#anonymity scripts

[zomb13s]

“Becoming Nobody: An Engineering Blueprint for Recursive Self-Erasure Through Metaphysical Re-indexing”

ABSTRACT This paper explores the systematic deconstruction and reinvention of selfhood as a recursive engineering process. Inspired by popular cultural artifacts such as Mr. Robot and Fight Club, we examine the metaphysical implications of digital existence, online persona dissolution, and fact-finding automation as acts of resistance and transcendence. We treat identity as a computational…

[flightyalrighty]

no offense but the fact that the first thing i ever saw you say about your own comic was that an ai wrote it has permanently turned me off of it even if you decided to go and edit that first post of yours to say it wasnt. like, wow. what a way to introduce a comic

Well, I made it clear for the sake of transparency that the original story was written alongside a character.ai bot, though it seems you missed the part where I said I don't use AI anymore -- And that, to quote my own FAQ;

"All of AI Shadow’s “additions” will be rewritten so he’s less stiff and more himself. Meaning everything in this comic was written by me. All of it."

You also seemed to miss the many times on my blog that I've advocated against ever using AI. Of course, I suppose I can't blame you. You did, after all, admit to me (on anon) that you basically just glanced at my comic, didn't pay attention to WHAT I was saying here:

And then jumped to the conclusion that you did. But I guess I shouldn't expect much from the "pissing on the poor" website. Allow me to clarify: Yes, the original story was written as an RP I did with a chatbot. I have admitted this for the sake of honesty. I didn't want to lie about this thing's origin, even if I regret having done so at all now.

At the time, being someone who used to mess around with chatbots as a kid way, way back in the late 2000s/early 2010s like Chomsky, I thought this website was just another one of those sorts of things. The chatbot itself, however, was bland garbage and I was basically tugging the thing around an entire elaborate story of my own creation while the thing just went "wow" and "oh no" at everything. The ENTIRE plot, EVERY line from EVERY character that wasn't Shadow was mine. Now, in its comic form, turning that plot I had rattling in my head into a script, and turning that script into a comic, obviously I'm much more involved in the one element of the story that was once, and is no longer, AI.

Shadow is written by me as well, just as I had once written literally everything else.

Use your eyes. You can see how much effort I put into this comic. Now use your head. Why would I cross out that section in the first page instead of deleting it outright if I actually wanted to hide it. I clearly value honesty and genuine quality in what I do. So when turning The Thing I Did For Fun into a REAL story to tell others, obviously I pushed away all the AI stuff because, beyond all of the other problems with AI, it's not of the high quality I want Infested to be.

Okay? Okay.

[incognitopolls]

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[ruby-red-inky-blue]

Someone else brought up earlier that the break up scene felt emotionally manipulative and I think it describes it so well. It’s clearly designed to just get a reaction from the audience instead of telling the story. Yes, they wanted to portray that as a big pivotal moment for him, the moment his life changed forever and he’s all in with the rebellion (even though he was implied to be all in by the end of season 1, but alas). There were hundreds of different ways they could’ve build this relationship to make it interesting and meaningful to his character arc, or maybe even the last straw for him to commit (I still think it would be cheap, but there were better ways to do it). I mean, since everything happens off screen, they could’ve broken up off screen too. She should’ve left one day when he was away, since she apparently didn’t do anything besides staying at home and waiting for him. Or they could’ve given them a real confront and talking like adult people. But the filmmakers didn’t want that, they just wanted to get a specific reaction from the audience. And the reaction is - I want the audience to be super sad about this beautiful love story, so we can’t give them a real break up, we’re gonna make it a pause. We will make her talk about all the things they will do after the war, because the audience knows he is dying soon. So it will be sad and they will cry, because it’s a real tragedy they wouldn’t be able to live their domestic dreams in peace. And it did work, for many people, and they think this is the saddest thing to ever happen for Cassian. The entire press tour of this season was about “you will see Rogue One if a different light” which means “now you have reasons to be sad because Cassian died”. As if the movie wasn’t already tragic when it was released 10 years ago. And the cherry on top was the baby scene, the one who was said to “change the way you see Rogue One forever” because the real tragedy is that Cassian never got to meet his progeny. It all falls apart very easily if you take a moment to think about these details. He could’ve gone after her if he wanted, it would’ve be hard. Her hiding the fact she had his child was not nice at all, he deserved to know about it. But still, the intention is for the audience to be sad about how tragic it all is. Maybe the real tragedy is how bad the writing is.

It just makes them look so stupid. I can't believe a whole bunch of accredited, professional writers were tasked to write a heterosexual romance subplot and made... this. Baby's first tragic romance. Can't think any of these steps through for even a second or it becomes either hilariously funny or a cry for help from one or more of the characters (i.e., a woman choosing to drug her boyfriend so he will not stop her from leaving him, holy shit guys, have you never heard of domestic abuse. like. on the news??). It's an absolute embarrassment and it's so tragic how they keep parading people around to praise it like that would fix it. Hint: if your writing is emotionally affecting, then people will just be affected by looking at your art. You don't need to run a million-dollar marketing campaign to tell everyone how sad it is.

[ursiday]

the recent piece with cameron in the woods is really cool! is there a supernatural element to her story? or is the tiger and skull just for vibes lol (not that that's a bad thing!)

Thank you!!! There is a supernatural element yes though the way it's depicted in that illustration is mainly vibes

I'm still keeping the details of the supernatural aspect secret for now but it is loosely connected to my vague evolutionary specbio premise for the story. I don't remember how much I've talked about it but the basic idea is that the anthro cats are the sapient species in their world but regular big cats still exist, basically equivalent to great apes in real life

[nalyra-dreaming]

What's your favourite bit from the script?

The fact that those little kisses were not scripted…

… think it’s everyone else’s favorite part, too if I saw Twitter etc correctly:))

And Rolin‘s humor coming through even in script instructions:))

[gemmafuckingscout]

What is it about Gemma scout that makes wasians gravitate towards her (me included)

oh boy you're opening up a can of worms here, i hope you knew what you were signing up for when you sent this to me...

honestly i think it's a number of things. the first thing that comes to mind is her race, of course. now we don't know if gemma is canonically wasian, but her actress is, and we can safely assume her character is tibetan (just like dichen) based on her usage of "chomolungma" and "chikhai bardo" in 2x07 which are both tibetan terms. the world of severance really only started touching on race this season with milchick's storyline so we haven't seen the ways that gemma's race has affected her life or treatment thus far, but we can make some assumptions.

in my opinion, the two innies that i think have the strongest racial themes (specific to asian women) are ms. casey and gemma's allentown innie.

there is still a lot of speculation on why ms. casey is like that but i personally believe it's a combination of gemma's special chip, social isolation, and a handful of stints in the break room. regardless, lumon turned the resistant, calculated gemma that we know into the meek, resigned ms. casey. the perfect asian woman, by society's standards. she's soft spoken, she does as she's told, she performs emotional labor for almost the entirety of her life, and she never complains. not even when she's sentenced to death.

then with allentown!gemma, i think the juxtaposition of mauer as her "husband" is kind of a caricature of the white man seeking an asian ~waifu~. while allentown!gemma isn't the docile woman that mauer clearly wants her to be (which is also fascinating to watch her flip the script!), there is still a clear air of entitlement that mauer feels towards her. not only does he pressure her into telling him she loves him, his smug ass also sits in his comfortable chair while gemma agonizes over these dozens and dozens of thank you cards that he forces her to write with her non-dominant hand. it's giving "my wife cooks and cleans and takes care of all the house work while i scratch my balls all day." she also wears red and sits on the ground, which are both symbolic in many asian cultures, but i'm not sure if that was intentional.

i also think her situation in general is something that a lot of us can relate to on some level. she's trapped in a space where she has to heavily monitor her own words, behaviors, and body language to survive. she has to be vigilant and smart, but she can't let on too much or else the people around her will use it against her. it might not be to this extent, but a lot of people of color use masking/code switching in a similar manner to survive.

also she's, like, really hot.

[zomb13s]

“Becoming Nobody: An Engineering Blueprint for Recursive Self-Erasure Through Metaphysical Re-indexing”

ABSTRACT This paper explores the systematic deconstruction and reinvention of selfhood as a recursive engineering process. Inspired by popular cultural artifacts such as Mr. Robot and Fight Club, we examine the metaphysical implications of digital existence, online persona dissolution, and fact-finding automation as acts of resistance and transcendence. We treat identity as a computational…

[cluster-b-culture-is]

aspd culture is reading neurotypical people’s sympathy messages online and seeing that they’re just full of buzzwords and sound super robotic

“Crossing our fingers🥺 such a tough situation. My heart goes out to…” etc

.

[flightyalrighty]

Can't believe I started reading this for the Shadow angst and now here I am on my hands and knees praying for one good thing to happen to Magnus the Magnificent (it's not going to happen (he might die))

Loving Infestes, keep it up!

THANK YOU SO MUCH FOR CARING ABOUT MY OC, I TRULY WASN'T EXPECTING SO MANY PEOPLE TO LOVE IVAN, LIKE I WAS 100000% SURE PEOPLE WERE GONNA GET MAD THAT I WASN'T SHOWING ANY OFFICIAL SONIC CHARACTERS FOR THIS LONG

[aroaceleovaldez]

they cast a 28 year old for Tyson 💀

[relevant rants: here and here]

yeah, i saw - i wasn't holding onto hope of them casting a disabled actor for Tyson (still disappointed, just not surprised) but casting a 28 year old for a middle schooler is really out of left field. It's just an odd choice? Particularly given how much they've been emphasizing age-accurate casting so far.

It makes me really wonder what major rewrites they have planned for Tyson's character. Because as things stand currently there's no way to make Tyson's existing character work with this casting. Tyson is supposed to be in Percy's grade, but Daniel Diemer sticks out like a sore thumb against the child actors. Tyson being in Percy's grade is pretty important for the entire arc of Sea of Monsters with the main character arc being Percy combating internalized ableism and establishing him as a character who stands up for other marginalized kids. If they remove that, what's Percy's arc going to be for that entire season? At what point are they going to establish that about his character? Or are they just going to exposition it at us like usual with nothing backing it up and no actual character progression? And in later seasons the age gap is only going to be more prominent - like how is Tyson going to work in BoTL or TLO? Are they planning on removing his character entirely for those scenes? Are they going to remove him as a recurring character in general? It'd be really weird if they killed him off or something.

I'm also afraid for if they do try to keep Tyson's disability coding in some form - cause there's kind of no good way it can go at this point. Either they completely erase Tyson's coding because they cast an abled actor for him and that messes up the entire arc of the book and his character particularly in relation to Percy, or they have an abled actor attempt to portray a character heavily coded as having down syndrome (and i believe they're already doing similar with iirc Chiron's actor is abled but they're doubling-down in the show on Chiron being disabled) and given how they've written the neurodivergence themes (or absence there of) in the show so far there's just no way that'd end well. Like, Tyson's characterization is a little questionable to begin with in the books, but given the show's writing so far it just feels like we're very rapidly ramping up for an extremely ableist characterization of Tyson. Like i'm sure Daniel Diemer is a great actor, but... i'm just getting real tired of the show erasing the entire premise of the series :T

anyways as per my initial post about pjo tv tyson casting theories i guess it's time for me to start tearing stuff apart with my teeth ¯\_(ツ)_/¯

[finelythreadedsky]

heyy. I have a bit of a silly question, but I haven't been able to find enough information to get over it. I've been trying to learn more about how theatre took place in Greece, and all sources I looked at so far mention that in each of the the three days of the festival of the city dionisias, the contesting playwrights would present three tragedies and one satyr play each. but I'm not clear yet on how many playwrights that meant exactly, nor in how were these playwrights were chosen to be there. if it was only one a day, do you know if there were other competitions beforehand to filter them out, or should we assume there weren't a lot of people able to compete at that level anyway? or if more than one playwright presented per day (seems odd since it would mean at least 8 works a day, which is a lot), do we have an estimate on how many they would be? sorryy if this is like. a really stupid question. but no one has been clear on it in the texts I've been looking at.

I don't have any specific ancient texts or modern scholarship to direct you to as sources on this, but here's a rundown:

The Dionysia had three days of tragic performance and three tragedians competing with four plays each. On each day, one playwright presented his work in the form of three tragedies plus one satyr play, so one playwright and four plays per day. There's some disagreement over what time the proceedings likely started/ended, but the performances probably took about 4-5 hours each day. So we're not thinking of the audience as sitting in the theater from sunrise to sundown, but we should probably also assume a fair amount of coming and going as well as snacking and talking in the audience during the plays. At the end of the third day prizes would be awarded. I would assume that the playwrights drew lots for going first/second/third, and I also suspect that it might have been seen as an advantage to go either last or first, though I'm not sure which. (And then the next day, the four competing comic playwrights presented one comedy each, all on the same day.)

We do know that the archon chose which playwrights would compete in tragedy at the Dionysia and allotted them funding and a chorus, but we don't know exactly how this choice was made, and the mechanism was probably different at different points in time. It was likely pretty informal at the beginning of the fifth century and become more formalized later on, once playwriting became a more established profession with a lot of prestige, and also once certain families had established it as their family business. I would imagine that c. 490 or so, the archon and the handful of working 'tragic' writers (probably something closer to amateurs) likely all knew each other, and the archon might have just picked three he liked or whose work in previous years had been good, maybe with some indication of the subject they were planning. From at least the second half of the fifth century and likely for the majority of it, would-be competitors probably submitted some sort of proposal to the archon, whether this was titles, full or partial draft scripts, outlines of their proposed plays, or maybe the playwright performing a sample monologue, and the archon chose which three would receive a performance slot in the festival and the funding to train a chorus. The winner from the previous year may have been guaranteed one of the three spots. But the archon would not have been able to see performances of these plays in order to judge whether or not to include them in the festival, except for what the playwright (or a friend) might be able to perform himself, since a playwright had to be approved by the archon before he would get personnel like a producer/sponsor, a chorus, or, in the later years of the fifth century, potentially his lead actor(s).

[shkika]

How do you think W1 would react to Earthmovers? Since V1 was designed to be a Counter to Earthmovers. Would it be a simple "Avoid this wretched thing" Or "We need to kill that thing immediately"? Or something else?

OHOHO HEHE this is such a good ask.

V1 was made to destroy those beasts and I genuinely do think even with it's brain inside W1 it has that strong belonging tugging it towards it's "natural" prey. It was made for it.

V2 would question if such a big opponent is worth their time, but then it'd understand. And with a purpose left unfulfilled and forgotten on her side, perhaps this is finally a chance to feel satisfied through V1. Through W1.

Destroying the Earthmover would be a cathartic experience.

Ohh I should make a comic about this...

[deadandphilgames]

the thing about watching a dan and phil Production is that dan isn’t a very good actor, singer, or dancer but phil is really bad at all those things and i can’t tell if that makes dan look better or worse

it makes them both look good <3

[nalyra-dreaming]

Production timeline anon back again. Clarifying its one person sending this I guess. Its been a few years since I left the film industry but still have friends in it so keeping it on anon. Also this ended up long and messy so sorry about that.

Writers room starting about three months before filming is a perfectly normal timeline for network television. In recent years a lot of behind the scenes content has mentioned that scripts are done before filming starts, but all that comes from shows made for streaming, or miniseries or shows that work in release schedules that are longer than a year. That is not how network television works (and is closer to the way films do things than regular tv).

To begin with tv shows working on a year long schedule simply dont have the time to do full scripts and pre production before filming. There wouldn't be enough time to finish post production before the season needs to release.

When tv writer rooms officially open it is not to start writing scripts. They spend a good amount of time preparing things before: making sure everyone is on the same page about the story, deciding what the story will be for the new season, making sure they connect plots left open previous season, list all roles that need casting, list locations that need scouting and sets that need to exist, do lots of research. In general they want an outline and lists of everything that will be necessary first.

Only then they start working on scripts. And it is still a while before they have them written. For heavily serialized shows like iwtv writers will start with an outline of where in the story each episode starts and ends. Then break down each episode, do scene outlines, decide what needs to appear in one episode for the next to make sense, basically weave the whole story. Or in the case of iwtv choose which pieces of the puzzle go where. Only then they start writing scripts. Episodes will be split between the writers in a way that spreads out the work among them and plays to their strenghts. Basically episodes get assigned to whoever gets the written by credit but they will still have active support of the rest of the writers room throughout the process.

With 3-4 months between writers room starting and filming starting there is no time to finish full seasons before they film. And thats on purpose because all departments are building on each other's work. For example production design team needs to know what sets and locations are needed. They might know about the important ones early on but not everything. So they will start set design and location scouting for the big ones before writers room but need the season outline to know about everything else. On the other side writers need to know how the spaces will look like before they make certain decisions about scenes. With casting big new roles might be cast in advance but smaller ones need the season outline before casting so that happens in parallel to writers room.

With all that tv shows will start filming with a few scripts, enough to give everyone a headstart on whats being filmed and finish the rest during production.

The other big reason is that tv is a moving thing all through the process. Writers are on set to see if things actually work on camera, and if they don't they will rewrite in the moment, but that creates abutterfly effect on later episodes, so not having everything finished allows them to write considering changes. They will also write knowing what decisions actors are making, how spaces look on camera, what things cant be done within budget, etc. Its just easier to write as they go.

Iwtv has the advantage of working with a full series outline (and we know Rolin Jones has written scenes for future seasons already) so casting for major roles probably happened before writing started. But also we know things like the theater set was being prepared for a fire before those scripts existed so they definitely work in a network tv schedule.

The tldr is filming will definitely start before scripts are ready but that is normal and wont delay the release.

Thank you so much for this (very detailed, love it!!!) explanation and outline!!!

Much appreciated!!

[sims2packrat]

Hi! I'm looking for a 4t2 conversion of "The Greatest Gift Chair" from TS4 Base Game. It was converted by Scripted-Events tumblr but they deleted the blog and even deleted the SimFileShare stuff so I can't download it from the originals SFS links (I used the WayBackMachine to get to the download links). Does someone still have it and can share it please?

Hello anon! Apologize for my late reply. Unfortunately, I couldn't find it either :-( here are the previews:

the filename is: 4t2 heyHarrie-The Greatest Gift Chair-Scripted_Events.rar

and here is a reblog of the original post: https://tokkisims2cc.tumblr.com/post/690759018492428288/scripted-events-finally-figured-out-how-to

Does anyone seeing this have this chair from scripted-events and could re-upload for anon?

Tagging @tokkisims2cc, @myeffinsimblr, @vampireacademysims, @2fingerswhiskey, @kayleigh-83, @ekrubynaffit and @mishas-sims (hi! saw you all liked the post hehe) and @tvickiesims (bc of this post) incase any of you perhaps still have the download :-)

Edit: @kayleigh-83 kindly re-uploaded (the original) here! Thank you so much! And @nonsensical-pixels has made a new conversion (from scratch) of this chair here :-) many thanks!

Edit #2: tagging @4t2ccdatabase as well :-)