#programming breaking down

[unwelcome-ozian]

Hello, I had some more questions about programs breaking down. Do the programs themselves stop working? So say scramble programming or pain programs do they null? Places in inner world like castles literally crumbling for example? Asking this because we experienced some scary stuff happening lately with what we assume are things breaking down. All of the symptoms match up

Do you perhaps have more information on stuff like that? As well as alters being able to cause pain from programs does that stop as well?

The programmes aren’t necessarily what stops working. Parts/alters can also stop responding to the trigger. The thing(s) in place that leads to a triggered response becomes ‘extinct’. 

Parts can stop doing their task when they feel they are safe. They can work towards realising they no longer have to harm the body. 

Programming tends to break down at the around age of 30. It isn’t as if on their 30th birthday things fall apart. Programming breaking down is a process not a crash. This can occur if the person is away from the environment. In one's 30's, memory recall, thought processing speed, and the storage space for new memories begins to decline.

Dissociative barriers that may be present in survivors of any type of abuse or trauma begin to break down over time. As survivors get older, especially around midlife (starting between ages 35-50), the dissociative barriers in the brain, which contribute to the survivors ability to function at a higher capacity without having to process the trauma, begin to break down in ways that often cause disruption to the survivor’s life.  When this happens, trapped feelings, beliefs, and forms of coping initiated by past events seem to make their way to the surface of people’s lives. Some of the beliefs and feelings that occur may be related to conditioned responses induced by abuse from the past.  As emotions, thoughts, memories, or beliefs that have been contained in pockets of one’s personality that are trapped in the past (sometimes also experienced by emotional parts that feel separate from the individual now experiencing them) begin to be noticeably experienced by the survivor, the experience can be very confusing and overwhelming.   Some of these symptoms of the breaking down of dissociative barriers may include intrusive thoughts, flashbacks, nightmares, severe anxiety or depression that doesn’t seem related to the present, also panic attacks, urges or actions toward self-harm, suicidal ideation or attempts, increased urges or actions toward other types of coping behaviors that seem out of the ordinary.

Some signs of programming breaking down are:

Becoming aware of aspects of programming is an indicator that the programming is beginning to break down.

Parts of the system will want to return to handlers (Home)

Inside programmers will attempt to find parts who are defying programming, and attempt to shore up programming from the inside.

Flashbacks

Rapid switching

Attempting to leave

Confusion

They may speak in coded language

Panic attacks

Insomnia

Regression

Isolation

Repetitive motions

some alters may go mute

Become lethargic

Alters going dormant

Alters may hide

Become verbally or physically aggressive (This occurs when the system perceives a threat from the outside. The person isn’t going to randomly attack people. The system will feel very vulnerable, and weak during this time.)

Alters become severely depressed, suicide attempts or completion

Self harm

Oz

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[poorly-drawn-mdzs]

hope you feel better soon!

I am riddled with ailments, but I stay silly!

[jojo-schmo]

Eyo, the Forgotten Land Roleswap just got renewed for another season 😤✨

[conceptofjoy]

trying to figure out the meanings of classes or aspects or colors in relation to different themes of the text is like “HA this is so 01101101 01111001 00100000 01100010 01100001 01101100 01101100 01110011 core”. you are doing some ectobiolchemy shit right now you gotta know when to stop the spiral

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[astracora]

friend: hey write caleb smearing blood on mc's face then kissing them or licking it off

me: i need you to give me like 20 seconds not to lie down and scream

It's here btw...

[paradoxbeta]

every several months i ping pong between "i love line weight why havent i been using line weight look at the feeling of depth" and "i love no line weight why have i been using line weight look at that paper thin sterile look" which is to say that this is the devil talking but maybe i should use line weight again

[unwelcome-ozian]

Hey I hope you’re doing alright! Can you tell us what programs breaking down looks like? Is it gradual? Instant? Something that happens over time being away from the abuser? I’m actually really curious as we’ve been away for about a decade now. We’ve noticed things gradually breaking down on its own but we wanted to know what the process generally is like

Programming tends to break down at the around age of 30. It isn’t as if on their 30th birthday things fall apart. Programming breaking down is a process not a crash. This can occur if the person is away from the environment. In one's 30's, memory recall, thought processing speed, and the storage space for new memories begins to decline.

Dissociative barriers that may be present in survivors of any type of abuse or trauma begin to break down over time. As survivors get older, especially around midlife (starting between ages 35-50), the dissociative barriers in the brain, which contribute to the survivors ability to function at a higher capacity without having to process the trauma, begin to break down in ways that often cause disruption to the survivor’s life. When this happens, trapped feelings, beliefs, and forms of coping initiated by past events seem to make their way to the surface of people’s lives. Some of the beliefs and feelings that occur may be related to conditioned responses induced by abuse from the past. As emotions, thoughts, memories, or beliefs that have been contained in pockets of one’s personality that are trapped in the past (sometimes also experienced by emotional parts that feel separate from the individual now experiencing them) begin to be noticeably experienced by the survivor, the experience can be very confusing and overwhelming. Some of these symptoms of the breaking down of dissociative barriers may include intrusive thoughts, flashbacks, nightmares, severe anxiety or depression that doesn’t seem related to the present, also panic attacks, urges or actions toward self-harm, suicidal ideation or attempts, increased urges or actions toward other types of coping behaviors that seem out of the ordinary.

Some signs of programming breaking down are:

Becoming aware of aspects of programming is an indicator that the programming is beginning to break down. Parts of the system will want to return to handlers (Home) Inside programmers will attempt to find parts who are defying programming, and attempt to shore up programming from the inside. Flashbacks Rapid switching Attempting to leave Confusion They may speak in coded language Panic attacks Insomnia Regression Isolation Repetitive motions some alters may go mute Become lethargic Alters going dormant Alters may hide Become verbally or physically aggressive (This occurs when the system perceives a threat from the outside. The person isn’t going to randomly attack people. The system will feel very vulnerable, and weak during this time.) Alters become severely depressed, suicide attempts or completion Self harm

Oz

[wackywatchdotcom]

i feel like the amnt of stuff in my circus discussion could, quite honestly, have consistuted multiple academic essays. maybe

[poisondionaea-art]

I know it's the last day of pride I wanted to finish this before now but couldn't but here's a comic about my experience being aroace:

Sorry it's really weird I'm not used to making comics I still need more practice and I was running out of time because I wanted to get this out before pride month ended.

[devotedtosadpoetry]

i’m back in the groove thank goodness

[void-of-unparalleled-chaos]

And now, an entry i wrote in the theater employee diary because I think @chaos-bringer-13 in particular will find joy in it

About 6 months ago *Boss* asked us who would like to take a box cutter and break down boxes. I jumped up and down saying "Me! Me! Me!" To which they replied "Anyone but Void?" *Boss* banned me from using the box cutters because I was "too excited to use one."

During the Matinee show today, *Boss* asked us to put the box cutters away behind the courtesy desk. When I went to take them, *Boss* stopped and retracted their hand.

"I don't remember why, but for some reason I feel like you shouldn't have this... yeah I don't like that gleam in your eye."

During the evening show, *Boss* was fine giving *Coworker 1* a (hypothetical) lead pipe despite her obvious joy at having one. Yet *Boss* holds fast that I am not allowed a box cutter. *Coworker 2* called me a liability. I am being SUPPRESSED.

[hananoami]

-ˋˏ✄┈┈┈┈ my reactions below

Due to time zone differences these special programs always airs during an ungodly hour on a weekday for me so I usually struggle to wake up early in order to watch these live. However I woke up before my alarm to catch part 2 live because I knew who was going to be star of the show: C A L E B ! 🍎

I loved that they did a recap of previous trailers before the stream, featuring:

Traversing Deepspace

Love and Deepspace Theme Song (version 1)

Official Release

Sylus: Tangible Shackles

When Tides Echo

Shimmering Moonlight

Trace of Divinity

Where Drake Shdowsfall

Love and Deepspace Theme Song (version 2)

Misty Invasion

Wander In Wonder

Yes, Cat Caretaker

-ˋˏ NEW [DESTINY CAFE] FEATURES !

Remind Me: they write down in their little notebook about the important things you need reminders of. when the time comes, he'll send you a notification.

DAILY includes sleep, work, workout, meal, study, and custom

PERIOD (haha goodbye stardust, hello LADS men taking care of me)

CUSTOM includes anniversary, itinerary, schedule, custom

-ˋˏ NEW [WITH-HIM] FEATURES !

BIGGER ROOM!! FINALLY, THANK GODDESS

can be viewed in landscape mode now too

more freedom to personalize and include more items

additional helpful features include: filtered inventory, assisted snapped gridlocks for my ocd, desk template, custom presets

-ˋˏ [CALEB TRAILER] + NEW MEMORIES 🍎 !

I'll upload the video in a separate post because he deserves his own, along with my reactions to that trailer because the ungodly moan I made when he graced us with his strong presence... 🥵💦

-ˋˏ NEW STORY CHAPTER [HOMECOMING WINGS] !

Another separate post will be written about this because I also have a lot to say...

-ˋˏ [ABYSSAL CHAOS] NEW COMMISSION !

goodbye Find Tobias, hello final farewell

Abyssal Chaos Season 2 with new code system!

FINALLY, SOME MORE WAYS TO EARN DIAMONDS

new routes, new collectibles, new game plays + achievements

Yet another separate post will be written about Abyssal Chaos [here] because we got additional information at a later time after the special program aired!

-ˋˏ [GLINT PHOTOBOOTH] NEW COMMISSION !

MAJOR UPGRADES WITH NEW FEATURES

so many new features, i'll make a post detailing them later

-ˋˏ [LINKON NEW YEAR] CHIBIS !

THEY GET THEIR OWN POST BECAUSE OH MY GOODNESS.

-ˋˏ 2 NEW [REDEMPTION CODES] !

DEEPSPACE3: 200x diamonds, 200x stamina, 20k gold

20250122: 10 empyrean wishes

note: they expire 02/07. i need to double check which codes are still active

-ˋˏ [FESTIVE BLESSING] EVENT

5 free 4-star memories + event rewards

[Shadow Pursuit] mini game with Pumpkin Magnus

[Lantern Workshop] (desk item after the event!)

Yet another separate post will be written about Abyssal Chaos [here] because we got additional information at a later time after the special program aired!

-ˋˏ [ILLUSIO] EVENT

THE RETURN OF THE BEST FEATURE EVER

available January 22nd to February 7th!

I will be open to taking requests for this

Need to make an advertisement to promote and outfit catalog.

ENDING THE STREAM WITH A SPECIAL LINKON NEW YEAR PERFORMANCE WITH THE CHIBIS. I WILL POST THIS LATER!!

[girlwiththegreenhat]

having just made it to KITT vs KARR i stand by my point that KARR has done nothing wrong ever in his life

[thesealfriend]

We're not saying "mean leftist women/queers are responsible for alt right men" we're saying that its human nature to seek validation, and people are going to shun the group that dismisses them as lost causes for daring to be assigned male by a doctor in their infancy, in favour of the one that goes "yea bro of course you're special", and if we have any hope we have to break down that second notion and call men on their bullshit without swinging into branding maleness as a disease that corrupts everything it touches.