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infiniity-survivor-choco · 7 days ago

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Dear Proship Froggo. I will address you directly back myself, for the very last time you will ever speak to me.

"I genuinely don't know who the fuck you think I am, but I've spent weeks trying to get away from you and this situation. *

You spent weeks trying to leave a situation, a situation that you started, a situation, with the sole purpose of making a joke out of my life as a survivor and perpetuate a trigger bomb to drive me off my safe space, inviting everyone to join up. You stepped away now, because your campaign is complete, you stepped away because you got everything you wanted. You got every bit of clout, whimsy, and joy and shared it with everyone like you.

I think you are an abuser, who takes and gives nothing back, who when told to stop, also, invites other abusers to exploit those who stand up to you and their every vulnerability.

"I didn't doxx, I didn't harass, I didn't stalk, I didn't even so much as talk about you and when anons came flying in, I handled it in the most discreet way possible because you and your behaviour disgust me to a level I didn't even know existed before. "

On a situation I had no part, or agency from, behind my back, you harassed, you stalked, you started your campaign, on the back of people who, just like yourself. Have done nothing but make everyone feel beyond miserable, beyond helpless, and beyond dirty with their own bodies. You have shamed. You have belittled, you have taken every bit of agency. (With your supporters) from anyone who didn't comply with you, you sat down, and enjoyed, as you bullied children into spirals off the platform, and made fun of said spirals.

There was no discretion, there was calculated waiting, there was a buildup, and then, you striked.

You striked when someone wasn't there to defend themselves.

You striked someone who had gone out to bat for both you and other abusers like yourself - who I had been blind to see, who I had thought wanted to. "Cope" and build eachother up. What you wanted, was to make everything like you, to assemble everyone to your image. And to hold hostage whoever didn't like what you did.

If my behaviour, standing up and protecting victims while giving olive branch after olive branch to people like you and your supporters disgusts you to a level you didn't know existed, your behaviour, taking advantage of everything you touch, while your helpers rot any semblance of innocence anyone ever had, and then prey on the sexual trauma of those around them, making commentary in every direction, abhors me to a level that not existence nor nonexistence can compute, as there's no line you have not crossed in your campaign, and most repulsive of it all, you did it in group, publicly, and in full awareness of the repercussions.

I could go further. I could say there's no parallel universe in which the concept of disgust would do anything but recoil at your actions, no one has ever, as another survivor, sunk as low as you have, no one has used a self objectified doll whose some function is make others happy, and used their empathy, their childlike mind, their innocence, and their regression, to spit out to their audience as the object of public shame, preying, parading, distributing, alienating, and making commentary over on loop, always speaking over, always trying to tell me what is or isn't about what I lived, always, those who should've been quiet as a tomb, after everything they did, and were spared for, always the loudest, and most readily available, to exploit vulnerability. the Mirmo situation, the autistic little dollie, the MAP hunting vent. The document on my reactions. The commentary over how my status was irrelevant, the publishing, unsolicited, of my own vulnerable state for all to see and laugh at, the assailing into spirals, the eternal game of. "It's not a big deal" while refusing to take accountability, the creation of a tag for all who made me feel small before to join up.

You are part of a world, in which it's safer for me to exist as a toy, than a person, in order not to be taken advantage of, and you proved, time and time again, that not even being a toy is it safe from those who, having done nothing but victimize, and when told that enough is enough, will jump at any chance to erase the very person that built them up in the first place.

A circle of abusers, I had felt empathy for, due to being stigmatized like I was, proving to be the worst mistake of my online life, doing what I had been told, time and time again they would do, and I hadn't listened, and that's on me, it's my fault, for not believing you and every other person involved in making your every breath someone's misery, would do so with me, too.

"You following my main account as an intimidation tactic does not work because guess what? With you following me, I can put the horniest and most deranged shit about my blorbos right on your dash! I hope you enjoyed the Higgs and Sleep Token posting so far <3

do you ever, in your life, stop to think that not everything revolves around you, and that before you mentioned me, I was doing my own thing?

I dissociate through 90% of the day, your blog wasn't a bleep in my mind. I have constant things to deal with and people I talked to, yet still, you kept on your propaganda because of a blog I didn't care about in the first place. No. I haven't seen any of your blorbos. If you have, though, good for you, I don't care, whatever makes you "horny" whatever makes you happy, that's yours. I'm not you, I don't sexually shame people into suicidal spirals with friends for lolcow or try mutilate what they find comfort in like your gang tried with Mirmo, you're genuinely so self centered you think I have focused on your blog in question, because you think you always deserve everyone's full undivided attention, and no one exists outside what they can do for you, this mentality carries over to your friends.

I don't know your main blog. I don't remember it. The host might, but I have no interest in asking.

I don't follow your main blog. I had deleted it from my screenshots before I originally blocked you the first time, you were told this, and you did not listen.

I don't keep tabs on vulnerability to exploit, I don't make fun of people's trauma, that's you and your friends.

"You, releasing video after video after video about me, like I'm the bane of your existence"

You made yourself the bane of my existence, I didn't have a choice or a say in the matter since your first post, through your campaign, you did nothing to lesser that notion, and everything to increase it.

you became the bane of my existence the second you insulted (with your friends) everything I have ever gone through and done in my life and online life to make others happy, while also taking away my agency in the process and making an "evil twin" version of it that you silenced me with. The videos I made, of your document, the most vile, discriminatory, victim-blaming exercise in psychological abuse in which you tried having me spoken for, tried telling me what I did and didn't care about, made fun of my lack of agency, made fun of my triggers, and made fun of my audience - survivors also, and many of who you and your friends had been part of. You've invalidated my trauma from the very beginning to the end and invited other equally freeloading abusers to do the same.

"actively doxxing my Discord handle"

You, are a liar. Because I don't know your discord, the user who told me your co-mod sexually harassed them was patronizing, days ago. You did try to doxx me with your friends, as you did with keeping pictures of my face (freak is also a slur against face deformity) and parade that, as documented in the videos.

"calling me a white supremacist "

Aren't you? You're white, and you exhibit supremacist behaviour, it's your way or no way at all, with everything, otherwise, your audience will make it happen for you.

*and a "pedo sextortionist cult leader extraordinaire"

Making fun of a suicidal 14 year old with your audience while Nine cyberstalked and sent their posts (and hypersexual vent) To you, while your discord server is so much of a dictatorship users preferred to delete their socials than contradict or go against you.

"whilst running around and actively weaponising minors I have blocked SINCE MARCH....does any of that sound like reasonable behaviour to you over me speaking up about your pisspoor behaviour because users came to me to talk about you making them miserable after an anon, which, to be fair, might as well have been you, came to me asking if anybody knew if you were okay because yet again you threatened to commit suicide in the most ominous way possible????"

"weaponizing minors" what do you weaponize, adults?

Let's be clear:

I didn't actively seek out Caleb. They came into my blog, for starters, telling me about your actions.

Them and others talked to me about how you pushed them into spirals and spread their personal information.

Your focus was never about reassuring the minors in question, but ridiculing them (there's a receipt in question with you mocking the idea of pushing Caleb to potential suicide, but I'm sure that's reasonable to you because you had the right pretext to use)

Meanwhile you...oh yeah. Speak up about "piss poor behaviou" on the back of me getting sexually harassed a week back, anons you had no evidence of, and framed a syskids self objectification to other adult users as. "Forced sexual conversion" while distributing that to your audience - and potentially server.

But no, I'm sure you're the reasonable one in this situation, it's not like every, single, one of you, was aware I exist for others, you were told, you were showed, and there was ONE line you got told never to cross, while I kept going out to bat for you - and your friends - who quite frankly had never deserved an ounce of my breath - while you kept making everyone beyond uncomfortable, and posting publicly upsetting content to people who didn't want to see it ever, including coverage of gore and porn sent (told by a minor in question) to one of them BY A PERSON IN YOUR GROUP, you covered.

The syskid showing a vibrator to an adult they consented to seeing while I haven't had, or wanted, the power in any interaction was your way to deflect, no, let's continue, where's your apology to the minors you pushed your spirals? where's your friends apologies for having trauma mined from my blog just so when convenient, stop trying to feed from my empathy, advice, and forgiveness, in order to make commentary about the very things they are vulnerable about? That's without accounting your campaign, either of them, your first post, and commentary, was the start of hounding to exploit the only person who has wanted to give a chance to people who everyone else gave up on, because nobody knows what being an outcast is like better than me, and guess what, you proved every single stereotype and more about your echeleons in the community, worse, you demonstrated that you are the ring in question I spoke about, and I hadn't wanted to believe it. Not because of your content, but the heights you will go to in order to exploit trauma, collectively, to someone who had not spoken a word of yours.

"asking if anybody knew if you were okay because yet again you threatened to commit suicide in the most ominous way possible????""

And yet look what you turned it into, hilarious isn't it? No. I'm not laughing. Your first instinct thinking someone could've killed themself - on the back of a situation you knew nothing about ever was - and your audience - utilize that chance to delegitimize them, but back on my blog being up suddenly crickets, you had no complaints - not the others, while I was getting trauma dumped by your users in my DM's or stopping people who had already harassed me from killing themselves, or my own posting, didn't you? It was ONLY when I was incapable of being there you used a vulnerable situation to start your campaign. You do not understand how dirty you made me feel. You do not have the slightest idea how it feels for someone whose only wish In life is to make others happy - while also having so much upset, and rage, at people who make the world more unfair and abusive while hiding under narratives like yours.

But no, tone policing how I deactivated my own blog on the back of a person who'd admitted to sexually harassing me and I forgave for is reasonable.

"Oh, Choco, I thought you made thousands of people happy? How come I get DMs and asks about you sending people pictures of your adult toys in DMs?"

Showing, to an adult, privately, the picture of my birthday gift, who wants nothing to do with you, and google pictures to other adults who engaged in kink with me first, while you, without consent, made the choice to show the real one to hundreds of people on your server, including minors.

Just because I give other adults the power to use me. Doesn't mean you are allowed to exploit my hypersexuality.

I interacted with hundreds of thousands of users, because 0.1% of interactions - not worded untll I was gone - with someone not being comfortable with power being to them don't invalidate, diminish, or negate making countless people happy, because you can't have only the convenient parts of a person without accepting them all as what they are. And if you have to rely on mocking someone self objectifying themselves, to adults, while you, and your friends, base your online life on discourse and pushing minors to suicidal spirals - spread hypersexual vents - and share inappropriate material publicly with eachother - which you hadn't been judged for untill you tried to take my agency, that's your problem, you don't get to make commentary over something I did since I was a kid and is largely part of how I have helped and understood the psychology of countless other survivors while getting both their online and irl abusers away from them.

But no. I'm sure your public "fuck daddy's little toy :v" post is more tactful, and unlike my reprocessing serves no purpose but your jest.

"How come I get DMs and asks about you bullying people in DMs when they don't tell you what you wanna hear or do what you want them to do?"

You mean the DM's you sent without permission to your audience and distributed, on the back of your documented rounds of cyber-harassing people public and privately?.Should I, or anyone else, monitor your every conversion in dm to see who you have a fight with and campaign about it like you did? You mean the person who has you blocked because you made them unbelievably uncomfortable, and who they admitted had messed up in the situation?

" How is it that I firsthand experienced how insanely nasty you get when someone tells you off for putting words in their mouth that never have been said?"

You have done and said everything I documented thus far, joyously, and you went, publicly, after the single most territorial person over their experiences, knowingly, while wanting to use me for lolcow material, kiwifarm-type harassment included, before the post you made you were treated with basic respect - were forgiven for trespassing my boundary. (Publishing an ask I had told you not to) while I had, myself, made double sure your space was respected, you didn't respect mine. You said "you can still interact" on the back of the autistic little dollie account, which you used as a shaming point. You do not get to tone police my hypervigilance when I've grown on the bowels of the internet where standing up for myself equals standing up for everyone I care about, because when people can't hurt you they'll go after those you care about, like you did.

"How is it that I got legal insurance because of YOU?

How is it that I wrote five suicide plans because of YOU - how is it, actually, that I seeked irl SA to recondition me a reprocessing that could handle what you did, while seeing you use a response I did through programming - a response my own brain did from your harassment that you had no desire to stop, JUST to exist? How is it you not once tried to stop, wanted to stop, and periodically employed both silence or anons to inject yourself into more of my trauma so you could make it worse every second? because you knew what you were doing, from the start.

"How is it that I got roped into one big shitshow after I answered an anon ask, inquiring if you committed suicide, Choco, HOW?"

Ask your friends, your anons, and yourself. And why you roped ME into it, publicly, on the back of, like you said, inquiring if I had committed suicide. Worse. Ask yourself how you used that to your advantage to start your campaign with, make commentary, and chance that once I returned if I did, that'd be what I'd see, YOU put me into a crossroads, with no way out, on the back of vulnerability you mocked, and had the sheer face to be offended I went ballistic.

"How is it that I see screenshots of you admitting that you get off on putting people in misery - "kink them through anon" am I right? "

This is what I talked about when I said fetish mining - and with your audience, no less. No. I get off on misery people give me to reprocess it, the screenshot from Astro conveniently cropped - while I've been very quiet about their disgusting behaviour only worsens the defamation, and the privacy leak. And on the back of two adult users, one of who had admitted to their actions to me first, you try rephrase a coping mechanism I had since I was a kid and make the exact opposite.

You thought I'd let you misrepresent me, on the back of something I lived in my flesh and was actively tortured - back in that era - hence the mechanism. - and let YOU put in your mouth as what you said? No. Sharing dm's between you lot exchanging personal information and cherry picking sexually vulnerable one about my own body I used as a kid to give others power with and reprocess with - and that's also served to empower others is when I dictated you were a ring of abusers.

"How is it that people you don't even know personally, including me, get labelled as pedophiles"

You know me less, called me worse, and did it from the very start, while you, and your friends, seem to take delight in making children beyond miserable and tossing sexually charged invective in their direction, violating their privacy and screenshoting from them when blocked, the thing you accuse me of doing to you in order to push back against what you started.

"and in your mind obviously offending pedophiles with the whole sextortionist cult leader thing, on the basis of fucking nothing?"

This whole campaign you run is the ultimate example of sexual extortion, you holding personal sexually vulnerable information on the back of someone's vulnerability, spreading it to your Public. Using alienation tactics and defamatory language, spreading misinformation like you being doxxed, and speaking over the victim while using spats and social pressure as an scapegoat, you creating a tag specifically to harass me with and everyone else who had beef with me regardless of them starting it, the picture in the document without consent, the autistic little dollie leak, the myriad of commentary about my person on your comments, your posts,, anons sent my way, your organized attacks from your server confirmed by former allies of yours, that is sextortion, while you made no effort to be precise, clarify you hadn't kept anything - but the complete opposite. When asked in dm's you made certainty it was as obscure as possible to get a reaction, because you're a troll.

"How is it that you feel the need to crop screenshots you take from blogs that HAVE YOU BLOCKED to fit your narrative?"

I won't dignity that with a lenghty response here, the video above answers, but you, who do take receipts from blogs who both have you blocked AND have made clear want you to stay away from their posts, don't get to opine on how I should react to a situation you started, publicly, with me.

How is it that you feel the need to create a side blog as Emmie, follow everyone and their mama who ever reblogged/interacted with me in an attempt to get intel on me and the document the people YOU have been harassing put together in the span of weeks because you just wouldn't shut up about the people YOU involved."

How is it that YOU feel the need to, on the back of a situation YOU started, without anyone's consent ever, paraded to YOUR audience on the back of a user that was NOT there - and suicidal, YOUR harassment and defamation? How is it that you had the audacity to make light out of someone's experiences, while your server laughed just as much - and then - as if both harassing AND sexually harassing me with the following.

Non consensually, publicly spreading sexually compromising information to your audience - in which my own position was that of the victim.

Distributing it to your discord server.

Having hundreds of people comment on it

Leak my autistic little dollie account.

Spread a post about MAP hunting

Send person after person to try gaslight me about what happened

Try to alienate me from my environment, my following, and anyone I spoke to by sending them anons.

Involve minors in your campaign who you facilitated commentary onto. On a post you had no evidence of anything ever, and don't say it was the DM's with the other adult because that would increase your liability a lot more, given the audience, while the other anons were from the person who admitted to sexually harassing me.

Pushed me into suicidal spirals with hundreds of people. Made commentary about my body. My mental health. My obsession with Mirmo. My safe space. My following. My agency. Made a tag to facilitate the spreading of your campaign - made it impossible to speak up without it being harassment - while you harassed me - to rob me of the agency to push back while everyone and their mother - including radqueers you have on the DNI jumped at the chance to hopefully absolve their every wrongdoing by pouncing into the infamous fiery Choco reacting to what you did.

Made me so unstable that I had considered seeking irl rape

Employed eugenics language to make me a non person about being mentally ill and said my self objectification and reprocessing of you and countless others harassing or sexually harassing me in the past was. "Getting off to misery" while it was getting off to EVERYONE making ME miserable for fun.

Deny my status as a survivor. Call it suicidal over nothing - while mind you, I'd like to have seen you go through what you and the others tried putting me through for well over a month, oh endurant one, you'd not last a week, you'd not last a day, as evidenced by freaking out over being sent zalgo text while In response to being told your initial post in question was criminal, and it is. You talked about legal threats, but guess who started those, can you remember? YOU.

Your document again - reviewed - trying to speak for me, over me, about me, dismissing my experiences, my reactions, watering down my suicidal ideation you collectively and enjoyably caused - while trying to hurt my audience also - on the back of a first campaign you faced no accountability for ever - putting Mirmo in your mouth. Denying factual evidence of your Harassment and rephrasing it a way that was less, and using psy-op speech and targeted trigger-words that would condition me into reactions you were aware of. Not to mention all the self-incriminating evidence in your own document. Ragebait after Ragebait. "Watering users is okay" unless Choco does it. "This is nothing to react to. Choco." While speaking for and over myself getting dragged into your campaign, and truck to tell ME what I could or couldn't react to on the back of random people making casual commentary about myself getting - you guessed it, sexually harassed.

YOU wanted me to hush about others being involved because YOU had already involved others, and you wanted your side and your campaign without residence, without pushback, about the campaign YOU started, guess what, I'm the only person whose fought your situation and the others, while again, you had to rely on the watered down equivalent of cyber-gangs and an entire campaign to - from every possible angle try to destroy my agency, on the back of a suicidal syskid - while anyone from your own group who spoke up against you got HARASSED off the platform, you are the bully in this situation, and so is everyone else who has taken join in the harassment campaign you haven't take a single second to stop, in fact, you are so unaware of your own actions and behaviour, that you had to lie to Emmie - the new alter you so callously tried to force team my direction and based on a past abuser's name as a persecutor who formed from this situation, because of you and your friends, while you kept sending anon after anon to people with my name in your mouth. And constantly lying about having "tried to work out the situation" or "polite conversation with Choco is difficult to-" drop it, or you'll believe your own propaganda, polite conversation with me is incredibly easy, as shown by people I forgave who I had no reason to, what it wasn't was convenient to you or your campaign, as you wanted to get more and more and more out of it without any reaction ever, you had no such conversation because you had no reason to. You were in a position of power.

"Choco, you don't know me. You don't know which political party I have voted for in the last election"

Ezra. I don't want to know you, I don't need to know your political party, I don't need to know anything else, all I need to know is how you treat people, and how you take from them and leave them shaking while your helpers lord over mental health crises you collectively put people under. All I needed to know is how you make fun of vulnerable people and situations as a group while making excuses, all I need to know, I have experienced this past month. Everything horrible you could've done you have, and then some, without an ounce of thought as to how the other person would feel, you are cruel for the sake of cruelty, while I am impulsive and childish, and like you so lovingly put. "Mentally unwell" but my heart isn't rotten like yours

"You don't know the things I do for the community I live in"

You don't know the things I do for the community I live in, you most don't know what I've done for people online and in real life, you don't know my story, and I don't need you, or want you to. Because the more you know the more you'd try to make fun of, leech off, or make ignorant commentary over, like you have from the start.

"you don't know how much trauma and abuse I went through in my past"

And what little you know of mine, you tried to use against me, with help from others like you. For over a month, while taking my victimhood as your fun.

no, all you know is how to trample down on people who don't do what you want them to do."

No. Ezra. That is you, it has always been you, from start to finish, it was ever since I blocked you the first time, and it is still to this day:

You have:

Started a sexual harassment campaign against a syskid. With hundreds of people. Against their own vulnerability. on a post about their possible suicide.

Made fun of suicidal children.

Harassed people off the internet who weren't in line with your actions.

Treated people like objects you can use until they're no longer useful and throw them away like toys

Used your server as a place to launch your harassment campaigns in question, covering up and facilitating for the abuse of every voice you kept silent.

Called me mentally unwell, called me a freak, called me a lolcow, called me miserable, used my experiences as a victim and survivor I use to build others up with as your excuse to point at and laugh with the others.

Kept personal pictures of myself. Spread them to your audience. Sent them my account. Sent me rape threats, death threats, doxxing threats, and all while keeping me silent so if I did anything to retaliate you got to talk about the reactions in question, with your friends, with every other active participant in trying to curbstomp my experiences from the shadows.

Threatened me with legal action for telling you to stop

Employed silence, as a weapon, after trigger bombing people in order to let it marinate in their mind, so you can then weaponize their upset against them.

Used minors as a shield while harassing other minors in question. Making a tag so anyone I fought with irrespective of reasoning or who started it had easier access to open conversation about how I got sexually harassed.

Openly silenced former friends of yours who wanted you to admit to your doings and apologize.

Sent people who had nothing to do with your campaign into suicide spirals - after alienating and hunting anyone who didn't agree with you.

You talked about anti harassment while openly sending people to harass whoever didn't let you trample over their boundaries.

Spoken over, and about your victims, tried telling someone what was or wasn't important to them, tried telling someone what was or wasn't a reason to be suicidal, tried telling someone what was or wasn't - anything - you had and needed to have control over - even if the person's experiences were important to them, or were off limits, you wanted to appropriate them, you wanted to make anything that makes anyone happy who disagrees with you their own mental health - you wanted to make processing daily life a continued abuse, and you did it not by yourself, not timely, but with help from others, on the shadows, and exploiting trauma, not just from me, either.

Lied and misinterpreted every situation you didn't like to serve you best. Opening up your dissidents to swarming and using others as your shields, throwing every person possible under the bus once their purpose was done.

Failed to avoid crossing lines that were never meant to be crossed, if it helped you get support, you crossed them, if it helped you get clout, you crossed it, if it helped you avoid introspection, no matter what cause or effect, you caused it. You were told something was sacred, to someone, not about this life, but a next if there was one, you tried making it dirty also, with no purpose ever beyond retraumatization, you make people feel so dirty, that coping mechanisms used to process being made to feel dirty are now dirty too, and you exploited those, from the start, with the others in question, after being spared multiple times and having the rest given countless of chances - while these people in question actively rode on my own coattails.

You and your document went so far off the rails, it tried mentioning hundreds of my abusers (as I said there's hundreds of people-) and then tried asking for not just evidence. But rephrased it as people "against me for whatever reason" - people who'd spread CSAM of me as a kid, and you and your editor endorsed that.

You are cruel for the sake of cruelty, simple as that, and there's no number of people who you tag, no choco victims tag, and no public facade in question that hides that fact, because it's so much different to talk to you when you have nothing to gain from them.

I have:

Uplifted countless of people without any care for myself.

Listened to former abusers of mine who wanted another chance cause they'd been victims to.

Saw and faced countless of people try to stab me in the back to become popular after they took anything they wanted from me and my experiences, I loathed every second and cried for nights every time, banging my head against things untill it hurt. And always, every single time, people have tried a lesser version of what you and your friends tried doing to me. The cycle repeats itself. But at the end of the day you know what happened? They apologized, sometimes it took years and whole harassment campaigns launched towards me, but most ended up feeling sorry, it couldn't take away what I lived, but I still forgave them. Because I can't hate anyone I cared about. I can only be hurt or upset. It's okay to hate, btw, this goes for anyone. Hating isn't wrong. People are allowed to feel whatever they feel for any amount of time.

Sacrificed my own body and mind to make people feel better.

Spent my life existing as myself - with the full range of my emotions while chancing being childish or childlike because I'd rather experience things than be a blight of misery that swallows up everything I don't like, like you do.

Spent over nine years making others feel heard, choosing the hard path, the uncomfortable path, sticking up for other outcasts, making my own journey more difficult it already was after being SA'd as a baby, after being molested as a kid, groomed as an early teen, trafficked, conditioned and programmed while living through 37 surgeries with an oblique facial fissure with every disorder under the sun mentally stunted to boot and barely able to move. These aren't things I use to be weak, it's what's helped me endure, and give others a voice while fighting the grueling fights against people who want nothing more than to make you a talking point - with no part on your journey ever - in which you can do thousands of things right - while the same people who try to erase you will criticize those you do wrong.

Fighting back against the very real problem of organized Christianity and how it leaves kids defenseless against parent abuse and societal grooming, both online and irl I've helped many get out of abuse households. You know me since on the back of this year, from February, you have less than an ounce of an idea how far my journey spans. You don't even know Choco, the OC, do you? Only old mutuals do, Choco was how my journey started, then became my name long after, but you don't get to know about that, you'd probably try to make him dirty, too.

I have made myself a doll so others don't have to. I have learned how to desensitize myself to almost any trauma and be people's punching bags if it helped them feel better. I've done this since I was an early teen, and then as a bodily adult with other bodily adults, I've sacrificed my own comfort to make sure others were okay. Do you wanna know why I stay up so many nights, Ezra? Newsflash. I'm not chronically online only for fun. While you and your friends talk about that I am in dms helping dozens of suicidal people - some not even mutuals, if I had mutuals everyone from every blog who followed me I'd be practically Tumblr famous. I don't want to or care for that. But you don't have any standing in perceiving even the part of me you claim to know, because all you've done is try and take advantage of it.

I have heard vents, meltdowns, "suicide baits* as you love calling them, and actively made sure everyone was heard out over many years. I had my own meltdowns, my own "tantrums" also - you'd like calling them. But never unjustified, never without malicious presence trying to pop up first, that's why I truly, sincerely hate you so much. Because you're cruel, and know you're cruel, but it's a choice you continue to make, while using your own insecurities as a vessel and people's commentary about their victim as your balm. "It's okay. They also dislike Choco, so I'm correct." You're not. You know you're not. And you've always known you're not. And a lot of the others know they've pushed this to the brink many times over, because to you this was a social experiment to see if I could handle it. To you, it was a joke.

I have through my own daily reprocessing had to live in my own mind day after day with every single thing that's ever happened to me hurting me physically as psychosomatic pain. Exacerbated, by your campaign in question. I have been through that since around 12 online - and I still made it my choice to try and make others happy if I could, to stand up against bullies, to look underneath the "Loud angry victims" and to understand when someone was crying or venting or loudly upset why they were, instead of publicly shaming them, is an angry vent the same as cold cruelty? Is upset the same as malice, or just something comfortable society weaponizes and you and others learned the gimmick? that's why people do love me, that's why when I die I will be remembered online and irl, I had a lot of bad people to deal with, lots of enemies, but also lots of people I helped, and those are more, maybe not as loud. But I don't need them to be.

I should hate you. I should, I have every reason to, you and your group have crossed every line known to mankind and then some, and you've done it knowingly, with cruelty, from a position of power, while using vulnerable people as talking points and exploiting the environment and victims in question, but I don't, I don't hate you anymore, hate implies the ability to feel there's something to hold onto, and I think you're too far gone for that, you, proship froggo, are the first person I ever met I cannot help, because you don't want to help yourself, admit to everything you have done, or anything else for the matter, and while your supporters will bicker and talk some more, it's now white noise. My every piece has been said, I hope you have whatever life awaits you.

I will continue to move on from this and help every other victim find solace in the exemplifying DARVO supercluster that 2025 has been, and invest my time in everyone else worth it, that's the real lesson in this situation, so, in a way, thank you, for showing me that I shouldn't be a saviour for everyone who wants me to be, or a toy without agency for naysayers to gossip over who have nothing of value to put forward, I just need to keep being Choco, and that's enough.

#Youtube #choco speaks #proship froggo #“you wanted a reaction? here it is.” What reaction. What. Reaction. You started this. You wanted a reaction from ME #I'm not mad. Like I said. There's no reason to be. There are no expectations.#You can't perceive me. I hope you get the help that you need. This is over. I will have my peace now.

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ai-satin-chic · 2 months ago

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About Me and My Art

This is something I get asked constantly: Why do I make the art I do? What influences me? How do I create it?

I've intentionally kept my personal life separate from this project, and I'm naturally wary about sharing too much about myself. But after countless messages asking these questions, I figure it's time to put this information somewhere I can point people to.

The Basics

I'm an English guy living in Wales - married, straight, unremarkable in most ways. I have no idea why anyone finds this relevant, but after 90+ messages asking, here we are.

My Influences

Honestly, I couldn't pinpoint exactly where my influences come from if I tried. I just have a deep appreciation for femininity - women dressing like women, embracing what makes them distinctly feminine. Satin, long hair, floral dresses - these elements speak to something timeless and beautiful. There's really nothing more complex to it than that. While I touch on fetish themes, most of my captions can be interpreted in multiple ways, depending on what the viewer brings to them.

The Nostalgia Factor

Much of my work reflects a longing for simpler times. I'm in my 40s, and I've watched the world transform rapidly around me. Sometimes it feels like we've lost something essential along the way. My art often captures what I see as a better time - a snapshot of when there was less chaos, more peace, and genuine beauty could capture attention instead of manufactured drama or performative controversy.

This all comes from a place of love and appreciation for an era when a beautiful dress could make headlines, not the latest reality TV elimination or social media stunt.

The Reality of Creation & Health

My health presents significant challenges these days. I've been diagnosed with early-onset Alzheimer's, which makes everything increasingly difficult. My memory is unreliable, communication can be a struggle, and I expect to retire earlier than planned. If you've reached out and haven't heard back, this is likely why - please don't take it personally.

Creating my art takes considerable work, despite what some might assume about AI-generated content. The real craft lies in the prompts I develop. My background as a writer helps me push various AI tools to their creative limits, coaxing out exactly what I envision.

I work with multiple platforms - Bing, Leonardo, Mage, Reve, and Grok for images; Kling for animations; Suno for the music on my YouTube channel. Each piece requires extensive editing, optimisation, and careful refinement to meet my standards.

Final Thoughts

There you have it - hopefully enough to satisfy curiosity about my work and process. Though I still don't entirely understand why anyone would want to know these details, I'm glad to have them documented somewhere accessible.

The art speaks for itself, really. Everything else is just context.

#fyi

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mariacallous · 2 months ago

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As part of a sweeping reorganization of the State Department, the Trump administration is creating an Office of Remigration. Remigration is an immigration policy embraced by extremists that calls for the removal of all migrants—including “non-assimilated” citizens—with the goal of creating white ethnostates in Western countries.

The details of the plan are contained in a 136-page notification document sent by the State Department to six Congressional commitees—including the House Foreign Affairs and Appropriations Committees and the Senate Foreign Relations Committee—for approval by July 1, according to a copy reviewed by WIRED.

“The Office of Remigration will serve as the [Bureau of Population, Refugees, and Migration]’s hub for immigration issues and repatriation tracking,” the document reads. “It will provide a policy platform for interagency coordination with DHS and other agencies on removals/repatriations, and for intra-agency policy work to advance the President’s immigration agenda.”

The notification says that the Office of Remigration “will also actively facilitate the voluntary return of migrants to their country of origin or legal status,” which is a key aim of remigration ideology.

The document, which was first reported on by Reuters and The Handbasket, also outlines dramatic changes to the US diplomatic services, including the elimination of much of the Democracy, Human Rights, and Labor Bureau, and the addition of a new deputy assistant secretary position to oversee “Democracy and Western Values.”

“The Department of State is notifying Congress of its intent to reorganize the Department’s domestic operations, including more than 300 bureaus and offices, to refocus on core U.S. foreign policy objectives and the needs of contemporary diplomacy,” states the document’s introduction.

The State Department and the White House did not immediately respond to requests for comment on the creation of the Office of Remigration.

“It's outrageous,” Wendy Via, CEO and president of the Global Project Against Hate and Extremism, tells WIRED. “There is no hiding from the fact that the ultimate goal of ‘remigration’ is purely about ethnic cleansing. It is a terrible day for our country when ‘remigration’ proponents are crediting the US and Trump's administration for normalizing the term.”

Though President Donald Trump does not appear to have used the term “remigration” publicly since taking office, he did reference it last September while discussing his immigration policy plans.

“As President I will immediately end the migrant invasion of America,” Trump wrote on X. “We will stop all migrant flights, end all illegal entries, terminate the Kamala phone app for smuggling illegals (CBP One App), revoke deportation immunity, suspend refugee resettlement, and return Kamala’s illegal migrants to their home countries (also known as remigration).”

This was quickly backed up by Stephen Miller, a close Trump adviser seen as the architect of the administration’s immigration policies, who wrote on X: “THE TRUMP PLAN TO END THE INVASION OF SMALL TOWN AMERICA: REMIGRATION!”

While remigration is likely an unknown term for most Americans, it has been gaining significant traction in Europe. In recent years, the policy of remigration has become popular among far-right and populist politicians in Europe.

Earlier this month, the first ever Remigration Summit took place at a conference near Milan, featuring upwards of 400 attendees and a slate of far-right European lawmakers and speakers from Ireland, Portugal, France, the Netherlands, and Germany. It was met with a large protest march and major police presence.

Two Americans, Jacky Eubanks and Cyan Quinn, also spoke. Eubanks, who espouses Christian nationalist ideas, was a Trump-endorsed candidate in 2022 for the Michigan House of Representatives and was previously a Turning Point USA field representative. During her speech, Eubanks referenced how the “founding stock” of the US came from Europe, ignoring the existence of Native Americans.

“President Trump is keeping his promise to deport illegal aliens, and the American people are hugely supportive of his agenda,” Abigail Jackson, a White House spokesperson, tells WIRED in response to questions about the apparent similarities between the remigration agenda and the administration's immigration policies. “Your outlet should spend time covering all the dangerous criminal illegals the president is removing instead of attending and conflating random foreign conferences that have nothing to do with the president.” Miller did not respond to a request for comment.

Even before the Trump administration proposed the establishment of an Office of Remigration within the State Department, experts, some of the conference speakers, and even Martin Sellner, the man most responsible for promoting the idea of remigration across the globe, claimed that Trump, since taking office, was already seeking to implement remigration in the US.

“Yes, [Trump] ticks many of the boxes,” Sellner, the Austrian activist and former member of a neo-Nazi group, tells WIRED when asked if he believes remigration is already in action in the US. “There are differences between Europe and the USA, but the common line is the same: preserving the cultural continuity by stopping replacement migration. Reversing the flows with border security, mass repatriations, and incentives to leave.”

While the State Department has not, until now, mentioned the establishment of an Office of Remigration, the policies the Trump administration has overseen mirror those laid out in a 30-year plan Sellner outlined on his website to implement his racist goals.

On his site, he lays out a three-phase plan to implement remigration. The first phase, dubbed the “Immediate Stabilization of Asylum Chaos,” has striking similarities to Trump’s current immigration policies.

The primary aim of this phase is “stopping the invasion.” The Trump administration, invoking the Alien Enemies Act in March, cited an alleged “invasion” by a Venezuelan gang as a source of authority to take unprecedented steps to remove migrants from the US.Got a Tip?Are you a current or former government employee who wants to talk about what's happening? We'd like to hear from you. Using a nonwork phone or computer, contact the reporter securely on Signal at davidgilbert.01.

Sellner’s website also lists a number of “tools” that can be used to achieve remigration, which includes “stop family reunification”—something Trump was doing even in his first term in office. In the first phase, Sellner also encourages governments to “create an ultimatum and economic incentives to self-deport.” The Trump administration is already purportedly offering undocumented immigrants a stipend of $1,000 if they use the CBP Home App to self deport.

Sellner adds that governments should “cut humanitarian aid” to force immigrants to stop entering the country. Last month, the Trump administration attempted to cut legal aid to unaccompanied migrant children, only for a court to temporarily block its efforts.

The second phase of Sellner’s plan, following the initial removal of undocumented immigrants, includes the removal of “migrants who entered the country legally and have a residence/work permit, or temporary visa, but are an economical, criminal or cultural burden.” The final phase targets citizens who are seen as “non assimilated,”and it involves passing laws to “target parallel societies with economic and cultural pressure” and entice citizens to migrate abroad with the use of loans, payments, and other assistance. The plan, Sellner claims, will allow “the wounds of multiculturalism to heal.”

Sellner has been promoting this plan across Europe for several years and has developed a continent-wide network of far-right groups, political parties, and populist politicians who have helped the remigration policy gain significant traction. Marches to promote remigration have been held in numerous capitals across EU, and in the UK, the Homeland Party has adopted remigration as one of its core policies. Last year, Austria's far-right Freedom Party (FPÖ), whose members have spoken at events organized by Sellner’s Identitarian Movement in Austria, even called on the EU to appoint a commissioner for remigration.

Sellner’s phases are centered on the “great replacement” conspiracy theory, which posits that countries with traditionally majority white Christian populations are being invaded by Muslim hordes or flooded with migrants from developing countries as part of a secret plan by a group of global elites to undermine “native” populations.

The idea of remigration first took hold in extremist circles over a decade ago in France. French author Renaud Camus first floated the great replacement conspiracy theory in a pair of books published over a decade ago and adherents of the ethno-nationalist identitarianism movement embraced the concept of remigration soon after.

The concept did not gain more widespread traction until recently, with Sellner promoting the ideology in Austria and then Germany, where the extremist Alternative for Germany (AfD) party has embraced the policy of remigration. (The Trump administration has shown strong support for the AfD, with Vice President JD Vance meeting with AfD leader Alice Weidel ahead of February’s elections, Elon Musk hosting a livestream with Weidel , and Secretary of State Marco Rubio last week slamming Germany’s domestic spy agency for labeling the party “a confirmed rightwing extremist group.” The designation, which is temporary pending a court judgment, could lead the party to be banned.)

In his youth, Sellner was a member of the openly neo-Nazi group called “Stolz und Frei” (Proud and Free). Today, Sellner claims that extremist activity was due to “being really young” and claims there is “nothing racist or white nationalist about” remigration, which he describes as “an umbrella term to change the flows of mass migration.” Sellner is currently banned from traveling to a number of countries, including the US, following investigations into his communications with the shooter who killed 51 people in a 2019 spree targeting the Muslim community in Christchurch, New Zealand. The shooter also donated money to Sellner’s Identitarian Movement of Austria group. “Since Trump is now president, I'll try to apply for a visa again,” Sellner tells WIRED. “I think I have a far better chance for a fair hearing. I hope I will touch American soil again soon.”

At the conference near Milan, Eubanks told those watching that “American policies [should] not only consist of mass deportations but include a complete moratorium on all immigration until assimilation.” She did not respond to requests for comment from WIRED.

Quinn, who previously worked with the white nationalist publication Counter-Currents, was there representing White Papers Policy Institute, a group that describes itself as “a professional team of pro-White advocates centered around a single mission: bringing a pro-White perspective to analysis of both foreign and domestic policy.” Researchers have reported that the group appears to be run by a young man from Michigan with ties to the neo-Nazi ecosystem. A review of the analysis and articles produced by the group also show that it consistently pushes racist stereotypes.

During her presentation near Milan, Quinn said that the Trump administration’s $1,000 payment to undocumented immigrants who self-deport was similar to WPPI’s own “American Repatriation Policy Platform.” Quinn then suggested the administration should go even further and encourage legal residents and citizens to leave the US by giving them a $72,000 “repatriation payment.”

“Remigration is in fact already taking place in the US,” Quinn tells WIRED. “The first flight of 64 self-deportees following President Trump’s stipend announcement have already arrived home safely in Honduras and Columbia.”

Jared Taylor—a high-profile figure in US far-right circles and head of the New Century Foundation, which has been designated a hate group by the Southern Poverty Law Center, as well as the publisher of the American Renaissance website and magazine—also attended the event. Many of those speaking at the conference, including Sellner, have spoken at Taylor’s American Renaissance conference hosted in Tennessee every year.

Taylor, in a recap of the conference posted on X, called the Milan conference “a smashing success,” concluding that “our European cousins are streets ahead of us in terms of serious, political organization.” Taylor did not respond to a request for comment.

The New York Young Republican Club, whose gala Trump addressed by video in December, also hailed the conference in a press release published on its website earlier this month, claiming that “momentum is building on both sides of the Atlantic. Let remigration be not only a policy, but a global movement.” The website also asked readers to do their bit to support remigration in the US by saving the Immigration and Customs Enforcement (ICE) tip line on their phone. “Call ICE if you see anything or anyone suspicious. Get ’em out!,” the group wrote.

The club did not respond to a question about whether they believed the Trump administration is currently enacting remigration policies.

For experts like Via, there is real concern about the increased interest in an overtly racist policy from far-right groups and figures in the US and the impact that will have on the global far-right movement.

“There is an increased desire to ally with American actors, as it's clear that the European far right is looking to Trump and the United States for inspiration and as proof that remigration is possible,” Via says. “We’re seeing more cooperation and collaboration transnationally, which will only grow, and American extremists will likely have a hand in shaping migration policy transnationally.”

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eugenedebs1920 · 10 days ago

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youtube

Lovett was an a deserving vacation, and it’s great to have him back. With the legacy media in step with corporate interests, profit margins , and shareholder returns rather than being the harbingers of an imperative freedom bestowed graciously to the American people by flawed men with better intentions than their actions would imply, his voice is as treasured as ever.

There was a time (I’ve heard) when a person, or people, would broadcast current events in an attempt to inform a populace as to the happenings abroad and in their area, that they may want to be aware of, or they could affect their own lives.

A team of journalists and investigators would draft a series of facts and occurrences, documenting them for future reference in preparation to share with the public at large. This final report would be printed, scripted, or televised, reporting on what had transpired. This relay of facts would provide the citizenry a window into the subject matter. Once presented to the people it was up to the individual to form their own opinions on the facts that they received and do what they will with those facts.

I believe they called it , News.

Now when one turns on this modern creation dubbed, “News”, for ongoing particulars, in large part, when one subscribes to platforms burdened with the unrealistic chore of trying to fill a 24 hour cycle, a sanguine and consequential role, a chosen duty for those who wish to be a guardian scribe for historical and cultural knowledge, has found its content watered down, thinned with omissions, deluded with opinions, tainted with bias which fit the narrative of whatever corporate overlords would benefit from the availability their public consumption.

With the mass consolidation of channels limiting the avenues where one can access entertainment, sports and current events, without the influence of one tycoon or another, becomes rarer and rarer, to where some venues have become political arms (cough Fox News cough cough) peddling in little actuality, saturated with partisan bias, manufacturing a version of a story far from objective truth and tiptoeing on a tightrope on what’s real and what serves the interests of the ownership.

This autocratic rule over the purveyors of public knowledge distorts the entire apparatus and facts generally. When the data presented from one appendage varies from another, trust in information transforms into which version laid out fits the narrative one wishes to hear, rather than what is objective reality, creating a divide where one can choose the circumstances formed to their ideals.

This has weakened the gift given to the American people in having a free press. Distrust of the other side, the question of motivation, and skepticism of reporting has left a void where alternative truths find respite, and leaves a population cynic of what’s portrayed to them.

It is in this moment, when the old hand defenders of a free press have lost credibility, which new stewardship of this so pertinent of liberties will find themselves desperately needed.

The torch has slipped the grasp of organizations who’s reverence to the accuracy in the dispatch they convey falls short of precise and screwed toward the conglomerate hence it came, and firmly in the grip of a new media, an independent media beholden to no one, no editorial dictatorship censuring from on high, still vulnerable to persuasion from fame and fortune, but safeguarded by those with integrity and pride, honor and courage, duty and respect.

This new breed journalism will steer a distrustful and weary citizenry away from corporate interests and closer to the interests of the people.

Many times the harsh reality of objective reality is best put forth with humor. A comedic approach to the absurdity we find our nation bumbling in, a satirical expose which blunts the edges of acute topics one would otherwise despair in hearing, but can nervously chuckle with.

With the source of knowledge of our times shifting, I myself am thankful for these purveyors of communal wisdom. Shows like Lovett or Leave it, Last Week Tonight, The Daily Show, The Late Show with Stephen Colbert, allowing us to laugh rather than cry. To spreaders of societal consciousness like Pod Save America, Frontline, The Meidas Touch Network, Brian Tyler Cohen, Ezra Klein, The Bullwark, and many others. May their offensive against misinformation be fierce, and their defensive of truth be impregnable.

To all those who hold truth to power. Thank you!

🇺🇸

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dedalvs · 1 year ago

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Hi! Hope you're doing well. I was reading a fantasy webcomic with some Deaf characters and was wondering: what adjustments to the language creation processes would a conlanger have to make for creating a sign language? Thanks!

The short answer is relatively few. Sign languages are languages and do all the same things with a different phonology. So long as you understand the phonology of a sign language you can create a sign language.

The long answer is here. That's a thing I wrote up called SLIPA (Sign Language IPA). Due to the fact that the potential for iconicity with gesture is greater than with sound there's a lot more onomatopoeia in a sign language than in a spoken language. To explicate, onomatopoeia in spoken language is a word that imitates the sound of the referent (splash, crash, plunk, boing). In a sign language, it's a sign that imitates the look of the referent (ASL TREE, for example). Since it's possible to be more iconic, sign languages take advantage of that fact. Consequently, you don't find sign languages that DON'T take advantage of it and are purely abstract. There are also things that are hard or impractical in a spoken language that are simple in a sign language simply due to the medium (e.g. full number incorporation in the ASL words for WEEK and MONTH). Finally, there are a lot of "on the fly" verbs that are created that have no obvious analog in a spoken language. It's something like the sentential words of a polysynthetic language combined with imitative sounds in a spoken language to describe a body in motion.

In other words, because there are things you can do in a sign language simply due to the medium that you can't do in a spoken language, sign languages often do those things. It would be strange (i.e. non-human) if they didn't. If you're aiming to create a secret sign language, perhaps you intentionally don't take advantage of those things. It's possible to create a purely abstract sign language, but it would be a fairly obvious construct the way Ithkuil is very obviously not a plausible human language (i.e. it could never have evolved naturally to be the way it is). This might be a fun thing to do for a fictional setting—a totally non-iconic sign language created for secret communication. This is, essentially, what I did with the Atreides sign language in Dune (as opposed to the other sign language I created for the first film that wasn't used). Even that one, though, takes advantage of iconicity in a way that a truly abstract sign language need not. This is because part of the secrecy of the language is the way it's used. Others aren't even supposed to see it—and if they do, they're supposed to dismiss it as hand twitches. You could make an obvious sign language (i.e. it's obvious these characters are signing to each other) but with really, really weird associations—like pointing to your interlocutor means "sky", where eveyrone looking on will think it means "you".

Anyway, just some thoughts. This is an underexplored area of conlanging, but due to the simplicity of video creation and sharing nowadays, it's something that's worth exploring. Back in 2006 when I wrote up SLIPA it wasn't practical to take videos and upload them. It was possible, certainly—we had high speed internet and websites—but we didn't have smartphones, I don't think YouTube existed yet, most frontend UI didn't have video embedding as a feature of its platform, etc. We were lightyears ahead of the internet as we understood it in the 90s, so 2006 would be much more familiar to the people of 2024 than the people of 1994, but smartphones and social media (and its infrastructure) really changed the nature of capturing and sharing video. Conlangers have taken advantage of that in every way EXCEPT creating, documenting, and sharing CSLs (created sign languages).

Like (I don't want to go off on a tangent here) you can have an entire YouTube account that is just a dictionary. ASL already does this. Go on YouTube and type "ASL sign for [whatever]". There are tons of videos that are like 10-15 seconds long that are just demonstrations of a single sign from different angles, all made by Deaf signers. And the videos don't need sound! You don't have to worry about audio quality, microphones, etc. You can actually use YouTube to document an entire sign language. No one's done it yet. Why not?

Anyway, those are my thoughts. Hope this helps.

#conlang #language #ithkuil #sign language #deaf #csl #slipa #youtube #language creation #video #dictionary #deaf sign language

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lipanek · 4 months ago

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CC free Beauty Studio + Apartment!

Lately as I've been creating various makeups, facial hair etc. using the custom tattoo feature, I've also been toying with the idea of building my own little hairdresser/styling/tattoo studio, for my Sims to get their own hands on my creations naturally during gameplay. :)

So here it is. ♥

There are two versions of this build with slight exterior and interior changes, please check images below before you download. :) You can of course download both and have them in your game at the same time.

v1 (tattoo table) / v2 (styling platform from Get Famous)

• § 56 931 (v1) • § 56 784 (v2) • 20×20 • lot built in Del Sol Valley • requires only Get Famous, Business and Hobbies • (optionally) Bathroom Clutter Kit, as I felt it was appropriate to use it for hair dryers, hair clippers and other relevant decor, but it's def not necessary for gameplay.

DOWNLOAD

Official in-game Gallery! v1 / v2 SFS MTS

INSTALL

Extract the files and put them in the Tray folder in your documents.

PICS BELOW

Exterior

2 main entryways into the studio and a separate entrance into employees-only hallway.

I have also included a little photoshoot wall on the backside to show off your new hairstyles and tattoos on Simstagram ;)))

Interior

reception and waiting area by the entrance

hairstyling/makeup area

the tattoo table (v1) or the styling platform thingy (v2) area

Apartment upstairs

beautiful sunroof to make up for the lack of windows due to the roof shape

entrance with a big enough kitchen

dining and living space (with space for tv upgrade in mind)

main bedroom + kid bedroom

customers and employees shared bathroom downstairs + apartment bathroom upstairs

and some more gameplay pics because i'm really proud of this build and i love how it all looks hehe ♥

for default replacements cc used in images above, please check my mods+cc list

gshade preset used in pictures above is Serenity by MissLollypop

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pdqdocs · 6 months ago

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Streamlining Legal Workflows with Document Generation Software for Law Firms: PDQ Docs

In the fast-paced world of law, efficiency and accuracy are crucial. Law firms handle a high volume of complex documents daily, including contracts, briefs, wills, and other legal papers. As such, the ability to generate accurate and professional documents quickly can significantly improve the workflow of any legal practice. This is where document generation software for law firms comes into play. PDQ Docs is a powerful solution that streamlines document creation, reduces human error, and saves valuable time, ultimately improving the productivity of legal teams.

The Need for Document Generation Software in Law Firms

Law firms face the challenge of generating a variety of documents, each requiring precise formatting and language to meet the legal standards. Manual document creation can be time-consuming, often leading to inconsistencies or errors. This is especially problematic when dealing with a large volume of cases or clients. Document generation software for law firms simplifies this process by automating repetitive tasks, allowing legal professionals to focus more on the substantive aspects of their work.

PDQ Docs addresses this challenge by providing a comprehensive platform that helps law firms generate documents with speed and accuracy. With PDQ Docs, legal teams can create templated documents that can be easily customized based on specific client or case details. This not only saves time but also ensures that the documents are consistent and meet the required legal standards.

How PDQ Docs Improves Efficiency for Law Firms

One of the main advantages of PDQ Docs is its ability to automate the document creation process. The document generation software for law firms allows them to create templates for various types of legal documents, such as contracts, pleadings, and agreements. Once a template is set up, users can quickly fill in the necessary information, and PDQ Docs will automatically generate the final document in a fraction of the time it would take to create it manually.

This automation reduces the risk of human error, as it minimizes the need for repetitive data entry and ensures that the correct information is inserted into the right sections of the document. For law firms handling high volumes of documents, this can be a game-changer in terms of accuracy and speed.

Customization and Flexibility with PDQ Docs

Another key feature of document generation software for law firms is its high level of customization. Law firms have unique needs, and the ability to tailor document templates to fit specific legal requirements is essential. PDQ Docs allows users to create and modify templates to suit the specific language, clauses, and formats required for different types of cases and clients. This flexibility ensures that each document is personalized and aligns with the firm’s standards.

Additionally, PDQ Docs is designed with user-friendly interfaces that require minimal training, making it accessible to all members of a legal team, from paralegals to senior attorneys. This ease of use ensures that legal professionals can quickly adopt the software and begin using it to enhance their document management process.

#document generation #legal document automation software #law firm document drafting #automated document creation for lawyers #legal document management tool #law firm document automation #legal document templates for firms #contract drafting software for lawyers #customizable legal documents #law firm productivity software #legal workflow automation #law firm automation tools #document generation platform for lawyers #legal software for document creation #legal document templates and automation #simplified document generation for law firms

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justinspoliticalcorner · 11 months ago

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DOJ Indicts Russian Nationals in $10 Million Scheme to Spread Covert Propaganda to U.S. Audiences

Brett Meiselas at MeidasTouch:

The Department of Justice has unsealed an indictment charging two Russian nationals, Kostiantyn Kalashnikov and Elena Afanasyeva, with conspiring to violate the Foreign Agents Registration Act (FARA) and money laundering in a scheme to covertly influence U.S. audiences. Both Kalashnikov and Afanasyeva remain at large, according to the DOJ’s announcement today. The indictment reveals that Kalashnikov, 31, and Afanasyeva, 27, who were employees of Russia's state-controlled media outlet RT, played pivotal roles in funneling nearly $10 million to a Tennessee-based online content creation company, referred to in court documents as U.S. Company-1. The content company, unbeknownst to its viewers, was funded and directed by RT to produce pro-Russian videos aimed at American social media users. This company is believed to be TENET Media, who touts right-wing hosts Lauren Southern, Tim Pool, Benny Johnson, and others, as part of their roster.

[...] Since its launch in November 2023, U.S. Company-1, believed to be TENET Media, has posted nearly 2,000 videos across platforms such as YouTube, TikTok, Instagram, and X, garnering over 16 million views on YouTube alone. The DOJ notes that while the content appeared to offer commentary on domestic issues, it was aligned with the Russian government's goal of weakening U.S. opposition to Russia’s invasion of Ukraine. The defendants are also accused of deceiving two U.S.-based online commentators with large followings into producing content for U.S. Company-1 without disclosing RT’s involvement. The DOJ alleges that RT used a fictional persona named “Eduard Grigoriann” to conceal its role as the company’s true financial backer. Within the indictment lies a troubling sequence involving directives from Elena Afanasyeva, alias "Helena Shudra," to manipulate content creation at U.S. Company-1, aiming to tailor videos to specific agendas. Notably, in early 2024, Afanasyeva orchestrated the creation of tailored content that included a video featuring a "well-known U.S. political commentator," who MeidasTouch can identify as Tucker Carlson, during an bizarre visit to a Russian grocery store in which Carlson said he was "radicalized" by how low the prices were in Moscow.

The DOJ handed down indictments to two Russian nationals Kostiantyn Kalashnikov and Elena Afanasyeva for violating FARA.

The two helped funnel nearly $10M into creating a right-wing pro-Russia propaganda outfit called TENET Media founded by Lauren Chen and Liam Donovan. TENET Media has right-wing pundits Lauren Southern, Tim Pool, Dave Rubin, and Benny Johnson in their stable.

See Also:

The Guardian: Russia accused of trying to influence US voters through online campaign

Nashville Banner: Nashville Media Company Appears in U.S. Indictment of Russian Propaganda Efforts

Mother Jones: New Indictment Alleges Conservative Media Company Took Millions of Kremlin Cash

#FARA #Russia #TENET Media #Lauren Southern #Benny Johnson #Tim Pool #Lauren Chen #RT #US Department of Justice #Kostiantyn Kalashnikov #Elena Afanasyeva #Dave Rubin #Matt Christiansen #Tayler Hansen #Liam Donovan

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easternmind · 4 months ago

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A train simulation at the heart of Japan's videogame production genesis

As the great videogame historian Florent Gorges explains in a recent video, one of the most beguiling developments in Japanese videogame history research comes to us from an unlikely source. Twitter user and train aficionado @yota8nsx reminisces about an episode of his childhood, namely his visit to Expo '70 in Osaka, describing a particularly captivating train simulation game playable at the Furukawa Pavilion and whose implications, if properly understood, make this one of the most important findings in this field of research.

A flyer illustration of the seven story pagoda building created specifically for the occasion, a traditional architectural reference that contrasted with the latest high-tech creations hosted within it.

Late last year, @yota8nsx uncovered pictures of the exhibit captured from a speciality magazine that show this early simulation game appearing to use vector graphics to depict a train track, as well as some custom-made mechanic train cab control levers. He captions the pictures with his memories of how the program functioned:

Well, there was a limit to what could be done given the capabilities of computers in the 1970s. This is an article on page 61 of the July 1970 issue of Railway Pictorial magazine and an image taken by an acquaintance of mine. (...)

It was over 54 years ago, so my memory is a bit hazy, but I think when I accelerated, I would fall backwards, and when I braked, I would fall forwards. There are about three different angles of reclining, and each was scored based on how comfortable the ride was. If I had gotten 90 points out of 100, I would have received a medal. In the picture, it's 76 points.

After performing some complementary research I was able to find that the program ran on an IDI Input-Output Machine, a computer developed in the mid 60s by New York-based company Information Displays, Inc. The IDIIOM is widely regarded as the first commercial CADD platform with powerful vector graphics capabilities and a light pen interface. Another game known to have been developed using the same machine is the Daly CP (Chess Program), one of the earliest GUI-based chess games, authored in 1969 by NASA researcher electrical engineer Chris Daly.

However, there are reasons to believe that this was either an adapted Japanese version of the system; or that it was in some manner connected to another terminal, as evidenced by code shown below the screen which appears to read Facom, followed by an alphanumeric code. As you may know, this was the name for Fujitsu's earliest computer line. Could this subtle hint refer to a separate terminal in which the actual game code was created or, perhaps even, running?

Despite the scarce information, namely the complete absence of any details concerning the authors of this magnificent experiment, there is sufficient documentation to establish this as one of the earliest known games ever to be created in Japan. Certainly, its existence is far better established than many of the often cited, Japanese university computer lab game creations from students of the 1960s.

The importance of this finding cannot be overstated, especially if one is to consider that the images hint at the distinct possibility that the game used vector graphics to represent a moving 3D train track. This some three years before Maze War, hitherto the first known game to have used three-dimensional visuals.

Disappointingly, the program itself is certain to have vanished altogether and there are hardly any leads that can explored to shed further light on this singular creation. I, for one, feel indebted to this old Japanese railfan for his invaluable contribution to what other information existed on this subject.

- Update (26/03)

The venerable Matt Sephton has pointed the way for additional information concerning this game as well as the Osaka Expo of 1970.

Some of these resources, including Classic Videogame Station, refer to this game as 電車の運転テス, or Densha no Unten Tesuto - literally Train Driving Test. Some additional photos are also provided, namely this rare colour capture showing a woman dressed as a train assistant, helping a young player. Unfortunately, this image doesn't offer additional visual access to the control levers, a crucial component of the experience.

Writing on the door reads: "warning to all visitors: this game is only available to elementary school students and above".

Further context is provided about this section of the exhibit, named Computopia. As it happens, the train simulator is only one from a handful of interactive experiences on offer on the floor of the so-called experimental theatre. Another blog post shows a cropped capture from an Expo 70 flyer, in which a brief and telling description can be read:

The modern dream is a convenient and fun utopian world made possible by computers. Furukawa Pavilion's Computopia will be an experimental theatre where all these dreams can come true, with exciting shows using the latest domestically produced computer system, the Fujitsu FACOM.

Other playable attractions included a voice-activated crane game, possibly a catcher-type arcade; a computer version of the age-old game Go that, unsurprisingly, required two players; a computer dress designer app allowing users to dabble in fashion creation, as well as a demo for a voice-activated cashless shopping system.

This floor exhibit and concept of a computer utopia was put together by the Bankoku Haku Furukawakan Promotion Committee, a parent group of the Japanese giant Fujitsu. The choice of interactive games was a deliberate decision to present computers as systems that could enable captivating and pleasurable experiences, and with it influence public perspective.

These attractions were prepared using four Fujitsu FACOM 270-30 systems, programmed by thirty engineers over a period of two years. My previous supposition that the IDIIOM computer was integrating with Japanese computer technology is thus confirmed, as the 270-30 was a powerful processing line printer-based mainframe which nevertheless lacked a visual output capability.

It is quite astonishing that Fujitsu engineers found not only a method to integrate both systems, but to harness the processing power of 1968 machine so as to enable a 3D audio-visual experience with contextual sound output (braking, crossing bridges) and complex input operations (acceleration, deceleration).

As per the Classic Videogame Station report, IBM's exhibit also included numerous other games including an early version of Lunar Lander as well as a rather complex airplane simulation. It isn't clear from the available reporting whether these programs originated in Japan or if they were developed in the United States. Sadly, this tends to muddy the waters somewhat whenever an attempt is made to establish a precise timeline of early Japanese computer game production, including the not so trivial matter of which one can claim for itself the title of being the first. At the present stage of my research, that is likely a distinction owed to the two-player Go game of which I have found written mentions placing it as far back as 1968, possibly 1966.

Be that as it may, Densha no Unten Tesuto could still be regarded as the first original videogame created in Japan that fits most parameters of contemporary gaming experience, including a well-defined arcade-like setup and presentation, a performance score and the potential for the player to win awards for achieving score targets. Chronological considerations aside, it compels us to see the history of videogames from an entirely different perspective.

Online sources and further recommended reading:

Florent Gorges Video Report at Playhistoire:

- Le Tout Premier Jeu Video Japonais Retrouvé

Yota8nsx post on visiting Expo 70:

- https://x.com/yota8nsx/status/1172335870659026951

Twitter thread covering early Japanese games:

- https://threadreaderapp.com/thread/1352188581960269828.html

Blog posts on Densha no Unten Tesuto:

- http://oyexp.blog.fc2.com/blog-entry-155.html

- https://ameblo.jp/kwkt666/entry-12479764013.html

Additional information about Expo 70 and Comutopia:

- https://www.expo70-park.jp/cause/expo/furukawa/

Specs sheet for FACOM computer line.

- https://museum.ipsj.or.jp/en/computer/main/0106.html

About the IDIIOM computer and its use for game development:

- https://www.chessprogramming.org/Daly_CP

- https://www.semanticscholar.org/paper/Was-the-IDIIOM-the-First-Stand-Alone-CAD-Platform-Bissell/b1fb4f9208fd3acd459d0efa228ebbf32b772cb7

#1970 #osaka expo #japan world expo #arcade #train simulation #train #videogame #japanese #IDIIOM #vector graphics #early 3D #DACOM #Fujitsu #Youtube

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thevoicofprincenoir · 1 month ago

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A Review on Epic The Musical

"Epic The Musical": A Modern Odyssey of Sound and Story

I. Introduction: A Modern Epic's Resurgence

The enduring narrative of Homer's Odyssey stands as a foundational pillar of Western literature, a timeless saga of homecoming, relentless perseverance, and the human spirit's unwavering resolve against formidable challenges. Its profound thematic explorations, encompassing the deep-seated yearning for nostos (homecoming), the societal imperative of xenia (guest-friendship), and the hero's transformative journey, have resonated across millennia, firmly cementing its place in the literary canon.1 The poem's distinctive non-linear chronology, which immerses the audience

in medias res and unfolds much of Odysseus's tale through his own retrospective narration, has historically invited a myriad of interpretations and adaptations, allowing each successive era to discover its own reflection within the ancient narrative.2

In a groundbreaking contemporary reimagining, "Epic The Musical," conceived by the visionary Jorge Rivera-Herrans, has emerged as a captivating phenomenon that has seized the attention of a global audience. Structured as a nine-part series of sung-through concept albums, this ambitious work boldly reinterprets the ancient Greek myth, infusing it with a dynamic blend of musical theatre, the vivid storytelling of anime, and the immersive soundscapes characteristic of video games.5 This unique fusion culminates in an experience that is both innovative and deeply immersive. The musical's distinctive development and its meteoric rise to widespread popularity, largely propelled by online platforms such as TikTok, underscore a significant paradigm shift in the creation, distribution, and consumption of theatrical works.6 This pioneering approach has not only fostered an unprecedented level of accessibility but has also cultivated a vibrant and highly engaged community, demonstrating a potent new model for artistic dissemination.7

The digital-first approach adopted by "Epic The Musical" fundamentally reshapes the landscape of musical theatre, making it available to a vastly broader audience. Unlike traditional stage productions, which are often constrained by geographical limitations and financial barriers, "Epic" has directly reached a global listenership through streaming services and social media. This enhanced accessibility has not merely expanded its reach; it has actively cultivated a deeply engaged and participatory fanbase. Evidence of this strong connection is abundant in the proliferation of fan-created animatics—animated storyboards accompanying the songs—and the lively discussions surrounding character designs and staging that transcend the audio experience alone.7 This innovative model suggests a broader cultural movement in artistic consumption, moving towards more interactive, community-driven forms of engagement. The transparency with which Rivera-Herrans documented his creative process, meticulously sharing ideas, edits, and rewrites on platforms like TikTok, further deepens the bond between creator and audience.8 This transforms passive listeners into active participants in the musical's evolving journey, challenging conventional notions of what constitutes a "musical" and paving the way for new expressions of theatrical art. This report will demonstrate how these artistic liberties, far from being mere "inaccuracies," serve to deepen the story's thematic exploration, solidifying "Epic The Musical"'s place as a truly exceptional and "very very good" modern adaptation.

II. The Sonic Tapestry: A Deep Dive into "Epic The Musical"'s Songs

Masterful Composition and Genre Fusion: Jorge Rivera-Herrans' Musical Genius

Jorge Rivera-Herrans has garnered widespread acclaim as a masterful composer, demonstrating an exceptional aptitude for weaving intricate musical motifs that not only distinctly define characters but also powerfully propel the narrative forward.5 The musical draws its inspiration from a rich and diverse array of sources, including the established traditions of musical theatre, the dynamic and often visually driven storytelling of anime, and the immersive soundscapes characteristic of video games. This ambitious fusion culminates in a rich tapestry of various musical genres.6 This deliberate and expansive approach to genre integration creates a distinctive sonic identity for each of the nine sagas, ensuring that every album release is memorable and that each segment possesses a unique sound and feel, thereby preventing any sense of monotony across the extensive work.5

The compositional range exhibited throughout "Epic The Musical" is truly remarkable, encompassing both adrenaline-fueled songs that drive the action with palpable energy and soul-crushingly beautiful ballads that delve into profound emotional depths.7 For instance, the song "Storm" underwent a deliberate and significant transformation during its development, shifting to a complex 7/8 time signature and incorporating epic choir vocals. This meticulous crafting effectively evokes the overwhelming and divine presence of a colossal storm, demonstrating a keen understanding of how musical structure can enhance narrative impact.10 Similarly, "There Are Other Ways" stands out as a prime example of the musical's impressive genre versatility and willingness to experiment, notably blending elements of bachata with a striking key change and intricate overlapping vocals.10

Vocal Powerhouses: Performances that Elevate the Narrative

"Epic The Musical" is brought vividly to life by a cast of truly remarkable vocal talents.7 Jorge Rivera-Herrans himself delivers a compelling and nuanced performance as Odysseus, infusing the central character with depth and complexity.5 The ensemble features standout contributions from artists such as Troy Dohert as Hermes, Talya Sindel as Circe, Steven Rodriguez as Poseidon, Ayron Alexander as Antinous, and Teagan Earley as Athena.7 Reviewers particularly highlight Rodriguez's masterful ability to convey Poseidon's character progression, evolving from a calm fury to an unhinged menace purely through his vocal delivery, allowing listeners to almost viscerally perceive the drowned depths awaiting those who incur his wrath.11

A brilliant creative decision, particularly crucial for a musical primarily experienced through audio, is the consistent use of distinct instrumental motifs for key characters. Odysseus is accompanied by a guitar, with its type subtly shifting to reflect his changing moods and intentions; Athena is marked by soothing piano sounds; Poseidon by a powerful trumpet; and Polities by higher-pitched instruments like the marimba.5 These instrumental cues serve as vital non-visual identifiers, helping listeners track characters and their emotional states, especially given that the musical has not yet debuted on a traditional stage.5 For a musical primarily experienced through listening, these auditory markers are not merely stylistic choices but critical narrative devices. They allow for sophisticated characterization and emotional tracking without the need for visual aids, making the complex story remarkably easy to follow and understand.5 The deliberate variation in musical genres and tones across the sagas is not just a display of stylistic flair; it is a profound reflection of the evolving psychological and physical landscapes of Odysseus's arduous journey. The shift from lighter sounds to darker instrumental tones mirrors Odysseus's transformation and the increasing gravity of his challenges, demonstrating how the musical form itself becomes a powerful vehicle for thematic expression.5

Lyrical Brilliance and Emotional Resonance: Crafting a Story Through Song

The musical's lyrics are consistently praised for their exceptional quality, demonstrating extremely well-written prose and clever wordplay that significantly enrich the narrative.11 They possess a remarkable ability to deliver a potent emotional punch precisely when required.11 Songs such as "Wouldn't You Like" 12 and "There Are Other Ways" 13 exemplify this lyrical depth, showcasing complex character interactions, nuanced moral dilemmas, and the subtle interplay of persuasion and manipulation, as seen in Hermes tempting Odysseus with power or exploring Circe's intricate relationship with him.

Emotional moments throughout the musical are profoundly amplified through the powerful medium of song. The visceral gut-punch experienced when Odysseus encounters a previously unknown dead character in "The Underworld" 11, or Penelope's heart-wrenching line in "The Ithaca Saga" 8, are rendered all the more impactful by the raw emotion conveyed through the vocals and the underlying musical composition. This synergy allows the listener to deeply connect with the characters' experiences, fostering a powerful sense of empathy.8 The vocal performances are not just technically proficient; they are crucial conduits for the musical's emotional depth and narrative complexity. The portrayal of Poseidon, for example, utilizes vocal shifts to underscore the god's escalating vengeance and psychological instability, transforming him into a more terrifying and compelling antagonist. Similarly, Penelope's raw emotion in her final songs conveys the profound weight of her two-decade wait and unwavering love, enabling the audience to imagine themselves in the same position and fostering deep connection.8

Highlighting Key Musical Moments and Fan Favorites

The musical encompasses an impressive forty songs spread across its nine concept albums, or sagas 8, culminating in a nearly two-and-a-half-hour emotional rollercoaster.8 Popular tracks, as indicated by streaming data and audience reception, include "Wouldn't You Like," "Just a Man," "Hold Them Down," "Love in Paradise," and "Warrior of the Mind".14 Other fan favorites and highlights, as identified by the creator himself, include "Open Arms," praised for its moments of levity that later acquire profound emotional weight, "There Are Other Ways" for its musical uniqueness, "Little Wolf," and the meticulously crafted "Storm".10 Songs associated with powerful figures like Poseidon and Hermes are also frequently singled out for their significant impact.10 The final "Ithaca Saga" provides a beautiful and fitting conclusion, masterfully weaving the entire narrative together through continuous callbacks to previous sagas via score and song. This intricate design allows listeners to draw deep connections and appreciate the complex tapestry of the musical's journey.8

Table 1: "Epic The Musical" Sagas and Featured Songs

This table provides a structured overview of the musical's progression, aligning specific songs with their narrative "sagas." It helps listeners understand the chronological flow of the story within the musical's unique episodic release format, which is crucial for a comprehensive understanding of the work. It also highlights the sheer volume and thematic grouping of the musical's impressive tracklist, serving as a guide to its musical landscape.

Saga Name

Act

Key Songs (Examples)

Thematic Focus/Brief Description

Troy Saga

Act 1

The Horse and the Infant, Just a Man, Full Speed Ahead, Warrior of the Mind

Odysseus's final moments at Troy, the difficult choice to commit infanticide, setting his path.

Cyclops Saga

Act 1

Open Arms, Polyphemus, Survive

Encounter with the Cyclops, loss of Polities, Odysseus's cunning and "mercy."

Ocean Saga

Act 1

Remember Them, My Goodbye, Storm, Luck Runs Out, Ruthlessness

Divine punishment from Poseidon, crew's demise, Odysseus's growing ruthlessness.

Circe Saga

Act 1

Keep Your Friends Close, Puppeteer, Wouldn't You Like, Done For, There Are Other Ways

Encounter with Circe, Hermes' intervention, themes of control and persuasion.

Underworld Saga

Act 1

The Underworld, No Longer You, Monster, Suffering, Different Beast

Odysseus's journey to the land of the dead, confronting inner demons, shedding remorse.

Thunder Saga

Act 2

Scylla, Mutiny, Thunder Bringer

Sirens, Scylla, crew's betrayal and death, Odysseus's ultimate survival.

Wisdom Saga

Act 2

Legendary, Little Wolf, We'll Be Fine, Love in Paradise, God Games

Telemachus's journey, Athena's intervention, Odysseus's captivity with Calypso, divine politics.

Vengeance Saga

Act 2

Not Sorry for Loving You, Dangerous, Charybdis, Get in the Water, Six Hundred Strike

Odysseus's escape from Calypso, confrontation with Charybdis, brutal defeat of Poseidon.

Ithaca Saga

Act 2

The Challenge, Hold Them Down, Odysseus, I Can't Help But Wonder, Would You Still Love Me

Penelope's test, the suitors' brutal demise, Odysseus's reunion with Telemachus and Penelope.

Note: Song lists are illustrative and may not be exhaustive for each saga.

III. Reimagining the Myth: Creative Departures from Homer's Odyssey

The Core Narrative: Shared Foundations and Enduring Themes

At its fundamental core, "Epic The Musical" remains deeply anchored in the foundational narrative of Homer's Odyssey. Both works chronicle the heroic king Odysseus and his arduous ten-year journey back to Ithaca following the Trojan War. They depict his encounters with a succession of mythical perils and his eventual triumphant return to reclaim his kingdom and family.1 Furthermore, both narratives explore shared, timeless themes that resonate across civilizations, including the profound desire for homecoming (

nostos), the trials and tribulations inherent in wandering, the paramount importance of loyalty—especially within familial bonds—and the ultimate triumph of justice.1 Both also delve into the complex transition a warrior must undergo, from a life defined by warfare back to the responsibilities of domesticity and kingship.3

Odysseus's Transformed Heroism: A Deeper Exploration of Moral Ambiguity

Homeric Odysseus: In Homer's epic, Odysseus is primarily depicted as a cunning, resourceful, and often audacious hero, whose actions are largely driven by his nostos and his ambition to reclaim his identity as a husband, father, and king.1 While he possesses certain flaws, such as his taunting of Polyphemus or his men's recklessness with Helios's sacred cattle, his deeds are generally framed within a classical heroic context. His retribution against the suitors, for instance, is portrayed as a justified restoration of order and divine justice.1 Significantly, the Homeric narrative does not include any act of infanticide, nor does it depict him physically assaulting a god.

"Epic" Odysseus: The musical presents a markedly darker, more morally complex, and psychologically scarred Odysseus. His journey commences with a profound and disturbing act of violence: the forced killing of the infant son of Troy's Prince Hector, a deed compelled by a "vision" from Zeus.15 This pre-emptive, morally compromising act immediately establishes the grittier tone of "Epic" and highlights Odysseus's internal conflict, setting the stage for his gradual transformation into what he fears might be a "monster".15 His decision to show "mercy" towards the Cyclops, by blinding him rather than killing him, is ironically punished by Poseidon precisely for

not killing him, a direct inversion of the conventional Homeric portrayal of divine justice.15 This unique twist serves as a powerful catalyst, arguably fueling Odysseus's later embrace of extreme ruthlessness. By the Underworld Saga, Odysseus consciously sheds all remorse, his focus narrowed solely on returning to his family, indicating a profound psychological hardening.15 The Vengeance Saga culminates in a shocking and monumental departure from the original myth: Odysseus brutally beats Poseidon with his own trident until the god yields.15 This unprecedented display of mortal power over a deity symbolizes Odysseus's complete embrace of "ruthlessness" as a form of "mercy upon ourselves," a philosophy Poseidon himself suggests.16 His eventual return to Ithaca is characterized by the brutal, unflinching slaughter of the unarmed suitors, with no mercy shown.15 This visceral act is immediately followed by his poignant confession to Penelope that he is "no longer the kind man she knew" 15, underscoring the profound psychological cost of his journey and survival.

Significant Narrative Innovations and Their Artistic Impact

The most striking and impactful departure in "Epic The Musical" is the depiction of Odysseus's forced infanticide of Hector's son.15 This morally compromising act, entirely absent in the original epic, immediately establishes the musical's darker tone and Odysseus's internal struggle, setting the emotional and ethical stakes for his subsequent transformation.

Polities, presented as Odysseus's "bestie," is afforded a more prominent and symbolic role as a voice for kindness, famously articulating that "Kindness is brave".15 His tragic death at the hands of the Cyclops 15 serves as a profound personal loss for Odysseus, potentially hardening his resolve and propelling him further along his ruthless path.

The musical introduces heightened divine challenges and interventions, portraying the gods as more volatile, arbitrary, and even cruel forces. Zeus's direct manipulation of Odysseus through the vision of the infant Hector, and his violent punishment of Athena—striking her with lightning for daring to defy him—amplify the stakes and Odysseus's suffering, making his journey feel even more insurmountable.15 This recontextualizes the notion of divine justice; in Homer, divine retribution often serves a moral or cosmic order, as seen with Helios's cattle.3 In "Epic," however, divine actions, such as Zeus's vision or Poseidon's inverted punishment, appear designed to compel Odysseus into a path of brutality, suggesting his "monstrous" transformation is less a personal failing and more a consequence of divine tyranny. This amplifies the exploration of fate versus free will, implying Odysseus's agency is exercised within a divinely imposed, brutal framework. Athena's character is deepened by her expressed guilt for not having helped Odysseus sufficiently, leading to her active friendship and mentorship of Telemachus 15, which provides a different dynamic of divine aid. Calypso's portrayal is also expanded, with her attempts to force Odysseus into marriage, triggering his PTSD, and her later vulnerable apology 15, adding complex layers to their relationship. The direct, physical confrontation and ultimate defeat of Poseidon by Odysseus 15 represents a monumental deviation. This symbolizes Odysseus's ultimate triumph over relentless divine opposition, even if achieved through an act of extreme, almost god-like, violence. This act of conquering divine power, albeit at profound personal cost, elevates Odysseus's struggle from merely surviving divine wrath to actively overcoming it, offering a more modern, existential interpretation of heroism.

Telemachus is portrayed as a "literal ball of sunshine" 15 who actively seeks his father and bravely fights against Antinous with Athena's assistance.15 His character arc emphasizes his growth into a capable and decisive leader, culminating in a tender and affirming reunion with his father.15 The musical's depiction of the suitors' demise is visceral and unflinching, emphasizing Odysseus's utter lack of mercy.15 This brutal portrayal contrasts with Homer's more classical depiction of justified retribution, highlighting the musical's exploration of vengeance and its psychological impact.

Thematic Evolution: How "Epic" Re-emphasizes Themes

The theme of transformation and loss of innocence is paramount in "Epic," meticulously charting Odysseus's profound psychological journey from a "kind and gentle husband" to a hardened, brutal survivor.15 It poignantly asks whether an individual can truly return to their former self after enduring such traumatic experiences. The musical explicitly explores the dichotomy of mercy versus vengeance and ruthlessness through character dialogues, such as Polities advocating for kindness and Poseidon for ruthlessness, culminating in Odysseus's ultimate actions. His decision to show no mercy to Poseidon or the suitors reflects a hard-won, albeit grim, lesson on survival in a cruel world.15 This portrayal of Odysseus is a deliberate departure from the classical ideal, reflecting a modern sensibility that acknowledges the psychological scars of war and the moral compromises often necessary for survival. The musical suggests that true heroism in a brutal world might necessitate embracing a degree of "ruthlessness," as Poseidon argues, stating, "Ruthlessness is mercy upon ourselves".16 This makes Odysseus a more complex, relatable, and perhaps tragic figure for contemporary audiences accustomed to anti-heroes and morally ambiguous protagonists. The contrast between Polities' assertion that "kindness is brave" and Poseidon's counter-argument that "ruthlessness is mercy" 16 is not merely a thematic debate but represents a core conflict within Odysseus's own psyche. His eventual embrace of ruthlessness is presented as a necessary, albeit painful, evolution for his survival and homecoming, rather than a simple moral failing. This deepens the musical's exploration of the "Nature of Heroism" 15, suggesting that the exceptional quality of the musical lies in its unflinching portrayal of this difficult truth. "Epic" boldly challenges traditional heroic ideals, presenting a protagonist who commits morally ambiguous and even monstrous acts to achieve his ultimate goal. This raises profound questions about the true cost of survival and the definition of a "hero" in a brutal and unforgiving world.15

Table 2: Comparative Narrative Points: Epic The Musical vs. Homer's Odyssey

This table highlights key differences and similarities between "Epic The Musical" and Homer's original Odyssey, illustrating how the musical's creative adaptations serve to deepen its thematic resonance and impact.

Narrative Point/Character/Theme

Homer's Odyssey (Brief Description)

Epic The Musical (Brief Description)

Artistic Impact/Significance of "Epic"'s Change

Odysseus's First Act of Violence

Odysseus is a cunning warrior, but no act of infanticide is depicted. His actions are generally heroic and justified. 1

Odysseus is forced by Zeus's vision to kill Hector's infant son, setting him on a path of becoming a "monster." 15

Establishes a darker, more morally ambiguous Odysseus from the outset, immediately raising the stakes and exploring the psychological cost of war and survival.

Punishment for Cyclops

Poseidon punishes Odysseus for blinding his son, Polyphemus. 1

Poseidon punishes Odysseus for not killing the Cyclops, viewing blinding as a weak act of "mercy." 15

Inverts divine justice, making Poseidon's vengeance more arbitrary and cruel, pushing Odysseus further towards ruthlessness as a necessary survival mechanism.

Divine Interventions/Gods' Nature

Gods (e.g., Athena) often assist heroes or ensure cosmic order; Zeus is powerful but generally upholds a form of justice. 1

Gods are more capricious and tyrannical; Zeus strikes Athena for defying him; Poseidon is brutally defeated by Odysseus. 15

Portrays gods as more fallible and cruel, highlighting human agency in overcoming seemingly insurmountable divine opposition, and questioning traditional divine authority.

Odysseus's Transformation

Returns as a re-established king and father, reclaiming his identity. His warrior skills are reasserted. 1

Becomes a hardened, remorseless survivor; confesses to Penelope he is "no longer the kind man she knew." 15

Emphasizes the profound psychological toll of his journey, exploring themes of lost innocence and the irreversible changes wrought by trauma, making him a more complex and tragic modern hero.

Role of Polities

A loyal crewmate, but not a central moral compass.

Odysseus's "bestie" and a voice for kindness ("Kindness is brave"), whose death is a significant emotional blow. 15

Provides a clear moral counterpoint to Odysseus's increasing ruthlessness, making Odysseus's choices and transformation more poignant and impactful.

Confrontation with Poseidon

Odysseus is constantly tormented by Poseidon's wrath but does not physically defeat him. 1

Odysseus directly confronts and brutally beats Poseidon with his own trident until the god yields. 15

Symbolizes Odysseus's ultimate triumph over divine opposition through extreme, almost god-like, violence, representing a complete embrace of self-preservation and a rejection of arbitrary divine power.

Slaughter of Suitors

Depicted as justified retribution, restoring order. 1

Portrayed with visceral brutality, emphasizing Odysseus's lack of mercy towards unarmed men. 15

Highlights the depths of Odysseus's transformation into a ruthless killer, underscoring the theme of vengeance and its psychological cost.

Themes of Mercy vs. Vengeance

Vengeance is often presented as a form of justice.

Explicitly debated (Polities vs. Poseidon); Odysseus ultimately chooses ruthless vengeance. 15

Explores the moral ambiguity of survival and the difficult choices heroes must make, questioning whether ruthlessness can be a form of self-preservation.

IV. The Enduring Appeal: Why "Epic The Musical" is "Very Very Good"

Accessibility and Community: Bridging Classical Lore with Modern Audiences

"Epic The Musical" has fundamentally revolutionized accessibility in the arts by being developed and released primarily on online music platforms and social media, most notably TikTok.7 This innovative approach allowed it to captivate a massive global audience, effectively bypassing the traditional geographical or financial barriers typically associated with live stage productions.7 This success demonstrates a significant shift, indicating that a musical's impact and success are no longer solely dependent on live stage performances. Its digital-native format facilitates global reach and fosters innovative fan engagement, such as the creation of animatics and vibrant online discussions, cultivating a more interactive and accessible theatrical experience. This challenges the conventional definition of "musical theatre" and opens new avenues for future productions to leverage digital spaces as their primary medium.

The musical actively cultivates a strong and deeply engaged community, with fans creating hundreds of animatics—animated storyboards—and passionately engaging with character designs and visual elements, thereby transcending the music alone.7 Jorge Rivera-Herrans' commendable transparency about the creative process, meticulously documenting ideas, edits, and rewrites on TikTok, further deepened this unique connection, making the audience feel like integral participants in the musical's journey.8 Its distinct inspiration from video games 7 and the episodic release of sagas 7 cleverly resonate with modern media consumption habits, rendering the ancient story remarkably fresh, relatable, and inherently engaging for contemporary listeners. The success of "Epic" suggests a strong demand for high-quality narrative content that blends traditional storytelling with modern digital aesthetics and participatory culture. Its accessibility is not merely a feature but a core reason for its exceptional quality, proving that breaking down industry barriers can lead to broader artistic appreciation and impact, potentially inspiring a new wave of digital-first creators.

Emotional Depth and Relatability: Humanizing the Mythic Journey

Despite its grand, mythic scope, "Epic The Musical" profoundly succeeds in humanizing its characters, particularly Odysseus. His complex transformation from a "kind and gentle husband" to a hardened, brutal survivor grappling with his changed identity 15 creates a deeply relatable arc that explores the profound psychological toll of trauma and the difficult compromises necessary for survival. The musical's masterful ability to craft "soul-crushingly beautiful ballads" alongside "adrenaline-fueled songs" 7 allows for an extraordinary range of emotional expression. This spectrum ranges from the moments of levity and innocence found in "Open Arms" 10 to the visceral "gut-punch" delivered in "The Underworld" 11, and the "heart-wrenching" depiction of unwavering devotion in "The Ithaca Saga".8 The consistent use of distinct instrumental motifs for characters 5 and the powerful, world-class vocal performances 7 further enhance this emotional connection, allowing listeners to deeply empathize with the characters' struggles, triumphs, and profound internal conflicts.

The Power of Adaptation: A Testament to Timeless Storytelling

"Epic The Musical" stands as a powerful testament to the enduring adaptability of The Odyssey as a narrative that can be reinterpreted to speak directly to contemporary concerns. Its perceived "inaccuracies" are not flaws but rather deliberate and sophisticated artistic choices that deepen the exploration of modern themes such as moral ambiguity, the nature of power, and the psychological impact of violence in a way that profoundly resonates with 21st-century audiences. This reinterpretation ensures the ancient myth's continued relevance by addressing complex ethical questions pertinent to the modern era. The musical's success lies significantly in its remarkable ability to make the complex world of Greek mythology "easy to understand" 5 through "simple, yet imaginative storytelling".5 It effectively conveys its core themes of "bravery, friendship, and perseverance" 5 while simultaneously delving into darker, more complex aspects of the human condition with unflinching honesty. The musical's ability to simplify Greek mythology without sacrificing depth, while simultaneously introducing profound moral complexities, highlights its mastery of adaptation.5 This demonstrates that a truly exceptional adaptation is not about strict fidelity but about capturing the spirit of the original while fearlessly exploring new dimensions that speak to its current audience, thereby extending the myth's timeless appeal and demonstrating the enduring power of myth to evolve with human understanding. Ultimately, "Epic" is truly a "beautiful piece of artwork" 8 that brings "The Odyssey" to life in a new and compelling way, proving that classic stories can be reimagined to achieve profound "emotional depth and narrative complexity" 6 for new generations, thereby solidifying its status as exceptionally good.

V. Conclusion: A Legendary Achievement

"Epic The Musical" stands as a monumental achievement in modern adaptation, seamlessly blending the timeless allure of classical mythology with contemporary musical forms and groundbreaking digital accessibility. Its profound success is rooted in Jorge Rivera-Herrans' masterful composition 7, the world-class vocal talent of its exceptional cast 11, and its remarkable ability to evoke deep emotional resonance in its listeners. The musical's innovative approach to production and distribution via online platforms has fundamentally redefined accessibility in theatre, fostering a vibrant and deeply engaged global community.7

The creative liberties taken by "Epic," particularly in its darker, more morally complex portrayal of Odysseus and its heightened, often brutal, divine conflicts, are not deviations to be critiqued as "inaccuracies." Rather, they are sophisticated and deliberate narrative choices that profoundly deepen the exploration of universal themes such as transformation, the nature of vengeance, and the true, often harrowing, cost of heroism.15 These bold reinterpretations allow the ancient tale to resonate with unparalleled power with modern audiences, offering a nuanced and challenging perspective on timeless human struggles. The musical's undeniable ability to evoke strong emotions and prompt reflection on complex moral dilemmas unequivocally solidifies its exceptional artistic merit.6

While "Epic The Musical" has concluded its initial concept album run, culminating in December 2024 7, its profound impact and burgeoning legacy are far from over. Ongoing discussions and plans for animated movies, live-action stage shows, and even video games 7 indicate a promising and expansive future for the franchise, demonstrating its immense potential across various media. This trajectory from concept album to potential multi-platform franchise solidifies its status as a successful proof-of-concept for digital-first theatrical productions. It provides a blueprint for how artists can leverage online platforms to build a massive, engaged fanbase

before traditional theatrical or cinematic adaptations, significantly de-risking future investments and demonstrating a new pathway for intellectual property development in the arts. Its legacy will undoubtedly be defined by its pioneering role in digital theatre, its masterful musical storytelling, and its unparalleled ability to keep classical myths alive, relevant, and deeply compelling for new generations, proving emphatically that a story can be exceptionally good by daring to be different and by fearlessly embracing the complexities of the human condition.

#musical #epic the musical #odysseus #the odyssey #jorge rivera herrans

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