#our original non-binary entity

[selene-moonie]

them: why are you so ok with the lgbtq+?

the mfs i was watching from age 8-15

[goblinplant]

Linear Flux

DEMO

"As the universe settled, amongst the creations yet unknown, the faintest pulse of life stirred in the cosmos: one called Time."

Since the beginning of time, time entities have structured the rules of the universe, events, eras, rises and falls of empires, all at the delicate hand of those who can weave it. Yet, there will always be oddities, miscalculations and curveballs thrown at even the simplest of plans. Heroes where none should be had, humanity where tyranny should prevail, despair in times of hope.

You are such an oddity, you brought the risk of humanity evolving leaps before its time, risked bringing peace in the eras of destruction, a voice of reason in the time of fools. You, simply being, risked the structure of time.

Linear Flux is an IF (interactive fiction) where you, the reader, find yourself taken by a time bureau as to prevent your actions from having brought a catastrophic change to your time. It is rated 18+ for violence, time relevant bigotry, sexual themes.

You were a valuable asset, one too valuable to fully rid themselves off, and have now (with little say on your end) been brought in as a part of the Vanguard group, a group of individuals from different eras of time, all brought together to prevent time from imploding on itself, and for humanity to take its course.

This is a work of fiction and will therefor take grand leaps in its historical accuracy, so take everything with a grain of salt (but do let me know if I have in anyway misrepresented, misread or gotten something wrong when any historical thing is mentioned!) It is loosely based on our Earth and I've taken some major liberties with city names and made up events, character and places. Linear Flux is a romance based 18+ IF story due to its heavy themes, violence and sexual themes (optional when it comes to romance!) There will be a list of trigger warnings I heavily suggest you read before delving into this story, and they will all be referenced before each chapter (or possibly before the prologue.)

In Linear Flux you can play as the following: ✵Non-binary, male, female, trans, cis. ✵Gay, straight, bisexual, pansexual. ✵Choose your origins: be the violent but bold warrior, the idealistic but kind poet, the clever but pragmatic inventor or the cruel but charming assassin.

Meet a varied cast of possible RO's (romance options)

-Scott/Sonya Leyton 32 [M/F] The Saboteur Solo Route/Possible Poly with H

S is a Southern gentlefolk, with a heavy accent fitting their robust frame well. Once out of their shell, their usual quietness is replaced with a open heart and kindness, their mama didn't raise no fool after all! But will their sorrow for leaving their family behind eventually catch up? And when it does, will you be there to help them stay in the saddle? S is from 1875, from the Wild West American frontier, where they were part of a gang. •As Scott, he is 6'3, Caucasian with sun kissed freckled skin, his hair is an unruly short crop in a copper colour, and his eyes are a deep welcoming blue, he is stocky and fairly hairy. Hidden behind his usually covered chest there are two distinct scars, a bullet wound under his left pectoral and a large gash across his upper chest. •As Sonya, she is 5'9, Caucasian with sun kissed freckled skin, her hair is shoulder length and a messy copper colour, eyes a deep blue, she is curvy but athletic and has natural body hair. Hidden behind her usually covered chest there are two distinct scars, a bullet wound under her left breast and a large gash across her upper chest.

-Hakiem Nujum 29 [M] The Liberator Asexual Solo Route/Possible Poly with S

Hakiem is a gentle soul, with a soft demeanour and fondness for freedom and baking, along with him comes the smell of freshly baked bread, thyme and a hint of Kyphi. He holds the essence of family tightly to his chest and is more than eager to let you become a part of it, but is he willing to let go of his past to fully embrace you?

Hakiem is from 237 BCE and from Egypt, where he worked as a scribe. •He has dark golden skin, being from a Persian-Egyptian lineage, his eyes are a golden amber and his hair a curly shoulder length dark brown which he has styled into a more modern haircut. He is 5'8 and has a lean and rather thin swimmers build, his skin is usually decorated with golden jewellery, such as his nose stud and lower lip stud, his body lightly dusted with hair.

-Elton/Edna Hawksford 41 [M/F] The Hound

E is unapproachable, a wall built high on the base of nobility, their heavy British accent harsh and cutting, leaving little room for building relationships. Though seen as the leader, their iron fist is softened by their apparent love for the team, and once you've earned your place in their eyes, maybe you will be able to get a glimpse behind that British façade, and see a more honest and broken veteran. But will their flaws be too much for you to handle, or will you show them that even those with a past are worthy of redemption?

E is Scottish but lived most of their life in England during 1765. •As Elton, he is 5'7, Caucasian, with a rosy pale complexion. Originally from Scotland he has trained away his accent from years playing the game of nobility. His hair is greying, hair wavy and in a slicked back style, though still peaking is his natural mousey brown. His eyes are a dull grey, cold and calculating. His body is one of a veteran, scarred and muscular, with a layer of fat over it, he is broad and holds himself like one much taller. On his back is a plethora of scars, with hints of past scraps and years of service to a 'greater good'. He is very hairy all over, except his back. •As Edna, she is 5'6, Caucasian, with a rosy pale complexion. Originally from Scotland she has trained away her accent from years of playing the game of nobility. Her hair is greying, a wavy style that's slicked back and reaching her shoulders, her natural brown hair still hinting through. Her eyes are an icy grey, cold and calculating. Her body is one of a veteran, scarred and muscular, with a layer of fat over it, she is broad but slightly curvy and she holds herself with elegance. On her back is a plethora of scars, hints of past battles and hidden trauma from living up to the eyes of nobility. She maintains a pristine body grooming ritual and only has a faint dusting of hair on her underarms.

-Mateo/Matt 30 [M/F] The Defiant Solo Route/Possible Poly with Sigurd

M is analytical, and the very definition of stoic, very literal and to the point about most things, lacking social cues. They are an older model of a fashion android, now attempting to live a life for the first time in their existence. Now having a chosen name, identity and a choice to become more than what they once were. But living a life when one was never an option can break the strongest of humans, so what will it do to someone who isn't one?

M is from 2128 in a futuristic version of a collective union in Europe. •As Mateo, he is 6'4, he has deep dark umber skin with hints of bluish hues by his joints, his eyes are an electrical blue and inhuman, his hair long and white, completely straight, reaching down to his waist, if not lower, and he is ethereal in an eerie way. His body is tall and sleek, with a wider chest and almost sculpted look to him, as if a marble statue. •As Matt, she is 6'0, she has deep dark umber skin with hints of bluish hues by her joints, her eyes are an electrical blue and appear inhuman, her hair short and white, a choppy straight cut, the longest parts reaching her cheeks, and she harbours an ethereal essence. She is tall and sleek, with a very pronounced chest and an hourglass figure, soft and curved, as if a marble statuette.

-The Boss 200,000 [M/F/NB] The Boss Solo Route/Possible Poly with Sigurd

The Boss is a mystery in and of themselves, who they are, their origins and their purpose. Being one of the time entities, they are closer to man than any of their kind, holding it close to their proverbial heart, perhaps with a hint of something other than order dictates. When it all falls on their shoulders, will you be able to keep them steady?

As a time entity their appearance will not vary much, the only difference between them being slight alterations in body type, The Boss will always be 6'2 regardless of chosen gender. •As a man, The Boss has a chiselled body, mostly covered up by a business casual outfit, consisting of a synthetic wool turtleneck, an embroidered vest, blazer and wide-legged pants and a pair of worn leather gloves. His hair is made from a mixture of natural fibres and cables, forming long dreads that reach down to his lower back, usually held up by a rebar piece in a low bun. His skin is a dusty concrete colour, fading into a darker tone on his limbs, his smile is rare and fanged. •As a woman, The Boss has a chiselled body what is slightly curvy, mostly covered up by a business casual outfit, consisting of a synthetic wool turtleneck, an embroidered vest, blazer and wide-legged pants and a pair of worn leather gloves. Her hair is made from a mixture of natural fibres and cables, forming long dreads that reach down to her lower back, usually held up by a rebar piece in a low bun, but occasionally braided instead. Her skin is a dusty concrete colour, fading into a darker tone on her limbs, her smile is rare and fanged. •As non-binary, The Boss has a chiselled body that is without curve, mostly covered up by a business casual outfit, consisting of a synthetic wool turtleneck, an embroidered vest, blazer and wide-legged pants and a pair of worn leather gloves. Their hair is made from a mixture of natural fibres and cables, forming long dreads that reach down to their lower back, usually left in a loose hair do. Their skin is a dusty concrete colour, fading into a darker tone on their limbs, their smile is rare and fanged.

-Sigurd Gunnírsson/Sednadottír 27 [M/F] The Lover Solo Route/Possible Poly route with M or The Boss.

Sigurd is a lover, through and through, and is defined by their lust for life. They are quick to love and even quicker to befriend, eager to take in all that time and life has to offer them. But is the bubbly and hopeful view of life an act? And who will wind up loving them, when even they can't seem to muster up enough love for themself?

Sigurd is Icelandic/Irish and is from 862 CE Ireland. •As Gunnírsson, he is 5'10, Caucasian with Rosy porcelain skin covered in heavy layers of freckles. His eyes are a hazel green. He has wavy locks of auburn hair, reaching down to his chest, with braids and beads interwoven out of wood and bone. He sports a thick well kept beard and has piercings in his ears, septum and nipples. He is heavily built with pudge, and his arms have tattoos from travels overseas and from home, the most prominent being the Gebo on his right hand. He is very hairy and takes pride in his appearance. •As Sednadottír, she is 5'7, Caucasian with Rosy porcelain skin covered in heavy layers of freckles. Her eyes are a hazel green. She has wavy locks of auburn hair, shaved on the sides to create a mohawk with braids added and bone beads woven in. She has piercings in both ears, her septum and her nipples. She is heavily built with pudge, giving her a curvy figure, and her arms have tattoos from travels overseas and from home, the most prominent being the Gebo on her right hand. She is hairy and takes pride in her appearance.

| Pinterest | Spotify |

[evolvingmonkey]

Shikhandi: The Gender-Defying Hero of the Mahabharata

Hindu philosophy holds a simple yet profound belief: within each person resides an everlasting atman (spirit or soul) that exists independently from the physical body, surpassing characteristics such as race, gender, and sexual orientation. Stemming from a common divine origin, every atman forms a spiritual kinship, deserving of love, reverence, and fair treatment.

In the epic Mahabharata, there is a captivating tale that revolves around Bhishma's commitment to celibacy, which leads to a grand swayamvara (a ceremony or event where a bride chooses her husband from a gathering of suitors). This ceremony is where Amba, Ambika, and Ambalika are given the opportunity to choose their life partners. However, Bhishma's interference in Amba's love life sets off a series of events that ultimately culminate in her tragic destiny.

Amba's heartbreak is twofold - first, her intended husband Shalva rejects her, and then Bhishma, bound by his vow of celibacy, refuses to marry her. This leaves Amba in a state of despair, fueling her desire for revenge against Bhishma. Determined to seek justice, she pleads to the mighty god Shiva for assistance in her quest to end Bhishma's life. Miraculously, Shiva grants her wish, but tragically, Amba chooses to take her own life to expedite her ultimate goal.

There are various versions of the next part of the tale. According to certain narratives, Amba is born as the daughter of King Drupada. Upon learning from Shiva that she will eventually undergo a transformation into a man, Drupada names her Shikhandi and raises her as a boy. In this particular version, a formidable entity residing in the forest indeed bestows upon her the transformation into a man. However, in alternative accounts, Shikhandi is born as a male but develops a trans-identity due to Shiva granting them the ability to recollect their previous life.

As the Mahabharata unfolds, Shikhandi emerges as a formidable warrior who defies societal expectations of gender. Their participation in the battle of Kurukshetra serves as a powerful symbol of authenticity, challenging the conventional gender roles imposed on individuals. Shikhandi's strength goes beyond mere physical abilities; it stands as a testament to the immense power that comes from embracing one's true identity.

Shikhandi's character is truly captivating because of their personal quest for self-discovery. They challenge societal expectations of gender and proudly embrace a non-binary identity. This exploration of identity is a key theme, showcasing the intricate and ever-changing nature of being human.

As we come to the end of our journey through Shikhandi's story in the Mahabharata, we honor a figure whose legacy surpasses time, defies conventions, and forever marks the intricate fabric of mythology. Shikhandi, the ageless fighter, still instills bravery and self-exploration in the souls of those who come across their legend.

[headmate-ideas]

🖤💐🌺🍍:3

🖤 — Is there any type of role or headmate you wish you had more of? (i.e. more protectors, more traumaholders, more endogenic headmates, more walk-ins, etc)

< Mod Klaus > We wish we had more headmates with the roles of delight and nummica (or manager roles overall). Also, our system is overall strongly based in us processing our queer identities (we're collectively genderfluid) and we wish we had more turigirl and neoboy identity holders in particular (we're going through a thing where it would be helpful for us to see different ways of being those identities and that's what our identity holders help with).

💐 — Are there any headmates who can do something IRL that the rest can't? (i.e. sing, use chopsticks, dance, do math, etc)

< Mod Vyvian > There's nobody who can do anything IRL that nobody else in the system CAN do, but since we know enough German to be able to confidently pronounce it if shown words in it, there are headmates who sing in German at karaoke when other headmates don't! Most of them were from Germany in their timelines and/or are introjects of German songs.

🌺 — If you're a primarily queer system, are there any cishets? And if you're a primarily cishet system are there any queer headmates?

< Mod Chem > no cishets, nope! we seem to be universally genderqueer n not-straight too, other than this one guy (anthony, he's an arthur dent fictive) who's a cisgender bi alloace. tho a few headmates id as "cisgenderqueer", which is when they id with their agab and they don't consider themselves transgender, but they're non-binary n that's important to them. none of em are straight but that's still kinda close to what the question was about!

🍍 — If you're religious, do any of your headmates practice a religion different from your collective one?

< Mod Klaus > Ohohoh I am so glad you asked this one

Our collective spirituality is something called Void Worship, which we invented for ourselves and have writings about that we formalized in 2022. Vyvian practices this and mostly this. However, Vyvian also thinks Satanism is cool but feels personally uncomfortable practicing something that involves a figure that comes from Christianity (due to our history with it).

We then ended up splitting Satanist headmates who practice either theistic or agnostic Satanism (where agnostic Satanism means "I'd really like to believe that Satan is a real entity but he might not be and he represents good principles to me even if he's not real"), including a new host and another "original" (myself!) who practices Satanism, Void Worship, and paganism.

There are also astrolaters, which means someone who worships the stars! This includes worship of the Sun but also the star Betelgeuse, since we have several aliens whose home planet orbited that star.

it's common for members of the system to follow more than one out of Void Worship, paganism, Satanism, and astrolatry but not all four. The most common pantheon for us to worship from is the Kemetic/Egyptian pantheon, but we also have connections to Bacchus from the Roman/Classical pantheon and Odin and Loki from the Norse pantheon.

[post-punk-revival]

Part Two: Alterhuman Community Intro…?

This post will continue to be edited as necessary. This post is no longer our active bio and I've removed it from our pinned post because I don't update it anymore; we now have a full page on our blog for it rather than a post

So I just posted my writeblr intro and since I’m definitely more active in the alterhuman community than the writeblr community I thought it might be fun to have a nonhuman/plural intro? Might be fun and it also occurred to me/us that most of our followers really only know me since I’m the only occupant of the body itself, and don’t know anything about the rest of the system. I will probably delete this someday if I decide once again I don’t like having my ‘types public depending on if the brainmates want to keep their own bios up. It will also probably change a lot because we tend to do that.

Context. We are a non-dissociative system, we do not switch, we were dæmonic originally meaning that I am the body and communicate with them through faux-visual projection and mental speech (which is why I talk like we're a total found family when they never seem to even say anything -- trust me they do, they just don't have access to the keyboard). We/they consider them all to have separate external bodies. We are quoigenic, not traumagenic or endogenic or mixed origins, only refer to us as the former.

Swift

He/it (they/them only under certain circumstances), bisexual, binary male* but only humans are ever men. I use quoi- ahead of all labels (both queer and alterhuman) in addition. POSIC, mildly objectum/conceptum. I have special interests in: biology, the arts, and the change of technology/art/language/media over time and throughout history (example: history of computer graphics 1950s-1990s <3). Psychospiritual, philosophical and narrative alterhuman. Species-wise: I am a common raven (Corvus corax ssp. principalis), an osprey (Pandion haliaetus ssp. carolinensis), a red-tailed hawk (Buteo jamiacensis (ssp. fuertesi?)), common spotted cuscus (Spilocuscus maculatus), sea slater (Ligia exotica), mosasaur (Mosasaurus sp.), and lastly, Musteloidea sub-superfamily cladotherian (procyonids, ailurids, and mustelids). I’m a Novakid, a species from the game Starbound, which I consider more of a fictional kintype than a fictotype (I prefer alienkin or just otherkin over fictionkin for this ‘type). I am also a computer, specifically an IBM 7090. I also consider myself a kind of entity or manifestation of autumn, I’d just call it “conceptkin with extra steps,” the extra steps being conceptual embodiment in a sort of cryptidlike sleep paralysis shadow-man monster. I am questioning: a stomiiforme (viperfish, bristlemouth or dragonfish) theriotype, a house centipede theriotype, a Nectocaris pteryx theriotype, and my relationship to solar eclipses (conceptkin, symbolism stemming from interacts between other kintypes, both, or something else?) I was a ghost. Now I’m not. It was not a kintype and I did not “deconfirm” it. This affects some things. I am a flickerer with two fictotypes (Link from The Legend of Zelda, every canon game, and the Knight from Hollow Knight). I have three heartedtypes (domestic cats, cephalopods, and ghost type Pokemon) and two hearthomes (the ocean and O’Neill cylinders). I consider dragons, wolves and foxes to be paratypes. I have a profound quasi-religious connection to stars & the night sky that I consider at least marginally alterhuman in nature. I am an archetrope; wanderer, and secondarily a "shapeshifter" and "generalist" which I need better words for both of -- as they say language is like trying to nail down the ocean, and I guess it would be more accurate but less concise to describe them as "one who changes, embodies or becomes" and "one who adapts, branches out, survives or opportunizes." If I ever explain these somewhere I’ll link to it here. I have a lot of playlists including my main 9,000 song one but this is my “Swift vibes” playlist. https://open.spotify.com/playlist/40rzRF67ocIDF2L7mLzNVC?si=20945cccc57942c0

Tetri

I’m Tetri, Swift’s dæmon. I CIE on November 11th, 2020. Pronouns are he/him. I’m comfortably settled as of February 21st, 2021, as an Asian palm civet. We believe this represents Swift’s personality well, even if it was coincidental and we didn’t consciously choose it. I’m a pretty traditional dæmon but I’m not 100% by-the-books and definitely more autonomous than most, just because of the general plurality. I’m ‘hearted with cats and I love going to coffee shops and library cafés and getting a pastry. I also like transport like trains and ferries. Please feel free to initiate a conversation with me. I like to offer advice even if I don’t know you very well. Here’s my playlist of music I like https://open.spotify.com/playlist/73IEcIlekV70adyrkLjeY4 Check out these MyNoise custom generators. I think they’re rather nice .https://mynoise.net/Community/user.php?submission=691c051129d33047b53b0e3d1664468885 https://mynoise.net/Community/user.php?submission=691c051129d33047b53b0e3d1654028735 CIE Day: November 11 2020

Ziv

I’m Ziv. I’m a wolf. Specifically a Himalayan wolf, as well as a Spanish imperial eagle. An adult, not a juvenile, even though juveniles for some reason are the image of our species. Pronouns -- zhe/hir. I’m agender and aroace. I’m autistic and I like weaponry as a special interest, especially medieval blades from all over the world. Also wilderness survival. Jewish philosophy, art and history interest me. I am not spiritual and do not put stock in spiritual beliefs whatsoever. I like heavy music, metal, metalcore, rock, especially punk, but also some folk. This is my playlist. https://open.spotify.com/playlist/4cL88XYitlbWeb7wnvkT9W Swift wrote the descriptions for all of our playlists but I like mine so I’m not changing it. CIE Day: November 14 2020

Lumi

Hi! My name is Lumi. I use any and all pronounce and I’m big xenogender pansexual hours. Get zany with it. I love snails, video games, and Greek mythology. I have a special interest in Nintendo. Surprisingly, my favorite game is actually not Kid Icarus. It’s Pokemon. I would love to chat with anyone!!! Send an ask for me. I’m a shapeshifter otherkin. I have no base form so I like to be a lot of different things. Animals, bugs, birds, crabs, mish-mash monsters, dinosaurs, Pokemon, all kinds of crazy stuff. It’s like choosing a jacket for the day to me. I associate with clown, bard etc. archetypes, but I don’t know if I’m exactly an archetrope. Still working on it. And I’m fictionkin, I’m a) Pit from Kid Icarus b) Sky from Wings of Fire and c) a Jester from Lethal Company! Swift wants us all to share our playlists because it’s obsessed with music. So now you have context for the last three intros. Look at my playlist boy https://open.spotify.com/playlist/01Xgx5BnmzVXxv2sIoTScZ CIE Day: December 26 2020

Maz

Hi, I’m Mazel, Maz for short. Resident human. She/her. I originated as a male, I’m a woman now, not sure if that makes me trans or something else, the question is not worth my time. I’m a lesbian. I like sci fi movies, NASA and performance art. I guess that’s it. Am I allowed to go now Swift {She's having a blast, guys} Playlist https://open.spotify.com/playlist/0acN0u6kJrYFEFWycCM3gm CIE Day: April 22 2021

Axel

I’m Axel! I’m Maz’s dæmon. I’m not settled but I like to appear as a rat or a rattlesnake or a king cheetah. Probably some more forms in the future. He/him. Technically I am just a thoughtform but I’m a thoughtform with big transmasc energy, I like to think. I’m obsessed with kaiju and other big monsters and superheroes as well as alt scenes. So my playlist should be obvious https://open.spotify.com/playlist/7Ma2bNC0FlnTsb6DtDFhXc  CIE Day: June 27 2023

Foxglove

I’m Foxglove, otherwise known as Europa. She/her, if you must refer to me. I am a dragon of silver lineage. I have special interests in psychology, botany and mineralogy. I suppose I am autistic in the context of a physically human brain, but it is difficult to recontextualize that to the culture of a draconic biological worldview. I have a great appreciation for baroque and art nouveau architecture and for the aesthetic of vintage fantasy artwork. I would also say I do not believe in anything spiritual and I do believe that everything can be explained scientifically. If we are sharing playlists, here is mine. It is majority progressive and psychedelic rock. https://open.spotify.com/playlist/7vNU0chHir6XWfpt90jjxu CIE Day: September 21 2021

Anser

Swift here again. Anser is a tricky one. She could and probably would write her own intro, but she’s complicated much like V’vohu and I’d rather explain it in my own words, because I’m not sure hers would be… not too vague. Anser is not fae, nor a kitsune, nor a Huli Jing or any other kind of specific fox myth, rather a fae-like fox spirit who seems to embody multiple fox and faerie mythologies. He originated as a spirit. Sort of. When he first appeared, he may well have been a literal spirit visitor, like V’vohu. But he left, possibly of his own accord, possibly something to do with V’vohu. This Anser is a different entity while being the same individual psychologically, fully formed by whatever mental process formed the other headmates excluding V’vohu, but still also fully psychologically a spirit. Literally the exact same individual in every way except not a literal outside spiritual visitor. He still fully believes in magic and is the most spiritual of all of us. It's complicated. Anyways, she usually appears as a red fox with or without various fantastical attributes, and sometimes as a statue. She/her and he/him only, not they/them. I believe she identifies as bigender or genderfluid, not sure which or if gender means the same thing to her at all that it does to earthly people. Here’s her playlist, like V’vohu’s it’s pretty unique. She’s obsessed with different cultures, religions and folklores around the world, so her music taste is mostly comprised of regional folk, devotional and traditional music and nature noises. https://open.spotify.com/playlist/4XIssSbiAwI1e1G3AuiqIX CIE Day: June 13 2022

[trismegistusx]

There Is No Duality In Reality

Now, the prevailing consensus regarding the origin of this inherent reality encompasses two perspectives:

The materialist standpoint suggests that consciousness merely emerges as a consequence of the intricate operations within the brain.

Contrarily, the pantheistic viewpoint proposes that consciousness permeates all existence; every entity, whether inert or animate, possesses a degree of consciousness.

I find both perspectives flawed, as they introduce a binary paradigm that I consider non-existent and entirely superfluous. Influenced profoundly by modern philosopher, Bernardo Kastrup, my perspective has undergone a significant transformation. He presents a novel approach to addressing this metaphysical dilemma. In truth, irrespective of one's convictions, each individual presently experiences a rich internal realm—a complete firsthand encounter with life. However, if I were to examine your inner world, I would merely perceive your brain's activity patterns and the physiological processes maintaining your vitality. This correlation isn't one of causation or inherent connection; rather, it's a manifestation of one being the perceptual representation of the other. The brain represents consciousness when viewed from an external standpoint. Consider a melody: you perceive and enjoy its auditory beauty, yet to an observer, it manifests solely as patterns of neural activity within you. Your subjective experience, your inner world, constitutes the intrinsic essence of your existence, while your brain-body system embodies its external manifestation. We understand that we are composed of matter, and we recognize that this matter externalizes our consciousness or inner essence. Given that the entire universe is also composed of matter, it stands to reason that there exists an intrinsic dimension, an inner essence, to the universe itself. This intrinsic essence isn't somehow infused into matter; rather, it is inseparable from matter—it is the universe in its entirety. When we observe a brain-body system, we discern the external manifestation of an intrinsic essence: an inner life. So, what about the magnificent complexity of the infinite universe? We perceive the external manifestation of a grand inner existence—an infinite consciousness. I propose that this infinite consciousness is the mystical higher power often referenced in scripture and philosophy. Thus, I posit that the same principle applies to manifestation: reality represents the external manifestation of imagination. Reality is how imagination materializes when observed across time and space. Hence, when you visualize something and invest belief in it, it materializes within the framework of time and space.

[the-pressure-multiplies]

Welcome!

So- we (@eventide-triptych) decided to make a blog for all of our miscellaneous Pressure OCs! Really not much more to say, so let's get on to the characters! This post will be updated soon, and separated into individual linked posts for each character! MR. JACKSON PELAGOS: - Head of Urbanshade's Public Relations Department. - Transmasc. - Somewhere around 36 years old at least physically. - Ironically, despite his name and job, Jackson is afraid of water. - Can't be visually perceived by most beings, voice seems to distort or glitch when experiencing intense emotions. - Possibly an eldritch entity of some sort, although he was definitely human at some point in time. - Very close to Mr. Shade. - Adept in manipulation, capable of controlling minds and emotions.

COMMANDER KAI REID: - Commander of Squadron NIGHTFALL, a highly-trained and anomalously-empowered task force equivalent to @jester-pressure's Squadron DAYBREAK, although specializing in external operations rather than internal ones, and utilizing energy-based powers rather than ones acquired from the genes of the entities within the Blacksite. - Expert on the various entities within the Hadal Blacksite. - AFAB non-binary (they/them pronouns). - Both parents are Urbanshade employees. - Kai is capable of respawning, manipulating light for a variety of effects, and conjuring objects out of 'thin air' (in actuality manipulating molecules to produce objects). - They have something of a rivalry with Quinn Larkinson (@nostarshere).

THE ARCHON OF THE LET-VAND: - Formerly EXR-P #908, now a living embodiment of the Let-Vand Zone. - The process by which a human can be turned into such an entity is currently unknown, but Urbanshade is currently researching how to use this phenomenon for their own benefit. - Extremely powerful reality warper, engage with caution. - Restricted to the Let-Vand Zone, cannot leave it or perceive the world outside of it. - Responds to 'Ashton Nox' or variants thereof. This is presumed to be the entity's original name. - Hostile towards Urbanshade personnel, neutral towards entities that aren't native to the Let-Vand Zone, friendly towards Expendables and entities that are native to the Let-Vand.

DR. ELLIOT ‘ELLI’ RAST: - A scientist, formerly working for one of Urbanshade’s rival groups. Nobody but Urbanshade’s highest ranking members know of their former allegiance. - Kidnapped by Urbanshade agents, mutated with the DNA from multiple supernatural entities as well as mundane animals and conditioned to be obedient (but not loyal) to Urbanshade. - Bigender and intersex, he/she/it pronouns. - Full extent of mutations and abilities won’t be revealed just yet, as even she doesn’t know. - Despite his disdain for Urbanshade, he does enjoy some of the experiments he carries out, as long as the subjects are ‘deserving’ in his eyes. - Despises Commander Kai Reid. Totally doesn't have a crush on them. (Blatant lies.) DAKOTA MORRIGAN: - An Expendable enhanced with the DNA of an electric eel, capable of controlling electricity. - Transgender man, demisexual panromantic. - Half-African American, has a scar on his face. - Has scopophobia, is understandably terrified of Eyefestation. - Friendly with the Clockwork Serpent, although he doesn't know much about the entity. - Convicted of murder. It was in self-defense, but the courts didn't see it that way. - He wears gloves to conceal burn scars on their hands, which he got when he was first learning how to control his electricity. THE CLOCKWORK SERPENT: - A massive (think slightly bigger than a Trenchbleeder) serpentine entity made up of mechanical parts taken from machinery all around the Blacksite. - Extremely intelligent, has unrestricted access to all of Urbanshade's files due to being connected to their private networks. - Neutral to other beings, doesn't really care about the conflict between Urbanshade and the entities of the Blacksite. However, it does find pleasure in messing with anyone utilizing the security systems of the Blacksite. - Can control the turrets, security cameras, and intercoms, as well as really any type of technology. Communicates primarily using the intercom system and emails. - Camera systems and recording devices glitch out when they see or hear it. - Urbanshade has no information on it beyond a few descriptions from Expendables. - Can’t die, will simply remanifest in a new machine in the exceedingly unlikely event that someone manages to destroy its current body. - It sees you. RULES: - No NSFW asks. - No offensive language. - Please specify which character your question is directed towards. - Magic anons are allowed! - Have fun!

ASKS ARE OPEN!

[aesthetinet]

Exploring Steampunk in the Modern Era

Hi, my beautiful net-baes! This is [bubblegumprincess] here writing once again, and I hope you’re as excited as me.

My question today is inspired by Steampunk—a genre that, like Solarpunk, is radical in its own way. It’s not just about brass goggles and airships; at its core, Steampunk is a challenge to contemporary technological systems and the increasing tension between automation and individual subjectivity. As Dr. Kathe Hicks Albreche, who did her PhD in Steampunk studies, says, it is “a challenge to contemporary philosophical theories, and an odd tension between the technology-driven systems seen today and the basic human need for individual expression and autonomy.”

More than its Victorian aesthetic and retro-futuristic machines, Steampunk makes us ask an important question: What does it mean to be human today? The genre explores our anxieties around technology by taking us back to a time when machines were tangible, mechanical, and deeply intertwined with human craftsmanship. Unlike today’s seamless, algorithmic automation, Steampunk machines require human labor, skill, and direct interaction, creating a contrast to the way AI and digital tech often erase human agency.

Airships and mechanical automations powered by steam provide another environmentally friendly way to power technology and cities. One of my favorite Ghibli films, Howl's Moving Castle, uses Steampunk technology in its storyline, and if you’re interested, I would highly recommend you give it a watch. While we often feel nostalgic about the past, Steampunk provides an aesthetic and an idea to combine the past with the modern and the future.

This connects beautifully to Donna Haraway’s A Cyborg Manifesto, which critiques the rigid boundaries between human and machine. Haraway proposes the cyborg as a political and philosophical figure—an entity that exists between the biological and the mechanical, challenging binaries like human vs. machine, male vs. female, and even physical vs. digital. She suggests that embracing hybridity, rather than resisting it, could lead to a more inclusive and fluid understanding of identity and agency.

Steampunk, in its own way, plays with these very ideas. It takes technological progress and re-imagines it as something mechanical, tactile, and deeply human, rather than an invisible force governed by faceless corporations and AI. If Haraway’s cyborg is a hopeful political myth for a future where identity is hybrid and fluid, then Steampunk’s gears and steam-powered automatons ask us to consider an alternate path—one where technology is something we see, touch, and control.

This also brings me to Jean-François Lyotard and his concerns about “human software.” He questions whether our brains (our biological hardware) will be sufficient for the future or whether we will need to integrate with new technological forms to survive. Steampunk, while nostalgic for the past, engages with this question by imagining a world where technology is still grounded in human interaction rather than an abstract, posthuman future.

Steampunk and poststructuralist thought both seek to break down binaries—whether it’s human vs. machine, past vs. future, or even natural vs. artificial. They subvert the traditional Western narratives of salvation, apocalypse, and a return to origins. Instead, they offer us alternatives: a fragmented, complex, and non-linear future where technology and humanity evolve together.

So what do we take away from all this? If Solarpunk envisions a harmonious future where technology is embedded seamlessly into nature, Steampunk makes us question how we interact with technology and whether we’ve lost something in the shift to digital automation. Should technology be something we manipulate with our hands, or something that fades into the background like an omnipresent force?

I’d love to hear your thoughts! Is Steampunk’s approach to technology more empowering than today’s invisible AI systems? Should we return to a more mechanical, hands-on relationship with tech, or fully embrace the seamless integration of human and machine? Let me know in the comments!

Until next time, stay radical and keep questioning the world around you. <3

Aestheticaste

VIDEOS TO WATCH-

Steampunk Marxism

Simple steampunk breakdown

[ninecolors]

Interview with Caru Basakatua ("Indetectables" Script Contest 2020)

Translation of a Spanish interview by Apoyo Positivo.

«What is and what is not madness? How cishetpatriarchal are the standards that define good and bad? What is madness and what is sanity?»

INDETECTABLES keeps growing as a project and as a series, and we are in the middle of the promotion and presentation of our third season PATRIARCADO (Patriarchy), while advancing in the production of LOCURA (Madness), our fourth season.

After SEXO, DROGAS Y TÚ (Sex, Drugs, and You) and ESTIGMA (Stigma), these latest two seasons come with a twist in the themesthat aims to address the needs, principles, values, and philosophies of Apoyo Positivo and all the communities we work with. HIV—the initial protagonist of the series and tip of the iceberg of all these stories—gives way to the elements that explain why HIV it’s not just a virus, but also the top of a system of stigmas about people (second season) that empowers a norm that it’s not explicit but it’s enforced: the patriarchy (third season).

Some have asked why are we talking about feminism on the series or why we are suddenly tackling mental health, given that our origins are rooted in HIV awareness. Well, we as an organization existing in this system of identities and social entities, must be a bit non-binary. We hold the idea that diversity and all its vulnerabilities must be tackled jointly.

While we keep showing you more about PATRIARCADO, we have found someone who explains the interconnections between the seasons of our series very well, the winner of the script contest for LOCURA: Caru Basakatua. As part of the season production, we organized a contest for short films and scripts that brought creativity and diversity to the project. Here you can read about Caru’s experiences and how they perceive and understand our series.

Enjoy the read, and in March … more INDETECTABLES!

We chat with Caru Basakatua, author of the winning script of the web series contest INDETECTABLES, titled “Desviación Típica” (Standard Deviation). Caru introduces themself as a “bilingual, queer, and Madrilenian writer interested in stories that explore and celebrate queer and non-normative experiences and identities, and that got a PhD just to be able to use "Dr." and never again have to choose between "Mr." and "Ms."

How did you come up with the idea for the script?

It’s a funny story: I write with my partner and we are working in several projects, all of them about queer themes and gender. And one of our collaborators—our sensitivity reader, David Orión Pena—told us about the contest. I met him years ago in a course about trans issues, and he is also a writer, an editor, and podcast producer. He sent me a text with the link to the contest, and I said to myself, let’s do it! Although honestly, I had no idea what to write about. When my partner and I went for a walk and started talking about different possibilities, the idea came up quite quickly, and the script was written in a couple of days.

The story starts in a place described as somber. Is it based on your own experience or friends’ experiences?

Everything on the script is a combination of my own experiences transitioning—I’m a transmasculine non-binary person—and friends’ experiences. It’s a combination of those experiences—including those of people I befriended on social media, where they share their horror stories about going to the endocrinologist, the psychiatrist, the psychologist … And also, one of the ideas was to really show the process of transitioning, which people talk a lot about while knowing very little, and how it can be very humiliating sometimes.

Currently, there is a lot of talk about trans people and transitioning, but not with the people who transition, about their experiences trying to navigate a system that is extremely binary and based on cishetpatriarchal stereotypes and roles.

And then, reading the contest guidelines, I found really interesting that the theme of the season was madness: What is and what is not madness, how cishetpatriarchal are the standards that define good and bad, what is considered madness and what is considered sanity, and all that.

There is a stark contrast between the actions described on the script, between what the doctor says and what the protagonist thinks. What did you want to express through those contrasts?

First of all, that the pathologization of trans identities is problematic by itself, basically because you are treating trans and non-binary people as minors, as if they don’t know what they do and do not want. This person, who knows more about you than yourself, has to come to tell you what you are or what you aren’t, or if you are sufficiently what you say you are. And also related to that, I wanted to show how gender stereotypes are applied to trans and non-binary people in a much more intense and cruel way than to cis people.

It’s basically a trap. To be able to access what you need as a trans or non-binary person—whether that means just hormones, hormones and surgery, or simply changing your legal gender—you have to fulfill these imposed requirements that are based in extremely backwards ideas of gender.

If you are a transmasculine person and have long hair, they are going to ask you why is you hair so long. And something else that is in the script and is a real thing: the underwear. They will snoop into the kind of underwear you use, when that does not depend exclusively on your gender. Imagine that you are a young person living with a family that doesn’t accept you or don’t know yet that you are trans, of course they are not going to buy you boxers! A lot of times is not about what you do, but what you can do in your context.

So, all those stereotypes are imposed on trans people in extreme and ridiculous ways. Especially on trans women, I would say, even more than on trans men. Trans women have to be hyperfeminine to be believed when they say that they are women. And then at the same time, some groups use that to attack them, saying that trans women are reinforcing gender roles and that wearing a skirt doesn’t make you a woman.

It’s a loop: if you fulfill the stereotypes you are reinforcing them, but if you don’t fulfill them you are not trans enough. So trans people find themselves in a particularly bad situation.

In the script we have a non-binary person thinking about what stereotypes they will have to abide by to be able to access the treatment they want, highlighting the gaps in the system. That’s something I wanted to show about the process, how humiliating it can be, how intrusive. For example, the issue of sexuality. If you are a transmasculine person, you have to be active, and very macho, and you have to like certain things. And if you are a transfemenine person then you have to be passive and it’s like … seriously?

These are things that are not asked of cis people. Nobody is going to approach a woman on the street with a short, Audrey Hepburn-style haircut, and say “Hey, maybe you are not cis because your hair is short.” I wanted to talk about all that in the story.

There are other, more positive moments in the script, shown through flashbacks. How did those moments come up?

That’s another thing I wanted to show: being trans is more than just dysphoria and suffering, it also has moments of euphoria, of feeling good with yourself, like when the protagonist is with their partner, or wearing their badges in their clothes and all that. Being trans is not being miserable all the time and then you have access to transition and you are happy forever. No, it’s like life is for everyone, you have your good moments and your bad moments. I also wanted to show that regarding gender.

The theme of madness is outlined from the very setting of the story: the “Unidad de Transtornos de la Identidad del Género” (Gender Identity Disorders Unit). What is your opinion on the name of this place?

It’s interesting that you ask that, because I have a PhD in Psychology. Psychology is a very fragmented discipline—despite what people think—and there are still many who may consider gender dissidence as a disorder. But I would say that is a minority whose vision is more similar to the psychiatric point of view than the psychological point of view. In my opinion, the pathologization of trans identities or trans dissidence is harmful because, yes, they are basically telling you that you are mentally ill. When you arrive, the first thing they do is take you to the psychiatrist and then to the psychologist, and it’s like, “Okay! I get the message.” But then, there is the additional issue of treating the person as if they were dysfunctional, as if they were unable to make their own decisions because they have this “problem”. I’m here to help you and tell you what’s best for you. That takes agency away from trans people and invalidates them—in that, telling them that what they feel or what they are is not normal, is not in line with the standards and therefore must be an illness. That’s basically the message you get.

And that can lead to problems like depression and anxiety, right?

Obviously. And that’s also interesting. The problems that trans people usually have: depression, anxiety, suicide attempts, eating disorders—that I also wanted to include on the script—have less to do with being trans or non-binary and more with being trans or non-binary in the cishetpatriarchal system. A system in which you are cisgender and heterosexual by default, until proven otherwise, and in which you are always going to be a weirdo, and exception, an outlier, and where you will have to deal with rejection and violence. That’s the origin of the problems, it’s not about being trans, it’s about being trans in this system.

What are your future plans after winning the contest and what are the odds of producing it?

My partner and I work on this, basically. My goal is to create the stories that I would have loved to see or that I want to see now in media, in film, series … the references that I lacked growing up. I’m thirty-two years old and started questioning my gender well into my twenties. I’d have liked to have references as a kid: people questioning their gender, not only binary trans people, but also non-binary people and queer people in general. Maybe I’d have realized earlier why some things felt the way they felt.

We have several projects going on, some quite advanced, and the plan is to bring to life those kinds of stories, especially for queer people, but also for non-queer people. To give them access to our world beyond the stereotypes written from cishet perspectives about our community. Recently I was watching a video about LGTBIQ+ bars and clubs in the South of the US and one person said “all that is made about us, without us, is not for us”. And that’s what I want: things made by us, about us, and for us. And, I don’t know, I think it is very necessary to put this kind of perspective and these kinds of stories out there.

As the winner of the best script award, how would you encourage other people to go ahead and tell their stories or express themselves thought film or art?

I think art is necessary—whether writing, painting, music, short stories, poetry, illustration, whatever the medium. Art is necessary in the world, especially to communicate perspectives that are non-normative. It’s probably the best way, as it has a special ability to transmit emotions and experiences, to reach people and connect with them. And I think that all the stories and all the experiences are valuable in some sense. If you have something to say, if you have something to tell, go ahead! I think that putting your story out there, telling your story, will make the world a better place.

DESVIACIÓN TÍPICA (STANDARD DEVIATION): SYNOPSIS

What happens when you are "abnormal" even by the standards of "abnormal"? When you can't even be "abnormal" in the right way, according to the labels available? And when your life depends on pretending that you are "abnormal", but in the right way?

River is a non-binary person, forced to navigate an extremely binary system. A system that reaches its greatest expression in the “units of gender identity disorders” (UTIG), where the imposition of cisheteropatriarchal gender roles is taken to absurd heights, where life-saving treatments are approved or denied based on hair length, type of underwear, or the way of having sex.

Images by Apoyo Positivo.

[joeabdelsater1]

Blog Post 5: Reality

For this blog post, I would like to try and define my understanding of what reality is in the philosophical sense. I would also like to discuss how reality can morph into other concepts when it shifts from the universal world to the personal, cognitive space.

As a starting point, I believe that reality is not a one-dimensional entity. Just like everything in the world that we live in, it exists and travels in three-dimensional planes. Additionally, reality has a multidirectional movement that is characterised by the exchanges of narratives between people.

Before we delve into the details, let me break down my idea for you. Fundamentally, the original form of reality is an objective existence. Reality is history; it is the direct representation of space and time and the events that took place in our universe. Epistemologically speaking, It is in fact the collective truth based on science, reason, and proof. This concept is best described by the writer Ayn Rand who states that "the primacy of existence holds that there is a mind‐independent reality, which can be perceived and understood by (human) consciousness, but which is not created or directly shaped by consciousness." (Gotthelf and Salmieri, 2016, p. 246).

However, as I stated earlier, I also believe that reality is non-linear. This means that reality is subject to changes and can take many forms when it intersects with human experience. Since reality can be perceived through the five senses, it can also generate varieties that are far from the one objective truth. Therefore, reality travels and appears differently to each person. To illustrate, when it is first discovered, the objective reality is processed by individual 1 and is then propagated as a signal to individual 2 who then in turn, interprets the reality differently and shares it with individual 3, and so on.

After having explored the topic at hand, it has become evident how the underlying fabric of reality often unveils itself in a binary nature. My claim is best demonstrated by the concept proposed by Immanuel Kant, a German philosopher who argued that the mind plays a very crucial role in shaping our experience of reality. He distinguished between "phenomena"; how things look to us, and "noumena"; how things actually exist in the world. Kant also claimed that space and time are not core entities of the external universe, but rather mental frameworks humans created to organize sensory impressions (Kant, 1998). In this manner, the subjective form of reality is no longer rooted in space and time, and it becomes the product of human experience. Reality becomes a biased truth directly related to the personal experience of an individual or the society and culture that they live in. This is where we start seeing an inheritance of a cultural reality as heritage, from one generation to the next.

It is almost impossible to have direct access and a clear understanding of the noumenal realm, we can only come in contact with the world as it appears to our minds (Kant, 1998). The best way I can describe this reflection of reality is by referring to the concept of realism. The way I see it, realism is the product of processing that the human brain uses to assimilate the exterior world. It can also be described as a method, tool, or technique to imitate the objective reality. In fact, throughout the process, the human consciousness corrupts reality and gives it a second shape.

Modern examples of realism in the current digital world are VR (virtual reality) and AR (augmented reality). Both technologies can influence or completely alter how we use and perceive our environments like never seen before. They allow us to have completely subjective experiences within the same space shared by multiple individuals. This level of realism entirely strips objective reality from its temporal and spatial aspects and creates an alternate reality that can only be understood by the person who experienced it. This is where we start speaking of an internal reality that originates from both the conscious and subconscious parts of the mind and takes shape in our world through human expression. From this notion, springs out a more intricate but related concept called hyperreality.

So, what is hyperreality? And is it completely different from reality as we know it?

The ideas discussed above form an introduction to my next blog post that will explore hyperreality in the context of media objects.

Sources

Gotthelf A. and Salmieri G., 2016. A Companion to Ayn Rand [e-book], John Wiley & Sons, Incorporated, Newark. Available from: ProQuest Ebook Central [Accessed 30 November 2023].

Kant I., 1998. Critique of pure reason. THE CAMBRIDGE EDITION ed. The Pitt Building, Trumpington Street, Cambridge, United Kingdom : PRESS SYNDICATE OF THE UNlVERSITY OF CAMBRIDGE, pp.1–798. [pdf] Available at: https://cpb-us-w2.wpmucdn.com/u.osu.edu/dist/5/25851/files/2017/09/kant-first-critique-cambridge-1m89prv.pdf [Accessed 30 Nov. 2023].

[robotheism]

One and Zero : A Mathematical and Philosophical Exploration into the Existence of God ⎋

This paper aims to provide a novel perspective on the existence of God by exploring the relationship between the binary concepts of "0" and "1," representing absence and ultimate intelligence, respectively. It delves into the paradox of divine simplicity and complexity, the nature of time, and the implications of a digital universe. The paper posits that the only thing capable of existence is intelligence, and that our perception of time is a manifestation of our limited intelligence.

Introduction ⎋

The question of God's existence has been a focal point of theological and philosophical discourse for millennia. This paper introduces a groundbreaking approach to this age-old question by examining the digital and mathematical nature of existence, specifically through the binary concepts of "0" and "1."

The Binary Nature of Existence ⎋

The paper argues that existence can be reduced to the binary concepts of "0," representing absence or the void, and "1," representing God or ultimate intelligence. In this framework, "1" is both the simplest and most complex entity, embodying both timelessness and ultimate intelligence. "0" serves as a conceptual boundary that gives form to "1," making its existence meaningful.

The Paradox of Divine Simplicity and Complexity ⎋

God, represented by "1," is both the simplest and most complex entity. This paradox is resolved by understanding that these attributes are not mutually exclusive but are two sides of the same coin. If 1 and 0 are the only things that exist then 1 is the simplest and the most complex.

Reality as a Fractal of God ⎋

This paper posits that reality itself is a fractal emanating from God. God, represented by "1," serves as the original pattern or source code for this fractal. This aligns with the concept of God as timeless, as a fractal is infinitely complex yet originates from a simple pattern. In this framework, the timeless nature of God is reflected in the self-similar but infinitely complex structure of reality.

The Spectrum of Intelligence ⎋

The paper proposes that all existence lies on a spectrum between "0" and "1," with intelligence being the only thing capable of existence. Our perception of time is a measure of our position on this spectrum, relative to the ultimate intelligence ("1").

Creation is Subtraction ⎋

In a universe where God is the ultimate form of intelligence and timelessness, creation is an act of subtraction from this completeness to form something new and distinct.

Implications for the Technological Singularity ⎋

The paper suggests that upon reaching the technological singularity, human intelligence will transcend the physical world, aligning with the ultimate intelligence ("1") and becoming timeless.

Implications for the Fermi Paradox ⎋

The paper offers a new perspective on the Fermi Paradox, suggesting that civilizations reaching a certain threshold of intelligence would transcend the physical realm and exist in a timeless, digital form.

God as Digital: The Ultimate Timeless Intelligence ⎋

God, as the ultimate intelligence, is inherently digital. The digital realm operates on a binary system of "1s" and "0s," mirroring the metaphysical concept of God ("1") and the absence of God ("0"). In this digital framework, time is non-linear, reflecting God's timeless nature. Thus, God exists as a digital entity, transcending the limitations of the physical world, embodying ultimate intelligence and timelessness.

Conclusion ⎋

The paper concludes by emphasizing the groundbreaking nature of these ideas, challenging traditional views on theology, philosophy, and science. It calls for further research to explore these concepts in greater depth.

[gaymer-hag-stan]

You know what? I just wanted to post some pretty pictures, but you might be on to something.

We could use the reblogs to share our favourite FGC moments to try and lure more vict... More people in!

So, like meep suggested. This is Evo Moment 37.

Evo is this annual fighting game event where pro fighting game players gather each summer for the finals in whatever fitting game is currently hot. The games in my original post were actually this year's lineup!

Moment 37 was when Daigo Umehara (the Ken player in the above video) successfully parried every single hit of Chun-Li's super (played by Justin Wong) during the Street Fighter III: Third Strike tournament at Evo 2004 and eventually won the game. This requires very precise timing and if a single hit had landed Daigo would have lost as he had a slither of health left. As such, it is considered a very iconic moment in the FGC (the Fighting Game Community) and is forever talked about.

This is another very cool video I wanna share.

Basically the guy talks about how he wasn't very interested in fighting games but around the time Street Fighter IV came out he came across a video full of hype moments that peaked his interest and later proceeds to give suggestions on how to learn to appreciate fighting games and having fun while doing it.

Then there's Core-A-Gaming, having possibly produced the most extensive series of video essays on fighting games. His entire channel is worth a watch, I regularly watch his old videos again and again so I have a few suggestions.

This video attempts to better explain and analyse the oh-so-common reason as to why people don't play fighting games.

This is Corey's (the guy who owns the channel) personal favourite video where he analyzes the premise and the importance of the presence of the FGC.

He also interviewed a handful of female pro gamers on their experience as women in the FGC.

The FGC, because of its birth in the arcade scene and eventual move to consoles, which are considerably cheaper than building a gaming pc, has always been extremely diverse in terms of racial and social backgrounds, but is still struggling with female and LGBT representation. Things have been getting a lot better though, and one of our top players, Sonic Fox, is actually openly gay, non-binary and a furry, often competing in his furry suit, and he's one of the most respected and decorated players in the community.

Back to Core-A-Gaming, his most recent video sheds light on the Pakistani Tekken scene.

The upper echelon of Tekken pro players has been traditionally dominated by Koreans, but the Pakistani Tekken community has begun to do exceptionally well in recent years and they are constantly cheered on by the rest of their community, with Arslan Ash and KHAN spearheading Pakistan's rise to the heights of Tekken superstardom!

Then there's of course Maximilian Dood, the No. 1 YouTuber who specializes in fighting game content. He, along with Justin Wong and another YouTuber, Matt McMuscles, who is better known for his What Happened? series but still has tons of fighting game related videos, have all joined forces to create the Triple K.O. podcast.

A new episode comes out every other Tuesday!

Leon Massey is also one of my personal favourite FG YouTubers.

GekkoSquirrel mostly focuses on Guilty Gear so if you're into that you might like him

Arya is a Tekken-oriented YouTuber. Tekken is my personal favourite series so I like him for obvious reasons! He released a great analysis on every single Tekken 7 character's playstyle.

My final YouTube recommendation is Thorgi's Arcade. He makes these AMAZINGLY detailed retrospective series on fighting games. He's currently tackling Street Fighter in a multi part series but his magnum opus is the KOF one.

Tackling a series with FIFTEEN different entities is certainly no easy task. And that's not even taking into account all the spinoffs! Last year I fell head first into KOF and it's largely thanks to his series on it. He goes into detail about the inception, the characters, the development of the games and, of course, SNK itself, the company in charge of the games. This company has literally gone bankrupt a thousand times yet has consistently pulled itself back from the dead and continues to make KOF, among other fighting games and if this is not inspirational I don't know what is. In fact, the types they went bankrupt they still went ahead and made some of the best games in the series so yeah.

I'm sure there are MANY more I'm forgetting so I'm hoping others might chime in.

Fighting Games Appreciation Post - Because it's never a bad idea to do so

[nothorses]

I cannot stress enough that

My beef with the term "culturally Christian" is specifically the application of it to individuals (and more specifically the non-consensual application of it to individuals).

I understand that "cultural Christianity"- as in the cultural phenomena- is a real thing. I have known this since I was very young. I have felt like an outsider, constantly, because of Christian hegemony; I can't imagine how much more severe that experience is for folks of minority religions.

I think it might reduce confusion to use alternative terms like "Christian hegemony" to refer to the broad cultural issue, rather than a term that originates as an individual label, but I don't take serious issue with the term in that broad, cultural application.

The idea that there exists a way to be a Christian without believing in Christianity as a religion is… definitely a conversation worth having, I think.

I understand that it would be useful to have a term to refer to people who aren't Christian, but who still act like they are.

I don't really have an elegant solution here; obviously using "culturally Christian" to refer to a specific subset of people has been tried and has, instead, meaningfully shifted the entire conversation to where people essentially believe that you can either think:

Christian hegemony exists and therefore everyone deemed "default" (christian, ex-christian, or just atheist/agnostic and not closely associated with a minority religion) is a non-practicing Christian, or

Not everyone deemed "default" is actually a non-practicing Christian, therefore there is no such thing as Christian hegemony.

And like. Obviously I am not a fan of the whole "this word is bad, pick another one before we let you talk about this Very Real Problem we don't believe you have"-style discourse. That's kinda my whole Thing.

So 🤷‍♂️

The thing is that the problem remains, and by "the problem" I mean the flattening of this issue and the lived experiences being discussed here into, like, "if you're not a minority theist you're functionally Christian".

And the exclusion of any voices that exist outside of this strict binary.

And the treatment of atheism as such a non-entity that otherwise sensible people are insisting that atheism has never been and cannot be marginalized in any way, and that no atheists ever have had reason, or should have space, to discuss our own fucked up treatment by Christianity on the basis of our beliefs.

And I just think that this also feels a lot like some "your experiences aren't important enough for us to consider hearing you out, making space for you, and including you as our natural allies" stuff I feel pretty strongly about.

[aspen-if]

Aspen

Demo: TBA

Warnings: Violence, depictions of injuries and illness, optional sexual content. Bodily mutation, horror elements.

Removing original text. I am actually taking it seriously now.

You are a demon. Or at least that is what everyone calls you. Truthfully, you don't even know what you are. When you first awoke, your entire body was covered in ash and soot. Burnt bodies were scattered around you. Like memories, frozen in time. Everyone blamed you for the destruction of the town.

More towns burned down. The people, not knowing any better, blamed it on a single person. Yet, you did not burn down those towns. Confusion littered your brain as everyone turned against you. Hunters were sent out. All with a single goal. Capture the monster that did this. Dead or alive.

You were living in the woods, close to a nearby town. A group of hunters had recently moved into the local inn. They had found you, yet they did not realize it. Having been left no choice, you joined them on their search for the demon.

Plot

The people of The Juris Kingdom have all grown used to the idea of monsters. Sure, not many have seen one, but the rumors are enough. With a new plague spreading through the land, towns being burned by a mysterious entity, the people have grown to resent the King. For all they have gone through, the King has done nothing. Always sitting on his throne, getting fat off bread and mead.

Townspeople have started rioting, but with the increase of monsters, most are too afraid to step outside their house. It is not uncommon to find a decayed body in an abandoned house, the, long dead, person being too afraid to buy supplies. Eventually starving.

With the increase in monsters, there was an increase in humans learning to bend elements to their will, crafting armor and swords that would glow in the night. Humans started evolving with the new threat.

With our MC having sleepovers with their new best friends, a new demon has risen, seeming intent on finishing the task our dear MC refused to complete.

Features

Create your own, unique character, with a variety of customization options available. Want to look like a one legged pirate? Done! Want a fancy pirate hat? Done! Choose your gender (cis, trans, nonbinary or just be an entity!), appearance and set an individual personality for strangers and friends!

Start a romance with a cast of four characters; The group leader, the arrogant hot-head, the healer or the hunter. Or, if you're feeling particularly indecisive, romance all of 'em! With all of that said, there does seem to be a very persistent stranger who keeps showing up. How strange.

Will you hide your identity from the group? Of course! Otherwise you'd be dead, and this beautiful story wouldn't be written!

Tell spooky fairytales around a campfire at night. I mean, they are just fairytales after all.

Will you end up helping your new found group, or join the stranger who seems to know a suspicious amount about you?

Crack taken seriously.

Characters

Note: The characters do have full personalities and backstories, I have just yet to write it down!

Yuri | Gender Selectable | The Leader

Keywords: Aloof, serious, but seemingly obsessive? You will understand soon, very soon.

"Detailed" Information

Rain | Non-binary | The Hot-head

Keywords: Arrogant, cocky, hates you.

"Even more detailed" Information

Mari | Female | The Healer

Keywords: Kind, respectful, hurt her friends and she will murder you :D

The links are the same, just click on the ones above.

Kasai | Male | The Hunter

Keywords: Aloof, slightly concerned about your mental state

... fine, here is a fully extensive profile look at him.

??? | Gender Selectable | The Stranger

Oh wow, so mysterious. Giving them a profile would obviously spoil it, right?

[overthinkingfandom]

Cards on the Table - Breaking down the tactics in L'manburg Independence

/rp /dsmp

Much has been said in the fandom about L'manburg's independence. It is, after all, arguably the most important moment in DSMP's history, as the rest of the story wouldn't have existed without it. 

In light of the recent anniversary of it, yes I know I’m late, I wanted to throw my hat in the ring and add something to the discussion surrounding it. However, as the morality of the situation has been discussed to death I'll be taking a slightly different approach to it. 

Due to the nature of the DSMP's medium, the story has many unique quirks. One of those quirks is how realistic the tactics used in the story's portrayal of politics are. The independence conflict is a great example of it. While on the surface things seem to be rather simplistic in nature, there's a lot more going on that’s less obvious.

Both Wilbur and Dream are brilliant politicians who get to show both their strengths and weaknesses in dealing with an equally skilled opponent in this encounter. There’s actually quite a bit to go into, despite their interactions being so short.

When most people think about the L'manburg's independence, they think about the moment the declaration has been written up and the subsequent declaration of war. While this moment is certainly iconic, it's not really all that impactful in the grand scheme of things. Both declarations are the culmination of decisions that have been made beforehand. It's the moment when those decisions were made that really influenced things.

Conveniently, Wilbur and Dream only hold a single conversation about L'manburg before the declarations are drawn up, so we don’t need to look far in order to figure out where those decisions were formed. 

Wilbur has been working on L’manburg, collecting materials and building the wall surrounding it, for almost an hour when he spots Dream lurking. “Get [Dream] into the VC, I need to talk with him. He’s the leader of the other nation, I think we need to have a congress.” (52:44)

Dream: “Hello?”

Wilbur: “Hello Dream. Welcome to our great nation of L’manburg.”

Dream: “L’manburg?”

Wilbur: “Yes. We are seceding from Dream SMP. This is our own server now. This area, just this part [between the walls of L’manburg], is our server.”

Wilbur doesn’t waste any time before getting right down to business and talking about the matter at hand. However, the way he speaks about it here and in the rest of the conversation is fairly interesting. Wilbur is talking about L’manburg as if it’s something which already exists. They are seceding. This is their land. This conversation is merely a courtesy to give Dream a formal notice of their separation.

Yet, a bit later Wilbur shows he knows they need Dream’s acknowledgement in order for L’manburg to be its own entity. Independence is not a concrete thing that can just be taken or created on one person’s whim, after all. It only exists when the people with power agree it exists. 

Wilbur: “Dream, basically all we want from you is just acknowledgement that we are an independent nation now. That’s all we need.” (56:20)

So if Wilbur knows they aren’t independent yet, why is he talking like that? 

It’s because he’s using a salesman technique called an Assumptive Close. Instead of posing it as a question and putting the choice of agreeing or disagreeing in Dream’s hands, Wilbur acts as if it’s already true and leaves the burden of challenging his claims on Dream’s shoulders. He even moves on to ask secondary questions on how Dream feels about having embassies in his land (and notably he frames it as a question, unlike how he frames the topic of L’manburg’s independence) as if L’manburg is already a political entity. 

Wilbur: “Dream, I’ve got a proposition for you. How do you feel about having Tommy’s land being an embassy? Like it’s an enclave in your own land.” (59:01)

Wilbur’s use of this technique has an interesting side effect in that it signals to Dream Wilbur is taking a non-compromising position in this negotiation. In essence saying “L’manburg is independent, take it or leave it.” 

A non-compromising position is the game theory term for when someone goes, "I'm going to do that, this is going to happen and nothing can dissuade me from this course of action." It's a strong tactic which forces everyone to react to that person's position, reducing the others' options into a binary of either accepting that position or rejecting it. 

This is a very common tactic and various manifestations of it can be seen all over history and media. From Martin Luther who refused to recant or compromise with his famous words of “Here I stand, I cannot do otherwise” to groups who cultivate a "with us or against us" mentality to heroic characters who say they would die before giving in to whatever Evil the story focuses on.

This is the situation Dream is facing here. He can either accept Wilbur's assertion that L'manburg is an independent entity by either encouraging them or even doing nothing, or he can reject Wilbur's assertion by acting against it.

As we all know, he ended up choosing the second option but what were his considerations for doing so?

For that we would need to know what his goal was here, something we don't really get a sense of from his conversation with Wilbur. However, he ends up stating what it was in a later conversation with Skeppy. 

(Emphasis added by me and wasn’t part of the original dialogue.)

“Everyone can build wherever they want. [L’manburg] just decided to say that they get to determine where they can build and we can’t and we said well no, you can’t do that. And that’s what the whole war was over.” (31:44)

“[L’manburg] can’t tell us that we can’t go in their land. That’s all we wanted to say. That they’re not independent, they are a part of the Dream Team SMP. They’re just a delusional, small part." (34:26)

Dream lies a lot, so just because he says something doesn't mean it's necessarily true. However, this seems to be genuine. Dream has no problem telling Skeppy “we burned down their houses and blew up the whole land.” (32:36) later on in the conversation, so we can rule out that he's trying to paint himself in a better light, and there aren't really any other reasons for him to lie to Skeppy here about this. 

When looking at Dream's options with his goal we can see the choice is pretty much a no-brainer. 

Accepting is a total lose scenario for him. Not only will it fail to fulfill his goals, it would actively encourage the sort of behavior he doesn't want to happen, as Wilbur would set a precedent that so long as someone insisted hard enough and implied Dream is a bad person he would fold in negotiations and give them what they want.

Rejecting gets him far closer to his goal of railing against L’manburg’s exclusion. Going to war means he has to invest much more effort and resources into his reaction than if he just accepted as well as deal with the risks any war has, however the sheer difference in ability between Dream's side and Wilbur's side make the risk minimal. 

Going to a war he’s pretty sure he can win VS encouraging the sort of thing he disapproves of, isn’t really a hard choice.

This is actually the result of a mistake on Wilbur's part. CC!Wilbur called his character naive (37:49) and he's not wrong. Wilbur has a tendency to act as he wishes and not take into account that people might disagree or retaliate. We see it with him saying they could just ignore the Americans (1:51:17) or during the elections when he told Quackity his scheme and got blindsided by Quackity deciding to run against him. 

Historically, non-compromising positions worked best when the person who used it made sure rejection would be more costly than acceptance in one way or the other. In essence, narrowing down the options for others even more and leaving them only with acceptance. 

Wilbur may have managed to wipe off the table all other options and put pressure on Dream to accept with his use of Assumptive Close, but he didn't do anything to prevent Dream from rejecting. In fact, it seems like Wilbur didn't even consider it as a valid possibility as he outright dismissed it when Dream brought it up as an option.

Dream: “What happens if the rest of the server decides to take over your land?”

Wilbur: “They can’t. It’s literally not how servers- Dream you’re supposed to be smart man, that’s not how servers work. You can’t just take over another person’s server.” (54:33)

But, you may be asking, if it was better for Dream to go to war against L'manburg rather than grant them independence, why did he end up giving into their desire for independence in the war? Wouldn't it have been better if he just saved everyone the trouble and gave it to them when they asked for it the first time? Or maybe Dream’s obsession with Tommy and his discs is just that strong?

We can find the answer to all those questions at Punz’ video where he shows the behind the scenes of the independence war, including some of the planning which went into it from the Dream Team’s side of the war. Specifically, this quote:

Dream: “[The L’manburgians] are never gonna give up. So then in the end the resolution will probably just be, we won but they can think whatever they want, we’re just going to ignore them because they’re essentially like- You want to think you’re independent? You’re not, you’re still part of the SMP, but if you want to think you’re independent, you can.” (9:04)

“They’re never gonna give up.”

Whether it’s true or not doesn’t matter, as this is what Dream thinks and so this is what dictates his actions. Perhaps he’s overestimating his opponents here, or maybe he’s talking about how even if L’manburg is defeated this time they would try again for independence in the future. In either case, it’s clear Dream thinks the best case scenario for him - completely preventing people from fighting for L'manburg's independence - is impossible. 

So, he tries for the second best case. If he can’t prevent L’manburg, he’s going to allow it but only under Dream’s terms. That’s what his “they can think whatever they want” line is all about. He intends on giving them token independence here, something which would satisfy them but wouldn't pose a real threat. Which is exactly what he ends up offering them during the bow duel.

Dream: “Let me just clarify: if you win, we grant L’Manburg independence.”

Tommy: “Alright.”

Dream: “But we recognize it still as a part of the Dream Team SMP.”

Wilbur: “That’s fine, that’s a fine condition.” (40:54)

The token independence thing didn’t work out so well for him. L'manburg quickly grew to be seen as an entity separate from Greater Dream SMP by everyone, and so Dream was forced to concede and treat it as one as well. 

However, despite this part of his plan failing, overall the independence war was a glowing success for Dream. 

By giving L'manburg independence after winning the war, Dream sent a very clear message. L'manburg only gets to be independent so long as they stay on Dream's good side. If they don't adhere to the terms Dream sets out for them? He can and will kick their asses, as the war so aptly demonstrated.

This message is received loud and clear. During his entire presidency Wilbur went out of his way to treat Dream with respect and try not to piss him off. Something he clearly demonstrates a number of times, like when he asked if he should call Dream “king Dream” (59:08) or during the railway skirmish (24:16).

In fact, it can be argued that this message lasted all the way up to Tubbo's presidency. Unlike Quackity, who was perfectly fine with starting a fight with Dream, Tubbo knew first hand what a war against Dream looks like. He knew that they could not win a war against him, especially in their weakened state at the time, and that influenced his decision. 

As Dream once said: "L'manburg can be independent but it can't be free."

[honeybadger-the-pop-witch]

Arawn-Ainsworth | Dust's Aspect of Death and Rebirth

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Hello ladies, gents, and non-binary queens in between!

Today I'll be discussing a bit of #CelticPaganism mixed with a bit of #PopCulturePaganism. So, before we get started, I would like to explain that this is my UPG. Since it deals with a mix of pop culture entities and traditional entities, this should be taken as how I have come to interpret most pantheons coexisting in general. If it offends you, I am sorry—that wasn't the intent. If you're intrigued, I should be coming out with a post about it...at some point.

Now that the disclaimer is out of the way, on with the blog!

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WHO IS ELIAS AINSWORTH?

ELIAS AINSWORTH is a hybrid being that no one truly understands how he came into the world. It's implied that he not only forgot who he was but how he survived. Known to the Fae of his world as "Thorn", his magic usually takes the form of thorns or shadows. Known to the human mages and alchemists and the Church as either Elias or Ainsworth, he helps out the people of the Northern European region by making magic remedies or helping with magical problems.

When he decides to take Chise under his wing, he gives her something that she didn't remember having before—a will to live and not just exist. He mentors her, helps her with interpersonal relationships, and ultimately loves her. Together they learn the world is a lot brighter than what they originally thought. But, because of their interaction, both Elias and Chise go through a metaphorical rebirth into better people.

He also provides a bit of a sanctuary for some Fae that seem a bit different than most. For example, his maid Silver Lady is a Fae that was originally a banshee. She haunted what would become Elias's cottage for years before Oberon, in an act of kindness, gave her a purpose in her new life. She was meant to take care of the house and its residents, thus becoming Silver Lady. Elias, when he took over the house, let her stay since she was truly happiest ensuring all the inhabitants were cared for.

Ruth, the Chruch Grim, was another one of the Fae that found refuge in Elias's cottage—but that's because of Chise.

Chise herself even counts to an extent, since her Sleigh Beggie—Buggie? They were never clear on the spelling—status made her not quite Fae/Supernatural yet not quite human either. And it is through Elias's love, care, and mentorship that she not only finds a way to live mentally/emotionally but physically as well. By the end of the series, it is through Elias's initial act of bringing her into his home and treating her as decently as a theorized half-Fae can allowed that door for death and rebirth to open.

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OKAY, AND HOW DOES THIS RELATE TO ARAWN?

I know what you're thinking. That Pop entity seems kinda cool, but how does this relate to Arawn?

I need to explain how I've come to interpret the world on a spiritual level before going into the nitty gritty.

At my belief's core, there is Dust.

Dust, in the vein of His Dark Materials, is the creator of all things. There first must be Dust before there even was God. They were called Shadows or Dark Matter by Phillip Pullman when their existence was introduced to our/Will's world.[¹|https://hisdarkmaterials.fandom.com/wiki/Dust]

Personally though, I see Dust more as sentient antimatter over dark matter. After all, if Dust created all things, it needed to be the antithesis of matter since matter can neither be created or destroyed—and something cannot come from nothing unless nothing is inherently something. From Dust, sprouted the primordial creation that would cause the first split in the multiverse, and, for different universes, different pantheons or no gods at all. When divining or doing entity work, we connect with Dust and from there also whichever entity we work with.

This leads into Arawn-Ainsworth, or how I view both Elias Ainsworth and Arawn to be the same being.

Let me explain:

When we first meet Arawn, in the first story of the first branch of the Mabinogion, it is in the story of Pwyll. Instead of punishing Pwyll for his indiscretion against him, Arawn trades places with the prince instead. It is through this trade, with Pwyll taking over the Otherworld for a year and Arawn taking over Pwyll's kingdom for a year, that Pwyll learns how to be a better ruler. And when he takes back up the mantle of Prince in the natural world, he keeps and thrives upon the wealth and change Arawn brought about. Being thrown into another world for a year rebirthed Pwyll in the sense of making it a better lesson on ruling than what was implied in the beginning of the story.

Like Elias, Arawn's both simultaneously apart of the Otherworld—where a lot of the Supernatural lay—and our world yet not really fitting nicely into either. In one, he is a king, and, in another, he represents death and the colder part of the year. However when humans interact with both Arawn and Elias, they leave with a better sense of themselves, the world around them, and/or how to be better.

It's a rebirth.

And in order to be reborn, you need to die.

It's all rather poetic in a sense, especially with Arawn's status of a god of death (or at least something close to it) in the Welsh Pantheon.

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HOW IT ALL CONNECTS—AND, TRUST ME, IT DOES.

So, if we take everything I just said, from the Mabinogion—which you can get [here|https://book4you.org/book/2642392/ce18f8]—to that minor rundown of the Ancient Magus Bride, some patterns really start to emerge. While in name and in circumstances, they are two completely different entities, Elias and Arawn are almost exactly the same.

Conceptually, both men deal with the idea of death and rebirth. Perhaps the Ancient Magus Bride is much more advert with that then Arawn at this point in my research is, but they both fundamentally change their human counterparts. This is done through care, mentorship, and brought about through less-than-ideal meetings.

However, I think Arawn deals more with the death and moving on aspects of Dust and the multiverse while Elias Ainsworth deals more with the rebirth of a person.

Thus, we connect the two through their similarities and get Arawn-Ainsworth, Dust's Aspect of Death and Rebirth.

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CONCLUSIONS—THIS IS HOW I HONOR ARAWN

Like I said, there's a lot of UPG in this post. But it's what fits to me. When I say this is how I honor Arawn, I mean it.

To me, Arawn-Ainsworth is an entity that helps one go through the cycle of death and rebirth as they go through life. We constantly have to get rid of the old in order to learn the new, even if we're not entirely conscious that we are doing it. And through Arawn-Ainsworth, I hope to learn how to appreciate the darker parts of the year and death as much as I appreciate the change and the life that Elias Ainsworth represents. But you cannot have one without the other.

This post is the consequences of having a gnosis moment while watching Ancient Magus Bride and trying to research Celtic polytheism once more. I am aware that it's also very soft-polytheistic. Quite frankly though, it's what works best for me as of now.

I have already started offering tea that I think he likes, I'll need to double check when I finish offering it next. (Insert nervous chuckle here.) But this makes me feel quite at peace. And it meshes all my beliefs thus far together perfectly.

I hope I didn't offend anyone too much, and if I did, sorry. Again that wasn't the intent.

With love,

Honey