#i mean i will do that anyway. whether or not i actually post about it is an entirely other question

[isa-ghost]

✨️ The Philverse Lore Masterpost ✨️

So I planned on making this a while ago and forgot but now I'm doing it.

And the formatting of this post MAY change in the future (like me providing other reference links and such for each Phil), but for now I'm gonna keep it simple.

This post is an explanation of how the Philza Cinematic Universe(tm) works, along with some widely accepted fanon things. It will update as cc!Phil changes things or canonizes new ones.

"Main" rp!Phil

"Main" Phil is Hardcore (hc) Phil, SMP Earth (smpe) Phil, DSMP (c) Phil, and QSMP (q) Phil. This is also the Phil that The Beginning by MaepleTea features.

It's important to note here that rp!Phil is canonically immortal (this is probably true for ALL rp!Phils, not just "main" Phil, cc!Phil has said things along these lines on multiple occasions in the past).

cc!Phil has described rp!Phil has hundreds of years old, though we have no idea how many centuries he's been alive. What we've seen is more or less just the last decade of his life, unless cc!Phil chooses to construct a timeline that says otherwise.

The timeline goes something like this:

HCS2 -> SMPE -> HCS4 -> DSMP -> QSMP -> ???

Obviously it's not linear like that, HCS4 is simultaneously going on during SMPE, DSMP & QSMP. In roleplay, the canon explanation is that hc!Phil can travel to other universes through what is basically dreamwalking. This gets explicitly confirmed in QSMP lore.

In other words, the Hardcore World is rp!Phil's universe of origin. A common headcanon related to this is that all seasons of Hardcore are one universe, which resets itself each time rp!Phil dies. After each reset, rp!Phil retains his memories of the previous iteration and starts over again, but with new knowledge to avoid dying again.

A better way to visualize this timeline would be to refer to IRL dates, like this (click for better quality):

Note: I didn't include HCS3 because it lasted like two weeks. Consider it a blip in rp!Phil's long immortal lifespan, if anything. I also didn't include HCS1 because Phil basically never refers to it other than the way that it ended. Considering there wasn't really any lore about hc!Phil being a historian/explorer prior to HCS4 anyway, this is basically fine to assume.

All of the above being the same guy is canonically confirmed, either explicitly stated BY cc!Phil himself, or with undeniable implications within roleplay.

SMP Earth is the only one of these that gets a little iffy to call confirmed because it's never been explicitly stated and technically SMPE wasn't a roleplay server, BUT: Considering the references and parallels c!Emduo make when they move to the tundra to get away from the rest of the DSMP, it becomes pretty obvious it can be considered canon. There are also multiple occasions where c!Emduo refer to what they did during the Antarctic Empire times. Furthermore, and I'll reiterate this in a moment: q!Phil tells stories to Chayanne & Lullah of things he and rp!Techno did during SMPE.

HCS2 (more specifically Phil's death) obviously gets referred to constantly in and out of roleplay, making it canon whether cc!Phil wants/considers it to be or not. This is one of few deaths we know rp!Phil has experienced, if not the only one. I imply there may be multiple deaths here because I don't remember if cc!Phil confirmed that rp!Phil died at the end of The Beginning before being saved by Goddess of Death or not. If so, that means rp!Phil has died at least twice: then, and in HCS2.

QSMP is actually the key universe to all of these other Phils being connected, since that is where cc!Phil chose to do lore to confirm all of these are the same guy. Prior to QSMP, we only knew SMPE and DSMP were connected thanks to c!Emduo.

QSMP confirmed that q!Phil is hc!Phil formally via the dreamwalking lore. Additionally, prior to this lore being dropped, again: there were multiple instances in which q!Phil told Chayanne & Lullah stories from his time on SMPE. Obviously, if SMPE is canon to both DSMP and QSMP, then those two are also connected by default. These stories were not the only reference to DSMP made during QSMP either. Multiple previous DSMP members also canonized DSMP and QSMP being connected.

And during all of this, rp!Phil is dreamwalking from the Hardcore World to these other worlds.

Origins SMP Phil (o!Phil)

This version of Phil is his own separate guy with a fully unique story from "main" Phil.

While "main" Phil is an immortal historian and explorer from Hardcore that can travel to other worlds via his dreams, o!Phil is an even more avian-coded guy trying his hardest to be a villain but failing at it miserably /aff.

As confirmed by cc!Phil: o!Phil comes from a dirt poor family who didn't want him to suffer the horrific reality of living in poverty, so his parents spoiled him rotten to the point of making themselves suffer. They later mysteriously disappeared (and are likely now dead). o!Phil's story in-rp (eventually) begins with him searching for them.

o!Phil has no idea he's not actually the entitled royalty he thinks he is. He eventually bonds with o!Sneeg, who chooses to be a "villain" with him, and they have a whole riveting, silly, weird ass codependent besties thing going on for the rest of Origin's multiple reboots. Their friendship in OSMP is what inspired 1/3 of the current theories for tr!Phil, who I'll get to momentarily.

o!Phil also canonically appeared in Rats SMP as a guest, as did o!Sneeg. They were searching for each other in the wake of OSMP "ending" (read: dying, again), and this intensified the fandom's interpretation that they're inseparable/codependent. This cameo also confirmed that both o!Phil and o!Sneeg can travel universes like "main" Phil.

Another important note: Some Crows consider cc!Phil's cameo in Aimsey SMP (ASMP) to be o!Phil because they share very similar attitudes and penchants for material goods, especially "shiny things."

Squidcraft Phil (sc!Phil)

The easiest rp!Phil to explain. cc!Phil himself said that sc!Phil is an alternate timeline version of "main" Phil, specifically q!Phil.

This is probably only due to the fact that Missa and several other QSMP members were in 2023's Squidcraft event, and cc!Phil couldn't resist being an angsty little shit with Missa throughout the event until his elimination.

The Realm SMP Phil (tr!Phil)

As of early 2025 when I'm making this post, we have no idea how tr!Phil fits into the Philverse. cc!Phil explicitly states he has no plans or intentions whatsoever to do lore on TRSMP, even if he does roleplay with other players like Sneeg or Fit. Assuming he doesn't change his mind on that, the following is ENTIRELY what the fandom headcanons/theorizes is true.

There are 3 main interpretations for tr!Phil's origin and I explain those in depth in this post here!

If or when we get more to go off of, I will update this section of the post. :)

Bonus Note(s)

MCC

The MCYT fandom widely headcanons MCC as a weird multiverse Hunger Games type thing where Noxcrew and Scott Smajor, whatever kind of higher power they may be, drag MCYTs across several universes into their little liminal space/pocket universe type place and have them to compete in the championship.

There have been references to MCC in SMPs during moments of varying degrees of roleplay were occurring. In rp!Phil's case, it's safe to consider "main" Phil is the one who gets put into MCC.

None of this, to my memory, is considered canon by cc!Phil, just silly popular fanon.

(If/when we get more versions of rp!Phil, I'll add them wherever they belong in this post!)

[youzicha]

In addition to this take, that art is communication and what matters is what the sender meant, not the bits of the message, there were also some replies to this post saying that what matters is whether the art itself if good, not how it was made. I think this disagreement shows that it's a tricky question...

Anyway, I wanted to expand a bit more on what I had in mind about a computer rediscovering Impressionism.

Actually this is inspired by a quote I read (I unfortunately can't locate it now) by some Chinese calligrapher, who had a kind of deflationary view of a past master. Something like, while the work had previously been said to "reveal the soul" of the characters, he said that they were made by exaggerating the variations to make the thin parts even thinner and the thick parts thicker. I think this analysis makes the calligraphy seem more "shallow". The effect can be obtained through operations directly on the pixels, without an understanding of the deep meaning of the writing

Maybe this is obvious because characters don't have any souls in the first place. So let's instead consider people. There's a classic paper from 1985, where somebody made a program to generate caricature drawings by comparing the facial landmarks to an average face, and then increasing the distance:

(Indeed, this is similar to what caricature tutorials say you should do, so I think it may be a realistic model of what's going on.)

But this could be worrisome! When we look at a caricature of JFK, we might feel that the artist really captured his soul. We look into his eyes and feel his wit, intelligence and arrogance shine through, which tells that the artist well those passions read. But if we did think that, then this computer program reveals that we were deceiving ourself, because caricature can be done by just computing a basis for a vector space of images of faces without any understanding of the passions at all.

Now what about Impressionism? It too might involve deep understanding: "people must first of all learn to look at nature, and only then may they see and understand what we are trying to do" —Monet.

Or, it may mostly be a matter of changing the color palette (get rid of black, add mauve) and using coarser brush work ("try to forget what objects you have before you, a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow"—also Monet). In the latter case, maybe you could take a random photo, project it down to a basis of limited brush strokes, and achieve the same results that won the Impressionists fame without learning to look at nature at all, without even having a semantic notion of house, tree, or field?

This would reveal impressionism, too, to be more shallow than we might have hoped. It might be something which is not tied to human emotion, or even human visual perception, but could be done by random aliens based only on computing a latent space of variations from a collection of images.

Thinking about that that "slop accelerationism" post, and also Scott's AI art Turing test.

I also hope AI text- and image-generation will help shake us loose from cheap bad art. For example, the fact that you can now generate perfectly rendered anime girls at the click of button kindof suggests that there was never much content in those drawings. Though maybe we didn't really need AI for that insight? It feels very similar to that shift in fashion that rejected Bouguereau-style laboriously-rendered pretty girls in favor of more sketchy brush work.

But will we really be so lucky that only things that we already suspected was slop will prove valueless?

As usual with AI, Douglas Hofstadter already thought about this a long time ago, in an essay from 2001. Back in 1979 he had written

Will a computer program ever write beautiful music? Speculation: Yes, but not soon. Music is a language of emotions, and until programs have emotions as complex as ours, there is no way a program will write anything beautiful. There can be "forgeries"—shallow imitations of the syntax of earlier music—but despite what one might think at first, there is much more to musical expression than can be captured in syntactical rules. There will be no new kinds of beauty turned up for a long time by computer music-composing programs. Let me carry this thought a little further. To think—and I have heard this suggested—that we might soon be able to command a preprogrammed mass-produced mail-order twenty-dollar desk-model "music box" to bring forth from its sterile [sic!] circuitry pieces which Chopin or Bach might have written had they lived longer is a grotesque and shameful misestimation of the depth of the human spirit. A "program" which could produce music as they did would have to wander around the world on its own, fighting its way through the maze of life and feeling every moment of it. It would have to understand the joy and loneliness of a chilly night wind, the longing for a cherished hand, the inaccessibility of a distant town, the heartbreak and regeneration after a human death. It would have to have known resignation and world-weariness, grief and despair, determination and victory, piety and awe. In it would have had to commingle such opposites as hope and fear, anguish and jubilation, serenity and suspense. Part and parcel of it would have to be a sense of grace, humor, rhythm, a sense of the unexpected and of course an exquisite awareness of the magic of fresh creation. Therein, and therein only, lie the sources of meaning in music.

I think this is helpful in pinning down what we would have liked to be true. Because in 1995, somebody wrote a program that generates music by applying simple syntactic rules to combine patterns from existing pieces, and it sounded really good! (In fact, it passed a kind of AI turing test.) Oops!

The worry, then, is that we just found out that the computer has as complex emotions as us, and they aren't complex at all. It would be like adversarial examples for humans: the noise-like pattern added to the panda doesn't "represent" a gibbon, it's an artifact of the particular weights and topology of the image recognizer, and the resulting classification doesn't "mean" anything. Similarly, Arnulf Rainer wrote that when he reworked Wine-Crucifix, "the quality and truth of the picture only grew as it became darker and darker"—doesn't this sound a bit like gradient descent? Did he stumble on a pattern that triggers our "truth" detector, even though the pattern is merely a shallow stimulus made of copies of religious iconography that we imprinted on as kids?

One attempt to recover is to say Chopin really did write music based on the experience of fighting through the maze of life, and it's just that philistine consumers can't tell the difference between the real and the counterfeit. But this is not very helpful, it means that we were fooling ourselves, and the meaning that we imagined never existed.

More promising, maybe the program is a "plagiarism machine", which just copies the hard-won grief, despair, world-weariness &c that Chopin recorded? On it's own it's not impressive that a program can output an image indistinguishable from Gauguin's, I can write such a program in a single line:

print("https://commons.wikimedia.org/wiki/File:Gauguin,Paul-Still_Life_with_Profile_of_Laval-_Google_Art_Project.jpg")

I think this is the conclusion that Hofstadter leans towards: the value of Chopin and the other composers was to discover the "template" that can then be instantiated to make many beautiful music pieces. Kind of ironically, this seems to push us back to some very turn-of-the-20th-century notion of avant-garde art. Each particular painting that (say) Monet executed is of low value, and the actual valuable thing is the novel art style...

That view isn't falsified yet, but it feels precarious. You could have said that AlphaGo was merely a plagiarism machine that selected good moves from historical human games, except then AlphaGo Zero proved that the humans were superfluous after all. Surely a couple of years from now somebody might train an image model on a set of photographs and movies excluding paintings, and it might reinvent impressionism from first principles, and then where will we be? Better start prepare a fallback-philosophy now.

[necrotic-nephilim]

jealousy really is the driving force of DamiTim as a ship. love that for them. love how Tim has the Robin mantle ripped away from him and he has to suffer the jealousy of watching Dick and Damian bond. how possessive over Dick Tim can be, to have him stolen by Dick.

even more so though, is the jealousy from Damian. how on earth do you cope when you finally get to be Robin, a role you've convinced is your birthright, and no one really likes you? every prefers the Robin who came before you? Dick regularly reminds you that he can always go and call Tim back when you act out? like the complex Damian has over Tim is unreal. Tim, who was born with a silver spoon in his mouth and had everything handed to him his whole life. he never had to struggle or fight for his place like Damian did. Damian has spent his whole life fighting and proving himself, and yet he can't ever seem to truly claw the mantle of Robin away from Tim. even when Tim lets it go, becomes Red Robin, they seem to share it. Tim can slip back into the role of Robin whenever someone like Dick or Bruce need him to, because *he's* the Robin who they need. he's the Robin who was able to find Bruce. he's the Robin that Ra's wants an heir out of. he's the Robin who even Jason respects. in Damian's eyes, everything Damian has fought tooth and nail for, was handed to Tim.

so of course he's going to react to Tim with violence and aggression, especially after finding out Tim has contingency plans for him. no matter how much Damian proves himself, he's never going to be enough, especially not to Tim. and so his deep refusal to see Tim as family, to acknowledge Tim's legacy is all driven by such an angry jealousy. Tim understands aspects of Bruce's legacy that Damian doesn't, like the need to sweet talk and play nice with the elites of Gotham, even if they're corrupt. they exemplify different aspects of Robin, and the aspects that Tim exemplifies are the aspects that Damian knows he'll never fully understand and therefore holds such a deep contempt for. he wants to fight criminals, not play nice with politicians. Tim understands the side of Gotham that's utterly foreign to Damian. if anything, he represents that side of Gotham, to Damian. a pretty little rich boy who's nothing but a know-it-all and not a real son of Bruce. he can't be a Wayne. he can't be Damian's family.

and all of that angry jealousy leading to unhealthy obsession turned a weird, angry crush from Damian is just my bread and butter. that is how DamiTim should be. to me. Damian obsessed over hating Tim Drake so much he accidentally ends up sort of in love with him and that only makes Damian angrier. because he can't prove everyone right by *also* liking Tim. he can't let Ra's win like that, because frankly why wouldn't Ra's be delighted by Damian and Tim getting together. and it builds and builds with angry passive aggression towards Tim that culminates in angry hate-fucking-that's-not-just-driven-by-hate. love and hate are always viewed as opposites in shipping and i think they're the same intense passion just in different directions. and for the best ships, they're very intertwined. what is DamiTim is not the peak of that. "i put so much of myself into hating you i had no choice but to fall in love with you somewhere along the way" core. love that bleeds into hate and hate that bleeds into love. "you make me so angry i regularly passively try to kill you but not with any real effort because who would i obsess over if you were actually gone" core. murder attempts as a form of courting. contingency plans to take each other out as a love language. they're unwell.

[vaguely-concerned]

walking through lucanis' mind prison. the tam lin of it all

[contagious-watermelon]

it's kind of like insanely isolating that literally every aspec or "ace & aro" space I've found has been in actuality, solely for aces. perhaps arospec aces or aroaces who entirely prioritize their asexuality could also find company there, but even as an aromantic person who is also asexual, they're really not intended for me. so I can only imagine how isolating it must be if you're aromantic and allosexual

[sammygender]

years ago i remember someone saying about dave strider that either he’s gay or he’s bisexual but deep down too misogynistic to actually have a fulfilling romantic relationship with a woman. anyway. this is how i see dean winchester

[holland-vosijk-antari]

i was just reading kell's pov in acol where he goes down to see holland in the cells, how he feels hollands eyes scraping against his own, and back in adsom where its described as two stones sparking together. not only does that make me want to go insane, it also makes me wonder if holland feels that too or if its just kell? its not mentioned as far as i can remember in any of hollands pov and not even in their first meeting flashback. the absence of it from holland's pov is a bit of a shame really though it does suggest that its just kell and the effect holland has on him... its also mentioned briefly when lila gets her antari prosthetic eye (in the sense that kell feels glad that he can look her in the eyes without that friction) which makes me wonder, if lila had both eyes would there be that sparking sensation between her and kell? would it not as their black eyes are on the same side? why would that sensation be only due to the presence of the marked eye? it's clear that kell and lila DO have a connection but then again so would most people who went through what they did together (especially as kell is quite dramatic about what he cares about). it would just be a shame to have this connection between antari be a real thing and it not be developed past a couple of brief mentions one of which to enhance a ship. the antari could be endlessly more strange so it's a shame that, even when bonded with the rings, they are essentially just very powerful magic users and not something altogether else...

[stephantom]

I’d need to watch it again to confirm this, but I’m pretty sure that Thomas Becket is the only character who independently initiates touch with Henry?

There are plenty of people whom Henry touches, and it’s almost always possessive or threatening: the villager woman in the first flashback scene, the Saxon peasant girl (and possibly the old man? I think he prods at both of them with his riding crop), Gwendolen (holding her shoulders/neck), the French prostitute (kissing, leaning over, sitting on, slapping her butt), his sons (pushing and kicking them), the bishop (strangling), his barons (clutching onto one, tapping one’s head to indicate his vapidness), and Thomas too—(clasping his shoulders when he realizes Thomas is hurt, holding his hand to put on the chancellor ring).

Interestingly, I don’t think we ever see Henry touch or be touched by his mother or his wife. There’s the moment when he grabs/kicks their needlework, and later on he knocks all the plates off the table, possibly vaguely in their direction—so there are two physical interactions which are violent but still sort of… distant? And still the direction is just Henry to them (in terms of physicality, anyway—verbally, they do initiate conversations/fights with him).

Does anyone touch Henry? There are the monks who whip him in the end, but Henry has ordered them to do it. Likewise, there’s the servant/valet/page who begins to wipe him dry in the bath scene, but again, that’s someone performing a duty. Thomas Becket though, cuts in and takes over the drying, and the dialogue tells us explicitly that he’s not expected to do this, and doesn’t have to (“You’re a nobleman—why do you play at being my valet?”) but Becket seemingly wants to do it, and he knows Henry likes how he does it: enthusiastically, confidently, warmly, and freely (“No one does it like you, Thomas”). He towels Henry’s head, helps Henry put on his boots, and then casually uses Henry’s legs to push himself up to stand.

There’s the scene in Henry’s tent, after the French prostitute has left and the two of them are sitting on the bed: Becket sort of leans in and briefly clasps Henry’s arm where it’s lying in his lap, casually and warmly.

There’s also the getaway horse ride, where Becket is holding onto Henry, arms wrapped around him, and they’re both laughing and smiling. Henry’s shirt actually falls open a little and Becket’s hand winds up on his bare torso.

And then there are the thwarted attempts at touch, after the split: the two scenes where Henry accuses Becket of not loving him. Both times, Becket moves toward Henry and reaches out to touch him, and both times, Henry moves away and tells him to keep his distance.

They’re quick little things, but if they are actually the only instances of anyone touching Henry affectionately (or even of their own volition) that we see over the course of the movie, it does support an impression of Henry as fundamentally isolated—maybe there is truth to his claim that Becket is the only person who’s ever loved him.

What’s tragic is that 1) Henry doesn’t really know how to express love himself (see: Henry expressing nothing but violence and entitlement to everyone else around him, and even to Becket for the most part), and 2) Becket’s love, albeit huge in Henry’s world, is conflicted and unfulfilling—for both of them.

Becket might be the only person who’s dared to reach out to Henry and meet him on something close to a human level, and Henry loves him for it, but why does Becket do it? Part of it may just be an instinct of Becket’s to fulfill a need where he sees one, if he can, and if it benefits him. I think it’s so interesting that Henry seems obsessed with the question of whether Thomas really loves him, when it seems the truth might be that Thomas actually doesn’t know; maybe it’s an unanswerable, even nonsensical question to him. Like, what else could he do? I don’t know. “Insofar as I was capable of love, yes I did [love you].” But the fact that his last words, unwitnessed and private, are, “Poor Henry.” Fuck me up.

Ok, that last paragraph got away from me and now I can’t stop. Tempted to draw comparisons to “Beauty and the Beast” (this is a sad version where no magical transformation happens… unless you take a particular Catholic stance and consider that both of them maybe took real solace and meaning in Thomas being made a saint and that Henry maybe found real absolution through his penance).

I also want to compare all of this to “The Lion in Winter”, where it feels like, rather than a story about one lonely monster in a castle full of people he sees as objects, it’s a whole microcosm of traumatized and power-hungry people, reaching out for power and security and love and stabbing each other in the back, over and over. (Like, of course his mother and wife and kids have complex feelings for him—some of which involve love!) I think that depiction is better and less myopic, more true to life and probably a more accurate portrait of the historical figures involved (even when it comes to Henry and Becket—Becket was of that world too, after all), but I think I’ve rambled enough about all of this, so I’m going to end this post now. I’ll just say that there’s something nevertheless appealing about the boiled-down fairytale melodrama of “no one else ever loved me but you!”

[altruistic-meme]

do i dare write the post looking at and trying to explain Queen Kristina's behavior? probably. i swear im trying to be less annoying about it but also like. i do what I want.

[skrunksthatwunk]

kinda drives me up a wall when people go "hey i think x action in a war/combat scenario is inhumane and cruel and shitty" and someone responds with "oh but within the laws of war it's allowed or there's procedure for it etc etc". it doesn't have to be a war crime to be unforgivable man it's a shitty rulebook anyway

[danielnelsen]

well this is what ive been doing for the past 2 weeks

[the-acid-pear]

I never tried the option myself bc it'd probably mean skipping the Reason You Suck speech at the end (fire for speedrunners though) but I Love that you can frame your Phoneys in 3, especially so if you've already killed the previous two. Like yeah couldn't send you off to die so i'll let the goverment do it for me 🧸 like its just Peak evil imo.

[orcelito]

Oh tho. Despite being at a concert at a bar with easy opportunity to have drinks. I looked at the menu as if I was gonna order anything, then thought to myself, "You don't drink anymore, hon" and went "Oh, right" then just got water.

So???? Given how matter of fact that thought was, maybe I really am fully sober from alcohol now. Interesting thought.

[dan-crimes]

It really is so sexy of me to be an art blog that never ever posts my own art LMAO

[slimyenemy]

i'm not doing any nightmares i'm being nice to you in case you care to some extent for as long as needed before it turns into an abuse apologism circus and then if it does i'm doing curses! like i said!

[ourceliumnetwork]

my eternal gripe: knowing about the source of the problem(s) SHOULD allow me to stop the problem from happening again. This includes but is not limited to: car trouble, hair care, skin care, mental health, physical disability, injury, and dyslexia.