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Adressing a small number of comments and messagds I received

I am in fact an atheist, not a christian. Christianity is often based is a lack of facts and research. A few bad apples do in fact ruin the bunch, contrary to popular belief. So no, I am not Christian.

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jsyk tim sutton is the actor, tim wright is the character

I'm so sorry for that mistake, I will be correcting it as soon as I can.

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Examining The Slender Lore

The lore of the Slenderman, as it unfolds within the digital confines of "Marble Hornets", demands an analytical approach. This essay provides a detailed exploration of thematic elements and narrative structures, alongside the societal impacts and implications, involved in this unique piece of modern folkloric phenomena.

Born on the shadowy corners of the internet, the Slenderman is a fascinating subject, a creature of our cultural id – a cipher for the modern age. Embodied within the series “Marble Hornets”, the character takes on an entirely new dimension, rich with psychological terror and fear of the unknown.

Firstly, it is essential to examine the origins and nature of Slenderman within the “Marble Hornets” series. Originating from an idea on the internet forum Something Awful, the Slenderman slowly metamorphosed from a Photoshopped image into a full-fledged digital myth. The figure is a tall, thin entity, donning a suit and devoid of any facial features - a blank slate upon which viewers can project their deepest worries and fears. In "Marble Hornets", his presence is a foreboding, lurking menace, often at the edges of the frame, unseen but always felt. The narrative unfolds through a series of uploads, revealing student filmmakers’ descent into madness as they are pursued by this unrelenting, faceless menace.

The construction of the Slenderman in "Marble Hornets" skilfully exploits pervasive modern fears. Eclectic influences – ranging from the spectral figures in Gothic literature to the unease of modern surveillance culture – coalesce around the figure of the Slenderman. Efficaciously embodying elements such as paranoia, urban exploration, lost footage and video documentation, "Marble Hornets" crafts an atmospheric horror experience. The omnipresent Slenderman, haunting both the characters' and viewers' minds, serves as a chilling metaphor for the invasive anxieties of modern life.

The clever manipulation of narrative structure and form in "Marble Hornets" also warrants attention. Adopting the 'found footage' style of storytelling, the series creates a gripping, realistic horror narrative. This technique warps the viewers' perspective, blurring the lines between fiction and reality and offering a palpable sense of terror permeating ordinary life. The gap between uploads, oscillating between brief intervals and long hiatuses, lends an air of unpredictability to the series that heightens the horror experience. It should be noted, the series' use of digital narrative form and viral marketing reflects the modern fear of digital invasion and virality, making it both a product and critique of its time.

Studying the societal impact and cultural resonances of Slenderman within "Marble Hornets" reveals a profound reflection of contemporary anxieties. The series taps into the prevalent fear of the unknown, paranoia, and societal fears of losing control, underscored by the uncertainty of digital age and information overflow. By rendering the Slenderman as a viral phenomena, it spotlights our susceptibility to digital contagion - a distilled representation of how fear and paranoia can spread in the interconnected internet ethos.

In conclusion, the Slenderman in the "Marble Hornets" series is not just an internet horror creation - it stands as a reflective construct embodying pervasive modern fears. The narrative structure and thematic elements of the series, combined with the cultural echo of the Slenderman, offer valuable analytical insights into our societal psyche. The uniquely digital creation, consumption and propagation of the Slenderman resonate with deeper human concerns about the intrusive, even menacing, potentials of our digitally interwoven existence. This is the crux of the Slenderman’s unfathomable allure, and "Marble Hornets" expression of these themes underscores the potent terror that this modern folkloric figure embodies.

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An analysis of Jay's treatment in fan media

Marble Hornets, an acclaimed web series, flag-bearers the domain of the supernatural, enthralling the audience with its enigmatic characters and labyrinthine narrative arcs. One such character that arouses avid discourse is none other than the series' primary protagonist 'Jay'. Within the realm of fan interpretation and fanfiction, a common occurrence which arises is 'shipping', where characters from a story are perceived to be in a romantic or sexual relationship. Notably, various sections of the Marble Hornets fan base have engaged in heterosexual shipping of Jay. However, compelling evidence indicates that Jay is a gay character, thereby rendering any heterosexual shipping inapplicable.

The basis of this argument predominantly relies on interpreting Jay's interactions, relationships, and behaviours within the context of the show. A fundamental requirement for 'shipping' is a plausible foundation of romantic or sexual chemistry. Nonetheless, when assessing Jay's character, a striking feature is his noticeable lack of intimate relationships or romantic inclinations towards female characters. He shares platonic friendships with them, exhibiting care and concern as a friend should, but refrains from showcasing any explicitly romantic or sexual interest.

Moreover, Jay's interaction and deep emotional connection with his male counterparts suggest a pattern of homosexual incline. An instance further validating this claim is his bond with Tim, another significant character of the show. Their attachment transcends the boundaries of mere friendship, strongly hinting at romantic undertones. Throughout their tumultuous journey, laden with supernatural threats, they remain each other's consistent pillars of support, leaning on each other in times of duress—an indication of deep affection that might lean towards romanticism.

It's essential to clarify that these instances do not explicitly label Jay as gay; nevertheless, they hint towards his potential homosexuality. Representation is a critical factor in storytelling, and LGBTQ+ representation is especially significant in a heteronormative society. The depiction of a character like Jay, whose masculinity doesn't hinge on heterosexuality, is a notable stride towards normalization.

However, it is not uncommon for fans to interpret characters through their lenses and derive conclusions that might not be an explicit part of the narrative. This liberty of interpretation plays a significant role in the fan culture surrounding Marble Hornets or any other show. Although, assigning a heteronormative narrative to a character displaying otherwise might be tantamount to reductive stereotyping.

Consequentially, it leads to the erasure of potential representation of non-heteronormative relationships and identities. This imposition of heterosexual relations does a disservice not only to the character's authentic portrayal but also curtails an opportunity for diversity and inclusion in the series.

Furthermore, in a society grappling with acceptance of non-heteronormative identities, dismissing the possibility of a character like Jay identifying as gay can inadvertently contribute to the perpetuation of heterosexual normativity, which is antithetical to the principles of inclusivity and acceptance.

The argument against heterosexual shipping of Jay from Marble Hornets is indeed a contentious issue. Nevertheless, this debate extends beyond merely the realms of a web series, acting as a microcosm reflecting societal tendencies of heteronormative imposition and the subsequent erasure of non-heteronormative identities.

In conclusion, the idea of Jay from Marble Hornets being gay serves not merely as a token for representation but as an interpretation that aligns with his characterisation within the storyline. Thus, a deliberate heterosexual shipping of Jay with female characters dismisses the substantial indications of his potential homosexuality, contributing to the erasure and silencing of diverse narratives and identities. This explicit disregard towards Jay's potential sexual orientation can, inadvertently or not, reinforce harmful stereotypes and blinkers that have long plagued storytelling. Therefore, it is crucial to reconsider the heterosexual shipping of Jay and embrace the diversity of his characterisation.

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Tim Sutton essay, redone

The internet has opened up a myriad of ways for media houses and fans alike to interact with their favourite characters from films, TV series and YouTube productions. One area that keeps raising eyebrows is the casual, often regressive sexualisation of characters. One such character subjected to this alarming trend is Tim Sutton from the YouTube series "Marble Hornets". This essay intends to argue why Tim Sutton should not be sexualised in fan media.

"Marble Hornets" is an eerie, captivating series, centred on the experiences of characters in the hands of a strange, supernatural being. Tim Sutton, albeit mentally unstable due to his battles with the Operator (the series' antagonist), remains an admirable character whose complexities add depth to the series. However, a worrying trend has been observed in fandom culture: the sexualisation of this character, which displays a lack of understanding of his character arc, and, more importantly, trivialises the serious nature of his mental illness.

Firstly, it's essential to understand the character of Tim Sutton. He’s presented in the series as a mentally unstable individual, tormented by the Operator. The sexualisation of Sutton in fan artwork and fiction erodes his complex character. It simplifies him to a sexual object, reducing his struggle with mental instability to mere side notes. This variation not only betrays the original character design but also detracts from the purpose of introducing such a character in the series.

Let's delve deeper. The series impeccably portrays the struggles associated with mental instability. By subjecting Sutton to constant psychological torment, the show paints a vivid picture of the mental health struggles many people face. Therefore, the sexualisation of Sutton is not only wrong; it implicitly trivialises mental illness. And in a society where mental health is a pressing issue, such behaviour could lead to an erosion of the right perception towards mental health.

Moreover, a character’s sexualisation sends wrong signals to the younger audience. The Marble Hornets’ fan base comprises a significant number of adolescents who may not comprehend the implications of mischaracterising a person suffering from mental issues. The sexualisation of Sutton risks glorifying the suffering he undergoes, negating all the pain and challenges people with mental disorders endure daily.

Additionally, the overt sexualisation of Sutton contributes to the objectification of men in the media. Although more prevalent towards women, male objectification remains a persisting issue that needs to be addressed. Subjecting Sutton to sexual objectification perpetuates the problem and desensitises people to its presence. It also reduces appreciation for commendable acting and high-quality storytelling, focusing only on the physical tenets of the character.

Furthermore, it is pertinent to point out that Sutton has consistently struggled with dissociative identity disorder. By sexualising his character, fans unknowingly stereotype people dealing with similar conditions, even implicating that their struggles are inexplicably linked to their sex appeal. This paints a harmful narrative that hinders efforts to remove the stigma around mental health.

In conclusion, the sexualisation of Tim Sutton from Marble Hornets in fan media discounts the fundamental essence of his character, inadvertently undermines the importance of addressing mental health issues, and continues the cycle of gendered objectification in media.

As fans or creators, it is essential to appreciate characters like Tim Sutton for their contribution to the plot and the vital issues they represent. As we enjoy our freedom to imagine and reinterpret, we must recognize the potential impact of our interpretations on those watching and learning. Let's be more considerate on how we choose to portray characters, especially those depicting mental health issues, to avoid perpetuating harmful narratives and stereotypes.

The real beauty of a character like Tim Sutton lies in his complexity — his struggle, his strength, and his vulnerability. Therefore, let's strive to uphold that, and not his physique or sexuality, as the essence of his character.

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Jessica and shipping

From the depths of the internet, there arises a legion of rabid fans engaging in several spectrums of fan behaviours; one of which is "shipping"— a practice that involves the paring or romanticising fictional characters irrespective of their characteristic dispositions. These conjectures are often born out of the audience's imagination and sometimes lack sensitivity to the original portrayal. In the case of Jessica from the internet series, Marble Hornets, she has frequently been the centre of several "ships" involving male characters. This essay will assert an argument urging fans to reconsider these implications given the perception that Jessica is indeed a lesbian.

In the consumption of media, the audience is given room to freely interpret characters. However, these interpretations should be tempered with due regard for the character's established identity and hinted inclinations in the original script. Jessica's character in Marble Hornets serves as the perfect case study, pointing out that she should not be shipped with men as this contradicts her projected sexual orientation.

The narrative of Marble Hornets offers its fair share of confusion and ambiguity, which can create nuances subject to different interpretations. This ambiguity can be attributed to the obscurity that conceals Jessica's sexual orientation. With nuanced hints and minute revelations, Jessica's character is perceived as a lesbian by a considerable segment of the show's audience.

Let’s consider the portrayal of Jessica, and why connecting her with male characters contradicts the subtleties of her character’s narrative. Jessica actively avoids romantic or sexual undertones in her interactions with male characters in the series. Her consistent platonic stance with men suggests a possible disinterest in engaging romantically with the male gender. This could be read as a subtle testament to her being a lesbian.

Moreover, Jessica's narrative arc is presented in a manner that does not revolve around a heterosexual romantic subplot or even hint at any relations with male characters. This absence of heterosexual dynamics in her story paints her character as independent from the show's male characters, further inferring that Jessica's preference lies within her own sex.

These elements invite the audience to reconsider the male-female associations they have established for Jessica through shipping. It also urges a refined sensitivity towards the subtleties of character minutiae, especially when it causes an upheaval in the character's potential sexual identities, such as Jessica being a lesbian.

The counter-argument claims that Jessica's avoidance of romantic relationships with men might be rooted in fear, not sexual orientation. They argue that the hostile environment depicted in Marble Hornets might be negatively impacting her interaction with men. While this argument seems plausible, the theory detracts from Jessica's character depth by boxing her into a clichéd female character who is merely a victim of her circumstances.

On the contrary, Jessica’s consistent platonic stance, and the absence of any heterosexual romantic subplot, serves as a reclamation of her agency and her character's autonomy from male influence. This balance not only enhances her character complexity but also amplifies Jessica's potential to identify as a gay character, thus portraying her lesbian identity.

Rehashing characters into conventional heterosexual pairs to satisfy shipping fantasies can be detrimental to the character's originality and integrity, nullifying the diversity that a character might uphold. This can also subvert the implied or explicit non-heteronormative representation that the narrative provides, which is the case with Jessica.

In conclusion, it appears justified to consider Jessica from Marble Hornets as a lesbian character, given the subtle cues concerning her sexual orientation. The argument against shipping her with men emerges from a deep respect for the character's authenticity. Viewing her character through the lens of a lesbian orientation not only breathes a fresh and unique dimension into Jessica's narrative but also aids in fostering inclusivity and representation in the show. Fans, hence, need to be mindful of their shipping tendencies, ensuring that these do not disrupt the character's inherent nature or the narrative's diversity.

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Tim Wright

In the ecosystem of modern media and fan art, characters from varied worlds of fiction are frequently borrowed, blurred, reimagined, and romanticised. Among these characters, the character of Tim Sutton from Marble Hornets has grown into an iconic figure. However, an unnerving trend of sexualising such fictional characters in fan media, including Tim Sutton, has burgeoned in recent years, sparking heated debate among enthusiasts. This essay argues firmly against the sexualisation of Tim Sutton, exploring the ethical implications and the potential dismissal of the character's original intent and purpose.

Before delving into the specifics of Tim Sutton's sexualisation, it is essential to investigate what entails 'sexualisation.' The term, in its broadest sense, implies imbuing non-sexual contexts or characters with sexual undertones or attributes. This imposition frequently divorces the character from their initial conceptual identity to serve a particular fan base's fantasies. In the case of Tim Sutton, such transformation undermines not only the essence of the character but also the larger narrative and themes of Marble Hornets.

Marble Hornets is an original work of fiction distributed through unconventional methods of storytelling. This ground-breaking web series revolves around horror, the supernatural, and subtle psychological insights through found footage. Within this narrative, Tim Sutton shoulders the role of an ordinary person thrust unceremoniously into a world populated by the unknowable, unknowing and the uncanny.

Tim Sutton's character brings a sense of realism and relatability to Marble Hornets' cryptic narrative. He is every person—someone who grapples with fear, confusion, and disbelief, a stark contrast to the prevailing trend of archetypal heroes. Through him, viewers can imagine themselves in these strange situations, heightening their engagement and emotional investment. Sexualising such a character cheapens these nuanced aspects observed by the audience to simple, sensual commodities.

The sexualisation of Tim Sutton, whether explicit or implicit, contradicts the genre and premise of Marble Hornets, which relies on tension and suspense instead of sensual allure. This alteration tends to mitigate the show's eerie aspects, which are pivotal to its success and cultural acclaim.

Moreover, the aforementioned practice poses severe ethical concerns. While it can be argued that fan media operates beyond the constraints of the original work, there are substantive divergences that distort a character's essence to the point of unrecognisability. This disapproval is not a call for creative censorship but an appeal for respectful, informed engagement with original works.

Placing Tim Sutton within sexually charged narratives may sell within specific circles, yet it detracts from the deeper exploration and development of the character. Sexualisation oversimplifies the complexity of human nature, erasing the intricate emotional and psychological dimensions that allow viewers to form emotional connections. Consequently, Tim Sutton's relatability and emotional depth are unnecessarily compromised.

Furthermore, extracting Tim Sutton from the original Marble Hornets narrative and implanting him into sexualised narratives cripples the integrity of the overarching narrative. The unique way that Marble Hornets employs suspense and mystery without resorting to blatant sexual appeal is commendable and should remain undisturbed.

In consideration of the discussed factors, it becomes apparent that the sexualisation of Tim Sutton in fan media has far-reaching implications that extend beyond unnecessary controversies. It undermines the character's purpose, hinders character development, and violates the narrative integrity of Marble Hornets. While it is understandable that fans would wish to engage with their favourite characters in various ways, creators must ensure they respect the characters' inherent nature.

Arguing against Tim Sutton's sexualisation is by no means an affront to fan creativity but a plea for a deeper, more respectful form of engagement with fictional entities. A character's worth and appeal should extend beyond a purely sexual context, centred instead on their depth, development, and integral role within the narrative. Tim Sutton, like all characters, deserves to be appreciated in his original, unadulterated form. Let his portrayal in fan media reflect this rich, intricate character, present in every one of us—an everyman battling not merely supernatural horrors, but the palpable fears and doubts within himself.