently that's exactly what I had.

Like, to the point that it took me a long ass time to warm up to the trolls at all. Maybe it was because I was an older reader than the typical HS fan and had actually experienced more eras of the internet, but the trolls were just as annoying as the real life types of internet trolls they were based on.

I don't think I started to actually like any of them until the second set of trolls were introduced. The generational conflicts between old-internet and then-current types of trolling was fascinating and honestly hilarious.

By the time I was finally caught up, the comic was close to it's first ending. (And in my opinion, only ending. As I didn't bother checking in with Hussie's later attempts to rekindle the series.)

Having read through everything on MSPA that came before Homestuck, as well as stumbling into Andrew Hussie's even older comics, blog posts and Picard/Riker ST:TNG fan edits on youtube, I had built up maybe an unrealistic hope for the future of MSPA: I was excited for the next comic project to come once Homestuck was finished.

What a big assumption! I don't think anyone would have an easy time just moving on to "the next project" after making something that had garnered as big of a reaction as Homestuck did. So watching Hussie spiral into milking HS for all he could really shouldn't have surprised me.

In an ideal world, artists, writers, creators in general would be able to just move on from project to project. Creation to creation to creation. But we're not machines, and none of us exist in a vacuum. We need to survive somehow, and our feelings of importance and self worth can get so dangerously tangled up with the reaction others have to our work.

Some may find success and never work again. Some may find success and seek to recapture that high for the rest of their life. Some will never find success and give up creating altogether. Who am I to judge or hope for anything from any creator? I'm barely holding on by the whites of my knuckles and the skin of my teeth myself.

But part of me still grieves for the "Next MS Paint Adventures Project" I made up in my head. Something that scratched the itch for interactive comics in new and exciting ways. With brand new characters, settings and bizarre lingo to get used to. There would be references to prior projects, just as HS was peppered with references to Problem Sleuth and the other MSPAs, but on the whole it would be a self-contained work, as it's predecessors were. Another volume for the abstract digital bookshelf.

MS Paint Adventures is dead, the site is just Homestuck now. Flash, the format that made up the very backbone of the comic, is dead and banished. I haven't chatted with most of my old dA buddies in over a decade. We all move on, or don't, in one way or another.

[mbti-notes]

Anon wrote: Helloo, I'm a 24 year old INTP woman. I've been reading your blog for 6 years now. Back then I knew about type but not typology and cognitive functions. Your blog made everything very clear, as well as fascinating, so thank you very much for that.

I was interested in psychology, because I felt inadequate then and had a hard time relating to people. I wanted to achieve a lot so I knew I had to work on my weaknesses first, to balance everything. MBTI theory showed me exactly what those were. The stress was big too at the time, I was alone, abroad for my studies and I'm from a third world country, the adaptation was hard and I struggled a lot with that as well as other hardships due to material conditions.

Anyway, for years I've read some of your recommendations and digged deeper into the human's psyche. Into psychology and social sciences as a whole, even though I'm in a STEM field. I tried my best to work on my emotional intelligence and really choose a career path taking into consideration my type and aspirations, even going against my parents will to do so.

Since I've been working on this for so long and with awareness, I'd like to test my maturity, what can I do to know if I'm well-developed ? If I have a good grasp of my functions ? If I worked through my traumas ? Them, being beaten for the slightest thing as a kid. I'd love to tell myself that I do, but I don't think I have enough perspective to test it objectively, so what do you think?

Thanks a lot in advance, you're really doing an amazing work, stumbling upon your blog felt like finding a hidden treasure in some lost island in the vast ocean. One must be lucky and aware of its value to recognise the remarkable craftsmanship you put into it. You have my admiration for that. Wishing you the best in life 🙌

----------------------

I appreciate your kind compliments. Funnily enough, I also treat my blog as a hidden treasure chest of sorts. It's a place I stash gems and pearls (of wisdom) that I've picked up. I make them rediscoverable rather than just leaving them in the junk drawer of my mind, lol.

The way you frame the question is rather narrow given that "maturity" is quite a big and complex concept. If your question was sparked by reading the ego development section, there are reliable ways to assess it, but doing so isn't likely to provide you with useful information. There are a wide variety of factors that influence maturity, so it's not something that can be changed through sheer force of will. The process of maturation must be respected and allowed to progress at its own pace, rather than forced toward some imagined result.

Because maturity is such a huge topic, I'll limit the discussion to what I believe is relevant to INTPs. One thing I've noticed is that INTPs tend to confuse "development" and "growth". To be fair, these two words are often used interchangeably and their definitions can be quite vague in psychology. I'll explain how I distinguish them:

Development is about improvement of your ability to make good use of the inner resources you already possess. These resources include things like your talents, skills, and constructive traits that help you reach important goals or milestones in life.

Growth is about transformation, which usually involves a dramatic change to your attitude, perspective, worldview, or self-concept. When you "grow as a person", there is a significant shift in how you conduct yourself or live your life.

If you're science oriented, you can think of development as doing things to increase mechanical efficiency and quantifying the progress, whereas growth is like an unpredictable chemical reaction that creates a qualitatively new state of being. To distinguish development and growth in this way is not to say that they are separate. Purposeful self-development is one important factor that contributes to growth, but it is not enough in itself to cause growth. When INTPs believe that development is the same as growth, they hit an invisible wall as soon as they possess enough self-confidence to handle most of life's problems. What are they missing? Making good use of intellectual abilities, materializing talents, and improving skills will certainly help you be a more capable or competent person, but it doesn't necessarily help you grow into a more mature person.

Maturity (as defined by the stages of ego development) isn't a skill you can work on systematically like math or violin, and it isn't even an end goal in itself. Maturity is a side-effect of sustained psychological growth. If you want to know how to become more mature, then a focus on self-development isn't enough, it is also necessary to understand what spurs psychological growth.

If growth is like a chemical reaction that creates a qualitatively new state of being, then an important aspect of growth is actively exposing yourself to new experiences that have the potential to alter your psychology. Such experiences could be as simple as changing up a stale daily routine or as complex as moving to a completely foreign country. The key point is you are continuously learning new and important life lessons. This is why greater maturity also implies greater wisdom. Wisdom isn't just about what you know or how much you know; it's about being able to apply what you know with enough nuance, sophistication, and adaptability to create objectively good or beneficial results in everything you do.

Another difference between development and growth is there could be one method of development that works for many people for self-improvement, but there is no simple formula for growth. A new experience that significantly alters your psychology might have no effect whatsoever on mine. Why? Each person has their own unique lessons to learn based on what's happening deep in their unique psychology.

If you must learn from life experience in order to become mature and wise, then is it worthwhile to control what kinds of life experiences you have? Yes and no. Oftentimes, the experiences that provide the most opportunities for learning are the ones you find most challenging. Challenges usually bring some pain, so people tend to avoid them rather than use them as opportunities for growth. You shouldn't just randomly take on each and every challenge you see, but you also shouldn't exert such extreme control over your life that you miss out on unexpected or fortuitous challenges that would spur growth. The challenges you get to control are things like: pursuing higher education; stepping out of your comfort zones; confronting painful memories; talking to people you disagree with; etc. The challenges you don't get to control are things like being born into a dysfunctional family or suffering a tragic loss. Unexpected challenges are just as, if not more, important because they strongly compel you to build strength and resilience.

The advantage of knowing type theory is you get to know yourself better, especially when it comes to being aware of the challenges that you inflict upon yourself because of flawed perception and judgment. Being able to spot the weaknesses of your personality opens up many opportunities for learning and growth.

Are you able to identify all your patterns of function misuse? What do those patterns tell you about your challenges?

Are you successfully minimizing/mitigating instances of function misuse in your everyday life, i.e., meeting your challenges?

Are you able to use your functions optimally, i.e., to apply them appropriately and wisely to form a healthy relationship between yourself and the world?

Have you built up a healthy sense of self and practice proper self-care through introverted function development?

Have you learned how to adapt well to your environment(s) through extraverted function development?

Are you striking a good balance between the introverted and extraverted sides of your personality (i.e. neither is extreme)?

If you are on the right track in type development, life doesn't necessarily get easier, but you become much more adaptable to life's challenges. The results you get should speak for themselves.

If you are a mentally healthy individual, the desire for progress and growth never really ends, so it's natural to wonder about what more there is for you, especially in times when life is going relatively well. However, asking how to "test" yourself is kind of a suspicious question to me because it makes me wonder what the underlying motivation is. Sometimes, it's an indication that there's something wrong with the approach. A "test" implies there's a formula, but maturity doesn't work that way. You say you don't have the perspective to test yourself objectively? That is precisely how you know you have more maturing to do. When your perspective seems too small, then there's something you need to learn in order to broaden it. But I can't tell you exactly what that something is. You'll know it the next time you experience true growth. To paraphrase Kierkegaard: Life can only be understood backwards; but it must be lived forwards. This is the difficulty of being human.

What I can say is, at 24, you haven't lived much. You've still got much more ahead of you than behind you. You have a lot of lessons yet to learn. Personality type only tells you that some of those lessons have to do with your functions. But the rest is unpredictable. Some lessons come with the mistakes you'll inevitably make throughout life. Yet more lessons will come with the ups and downs of fate. And even more lessons will come as you get much older and gradually lose all the things you hold most dear.

If you want, I can give you some questions to reflect on for building self-awareness. Maybe some of them can lead you toward growth.

What sorts of thoughts frequently run through your head?

What feelings do you frequently experience?

What is your overall mood most of the time?

Are you aware of your needs and do you attend to them well? Are you aware that you have physical, emotional, cognitive, social, esteem, aesthetic, spiritual, and transcendent needs?

Are you aware of your passions and joys and give yourself enough space to experience them regularly?

Are you aware of your wants and desires? Are you able to explain where they come from or what motivates them?

Are you aware of your identity? Are you able to describe the things that define you as an individual? Are you able to explain how those things came to define you?

Are you aware of your worth? Are you able to describe your method of appraising/evaluating yourself, explain why you use that method (and not some other method), and justify that it is a good method?

Are you aware of how you are perceived by others? Are you able to express yourself authentically? Are you able to recognize and respect the authentic expressions of others?

Are you aware of the roles/positions you occupy in society? Are you aware of how those roles/positions affect your relationships with the people around you? Are you aware of all the duties, obligations, and responsibilities you have to yourself and others?

Are you aware of your moral values and how well you abide by them? Are you able to explain how you came to adopt them?

Are you aware of your core beliefs about how the world works? Are you able to explain how they came into being and how they influence your behavior?

Are you aware of the criteria/standards you use to define "success"? Are you able to explain their origin and justify them as being the most appropriate criteria/standards to use?

Are you aware of your aspirations? Are you able to explain why you've set the life goals you have previously pursued, are pursuing now, or will pursue in the future?

Are you aware of your potential? Do you have an ideal self that you wish to become? If so, are you able to explain how you came to construct that image of yourself? Are you able to envision more than one possibility for expressing who you are (other than what you are at present)?

Are you aware of your guiding principle/philosophy of life? Are you able to explain where it came from or why you chose it?

Mature people understand themselves more deeply than the average person. Depth of self-knowledge is necessary for making wise decisions in life. When you have meta-awareness of yourself, such as your needs, desires, preferences, strengths, weaknesses, motivations, biases, etc, you'll eventually be able to transcend your subjectivity as needed in order to operate more objectively. When your perspective seems too small (i.e. subjective) as an INTP, then you ought to use Ne to actively expose yourself to new knowledge/experiences that expand your horizons. By doing this, you should eventually encounter challenges that spark growth reactions.

[faggotthatwilldie]

Something about Theo and Boris feel so painstakingly familiar to me, not in movies or shows or even other books but because of the feelings Theo’s writing and perspective on his affections towards Boris are. Something feels so heart-achingly familiar about the situation Theo had found himself in, Boris felt like some kind of substance that was both like his mother and nothing like her. Boris had her dark black hair but not her blue eyes with that rim of darker colour around it, the very thing that make Audrey a “predator” in Theo’s mind was the opposite of what Boris had, deep brown eyes instead of blue. The subtle similarities between the both of them both drew Theo in and disgusted him at the same time, disgusted him that he’d find his mother in this person who is deemed as disgusting by everyone else but he cannot help it. Boris isn’t eerily like his mother like Pippa is to Theo, Boris isn’t the complete ice cold opposite like Kitsey. Boris is a blend of an entirely new type of person to Theo and that fascination turns into affection which turns into a deep suited need for Boris. Boris feels like some kind of coping mechanism turned real inseparable bond to Theo, Theo needs Boris but Boris doesn’t need Theo. But idk maybe I’m just gay!

[miloscat]

[Review] Even the Ocean (PS4)

A unique and soulful puzzle-platformer.

Anodyne 1 and 2 are really special games, so it's past time for me to catch up on the rest of the Analgesic catalogue from Melos Han-Tani and Marina Kittaka. This is their second game together, and takes on the puzzle-platformer genre but with a heavy emphasis on story.

Compared to the Anodyne games, the themes are a little more straightforward and the world more grounded than their abstract dreamlike spaces. The story deals with environmental and social issues, but with strong characters who feel very human and real through their dialogue. The story opens with the death of a minor character, but rather than exploiting it for dramatic stakes and moving on, the entire rest of the game sees you forming a friendship with her grieving partner, discussing deep topics with her and so on. As the game goes on and the stakes are further raised, it still takes the time for smaller moments and well-drawn minor characters.

This emotional content and social commentary is the strongest part of the game, not to say that the gameplay parts aren't also good. But the puzzle platforming can feel isolated or distinct from these aspects. The mechanics of it do tie into the worldbuilding which is linked to the themes though. In this sci-fi fantasy world, the main governing principle is the two energy types: light/green/vertical, and dark/purple/horizontal. Everything is built around this central idea.

Our protagonist Aliph has to balance the two energy types while blocking with a directional shield. She has a personal energy bar and when interacting with objects and obstacles this shifts between the two extremes. Charge yourself with dark and you walk faster, with light and you jump higher. But rather than a traditional health system, if you fill up completely on one or the other you die. Basically all interactable elements are aligned with either energy, and this leads to all sorts of clever puzzles along with the balancing act of managing your own tendency.

Progression through the puzzle spaces is mostly linear and I didn't find it very challenging for most of the runtime. There is a lot of customisation though, and you can choose if you want to just play the action parts or the story parts, as well as gameplay modifications to make it more manageable if you're having trouble. This makes the game very accessible, although oddly there is no option for button reassignment.

As I've come to expect with Analgesic games, there is also an extensive postgame although Even the Ocean takes it to extremes I haven't yet seen in their catalogue. You get new options to zoom around, warp, and display minimaps but most of all you get an entire new game world consisting of rough drafts and earlier versions of levels filled with developer commentary. This really opens the door on the development of the game and is really interesting from an archival perspective, having this behind the scenes content in playable form within the game itself. You get to see assets from when all the environment pixel art was made by hand (the final game uses art from larger images outside of the "dungeon" areas), as well as much more complex and difficult level design ideas.

These in-depth offerings are such a fascinating look at what the game could have been that I couldn't help but wish that some of it had made it to the final product, that we had more polished forms of these more challenging puzzles. On the other hand, the choices made to simplify the art production process I thought resulted in a fantastic end product, the interesting character designs coming through well in pixel form against the beautiful and moody backdrops.

Either way, these extras are remarkable, a candid conversation with the player on how the game was shaped and when you are directly told the rationales it's hard to argue that Melos and Marina made the right decisions to make the game memorable and accessible, and the game as a whole is much stronger and more interesting for having them. Please spend some time exploring the postgame if you give this a go! Anyway, although I have quibbles with the slow difficulty curve and the sometimes awkward menus, Even the Ocean ended up being another unique offering from Analgesic, packed full of ideas and heart.

[tellthemeerkatsitsfine]

Here's a compilation I made of six different comedians (two per podcast) on three different podcasts saying something about different types of comedy, specially how it's different in Britain and American. Tumblr won't let me embed it even though I compressed it down to be under the max file size, so I'm using a Google Drive. It's just audio, but I made it a video instead of an audio file so I could add text to show what people and podcasts are playing at a given time.

I put those together and then I wrote down a bunch of thoughts about it, which I think start out somewhat coherent but get less so as I go along. It's a whole bunch of stuff I've been thinking about all shoehorned into one post just because they're all on a vaguely similar topic, like a hastily thrown-together Edinburgh show. The point is that I'm going to listen to Mike Birbiglia's albums. That's... that's the upshot. That's how all this started.

I found the chat with Hari Kondabolu especially fascinating, having heard a few of Hari’s comedy specials and albums, and heard him on The Bugle a lot over a bunch of years (also I saw his Problem with Apu documentary, everyone should watch that, and should know that he says all the time on The Bugle he doesn’t get royalties for it anymore so doesn’t mind how people find it, just watch it).

He’s an interesting presence on The Bugle, an outsider as an American, who was there from the very beginning of their reboot in 2016, so you can kind of watch him figure out what this is in real time. At first he audibly has no fucking idea what he’s signed up for, and as it goes along, you can hear him settle into an area of “Well I still don’t really understand why you’re doing this, but I see what it is now and have found a way to do my thing beside your thing and that’s fine.” That’s partly a reaction to Andy Zaltzman, because no one really knows what to do with Andy Zaltzman unless they’ve had a long time to get used to it (except for John Oliver, I’m pretty sure they just met at a student comedy gig in about 1999 and instantly said “Oh look, my comedy soulmate”). But some of it is also a reaction to the British stuff. The references to British politics and history that you get on a topical and political comedy show, and the way they approach all their material. I like hearing Hari Kondabolu on there, an outsider perspective who can pick it apart a bit.

So I found his Comedian’s Comedian podcast interview interesting – honestly the whole thing is worth a listen, even if you don’t really know Hari Kondabolu’s work, as a good analysis of political comedy and the mechanics of good comedy bits and British vs. American comedy and the comedy industry more generally. But for this post, my interest is the British vs. American stuff.

I cut out a big chunk of their Brit vs. American discussion on that episode, and put it in the video above. I debated how long to make the clip, to create what was meant to be a compilation of people discussing British vs. American comedy, and ended up leaving in some stuff that’s a bit off topic where they fawn over Daniel Kitson. I realize comedians fawning over Daniel Kitson is hardly such a rare and exciting event that it needs to be preserved, but I particularly enjoyed hearing Stuart Goldsmith and Hari Kondabolu do it, so I left it in when cutting out the clip. I’ve heard Hari bring up on a couple of other occasions, as well, that he’s wildly impressed and amazed by the Hotmail address.

Anyway though, the Kitson stuff aside, the clip from the Comedian’s Comedian podcast is mostly Hari Kondabolu and Stuart Goldsmith discussing how the Edinburgh Fringe Festival shapes British comedians’ careers into something different from what they are in America. They have to write a new hour every year, because there will be reviewers there who saw last year’s hour and will catch them out if they try to recycle material. Also because it’s a smaller country, so they can only tour one show in so many places before everyone’s heard it and they have to do a new thing. Hari Kondabolu is impressed with the work ethic but mildly horrified by the whole thing, and can point out some aspects of the system that people who are used to it just wouldn’t notice because they seem normal.

I think there are two major factors that mark out the Edinburgh-influenced British model of comedy  careering building as being different from, say, American stuff: the new hour every year and the way each hour has to be themed and coherent and structured and preferably built around some story or message. In Hari Kondabolu’s podcast episode he mainly talked about the new hour every year thing, but also briefly touched on the concept of themes. Stuart Goldsmith mentioned that tides seemed to be changing, as it used to be that themes would make you different and interesting, but not anymore, so they’ll become less common soon. I’ve just spent three weeks listening to 38 shows performed at Edinburgh 2023, and I can say, I’m pretty sure that prediction was inaccurate. Themes and throughlines abound, and I’m happy about that. I like a good theme.

I do think there are pros and cons to it, though, and Hari Kondabolu points out some significant cons. If you look at the list of shows by any British comedy who's been doing Edinburgh for a long time, there are going to be some filler years. Some years when they did a show just because it's a new year and Edinburgh is up there so they'd better write a show, even if they don't have much to say. Hari is right to say that British comedians work fucking hard to turn over a new hour every year, but that doesn't mean the quality will always be top-notch.

Also, themes can be limiting. I'm sure there are some themed shows out there that would be better if they were just freestyle, if the comedian let themselves say all their best stuff, rather than cutting good material due to not being on theme. Or adding weaker material because it is on theme.

So that’s an American going on a British person’s podcast to tell them how fucked up the British comedy system is. I’ve made this compilation to compare it to a British person going on an American’s podcast, in which the American thinks the British system is great and in fact what he wants to do as well. Nish Kumar on Mike Birbiglia’s podcast, from just a couple of years ago. It’s an interesting contrast. A couple of people have told me before that Mike Birbiglia is like a British comedian but in the form of an American person. Including @my-excellent-bicycle, who told me ages ago that he's very good, and I said I'd watch him, and then I didn't, so sorry about that. Absolutely no offence to any of the people who'd already told me about him, but I have to admit, when the "Mike Birbiglia is so cool, he's like an American who does British comedy" endorsement comes from Nish Kumar, that does mean a little extra. Enough so I have now downloaded Mike Birbiglia's stuff, will listen to it next.

I can't really speak to the accuracy of what Nish Kumar said in that clip, since I haven't yet actually heard Mike Birbiglia’s shows. But I see what Nish means. He means shows that are built around one topic and/or narrative and/or theme and/or message, and stay on that, or at least around it and vaguely adjacent to it, for an hour.

Later in the 2021 podcast episode from which I took that Kumar/Birbiglia clip, Nish mentioned that actually, even though this is a generally British thing to do, he personally doesn’t tend to do it much, and he’d like to do it more. That was true, as of then. I’ve heard Nish’s 2014 (might have been originally his 2013 show, actually, whichever one got recorded for the Soho Live thing on Amazon Prime), 2016, and 2019 shows, and none of them were all that structured. They were coherent, particularly the latter two, which stayed on the topic of politics. Even that earlier one had some throughlines and underlying bits that kept coming back. But he didn’t do a really carefully constructed narrative show until 2022, the one that just had a video come out, Your Power Your Control.

So I found it interesting to hear Nish Kumar in 2021, just before he wrote Your Power Your Control, say he’d like to do more narrative-type stuff. And then the next year, he did it. Good for him. Nish Kumar just did a new episode of the Comedian’s Comedian podcast as well – it was recorded very recently, to go with the release of his latest special – and in that one, he mentioned that he was pleased with the way he managed to Birbiglia-fy this show in a way he hadn’t done with previous ones, making it a structured narrative the way Mike Birbiglia does. But actually, the way most British comedians do, and apparently this one American guy that it’s time for me to check out.

Then I added a clip of David O’Doherty from a very recent podcast, in which he talks about getting backlash from Americans for not being what they expect, which is just a bunch of unconnected jokes. I added that clip to the conversation because he brings up Hannah Gadsby and Nannette, and I think that’s an interesting point.

Hannah Gadsby got a huge amount of backlash for Nannette, and most of it was misogynistic. Not all of it, I guess. I guess it’s technically possible for someone to just really not like Hannah Gadsby’s style of humour, and they hated Nannette for perfectly legitimate reasons. Just like probably, some of those people on those cesspits of toxicity that were those Josie Long-related comedy message board threads in 2007, just legitimately did not share her sense of humour. Maybe one or two of them. But mainly, it’s the misogyny.

However, DO’D makes an interesting point about Hannah Gadsby’s show. Most “Edinburgh hour”-style shows do not get as massively world famous as Nannette did. So they got hit with misogynistic backlash, but it was fueled by the fact that it was being seen by a lot of Americans who are not used to that type of comedy, and just don’t understand. They thought Hannah was taking the respectable genre of doing 50 punchlines in 20 minutes, and making a mockery of it. Just because it was the first time they’d seen a comedy show with some sad bits. They thought Hannah Gadsby was doing comedy wrong.

So many people – mostly American people – who saw Nannette didn’t realize that ending a show with 10-15 minutes of sad bits is so commonplace in certain comedy circles that it’s also common to make fun of it. You hear comedians all the time, make jokes about the standard hour that’s funny for a while and then has a sad bit. There’s even a term for it: dead dad show. A dead dad show isn’t just a show about a dead dad. It’s any show that’s funny for a while but also poignant and touching and sentimental and has sad bits at the end and wants to make you cry as well as laugh. People joke about it because it’s been done a lot, it’s been done in some hack ways and some bad ways, it’s also been done in some brilliant ways, it runs the gauntlet like anything else.

It’s fine for people to say they’re not into that kind of thing. But Nannette got so big that people who’d never heard of that genre started seeing it, and they had no idea what they were seeing. So that’s how they ended up saying Hannah is not a comedian, this isn’t comedy, Hannah tricked a comedy-expecting audience into seeing a one-woman show! How dare you bring trauma into a comedy show? As though comedians talking about trauma aren’t a dime a dozen in Britain and Australia.

And I think that has pros and cons too. I like a show that works some serious stuff in, that has some deep personal or political message. But also, sometimes, people have a point when they say a comedy show has focused so much on the personal or political messages/trauma dumping that it forgot to also be funny (not with Nanette, though, people forget that Nanette had lots of good jokes in the first 45 minutes, it was a funny show, people just watch clips that have been cut from the last little bit and are then say this so-called comedy show isn't funny). And I guess it's up to each individual comedy audience member how much humour they'll allow a show to sacrifice for other stuff before they get sick of it. How much sad stuff or angry stuff or introspective stuff or educational stuff or heartwarming stuff or philosophical stuff or narrative stuff a show can have at the expense of funny stuff, before they'll say, "Okay, I need more comedy than this in my comedy shows." But I think it's a pretty shallow view of what comedy can be if you're not okay with a show that has any of that other stuff.

I am conflating Britain/Ireland and Australia/NZ quite a bit in this post, and that’s because I think when it comes to this sort of thing, they’re very similar. I’m also conflating Canada and the US, because I think they’re similar, in that neither of have this tradition that I’m pretty sure developed at Edinburgh and MICF. And I’m not talking about any other countries because as far as my comedy knowledge goes, those may as well be the only ones that exist (sorry Anuvab Pal and Aditi Mittal, I do know a couple from India too, but as far as I can tell, the special type of comedy they do in India is “say some stuff and hope you don’t get arrested for it”).

There is an obvious reason for that: Australia has a festival that’s similar to Edinburgh. British and Irish (and Irish, sorry for having forgotten to add “and Irish” in the earlier bits of this post, I just saw Dara O’Briain’s newest special – called So Where Were We, just released by the BBC, by the way, I recommend it – and it’s chock full of trauma, proving the Irish can do dead dad/never met my dad shows with the best of them) comedians develop their careers around Edinburgh, and Australian/NZ comedians develop their careers around the Melbourne Comedy Festival. North America doesn’t have anything like that.

Obviously North America has yearly festivals too, but not ones that are so big that every single comedian in the area wraps their whole career around it. I think the only one big enough to do that around here would be Just For Laughs, but Just For Laughs isn’t nearly the same thing, since people have to audition for it. You can’t just set up a show and show up. People can’t start writing a show in September with the assumption that they’ll take it to JFL next summer, because unless they’re already very famous, they can’t be sure they’ll be accepted into JFL’s lineup.

I found the David O’Doherty clip interesting, as he lists storytelling shows as just one of the many things that are, in fact, comedy, but get called “this isn’t comedy” by mostly Americans on the internet. But also, it’s not like all Americans just do 50 punchlines in 20 minutes and that’s it. They do lots of stuff! They have alternative comedy there, and at this point I’m getting out of my depth, because I have a sort of idea in my head of what American alternative comedy means – the vague idea involves things like Eugene Mirman and Fred Armisen and Kristen Schaal and improv shows in New York – but I don’t really know what I’m talking about. This post would be better if I knew what I was talking about more.

I guess the basic rule I’m working with is: British/Irish/Aussie/NZ do a new hour every year and it has themes and throughlines and narratives and coherent structure and they workshop it all year and then take it to Edinburgh and then scrap all that material and do a new one. And American comedians just write one joke(/bit/funny story, not just the classic type of one-liner “joke”) at a time, and at any given time are performing the combination of their best crop of jokes, and whenever they write a new joke it replaces the worst one in their set, so they evolve that way. I’m trying to understand why that difference exists, and part of the problem with my efforts to understand that is I don’t really know what I’m talking about, and the other part of the problem is that stating the difference that way is a massive oversimplification. It’s difficult to understand why a phenomenon exists if that phenomenon doesn’t really exist in nearly as simple a way as I’ve stated it here.

I know there are exceptions to that rule I just stated, even though I’ve not listened to any Mike Birbiglia yet. For a really famous example, I watched John Mulaney’s new show Baby J earlier this year (fuck him for the Dave Chapelle thing, the divorce and addiction are his own business and people who don’t know him shouldn’t have tried to get involved in his personal life, but fuck him for the Dave Chapelle thing, I didn’t watch his new show in any way that could translate to view count/profit for him – but I did love all his previous shows and was curious about what’s in the new one so I watched it), and that was pretty much all around one story. Even Hari Kondabolu’s new-ish special has a little bit of a theme, about being political while having a kid. And there are plenty of others, so it’s not like this stuff doesn’t happen in America. And there are plenty of British comedians who just do one joke at a time.

I don’t know – I’m not completely making this dichotomy up, right? That’s why I made that compilation in the video at the top of this post. Other people talking about that thing I’m talking about and proving that it is somewhat based in reality. It would help if I knew more about American comedy. You can’t really compare British and American comedy unless you know quite a bit about both, and I don’t know nearly enough about American to really understand this.

That’s why I asked my brother about it the other night, because he’s been doing comedy in Canada for a long time and most of the comedy he watches/likes is American. I asked him if he knows what I mean when I talk about this dichotomy, and why it may or may not exist. And he didn’t really know what I’m talking about, which means 1) the difference is so significant that someone who mainly follows North American comedy doesn’t even know about the dead dad Edinburgh show so can’t compare anything to it, and/or 2) I didn’t explain it very well. Because we had a whole conversation where at some point I realized we were talking past each other. He was using the word “alt” a lot, and it meant one thing to him and a different thing to me, so neither of us really knew what the other was talking about.

That in itself is interesting to me, because it shows that comedy is too big to really make these generalizations. You can’t talk about “alt comedy” as a coherent thing, because it means wildly different things in wildly different places. You can’t talk about “British comedy” or “American comedy” because Britain and America both have a lot of people in them who all do wildly different things.

At some point in my conversation with my brother, I said that when I say storytelling comedy I mean “like the thing Mike Birbiglia does”, and he has seen some Mike Birbiglia but says he doesn’t think what he does is particularly different from what most American comedians do, and I couldn’t refute that because I haven’t actually heard Mike Birbiglia yet. All I could say on that was… well one time I heard Nish Kumar say Birbiglia is like a British comedian, so that’s probably true, right?

So I really don’t know what I’m talking about well enough to understand this, or even explain it. Then again, my brother told me that he thinks British comedians write regular jokes in a way that American comedians don’t, and I said no, I think of the opposite as being true, and when I asked him for examples of why he thinks British comedians are like that, he said Jimmy Carr and Ricky Gervais. So he may not know enough about British comedy to know what he’s talking about. Is it possible that no one knows what they’re talking about? That’s kind of interesting to me too, I assume anyone who actually does comedy must know everything about it. I mean, I try really hard to know about comedy, but I don’t know nearly enough about it to properly do it. So the people who do do it know way more than I do and understand everything. But my brother’s been doing it 13 years, had traveled to perform in the States and nearby cities somewhat often, never made enough money from it to quit his day job but has made quite a lot of money from it over the years, and he may also not know what he’s talking about.

At some point we got talking about recorded comedy, and he said when he listens to audio-only comedy, and then watches a video of those people, he’s often surprised because he was picturing someone young and hot but it turns out to be a balding man in his fifties. I said that often, I can hear hours and hours of audio-only comedy by someone, and have an image of them in my head, and then see a picture of them, and I’m always surprised by how different the picture looks. Because I’m always picturing a person in their forties or fifties, maybe a bit overweight, slightly balding if it’s a cis man, and then I’m often surprised to learn they’re actually around my age or younger (many exceptions there too, Kitson is currently mid-40s and balding but I tend to picture him the way he looked in 2003, though I’m sort of updating my mental image of him now). Which I’m pretty sure says something about the difference between the comedy I watch and the comedy my brother watches, that we have such different images in our head of the “default comedian”, what we picture when we don’t know how someone really looks.

This may or may not be related to the fact that my brother recently started putting clips of his own comedy on Tik-Tok, and has things to say about how the engagement is going that make me despair at the soullessness of humanity. So what does he know? At some point I worked out that when he talks about writing jokes in a classic way, he doesn’t just mean one-liners, he means anyone who actually writes their material instead of just doing crowd work and “comedian destroys heckler” videos for social media. Apparently doing anything besides that is old school now, and he thinks British comedians do more old school stuff than American comedians, and again, I despair at the soullessness of humanity. But to be fair to America, I’m sure there are plenty of soulless British comedians on Tik-Tok too.

That’s part of it though, isn’t it? That my brother thinks of Tik-Tok-type comedy as American and British comedy as stuff that doesn’t do that. You can’t cut out a clip of a good dead dad show and put those 90 seconds on social media. I mean, you could, and I guess some people do, but that’ll ruin it. The British Edinburgh hours need their context, the good ones aren’t nearly as good without it. But maybe American comedy can be clipped more easily, since it’s not written to all flow together. But also, British comedians cut bits of their show out all the time to shoehorn into their twenty seconds of screentime on a panel show. Stewart Lee had a whole thing about that like 15 years ago, how no comedian can be that funny if their set can be cut up for a panel show. But, you know, we can’t all be Stewart Lee (though it’s my understanding that many people have tried). I’m pretty sure this is the sort of thing Stewart Lee knows about, and has strong opinions about. That was my mistake, asking the wrong comedian. I asked my brother, I should have been asking Stewart Lee.

So I still don't have an answer to who invented the dead dad show. I mean, I think I might know that one, Russell Kane may have invented the shows about dead dads specifically. But I don't know how the storytelling comedy with sad bits and themes started, or why it took off in Britain/Australia and not in North America, or if it's even true to say that happened. I feel like Kitson invented it, because it feels a bit like Kitson invented everything, but I know he didn't. I feel like Stewart Lee knows who invented it - I don't feel like he invented it, because he's constantly talking about the alt-comedy godfathers (gendered term there, but they were mostly fathers and not mothers at that time, that is an issue) from the 70s and 80s on whose shoulders he stands. And I don't really know anything about those people, so that doesn't help.

There's a guy named Oliver Double and I think he knows. I just got paid again, my bank account is looking a bit more stable than it did a little while ago, I think I'm going to buy his books. I'm also going to listen to Mike Birbiglia, I'll let you all know if he knows anything. Maybe most people don't know anything. Maybe everything has a smaller cause than I assume and we'd all be living in a radically different comedy world if Russell Kane's dad were still alive. Maybe it's fine to think the British comedy style is to write classic jokes because Jimmy Carr tours arenas and therefore gets to be their representative. Maybe the storytelling/pure joke telling comedy dichotomy doesn't even matter anymore, it's all about the dichotomy between improvised stuff on Tik-Tok and anyone who actually writes material now. Maybe improv just means crowd work now? But I hope not.

...This was going to be a post about how Hari Kondabolu thinks British comedians should scrap the concept of "recycling material" being bad, and just tell their best jokes even if they don't all fit a theme. Then I had a conversation with my brother the confused me and now I don't know. Does anyone else know anything that they want to share?

[ruvastuon]

@flashfictionfridayofficial prompt

A Bad Time to Remember the Past

I wasn't planning on putting this guys perspective up yet, but it seemed to fit for the prompt, so I hope you enjoy!

Warnings: Discriptions of medical procedures, violence, blood, burning skin, laceration, and dismemberment.

@wyked-ao3 (a bit more on the villain of my story. He now has a proper name! Albrecht)

Glossary:

(In case you are curious about any of the terms in the medical procedure)

Topical Benzocaine: a gel spread on skin to numb before injections.

Articaine: a type of numbing agent injected locally in tissue to numb an area.

Epinephrine: used in local anesthesia to increase the duration of numbness by constricting blood vessels in the area and preventing the local anesthesia from being absorbed by the blood stream as quickly.

Buccal: the gum tissue covering the outer side of teeth.

Palatal: tissue over the top of the mouth on the inner side of the teeth.

Maxila: upper jaw

Nerve block: an injection that targets higher on a nerve branch to numb more tissue at once.

Infiltrations: injections that target a specific area and numbs the nerves directly adjacent to the injection by targeting the approximate location.

Now, back to the story.

Topical benzocaine followed a minute after by 2 carpules of Articaine HCI 4% 1:100,000 epi. Infiltrations for the buccal and a nerve block for the palatal side of the right maxila. Within minutes he’d watched as the surgeon took out a scalpel and carefully cut gum tissue down to the bone and gently peeled it back as the patient lay, mouth open, not even flinching. Then the drill had come, and with a whir of mechanical power, the bone was carefully bored down to expose the gaping sinus.

Of all the things that Albrecht had been forced to observe in his mandatory job placement hours, this was the one that really stood out to him. It was fascinating what a little chemical compound could do to dull the senses. He’d even been able to hold a mundane conversation with the man about his line of work while the surgeon scurried off to attend some other matters.

Another wave of explosions rocked by him. Albrecht’s head screamed in pain as that long forgotten memory snapped back into the recesses of his mind where it belonged. With both armies cowering in the darkness, he should have been on the cusp of his victory, the whole world bathed in beautiful darkness by his machines. Yet here he stood, recalling the memories of a child, a fool who didn’t understand the meaning of his own destiny.

Looking about him in confusion Albrecht’s teeth gnashed at the husks of his elite soldiers, boiled in their own skin at the shine of an artificial sun. Ever calculating, he could already see that what remained of his force wouldn’t last long after such a devastating attack. Ten blasted years of preparation… all for something like this? The fangs under his mask ached as he fought for control of his raging mind. His careful planning should have seen him to the end, in the way that it always had.

The power coursing through his veins spiked as the pieces of his strength once gifted to his thralls all began to converge back into him in a wave of sickening pressure. The feeling blinded him, and for the first time in his long life, Major Albrecht lost his ever firm grip on reason. Head snapping towards the source of his misfortune, he narrowed his eyes and clenched his fists.

Using his powers, the Major smoothly dropped into the shadows and quickly traveled in their protection until he came upon the small vehicle, still driving away at a speed far beyond its natural means. There were four, no five of them, as far as he could tell, but it made no difference. They would all be dead soon enough.

With an enraged roar, Albrecht materialized in the shadow of the car and dug his teeth into the little warlock at greatest fault for this downfall. The man yelped in pain and raised one hand to secure the hat on his head before using another to push Albrecht away so he could stop the bleeding. He had no intention of letting him live.

A glimmer of something shiny peaked out from underneath, but he had little time to dwell on it as a stake was driven almost into his heart. Whirling around on the would-be attacker, the Major sunk his claws deep into their forearm, tearing through it with a growl of surprise at the strangely wooden texture. He grinned in satisfaction as a sharp hiss of pain rang out from whatever the thing was. It still felt pain, so even if it wasn’t human, he could still break it.

Half drunk on this strange ecstasy, he almost missed the smell of steel. His mind suddenly flared with a sense of danger, and he pulled away as a shot rang out, hitting the side of his helmet and exposing part of his face to the blasted false sun.

Like a bucket of boiling water, the pain brought him back into focus, and Albrecht immediately retreated into the shadows, taking the limb he’d managed to sever with him. With his armor damaged even this much, he wasn���t fool enough to risk an end to his plans even with his spiked blood lust.

Note: The procedure mentioned at the beginning of the chapter is for a sinus lift to increase the bone level enough to place a dental implant.

[honest-moth-of-silver-grove]

Hi! I’d like to request a matchup with a character from Baldur’s Gate 3 if that’s okay! <3

my pronouns are she/her and I’m asexual biromantic. I’m an ESFJ and a Gemini. I have green eyes and brown hair, I have a mullet with blue strands. I dress with vintage/fairy grunge clothes. I wear lots of rings and love to exchange them with others.

I’m the mom friend of the group, always there for everyone and my friends say that I’m really good at comforting people. I’m also calm and responsible, I usually am the one that takes care of other people. I’m very optimistic, I always try to see the good in everything and I often put other’s needs before my own. I love making others laugh to lighten the situation I’m not afraid to stand up for myself but sometimes it’s hard for me to say no to things. I also dislike when someone is too serious and really can’t take a joke as I tend to use humor as my coping mechanism. All my friends tell me I’m very smart, I get very good grades and I do well in school. I also try to help my friends with study and school as much as possible. I’m also very ambitious, I always try to achieve my goals.

My love languages are, receiving, physical touch and words of affirmation and giving, quality time and words of affirmation.

I absolutely love listening to music, it helps me relax and I really like reading. I also love watching horror movies even though it’s impossible to scare me. I also play Dungeons and Dragons with my friends anytime I can. also, I absolutely love musicals and I’m definitely a theatre kid.

have a great day :)

A/N: Ooh, okay! Because you submitted a second asking clarifying you had no gender preference, I’ve just gone ahead and picked the person I think is best suited for you. So for you @sapphirest0nes , I’m thinking your best romantic matchup would be… Gale!

☸ Gale would be a great fit for you! I see Gale as someone who’s demisexual/graysexual and biromantic. This makes him much more likely to understand your sexuality and to be very accepting of it. I also categorize him as an ENTP, which makes him very compatible with your ESFJ. You’re both extroverted and fairly people-oriented. There are notable differences, however… Where you tend to be more organized and sort of traditional in your thinking/processing, he is more creative/unconventional. It may strike you as odd at first, but that’s not necessarily a bad thing, as it will show you a wider perspective. His NT also means he’s more ‘in his head’ than other types, but as you mentioned, your friends tell you you’re very smart, and you do well in school. These qualities of intelligence will further attract him to you, as someone with NT believes the element of intellectual connection is just as important as the romantic one. As a Gemini, you may find you see with two lenses- one that is more adventurous and outgoing, and one that’s more reserved. This is a plus to Gale as he sort of walks that line of over-achieving and contemplative. 

He really likes your style, the sort of vintage/fairy thing. He was drawn to a goddess previously, so the sort of fairytale, fantastical component of your fashion is something he’s very much attracted to. He also admires the edge of your more grunge looks, mainly because he doesn't have one lol. It makes people think twice about messing with you and it's nice to feel sort of protected in a relationship. And he likes your fascination with rings. Granted he may ask to absorb the magic out of them, while the issue of the orb in his chest is still a thing, but he also likes how they look on your fingers. And he likes how he feels more sophisticated and cultured when he wears the ones you share with him. 

Gale doesn’t require a babysitter- he has Tera for that. But he does enjoy how you watch out for him. Besides his tressym, very few people have had his best interest at heart. Gods know Mystra certainly didn’t. He thinks it's so sweet of you to care about his comfort and to want to take care of him to a degree. He thinks you’re so wonderful, he often has doubts about deserving you. But when you remind him how much you love him by going out of your way to make him feel better, he knows your love is real. He does wish, however, that you’d let him try and take care of you more often. He knows you’re very responsible, but he wants to do for you what you do for him. Let him pamper you one day. Let him give you an evening or afternoon that’s all about you. He wants you to feel as loved and appreciated as he does. When you light up when he gives you something, or after he says one of his many puns, it makes him think he might just be worthy of your affection. 

He loves to make you laugh. Well, he tries very hard to make you laugh. He’s not the greatest comic, but he does enjoy a good pun or play on words. He knows he isn’t the smoothest talker, but that’s okay. He just really wants to see your beautiful smile when you tilt your head back and laugh at his attempts- all in good fun, of course. 

He’s a huge admirer of how determined you are, being quite the determined student himself. The two of you can spend hours just pouring over your respective texts, nestled quite close, studying together in silence. It may not look like a fun date to others, but it’s special to the two of you. 

He loves listening to music with you. And he’ll gladly accompany you to any orchestra or recital. It makes his day when you light up, talking about all the different aspects of theater and live performance that you know yourself. He feels like he’s been given a backstage pass or some sort of super secret insider knowledge thanks to you. 

He’s not the hugest fan of horror, or scaring oneself intentionally. But he will do his best to endure it for you. Just don’t take it personally if he runs out of the room after a jump scare only to send back an astral projected version of himself. He wants to enjoy it with you, truly. But scary things are just not for him. Maybe try reading him more mystery-type stories with elements of horror, he’d probably be more interested in those. 

Overall he thinks you’re wonderful. You’re kind and smart and have a level head on your shoulders. You appreciate his wit and you laugh at his jokes. You’re the best thing to ever happen to him. Gale knows, beyond a shadow of a doubt, he’s the luckiest man to be able to have you. 

...

Please Like & Reblog!

[boredtechnologist]

Revisiting Epyx's 'Hellfire Warrior,' a dungeon crawler for the Atari 800, plunges players into the depths of a perilous dungeon filled with demons and other hellish creatures. This setting, evocative of the theological concept of Hell, offers an intriguing canvas for a theological exploration of themes such as sin, redemption, the nature of evil, and eschatological struggle. By incorporating the insights of St. Augustine, Thomas Aquinas, Dante Alighieri, and Rudolf Otto, this analysis will explore the dark and complex theological implications woven throughout the game's narrative and mechanics.

St. Augustine's writings on the nature of evil provide a foundational perspective for interpreting the demonic forces encountered in 'Hellfire Warrior.' According to Augustine, evil is not a substance but a corruption of good, a privation rather than a positive entity. In the game, the various demons and monsters can be seen as manifestations of such metaphysical corruption, distorting whatever good might have originally existed in the game’s universe. Augustine's notion of evil elucidates the player's role as a force of divine retribution or correction, tasked with purging these corruptions and restoring a semblance of the Good.

Building on Augustine’s interpretation of evil, Thomas Aquinas’s insights into virtue ethics further illuminate the player’s moral journey. Thomas Aquinas’s thoughts on virtue and the moral challenges faced by human beings are relevant in analyzing the player's journey through the dungeon. Aquinas believed that human actions should aim towards the ultimate good, facilitated by the practice of cardinal virtues: prudence, justice, temperance, and fortitude. Each level of the dungeon, with its unique set of demonic adversaries and puzzles, represents a test of these virtues, challenging the player to develop and exhibit these qualities as part of their quest.

The ethical dilemmas faced in each dungeon level evoke the allegorical interpretations found in Dante Alighieri's 'Divine Comedy,' particularly 'The Inferno.' Dante Alighieri's parallels the descent into the dungeons in 'Hellfire Warrior.' Each level of the dungeon can be thought of as one of Dante’s circles of Hell, with various sins and their corresponding punishments represented by the different types of demons and traps encountered. This allegorical journey through Hell serves as both a literal battle against evil and a metaphorical pilgrimage towards self-understanding and purification.

From Dante’s vivid depiction of Hell, we transition to Rudolf Otto’s analysis of the numinous experience, which describes an encounter with the "wholly other" that is at once terrifying and fascinating, can be applied to the player’s encounters with the supernatural entities within the game. The numinous experience, characterized by mysterium tremendum (fearful mystery) and mysterium fascinans (compelling attraction), captures the ambivalent emotion players feel when facing the game’s more powerful demons, which are both frightening and intriguing. This encounter underscores the game’s ability to evoke a complex emotional and spiritual response, highlighting the profound impact of confronting 'the holy.'

In conclusion, 'Hellfire Warrior' is not merely an early example of a dungeon crawler; it is a complex tapestry rich with theological symbolism and profound questions about the nature of evil, the struggle for virtue, and the human encounter with the numinous. The game, through its challenging gameplay and evocative setting, invites players to consider deeper existential and theological themes, making it a unique artifact in the realm of video gaming and a subject of interest for theological inquiry.

[zyhrelle]

Game 1: Pioneering Sustainable Development: Empowering Students Through Sustainable Development Goal

Source: https://youtu.be/5G0ndS3uRdo?si=SgcYDkNKS_lQhGfC

Hey there! Welcome to my blog, where I'll be sharing my adventures as a mechanical engineering student at the University of Science and Technology of Southern Philippines. Today, I want to take you on a journey into the fascinating world of innovation and problem-solving as we tackle some of the most pressing global challenges in our field.

Picture this: our class has been given an exciting assignment to brainstorm innovative solutions for various global problems that align with our course, focusing on "Industry, Innovation, and Infrastructure." It's a daunting task, but as budding engineers, we're up for the challenge!

So, what exactly are these global problems, you ask? Well, they range from optimizing energy infrastructure and revolutionizing transportation systems to tackling waste management issues and promoting sustainable manufacturing practices. The possibilities are endless, and the potential impact of our solutions is immense.

As we gather in the brainstorming session, the room buzzes with excitement and anticipation. Armed with our knowledge of mechanics, design principles, and cutting-edge technologies, we dive headfirst into the discussion. Ideas start flowing freely as we explore different approaches and perspectives.

One of the key themes that emerge from our brainstorming session is the importance of interdisciplinary collaboration. We quickly realize that solving complex global problems requires input from experts in various fields, including environmental science, economics, and social sciences. By working together, we can leverage our collective expertise to develop holistic and sustainable solutions that address the root causes of these challenges.

But brainstorming is just the beginning. As we sift through our ideas, we also recognize the need for continuous improvement in our innovative tasks. We understand that the path to success is paved with experimentation, iteration, and learning from failure. So, we roll up our sleeves and get ready to prototype, test, and refine our designs until we achieve optimal results.

Throughout this process, we're fueled by a sense of purpose and passion for making a difference in the world. As mechanical engineering students, we have the power to drive positive change and shape the future of industry, innovation, and infrastructure. And with each brainstorming session, we get one step closer to realizing that potential.

So, there you have it – a glimpse into our brainstorming session as mechanical engineering students on a mission to tackle global challenges. It's a thrilling journey filled with creativity, collaboration, and a relentless pursuit of improvement. And I can't wait to see where it takes us next!

We did also an personality test and Innovative Index. As an INFJ-T advocate, I embody a rare and compelling combination of traits that set you apart as a compassionate and visionary leader. My personality type, characterized by Introversion, Intuition, Feeling, and Judging tendencies, reflects your deep empathy for others and my unwavering commitment to social justice causes. With a keen intuition and a profound understanding of human emotions, I possess a remarkable ability to advocate for the marginalized and empower those in need. My advocacy efforts are fueled by a strong sense of purpose and a desire to create meaningful change in the world. As an INFJ-T, I embrace my role as a catalyst for positive transformation, using your unique gifts to inspire others and champion causes that align with my values.

Thanks for joining me on this adventure. Until next time, keep innovating and dreaming big!

[an-unraveling-unknown]

Heyy, friend!!

Do you have any character of yours you could/wanna talk about? :))

YOO FRIEND!! :D

Okay - not necessarily a character, but moreso a concept that I am tacking on to a few characters between two different projects for the time being. The term "Time is a flat circle" generally refers to the idea that, since time is infinite, everything will eventually repeat itself- a bit like the infinite monkey theorem, stating that if you stick a bunch of monkeys in a room and have them bang on a bunch of type writers for an infinite amount of time, its pretty much a given that they'll eventually write out the complete works of William Shakespeare.

To put it into perspective, "Time is a flat circle" can best be applied to literary or video-format media; something that is the same in all appearances, even when you read or watch it over and over, remaining the same even if your own perspective changes. Your life will repeat an infinite number of times, and everything that has happened will happen again, and has happened before. Think Ouroboros. (Not to be confused with linear infinity!! or, a timeline without a beginning or an end, no closed loop)

How it applies to characters is below the cut, cos' this may get lengthy again (sorry)

(For a better look at the concept by someone who did a much better job at executing it than I ever will, check out No Through Road! Its a fascinating few videos really, and Maverick Files also covered it in a way that clears some things up if you find yourself confused.)

First off, the thus far Untitled Project, otherwise known as "Local Ancient Android Confused That People Give a Shit [About Them.]" There are three embodiments of fear known to date:

Locke: Only technically an embodiment, artificially created by means of the fear they cary and how they present themselves. Locke, to put it simply, causes the fear - they are the catalyst.

Deimos: A "true embodiment," per se. I've said it a bunch of times, but Deimos is the fear - his title is quite literally "Embodiment of Human Fear," he has it down to a science at this point.

Phobos: Another "true embodiment," Phobos is best summed up as the reaction to the fear - much like his (current) namesake, the greek god Phobos. Fight, Flight, Freeze, Flop, Friend and etc. So lightly connecting all of this together, you have this trifecta of Messed Up Little Guys™, which, as I talked about above the cut, can fall into two categories that I know of in terms of the fear cycle:

now, I haven't *really* figured out which way I'm going with this, and the Ouroboros-shaped one admittedly doesn't make all that much sense, but Deimos and Locke talk about things like this all the time when they meet up, (It's a little hard not to when you're both millions of years old and concepts such as those are essentially timeless) and it will likely come up often enough once I get an actual narrative rolling. Not to mention Locke's whole schtick of being mainly based on the metamorphism of stories and folklore at they move through different times and societies with different ideals, but that's besides the point. Undertale AU - guess who has a undertale au <<< this dipshit /aff This one also goes into "Time is a flat circle", but moreso into the idea of this concept breaking down - in short, time travel happened. What if Ouroboros choked? Well, then the giant cosmic serpent would bite itself, and thats just bad news all around. Also, it's entirely W.D Gaster's fault.

Now, theres already a loop going on in Undertale for obvious reasons (both in the fact that the game mechanics are made a very real part of the world in reseting and in the fact that Toby Fox just couldn't get the game to delete itself after completion and henceforth there is really no truly happy ending to what we see- killed by Flowey? super incredibummer, reset. Genocide? that sucks, there are in fact consequences for your actions, reset. reach the surface? well, the only way to continue on past this is to reset, so you and the monsters stuck in the underground perpetually. death of the author in some funky way I guess) so what's the harm in adding one more? Also, nice parallels. Also, because throwing philosophical concepts at my work is fun.