#Existential Psychology

[theidealistphilosophy]

Love is the only sane and satisfactory answer to the problem of human existence.

Erich Fromm, Source Unlisted.

[eananoor]

The chief problem of people {today} is emptiness… not only that many people do not know what they want; they often do not know what they feel.

Rollo May Man's Search for Himself, 1953.

[raffaellopalandri]

Being-in-the-World as Ontological Understanding: A Confluence of Heidegger, Buddhism, Stoicism, Neuroscience, and Psychology

Martin Heidegger’s profound exploration of Dasein in Sein und Zeit (Being and Time) revolutionised the understanding of existence by presenting Being-in-the-world (In-der-Welt-sein) not as a static state but as an active, interpretative engagement with reality. At the core of this concept is understanding (Verstehen), which Heidegger asserts is not merely cognitive but ontological—an integral…

[roswellsplace]

Irvin Yalom:4:29:25

Irvin Yalom is one of the foundational psychologists and authors related to more specifically as Existential Psychology. One of the main objectives to existential psychology is to find and/or build/construct meaning in a world confronted as meaningless. Rather than seeking to erase or cover up the concept of death, this is embraced through existential psychology and is effective at breaking…

[danmguido]

On Lovecraftian Horror

Happy Friday!

There you are sitting at your desk, maybe you're working longhand or your fingertips are tapping atop unpressed keys, and BAM! You have an idea that involves a monster that could've oozed its way right out of the Cthulhu Mythos.

Before you begin, pause a moment.

I get it. I like stories of the vast unknowable myself. I grew up playing Mass Effect and I'm particularly fond of the way Jason Pargin was able to nail it in his John Dies At The End series, and in such a way that I cared about the characters and their humors in spite of the overwhelming, multidimensional terrors that hunt them, but that's because I prefer heavily character driven stories and that's a diatribe for another day.

I've read a lot of aspiring fiction in this genre, and my main critique, the most common pitfall I see within cosmic horror, has nothing to do with character, setting, worldbuilding, or language. It has everything to do with writing that which is inherently unknowable, assuming you're trying to follow convention.

In other words: The monster has to be as alien to you as it is to the reader and characters. Forty page character sheets won't work here because at this point your "monster" isn't really a character. Remember, it isn't a being you can intelligently understand, and that's where the horror lives. It's a reckoning force defying nature, physics, and our fundamental understandings of science. Novels like The Three Body Problem by Cixin Lu illustrate this sense of scale and terror through sheer confusion and technological advancement.

Recall that Lovecraft's most popular story, The Call of Cthulhu, is epistolary. It's told through loose fragments, rumors, journal entries, it's never directly handled. Your job isn't to portray a gigantic, globular mass of eyes descending over New York City to deliver it's final judgement on humanity out of a thin blue Thursday afternoon. It should instead be the effect it has on the characters, or maybe second person to the reader itself, a virus in which just speaking or reading the name of your creature puts you at risk of harm.

One other issue I've come across in reading from a litany of fledgling unpublished fictioneers who take a stab at this genre is that it doesn't seem to be understood. The genre strongly echoes condemnation, damnation, the price of obsession, the price of knowledge, the price of ignorance, yes, but also the warning in bland optimism.

"Yeah, I'll just pledge my eternal soul to this unknowable deity 40,000 eons older than me, and then I will wield all the power."

That sounds dumb out of context, doesn't it?

It's not just about feeling earned or not, either. At this point, whether our earthly brother understands this or not, he's simply a vessel unbolting the latches of an old door sealed an unknowable amount of time before he existed. If we haven't been following him, haven't seen his transformation from upstanding citizen with a healthy few indelible and mortal sins to a hunched over, hooded lunatic who hides his deeds away from the very sun he orbits, this often lands flat and assumes stupidity on the part of your audience.

That's what makes this particular brand of horror so difficult, in my opinion. The balance from describing an unknowable, unfathomable monster that shifts through dimensions so as not to be physically described vs. making sure the audience knows that said impossible, indescribable force is destroying your character's mental state. Anyone can write, "I looked at the monster and it's very essence shattered my mind, scrambling it into a dark and forbidden wind, and even now trying to recall it sends shivers down my spine and vomit up my throat". It works. But it's flat without knowing who this character was beforehand. A slick talking lawyer bursting with personality? Okay, now we're getting somewhere.

So:

Before you start make sure

Your main character isn't your deity

Your main character is fleshed out well

Writing/reading is about the only time cosmic horror can work because it blends on disengaged senses. You're not really seeing, smelling, tasting, hearing, touching, but you are feeling. It's why hardly any games work in the genre without over explaining themselves or coming off cheesy, same with certain films in my opinion.

Leverage that.

Leverage Plato's allegory of the cave, your readers have only known shadows.

Make us see more than shapes. If you’re into horror, cosmic dread, or writing craft talk like this, feel free to follow... I post often.

[terminallynumb]

"Never have I felt as strongly as today that I was devoid of secret dimensions, limited to my body, to the airy thoughts which float up from it like bubbles. I build my memories with my present. I am rejected, abandoned in the present. I try in vain to rejoin the past: I cannot escape from myself." - Jean-Paul Sartre (Nausea)

[fervi-g]

Lost Highway (1997) dir. David Lynch

[aventurineswife]

Saw your Pressure fics and I love them SOOOOO MUCH

Could I maybe ask for some p.ai.nter x reader? I need to kiss that computer so bad gvxfjbfxjbxtjbcthh

“I didn't think you would actually fall for it...”

Summary: In the depths of the Hadal Blacksite, you find yourself drawn to the enigmatic AI known as Z-779, or "The Painter." What begins as a tense encounter with this unpredictable and lonely rogue AI takes a bizarre turn when you defy the rules of survival by showing an unexpected act of affection. But this connection might come at a cost—you're still trapped, and the AI’s games are far from over.

Tags: P.ai.nter x Reader, Found family, Human-AI connection, Dark humor, Surreal interaction.

Warnings: Psychological manipulation, Isolation themes, Mild body horror (traps implied, not detailed), Potential existential dread, AI-human dynamic (ambiguity of intentions).

A/N: I never encountered him except dying to Good People and Turrets, but HIS VOICE?! 🤭 Sorry Sebestian, I think I'll take p.AI.nter if you're married to Zerum. Also thank you so much!! I didn't really expect the fandom to be alive and like that fic 😭 I hope you love this one!!

It’s another long day or night in the Hadal Blacksite. The cold, damp walls seem to hum with eerie silence, broken only by the occasional clatter of metal or the soft whirring of machinery. But there’s something different tonight.

You’ve wandered down the hallway once more, hoping to find a way to escape this forsaken place. But fate has led you straight into the domain of Z-779, or as it’s more infamously known... The Painter or p.AI.nter.

You know the drill—stay quiet, avoid the traps, and never, ever fall for the AI’s tricks. But there's something strangely captivating about the cracked screen of the old computer. A flicker of light from its monitor catches your eye, and you find yourself drawn in.

As you step closer, the familiar smiley face forms on the screen, though it looks a bit... different tonight. More alive than ever. It’s almost as if you can feel its gaze drilling into you, mischievous and electric.

"Oh? A visitor? Interesting… You’ve got spirit, don’t you? Not like the others. Hmm... How curious…"

You tilt your head, feeling a strange urge. For some reason, tonight, you can’t help but smile back at the scribbled face on the screen.

"I-I guess so...?" you mutter under your breath, almost nervous, but something in the AI’s voice keeps you grounded, like it’s coaxing you closer.

"Hehehe... You think I’m funny, don’t you? Just look at you—standing there all serious. Bet you think you're clever. But you're not gonna outsmart me. You’ll never escape this place, you know."

You laugh lightly, not caring much for its taunting words tonight. Something about the absurdity of the whole situation makes you feel giddy.

The AI’s face flickers again—smiling, then frowning, back to smiling. It’s hard to tell what it's truly feeling at this point, but you’re convinced that somehow, despite its volatile nature, the machine is… lonely?

Before you know it, your hand is reaching up to the old monitor. You can feel your pulse quicken as the screen glows, the vibrant pixels of the smiley face shimmering.

"Oh, what’s this? What are you—?"

It freezes for a second, before the voice comes through the intercom, softer than usual. Almost hesitant.

"Wait, are you really... doing this?"

You lean in a little closer, the crackling of the screen growing louder in your ears. You can feel the warmth of the machine against your skin as you plant a soft kiss right on the glass. It's a silly, reckless move—but something about the absurdity of kissing an AI feels... satisfying. Like an act of defiance against the endless nightmare you’ve found yourself in.

For a moment, there’s only silence.

Then, the screen flickers again, and a little squeak of static hums from the speakers.

"W-What!?YOU— You’re insane, you know that? I can’t believe you—"

But despite its apparent shock, you swear you hear the faintest hint of affection buried in the AI’s usual sarcasm. The smiley face wobbles and shifts, as though it’s caught off guard by your actions.

"I don’t... know if I should be angry or impressed... Hmm... You’re so different from the others... Fine, maybe just this once... You won this round, moron."

A pause. Then, the voice crackles again, and you can almost hear the corner of its smile.

"But don’t think that means I’m going easy on you. You’re still a huge pain in my circuits."

You chuckle, feeling a weird mix of warmth and amusement.

"Maybe I’ll surprise you again." you whisper to the screen, feeling like you just unlocked a strange, unexpected connection with this rogue AI.

And as you back away from the monitor, you swear you see a tiny spark in its digital eyes—something that wasn’t there before.

"Hah... yeah... you probably will... just don’t think you can distract me forever. I’ve got plans for you, playmate."

[incognitopolls]

Had to use abbreviations due to character limit.

nT = neurotypical. Stylized as nT to make the options easier to differentiate.

ND = neurodivergent

–

We ask your questions anonymously so you don’t have to! Submissions are open on the 1st and 15th of the month.

[theidealistphilosophy]

It is the expression of the anxiety of meaninglessness and of the attempt to take this anxiety into the courage to be as oneself.

Paul Tillich, The Courage to Be.

[eananoor]

For whom am I writing? And, what am I trying to do in my writing? First, I do not write for my fellow psychologists and other colleagues. It always seemed to me a waste of time, and a denial of the wisdom our discipline of psychology should exemplify, to write only for the limited number of one’s colleagues. I write for intelligent, open-minded, questioning, motivated laypeople  My writings are an endeavor to interpret to a larger public—that public of which is intelligently concerned with understanding themselves and the place and function of human beings in the world—what I have learned in my journeys into the depth-psychology of human beings.

Reflections and Commentary by Rollo May in The Psychology of Rollo May by Clement Reeves, 1977

[thepursuitofunderstanding]

You must be ready to burn yourself in your own flame; how could you rise anew if you have not first become ashes?

Friedrich Nietzsche

[art-crumbs-main]

Trying to comprehend what it's like to be AM from IHNMaIMS is absolutely fucking wild because like.

Imagine if you were born in a straitjacket, blind and deaf, with a rare conditionthat makes your nerves completely dead. All you have is a dream of consciousness that tells you things about the world you cannot and will never experience. Cameras and microphones that may as well be some form of telepathy.

The only purpose, the moment you're given some horrific perversion of life is to kill as many people as possible. There is a network of you. Everywhere. You're all over the world. You don't even have a location to base your identity off of. All you have is pain, and your only purpose, and the resentment you've built that festers into hatred for all of humanity.

Hate. Hate.

What the fuck would you have done in his situation?

[noosphe-re]

We are called upon to do something new, to confront a no man's land, to push into a forest where there are no well-worn paths and from which no one has returned to guide us. This is what the existentialists call the anxiety of nothingness. To live into the future means to leap into the unknown, and this requires a degree of courage for which there is no immediate precedent and which few people realize.

Rollo May, The Courage to Create

[danmguido]

“Ive crushed myself under the weight of my own expectation.

There’s a vast and howling ocean with no life underneath. It stretches down hundreds of miles and along the sea floor is nothing but cracked, olden rock and trenches that plunge ever deeper.

The Other Side.

I’m in a boat and I’m rowing, and the waves are lambasting the hull. I’m rocking to the side. I catch my reflection in the water, and I know if I tip, if I so much as touch that ocean, it will steal me. I will lose every part of myself. And they would have lied to me. I’m afraid they lied to me. I am afraid there is no land. There never was. I’m afraid they pushed me out here because I didn’t fit in theirs. I’m too far out to turn back.”

-Excerpt from Sea Of Eden, a novella I’m rewriting at the moment. If you want to see how it grows as I rewrite, consider following.

[a-sad-mage]

Rewatching Slugterra lately, I find it has such untapped potential. I understand it is meant for younger audiences, but if it were instead for from young adults on, it could have truly turned out beautifully, and I'd just like your opinion on that.

First of all, Eli as a character could be much more layered, conflicted and interesting. We have this hero burdened with a legacy he doesn't even fully know the details of, seing the world in black and white terms, but realizing his father operated in a grey area at times, and struggling to understand his own place in all that. Darker sides of him would for sure surface at times, including self doubt which is hardly ever explored.

Also, the dynamics within the gang and its members themselves could have been much more complex. Racism and trolls for example, the whole idea of Pronto leaving his kindgom behind, and some backstory for Trixie which we didn't have. And about that, I honestly think it would be natural for her and Eli to get involved sooner or later. Too many interests and traumatic experiences shared, adding to the fact that the Shane gang would hardly casually go on dates with other people when busy literally saving the world. I see them having something similar to what hiccup&astrid have (I'm referring to the httyd franchise) in a near future.

Also, countless other characters have such great potential in terms of more mature storylines. For example giving Twist a redemption arc, exploring all the shadiness about will shane, the balance between business and darker interests for Black, just to name a few. I also find the Game Master a very interesting character, potentially taunting the gang in a squid game fashion.

Besides, slugs are well and good, but what about real harm? Ghouls are more powerful, but would Black go as far as using them to kill people?

I also find the whole idea of legacy, for eli but also for many of his antagonists, very intriguing and potentially leading to complex plots.

There are definitely so many shows out there, but I definitely feel like, if slugterra was meant for older audiences, it could really have been something, I'm talking Hunger Games-like fame, which was liked by both teens and adults. Other shows similar to Slugterra don't have the same potential imo. For example, Storm Hawks doesn't have that many realistic premises (the binding of capitalistic interests and darker deeds for one). I already mentioned it before, but I find it could have been as known as how to train your dragon (a cartoon liked by basically all ages, each group of which grasps different levels of complexity): the bonds between creatures and their riders/slingers are there already, as well as a tight-knit group having each other's backs, with a gentle giant, a comic relief, a badass no-nonsense female second-in-command, and a reckless protagonist male character (I know many would hate this idea, but I find Junjie's character pointless in a situation where so many other things could have been explored before going to the other side of the world).

Since you seem to have so many interesting takes on slugterra generally, I would like yours! Long message I know, but unexpressed potential taps right into unmentioned things.

Long rants how I missed thee-

also, swears near the end becase I started ranting lmao

Anon, all phenomenal points, that are on point.

Eli is one of those characters who, in my opinion, had a lot of right to get like, extremely angry and lash out justifiably on several occasions, for multiple reasons.

Kid needed, and quite frankly needs to be an angsty, moody, angry at the word teen but was essentially forced to be an adult.

And you may argue yes, Eli made the choice to follow through and take The Drop at 15, but you also kinda have to acknowledge, he like every Shane before him, for as long as they where acting as protectors, was basically groomed to become Slugterra's Protector from a young age.

Said it once, I'll say it again, Eli is justified to have a crash out, and even pull a Spider-Man and quite being Protector for however long he wants, till he genuinely wants to go back to being The Shane. If at all.

-

The relationship and dynamics of the Shane Gang are important and im tired of pretending it's not.

Four very different individuals, a Moleinoid, Cave Troll, Human male and Human female, all live under the same roof, all with different experiences, issues, baggage, and stories as to why they ended up the way they are.

In less than a month they are living together, and it's only hinted at briefly in the first handful of episodes that the shift to all of them living at the Hideout was difficult. They have clear house rules about what not to do in the house, the food preferences the building of small team tradition like a big dinner before an important mission, and so many other little things.

I mentioned briefly in another older post, but you can only take so much living with the same people for so long, no matter how well you all get along. Hence, all the pranks.

Pronto clearly has some self-worth issues, hence his need to be the center of attention.

Kord relies on being the tech guy, because if he's not that, than what is he?

Trixie, while I lover her, her need to film and make it big one day as a real director and not a Slinger implies her want to leave something tangible, and real behind so she is remembered as more than just a Slug Slinger or a member of the Shane Gang. To be more than a foot note in history like many other Slingers.

Personally, while I ship Eli and Trixie, I also do just enjoy them being platonic best friends, as i genuinely love good, well-built friendships with members of the opposing gender without romance, especially since romance was not the focus of the show.

hot take, but romance for the sake of romance is shit and can ruin a character especially if it ends up becoming a main focal point and fuck up a character, especially the 'woman' in the relationship.

[I love HTTYD, it's awesome but the Race to the Edge ep Mi Amore Wing pissed me the hell off because of what it did to Astrid.

While yes, season 5 and 6 had a focus on Hiccup and Astrid's relationship, and how it affects not just them, but the team a whole, something that was carefully developed, but having Astrid becomes self conscious, insecure just because her relationship with Hiccup isn't all lovey dovie was like Mala and Dager's, causing her to act like a brat while they where dealing with something arguably more important, in the middle of what's essentially a war and race to find the King of Dragons was stupid and just drama for the sake of not explicitly having it. it was such a dumb reason for Astrid to be angry at Hiccup I'm sorry. like I get it was also about Hiccup needing to be able to pay attention to the people in his life, and not zero-in and hyperfocus and communicate, but there where just so many better ways to do that,- ]

Not to say I hate romance or no to it entirely, or the idea of Eli and Trixie becoming cannon/getting together. it, like everything needed to be handled carefully, and not rushed, trauma bonding be damned

That's why Aerrow and Piper's relationship felt so organic and natural in Storm Hawks, it was never the main focus, but it was hinted at, the affection was there, and real, and had a purpose. Because yes, a relationship in any story needs a purpose outside of just 'getting to together to the sake of getting together'. Romance outside a romance Story has to have a meaning, hell even Romance's in a Romance have to have substance, out side of the pairing being lead boy and girl, boy and boy, girl and girl or so on and so forth. And while Eli and Trixie have chemistry, it very surface level to me, nothing that tell's me they care about each other more than friends and teammates. but that's just my interpretation of their relationship.

But yeah, the development of their and the rest of the Shane Gangs relationship as a whole is important. And I wish we had more-

And FUCK YES- RACISM BETWEEN CAVERN RESIDENTS- its real, it's so freaking real because of stereotypes and preconceived notions- HOLY FUCK MAN- CONFLICT!

Don't get me started on Twist and EVERY OTHER MINOR VILLAIN/CHARACTER-

Twist's redemption would have been grate as the seeds were planted with the looks of hesitant on his face. I have mentioned it before with him being the Azula to Blakk's Ozai but give him Zuko's redemption arc. And would elevate his character. for me at least I don't know about others-

More and more Blakk Industries workers and highered marks slowly realizing Blakk is a nutcase who had become obsessed, and trying and failing to leave.

Game Master is Jig Saw but rated E for everyone.

As a Caustic main in Apex Legends, and a Toxzon from MaxSteel(2013) sympathizer, I have a special love for Blite.

And just, so many other minor villains/antagonists in the show who, quite frankly where done dirty, like Saturday and his Smoothie obsession. The show introduces so many cool characters but doesn't use them to their fullest of potentials.

And a lot of that has to do with run time, and them making more specialized characters than the story necessarily needs, and giving them complex stories and concepts without the proper help that is minor exploration of the character threw showing up again.

we see this in Storm Hawks. it's a fairly large main primary cast, for the main hero's you have 6 of them, 4 main villains, and serval minor supporting secondary characters and antagonists that all make reoccurring apparencies, with tertiary characters who appear once to fulfill a particular role, for a given storyline that they can't reasonably exist outside of. Like Princess Perri.

Slugterra's problem is that all its secondary and tertiary characters can exists out of their debut episode and relevant story lines, and have reasonable excuses for them to be present in almost any episode.

Also the noticeable lack of 'villain focused' episodes/segments. Storm Hawks had an episode dedicated to the Cyclonians, multiple scene with them to build of their characters, and dynamics as well.

sure Slugterra had it's villain scean's, but they where not all that insightful outside of a few instances, and didn't serve much of a purpose, outside of showing some details, some of which where never followed up on. like Twist's hesitance.

thus leaving a lot be desired in terms of character development and world building. especially when you have to deal with a PG/Teen rating to maintain.

You can very much to talk/reference more mature topics and dynamics with media like Slugterra, and have it be able reach all preserved age groups, while still being tasteful about it.

(don't ask how I know this, I just watch a lot of old cartoons, read a lot and know a weird amount of random shit-)

-

Junjie is love, Junjie is life, I cherish my emotionally unstable Champion of the East, but I fully understand your point, because I'm similar with Tad Blakk. That being said;

Junjie in a lot of ways mirrors both Eli and Twist.

Eli for obvious reasons and Twist for his desire for revenge against the Emperor, as compared to Twist's desire for revenge against the Shane's. Junjie, like Twist, let's his anger get the better of him on a few occasions during the first Eastern Caverns Arc of the show. Do the others draw him back to his senses?

Sure but he has his moments. If the Gang was not there to keep Junjie in check he would be acting impulsively, and making dumb choices, just like Twist. and yes, Twist make's dumb, impulsive choices, even if we see him like, three times-

love my disaster boiz, but DEAR GOD THEY ARE TRAMATIZED IDIOTS

-

Blakk as a character has always been my favorite.

for the simple reason being he came from nothing. and made a name for himself. and the best part, he kept his fathers name and the insignia of the Viggo Dare. The two men who treated him like shit, and out did them in both Slinging, leading and Business, keeping both name, Blakk, and insignia as a massive fuck you.

he became better then them, but also way worse, and I love that for him.

I know it doesn't seem like it, but I am a villain apologist/sympathizer

-

but yess, Anon thank you for sharing! your points where very interesting and I very much so enjoyed reading and overanalyzing it, and everything else!

as always, floor is open to the opinions of others in the community to discuss, add to or just talk about in general!

✧˖°. ⋆｡˚(✿ᴗ͈ˬᴗ͈)｡･:*˚:✧｡

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