#the vast Inside

[joneevarts]

Sky grampa and vertigo edgelord <3

[artgletic]

case study of the self-identified god

[w1ng-gl0ss]

coughs up a lung hi can you take any vooraines (??( pannel and make it cronus and eridan in my au theyre brothers and theyre Happy And I just want eridan fo be HAPPY

LET THEM BE HAPPY

Sorry this took so long! Apparently the sketchy panels are a lot harder to clean up than the solid ones QmQ

[mildcicada]

My friend's gift to me for my birthday!!! (⁠≧⁠▽⁠≦⁠)

[i-am-not-a-who-i-am-a-what]

so about the header that proceeded today's statement:

Viability as agent: Low

Viability as subject: None

Viability as catalyst: Medium

i didn't know what to think of this part of the entry at first, but the longer the statement went on... was the institute in this universe trying to manufacture avatars?

the dice can't do anything without someone to use them, they can't be an "agent" by themselves, but might be capable of manipulation, so in that aspect their viability is "low."

the dice could be a "subject" in the sense that they could use further studying, but the statement itself was a very thorough investigation of their workings, so in that aspect their viability is "none."

the dice seem to influence their holder to roll them, or at least find more victims to roll them, and could therefore be described as a "catalyst" for someone's becoming. but, as seen in the statement, their owner can give the dice to someone else (albeit not without consequences), so in that aspect their viability is only "medium."

so what about the line following all this, what does "Recommend referral to Catalytics for Enrichment applicability assessment" mean? if we go by this interpretation, i'd say it could mean the institute wanted to find a way to make the dice even more potent as an artifact, maybe even remove that pesky ability for their owner to reject them.

imho all of this this brings a whole new level of context to the events of episode seven, of unknown violent agents going after an influx of objects that seemed straight out of artifact storage. was that the nature of the titular "magnus protocol" first mentioned in episode four, the one that involved the starkwall group? containing or destroying potential artifacts before the institute could get their hands on them?

it also makes their "gifted kids program," and sam's link to it as one of the kids being studied, all the more horrifying to think about. was it not just avatars in general they were after, but child avatars specifically? no wonder gertrude got so defensive over the possibility of sam and celia dragging gerry back into the institute's business last episode, we all picked up on her clearly knowing more than she's letting on but now we might know the shape of that information a bit better.

and one final bit of food for thought... this statement had a lot of familiar themes, didn't it? free will or the illusion of it, gambling and not-so-random chance, the statement giver being done in by one final hit from what feels like a bit of an addition... all hallmarks of a certain mother of puppets. doesn't it seem fitting that "chester" would use this kind of statement to warn sam about what harm pursuing the magnus institute could bring to him, considering the one his voice might draw from? and doesn't it seem so painfully ironic that his warning seems to have only driven sam further into that web?

[clarissaweasley-10]

I- lemme just go and have a heart attack real quick-

[drinker-of-paint]

Babys first go at an Alice design!!

I'm slightly worried I might have made her outfit a bit. Much? But on the other hand I think her fashion sense cannot be silenced

I'm just trying to get the ones out that I had immediately somewhat clear in my head before I get influenced by everyone elses designs,

I think I'll do Gwen next, no promises on how soon that'll be though bc it's me 😬

[bunnidid-reviews]

CDD Writing Prompt: Entering Inner Worlds

I welcome everyone with a CDD to talk about their experiences, or write an excerpt on how they would like to see this aspect written in media :-)

If you don’t feel comfortable for any reason tying this to an account, feel free to send your writing through an ask on anon, just be sure to mention which prompt you’re referring to!

—————

I feel like there are many ways that this sort of thing can be portrayed because I’m certain that its different for everyone (even differing between parts). But it’s also one of those things that signals to me whether the author deals with dissociation themselves or not.. here are some tropes I’ve found with portraying a character going into their inner world, let me know if you’d write it similarly or differently:

In order for the character to enter the inner world, they must fully blackout switch into it

in order for the character to go into the inner world, they must be either nearly or fully asleep or in a trance-like state (like meditation or going through some trauma)

the character confusing the inner world with the real world (all senses feel realistic, all things seem tangible)

Alters other than the host having fully-running lives behind the host’s own, almost as if the inner world takes place in another dimension with the same sense of time and everything

There hard divide between being in the inner world vs outside of it

Being unable to know whats going on inside without intentionally going in

Alters in the inner world abide to real-life limitations (having to intentionally walk places, showing up as a full person with all their details, sometimes having to eat or sleep)

What are your thoughts on the topic? There aren’t as many examples as one may think about the inner world, even though it’d be vastly useful in storytelling to include.. but then, most DID media is about the discovery phase, so its rare they get to the point where they explore it

How would you write a character going into the inner world? If you have one, what does it feel like for you to go/look inside? How would you like to see it portrayed?

[yourfaveisanavatar]

Roblox is a domain of the vast

roblox is a domain of the vast!

[homohaamu]

This is niche but squid game x the magnus archives crossover where namgyu is avatar of the desolation. I want this bitch be manifestation of destruction itself.

[kitcat-void]

poem I wrote in my notes app about being a divine/deity/angelkin

[naradreamt]

Miscellaneous photos of the hide MUSEUM taken in 2000

[robo-dino-puppy]

horizontober 2023 | 13: lounge

[rapidhighway]

i feel like my choices on that poll are very claustrophobia coded

[wildchives4]

When the LA-based interior design influencer who is constantly purchasing $$$$ furniture and reselling it bc she was in the mood for something else informs her viewers that unfortunately, you CANNOT create a worthwhile space with cheap new furniture and you MUST wait until you find the perfect vintage piece secondhand and there is NO valid excuse for not doing so. -_- k.

[hylaversicolor]

wait just kidding i have more to say

mgs is difficult to analyze. it’s extremely hard to watch a mgs cutscene and understand what kind of character emotions you’re supposed to be feeling from it in the moment. the story isn’t exactly character driven in that the characters’ relationships are mainly established offscreen or through exposition or both, often using shorthand (we care about the boss because she has a maternal vibe which kojima exploits for an emotional payoff; the boss isn’t a strongly written character, her relationship with snake isn’t organic, she’s a walking talking thesis statement on wars and borders). her and snake’s relationship in the game consists of her explaining her motivations to him and him reacting to it, then she defects and he asks her “why did you defect?” about a thousand times until she explains herself one more time and then he kills her. there’s nothing like “remember that time we worked together in xyz place,” they have no inside jokes, no flashbacks of them training or working together, it’s all meant to be filled in by the player and perhaps their own memories of their mother or some other mentor figure they have in their life. the same applies to ocelot. he always, always wears gloves (classic trope for concealment/hiding something) and he NEVER explains himself in his own words or if he does he uses half truths or ambiguous wording, or is obscured from the camera or the viewer in some way (x).

we’re not meant to understand ocelot’s intentions based on just what appears in the games themselves. and at the same time it feels like…cheating, almost? to take words from kojima that appear outside the games (even if they did come from kojima himself) and say “this one interpretation of the words is definitively what was going on”

because metal gear is not really about what kojima says outside of the games. mgs is not meant to be clear or unambiguous. the stuff on screen is just one half of the story; by design, half (more than half?) of the story comes from the player: from from the player’s decisions and preconceived notions and lived experiences. metal gear is about the player’s interpretation of intentionally vague storytelling. THAT is why kojima relies on movie tropes for shorthand. he makes games that can easily be interpreted in a variety of ways and that is the Point!! by the nature of the very thing there isn’t a clear answer as to whether or not ocelot’s love for bb is romantic or not. but regardless of whether or not it is, ocelot STILL did everything he did for bb and died for him in the end. there is no easy answer and there is no correct interpretation. thanks