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dresshistorynerd · 2 months ago

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Overview of Rococo Fashion

I mentioned in a post three god damn years ago I was writing this, but in my defense 1700s was a hell of a century.

18th century was a weird and interesting period of western fashion. It was a time of extreme inequality in Europe and even more extreme exploitation of the rest of the world through massive colonial expansion. Fashion became also extreme. The wealth amassed by the elite translated into diverse styles and complicated dress codes which required multiple changes in clothing thorough a day. Imperialism also meant increasing centralization of power and authoritarianism. In fashion this led to interesting dynamic, where the courts, trying to control the increasingly rich and powerful elite, set restrictive and archaic dress codes, while the aristocrats continued to experiment with new fashions in their casual styles. The cultural capital shifted from formal court events to the casual gatherings among the fashionable aristocrats. Salon parties, picnics, morning gatherings and even dressing up became important social events.

All of this makes the fashion of the period very hard to grasp. I have yet to find any good overview of it. So after trying to figure out this period for a long while now, I will attempt to give my own overview. Like any even remotely succinct overview, it will be incomplete. I'll focus on the high society women's fashion and the two central players in the fashion of this period, France and Britain. I define this fashion period (which is really late Baroque plus Rococo) as starting from the rise of mantua in 1680s and ending to the French Revolution in 1789, but this post will only cover the fashion up to roughly 1770. Things changed a lot during the 1770s in France especially (which was the fashion capital) and numerous new types of fashionable gowns popped up, so this would be way too long (more than it is already) and it's a natural place to split this. (I will make a second part to this but no promises on doing it quickly.) The different types of gowns were used for different purposes and often evolved fairly separately from the other types of gowns, so I will structure this around them. This approach was the only one that made sense to me so I hope it makes sense to you too. I won't go through every single type of gown, since there's too many. For example I will skip all the numerous short gowns and jackets, which were always common informal wear, and I'm focusing less on different types of negligé. Just know they and others were there. I have split this in a very vibes based eras named after the most fashionable thing at the time.

Negligé, dishabillé, half dress and full dress

But first, to understand the fashion of 18th century, we need to first understand the social life of the high society and it's dress codes. The highest level of formality was expected in court, and courts set their own dress code, which needed to be complied with. It functioned as a sort of invitation pass as court was theoretically open, but you needed to wear extremely expensive clothing to get in. Outside court the most formal events were formal balls, in which full dress (formal dress) was used. Full dresses followed fashion and were quicker to change than the court's dress code, so they weren't necessarily the same as court dresses. Less formal events were things like private dinner parties. In those half dress (semi-formal dress) was used. Then there were informal social events, like tea parties, picnics and salon gatherings, where dishabillé could be used. Dishabillé means undress, and while from modern perspective they were fully dressed, at the time it meant a type of informal dress that was used inside the home, but which was not too casual to be improper outside home either. Dishabillé was also used when otherwise going outside, not to an event, but for example visiting a friend or a relative.

At home dishabillé could be used for example to have dinner with family. Dishabillé negligé was an even more informal dress and not used outside home, except for perhaps a private morning walk. Usually it was used in the morning, but could be used till dinner on a quiet day. It could be used to receive guests or sometimes for receiving the small intimate gatherings too. It would be used with stays (could be lightly boned or worn loosely) or jumps and petticoat. Negligé was the most casual wear which was not literally underwear. Negligé was worn over the night chemise, sometimes with minimal structural garments. Negligé was used inside bedchambers or dressing room (usually the same). In the 18th century toilette, dressing up for the day, had become a very intimate social event. The upper class hair especially took quite a while to powder and put up fashionably, so while they were being dressed by the servants, they might just as well receive close friends, family members or even lovers. Sometimes women might receive close friends also when reclining in bed in their negligé.

Only court dress had explicit rules and even those were not always followed, so what was considered full dress, half dress, dishabillé or negligé was not very strict. So when I mention later what type of gown was considered to fit what sort of dress code at different points in time, these are not hard rules and people did bend them based on their taste and even politics. Some day I'll want to go deeper into this and go through some of my research of paintings and fashion plates.

1680s-1710s: The Mantua Era

Mantua gained it's start in 1670s, but became broadly fashionable in 1680s, so that's where I'll properly start. At the start of 17th century first colonial trading companies, the Dutch and the British East Indian Companies, were created and through the century they had been establishing trading posts in Asia. As the century progressed they became increasingly aggressive in their competition over the trade leading to Anglo-Dutch wars. It lead to a race to extend colonial control over the local authorities and in 1680s the British East Indian Company colonized Indian subcontinent. Increasingly available Asian luxury products led to a fascination with Asia. This fascination became justification for colonialism in the form of Orientalism. Orientalism constructs an Orient, which is fetishized, mystical, primitive and barbaric at the same time, to dehumanize colonized people and justify their subjugation. It became a very significant force in the fashion of whole 18th century.

The rigid or stiff-bodied gown

Also known as rode de cour and grand habit in France. Most of the 17th century the basic garment in women's fashion was the structured bodies and a skirt, either attached together or separate as was the case increasingly towards the end of the century. Bodies were heavily structured with boning and the primary structural layer and were used as both outer and under garment. In formal occasions the gown had rigid bodies which could be separate from the skirt but always matching. When mantua became the fashionable dishabillé in 1680s, the more formal gown started to be called rigid or stiff-bodied gown. The new silhouette was conical and stiffer. The skirt had a long trail and was open at the front and pulled to back to expose the usually contrasting petticoat. Later, especially for full dress, petticoat would usually be matching. The petticoat was also fairly conical, narrow and stiff, not full and flowing like in the mid century. It was a sort of return to the Elizabethan aesthetics of mid and late 16th century England and France after the fuller and softer aesthetics of the height of Baroque.

French fashion plate from 1683. Detail from c. 1715-1720 painting "Madame de Ventadour with Louis XIV and his Heirs".

Robe de chambre

Also called wrapper, dressing gown and nightgown. Robe de chambre became the fashionable negligee in late 1600s following the style of men's informal robe, banyan, which had become fashionable in the mid century. Banyan was of Orientalist origin and imitated Japanese kimonos. Banyan name came from Hindu merchants and was also called the Indian nightgown in Britain. In the eyes of Orientalism the whole continent of Asia (and North Africa) were all interchangeable. Banyan represented intellectualism and open-mindedness, connecting to the view that "the Orient" possessed "ancient mystic wisdom", which in the hands of the "Rational Western Man" could be turned into intellectual enlightenment. For example philosophers and intellectuals often got their portraits in banyan. Robe de chambre was like banyan, a long loose gown of rich (often imported) material. As it became more fashionable and more richly made, it graduated to dishabillé negligé. As negligé it was often worn over a night shift, when getting dressed, but as dishabillé negligé it was worn over stays and petticoat. Then it was often belted at the waist to give definition to the silhouette. It could be closed, hiding the stays and petticoat, or they could be left visible, in which case they needed to be fashionable as well. The stays evolved from the undergarment bodies and therefore weren't considered strictly undergarment, like the later corset.

Robe de chambre or dressing gown continued to be used as negligé and dishabillé negligé thorough the century only changing a little (for example in patterns and sleeve shapes) with fashions.

French fashion plate from 1685. French fashion plate from 1695.

Mantua

During 1670s increasingly formal forms of robe de chambre emerged and started to be worn as dishabillé. In addition to being belted, this robe was paired with a fashionable petticoat and the skirt was tied back like the formal rigid gowns to follow the fashionable silhouette and that way making it more formal. It became a new type of dress, mantua. Robe de chambre continued to be used as dishabillé negligé. Mantua was basically constructed the exact same way as robe de chambre, only really differing by having a long train. Early mantuas in 1680s and before were pinned closed at the front to create a sort of closed bodice mimicking rigid gowns. By 1690s though the bodice would be usually left open in a v and a stomacher in contrasting colour would be attached to the stays to cover them or stays of contrasting color from fashionable fabrics were used, usually for more casual cases. By the end of 17th century the petticoat was usually made from the same fabric as mantua, but the stomacher was still often from contrasting fabric. Around that time mantua also graduated to half dress. It was still worn in less elaborate forms as dishabillé though.

Mantua's success arguably laid in it's adaptability. It was loose, simple in cut and didn't need tailoring, so it was quite easy and cheep to make, while it could still be fitted to the fashionable silhouette with pins and belts. This made it very easy to fit comfortably to the changes in body and to other people with different bodies. It could even be fitted to new silhouettes just by changing the structural under garments. The quick and cheap construction also made it possible for rich upper class women to gain very large wardrobe and therefore develop the very complicated dress codes the 18th century would be known for.

British woolen extant mantua from late 17th century (probably around 1680s). French portrait of Anne de Souvré from 1693.

1720s-1730s: The Robe Volante Era

Rococo style started dominating the arts, especially in France, but would influence the whole western world. In fashion it meant brighter colours, lighter and fuller fabrics and lusher details. Because of the rivalry between the British and French empires, the English took a fairly oppositional stance on the very French Rococo style. This led to a gap between French and English fashions. French fashion leaned to the decadent opulence, while English fashion was more restrained and somber. Rococo was a decorational style related to the broader Classicism, and the English fashion leaned more towards "pure" Classicism.

Rigid gown

By 1720s mantua had firmly usurped rigid gown as the fashionable full dress. However, the courts still clinged to the traditional rigid gowns, even though by that point it was clear mantua had come to stay. The roundness had come back to the skirts to display the fullness of the fabrics. The skirt had started growing again in the beginning of the century and hooped petticoats had started to enter back into the wider fashion after almost a century, probably again from Spain, where they had stayed as the stable of court fashion through the whole 17th century. It kept growing through 1730s into massive round cake-like proportions. The sleeves had barely changed at all from previous decades.

Portrait of Maria Lescynska, Queen of France, from 1726. Portrait of Princess Amelia of Great Britain from 1728.

Mantua

As mentioned, mantua had became the full dress. Less elaborate mantua was still also used as half dress, but the dishabillé versions had been usurped by new types of gowns. The formal mantuas had increasingly their pleats stitched to create more fitted appearance. Skirts of the formal mantuas changed along rigid gowns. Hoops (or that large hoop skirts) weren't necessarily used with half dress.

British extant mantua from 1735-1740. Detail from French painting "Adélaïde de Gueidan and her sister at the harpsichord" from 1735-1740.

Robe volante

As mantua was turned into increasingly elaborate and formal gown, a new less formal version was developed from it. Or rather it also developed from a dressing gown as a slightly more formal version like mantua had before it. Robe volante or battante was unbelted mantua. It was closed at the front (usually stitched or closed with buttons) often leaving a similar v as mantua to reveal a stomacher, but sometimes closed so far it mostly covered the stays. It was pleated at the back, but the pleats were left loose, which was called sack back. Overall it was very loose flowing dress and combined with a large skirt the effect, especially when sitting, was like drowning in an opulent sea of fine fabric. In France it became extremely popular first as dishabillé, but eventually it was used as half dress as well.

Today it might feel a little weird that this very covering and not at all formfitting garment was seen as quite indecent in public. But at the time structural garments, especially stays, which shaped the body and concealed it's natural form, was needed to be considered dressed at all. Loose unfitted garments were already associated with negligé, but then covering the fashionable form with a garment like that left it obscured weather they were even wearing stays. The reaction was basically "what if she's naked under her clothes????" This was also of course related to Orientalism. In many Asian and North-African cultures (especially Arab and many other Muslim cultures) women (and everyone else) wore loose covering gowns, and there was fetishistic fascination among Europeans about their "exotic beauty" under the clothes. Both of these associations fed each other. So young fashionable women were then sometimes suspected of promiscuity for wearing robe volante in public. Occasionally these accusations were justified by claiming they could be hiding an extra-marital pregnancy under the loose garment, even though that seems quite impractical.

French extant robe volante from c. 1730. English portrait of Mrs. Elizabeth Symonds from 1740.

English gown

The English upper society, being more prudish and restrained, made their own version of robe volante. It was otherwise basically the same, but the pleats in front and back were pinned like in mantua. Since the skirt portion was closed at the front it was basically round gown. Sometimes belt was also used, or an apron. The v opening on the bodice usually had ribbons, sometimes pleating, to keep the robe in place. This English version was much more toned down than robe volante. It was usually made of plain single color fabric and white neckerchief stuffed under the ribbons of the v-opening or plain, often white, stomacher. There were a little more showy versions of it with elaborate patterned fabrics. For finer dishabillé round gowns the pleats were sometimes stitched to their place like mantua's pleats started to be stitched. The English did still use robe volante, but it seem to have stayed more in the dishabillé negligé (or at most dishabillé) category, while the English version of it was used as dishabillé and half dress.

British extant gown from c. 1725. Detail from British painting "Wedding of Stephen Beckingham and Mary Cox" from 1729.

English nightgown

In 1730s another version of the English gown became popular, it was basically the same, but the skirt was open at the front to reveal simple, often quilted, contrasting petticoat. The terminology is hard to pin down often in this period, but I think this version of the English gown specifically was called nightgown. It was basically robe de chambre, but pinned and belted like the other English gown. It seems to have started as the new dishabillé negligé as round gown was increasingly used as dishabillé, but it would quickly increase in formality.

The English gowns with stiched down pleasts in the back as well, possibly both type of English gowns, came to be known as robe á l'anglaise in France.

British painting "Portrait of a Woman Seated beside a Table" from 1730s. French painting "Le lecturer" from 1725-1750.

1740s-1760s: The Robe á la Française Era

This is the peak Rococo fashion era and is usually what people think when they think of 18th century fashion. Extreme fashions became popular and the gap between the elite and the common people became even more apparent in fashion and in other areas of life. This was fertile ground for political upheaval, and revolutions in US, Latin America and France would follow. The extremes therefore, even in fashion, could not last very long.

Rigid gown

By 1740s rigid gown was well passed it's time as fashionable garment and supplanted from it's place as the court dress in Britain. In France though it continued to be the robe de cour in Louis XV's court till his death in 1774. Louis XV tried to keep control over his aristocracy, even though the center of high society had increasingly shifted to the salons of Paris out of Versailles. Robe de cour adapted to the new fashionable silhouette of the mid century - the extreme wide box-like skirt frame -, but continued to be otherwise very similar in style as earlier in the century.

Portrait of Marie Leszczyńska, Queen of France, from 1747. Portrait of Princess Henriette of France from 1754.

Mantua

The British court had less authoritarian power than the French counterpart, but it was just as conservative, so when it finally accepted mantua as the formal court dress, it was already going out of fashion. From 1740s onward mantua was relegated to court gown. Like the French robe de cour, it also adapted the new fashionable boxy wideness.

British extant court mantua from c. 1750. British painting of David Garrick and Hannah Pritchard from 1752.

Robe á la française

Robe á la française, or the French gown or saque or sack or sack-back gown, replaced robe Volante as the fashionable deshabillé and half dress. Despite it's name, it may have gained it's beginning in Britain in a roundabout way. English gown was a more fitted and conservative version of robe volante, but early in 1740s, when robe á la française had not yet gained popularity, a new English version of robe volante became popularised in Britain. Like in English gown the pleats on the front were fitted, however, the pleats on the back were left unfitted and hence it became a sack-back gown. I'm not sure which came first, the robe á la française in France, which had fitted pleats on the front of the bodice, sack-back and was open at the front, or the English version, which only difference was closed front. I suspect the latter, since I have found more early examples of the closed English version, and it's sort of transitional link between robe volante and robe á la française, and I haven't found any French examples of the closed variety.

Regardless, early on robe á la française was a relatively simple, but it quickly went from dishabillé and half dress to half dress and full dress, making mantua obsolete outside the English court. In 1750s it had become the default formal wear outside courts in both France and Britain and grew increasingly opulent. The sleeves also turned more fitted, while the cuffs grew and gained more layers of ruff and lace.

British portrait of Mrs. Wardle from 1742. French extant gown from c. 1755-1760.

English gown

The open English gown was also adopted by the French as dishabillé and increasingly as robe á la française grew in formality, as half dress, like it was used in Britain as well, though it was more popular in Britain. It followed the same trends too, especially in it's half dress form. Dishabillé version of the garment continued to be quite simple, worn with less structuring and otherwise too quite similar as they were earlier in the century.

Portrait of Sarah Lascelles from 1749. British extant gown from 1770-1775.

Round gown

Closed versions of the English gown were called round gown. It was possibly always called that, but as said multiple times, the terminology of this period is unclear. They stayed fairly similar as they had been since 1720s and didn't really gain popularity in France. I have not seen examples of this early type of round gown from France. The open English gown seemed to have become the more formal version and examples of round gown from 1740s and 1750s seem to be more dishabillé than half dress. Round gown in this form fell out of fashion around 1760, which gets us to the last garment we'll cover in this post.

Portrait of Mrs Iremonger of Wherwell Priory from 1745. British extant garment from 1760-1775.

Close bodied gown

Close bodied gown basically replaced round gown. The unclear terminology makes this especially hard to parse out. It seems to me that after the early version of round gown (open bodice, closed skirt) was replaced with close bodied gown (closed bodice, closed skirt), that was then called round gown as well. The trouble is that close bodied gowns existed alongside round gowns, and not all close bodied gowns even had closed skirt (this applies later as well and I'm not sure weather they were separated in terminology or were both called round gown). Close bodied gowns in fact existed basically during the whole century, but earlier they were used only by underage girls. Main difference to these earlier girl's dresses was that they were closed at the back, while the later close bodied gowns worn by adult women were closed at the front. Some of the close bodied gowns are however constructed similarly to girls' dresses, where the bodice and the skirt are cut fully separately from simple cuts, only difference being the opening is at the center front instead of center back. The close bodied gown, which clearly evolved from the English gown, instead has the distinctive pleated back seams of English gowns. Early gowns like this were clearly constructed as basically the same as the English gown, but the front was not pleated open into a v-shape, instead it was closed over the stays. This close bodied version of round gown would later become very popular casual garment everywhere among all classes and would eventually come to define the Regency fashion which followed after the French Revolution.

British extant garment from c. 1750. Portrait of Anna Dorothean Finney from 1758.

Sources

Patterns of Fashion 1, Janet Arnold

Faction and Fashion: The Politics of Court Dress in Eighteenth-Century England, Hannah Greig

5 Facts About Fashionable, Morning and Domestic Apparel in 18th Century France - MoMu Antwerp (based on a book "Living Fashion: Women’s Daily Wear 1750–1950 from the Jacoba de Jonge Collection" but I couldn't get my hands on the book)

Women's clothing and accessories - 18th Century Notebook

#historical fashion #fashion history #history #dress history #rococo fashion #18th century #18th century fashion #robe a l'anglaise #robe a la francaise #rococo #mantua #extant garment #painting #fashion plate

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see-arcane · 6 months ago

Note

a section from the paper on the Harkers' androgyny about Jonathan's connection to the old heroine tropes

Jonathan’s selective silences are reminiscent of the Radcliffean heroine’s unwillingness to name her fear of sexual violence directly, in that both serve to obscure the unspeakable. For an author like Radcliffe, naming the fear of rape would be scandalous. Matthew Lewis named them, and more: in his works, “the paranoid fears of a Radcliffe heroine are made the real exploits of diabolical protagonists” (M. Ellis 84). In truth, the contents of The Monk were not altogether dissimilar from other “under-the-counter publication[s] for gentlemen’s interest only” (M. Ellis 115), but that it was published as a Gothic work earned it at least an assumed female readership (M. Ellis 94). The form brought it to the attention of young women, and because young women might read it, the novel was deemed obscene. He faced public backlash (M. Ellis 114). Ann Radcliffe, whose books were wildly popular with young women, would have had to be very careful in what she addressed. Her novels could speak to fears of sexual violence, incest, patriarchal oppression, the sins of the father and more, but only obliquely. [...] By placing Jonathan in a situation generally reserved for an imperiled heroine, Stoker appears to be doing the same. A situation is set up wherein the threat of sexual violence is encoded without needing to be named. Jonathan is young, vulnerable, and comparatively naïve, and an older man of higher social status takes him as his prisoner. They are alone in a remote location. A reader familiar with Gothic tropes will see that Jonathan’s situation is like that of a Radcliffean heroine and may infer from there that Dracula, or someone else in the castle, may be a sexual threat to the young solicitor. [...]Of all the first-person narrators, only Jonathan, not Mina or Lucy, can be said to make use of the hysterical voice. His journal contains significant gaps, for one: between his resolution to cautiously learn more about Dracula and the next entry, where he first sees the Count climbing the exterior of the castle, seven days pass without any comment (Stoker 35). On the 31st of May, he finds his travel papers have been stolen; he does not write again until 17th of June (Stoker 46). These breaks in the narrative are never acknowledged, and no note is ever made of how this time was spent. Where he does write, as previously exemplified in the section on the threat of sexual violence, information and details are sometimes omitted without explanation. His fractured, evasive narrative which makes use of feminine-coded language and identifications can thus be considered a hysterical narrative and, consequently, as another level of gender performance.

(those are again significantly cut to not become huge blocks. hopefully I find an accessible link soon)

🍽️

Thank you for this, I love every word

#and I may explode before New Year's if I don't get to devour the whole work in one sitting auuuuuughhhhh #jonathan harker #dracula #gender #gothic heroine

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three-dee-ess · 2 days ago

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fact v fiction

switch 2 can be remotely deactivated by Nintendo?

yes. original switch could also be deactivated! as far as I'm aware they never did that though- just banned people who were caught with a modded switch from using the Nintendo servers. (basically if u modded online games such as splatoon to use exploits you'd get banned)

this was exceedingly rare.

this is also true for pretty much ALL modern consoles. obvi u can feel like it's messed up but it's common practice.

switch 2 doesn't have physical cartridges anymore it's all download codes/virtual cartridges/you dont own games

not true? ppl are conflating a few different things.

first of all, some games ARE download code only. they don't come with a cartridge and say as much on their box. As in it's literally ON the front of the box that it doesn't contain game data.

virtual cartridge is Nintendo's new "family share" system. basically if someone in your family has a switch with a digital game they bought they can lend it to you for you to play. steam already has this and it's pretty nice!

games are one time purchases but yes they do have DRM. this is the case for all modern games? steam, epic, ECT all have DRM. all consoles do too? hell- bluerays and DVDs have DRM. CDs have DRM. pretty much everything has DRM.

if you think having DRM means not owning, then yes, you don't own the games. However you can play these games offline? pretty much ALL switch games work completely fine without connecting to the Internet at all. so if you are worried about it you can just. play with ur games offline or whatever so they can't take them away from you idk lol.

switch 2 is expensive

yeah. so is like all electronics idk man

iPhone cost a lot too. computer cost a lot. I don't know what to say.

switch 2 games are 80 dollars!!!

so far 3 Nintendo games are 80 dollars physically. 70 dollars digitally.

you can get Mario kart world as part of the bundle for 50 dollars, and you can upgrade existing copies of TOTK and BOTW for 10 each. obvi that's pretty expensive so I get it, but I doubt many people are going to be spending the full 80 dollars on any of those games.

also pretty much all third party titles so far are 60 or less. only Nintendo as far as I can tell is doing the 70~80 price tag.

that's totally okay tho I get that complaint for sure LOL. 70~80 is not the norm but the exception as far as I can tell

basically 75% of complaints are shit that they were previously doing or misunderstandings of existing features :0c

it's okay to not want the switch 2 !!!! hell the most common complaint and the fairest one is the price! totally valid. it's just like. u don't need to be mean to people for buying a console idk. this isn't JKR or Elon we are talking Abt yk?

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hungwy · 1 year ago

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in case you don't know, right now, Apex Legends pros are getting hacked live during the Apex Legends Global Series, which is the competitive circuit for Apex. like, literally being given aimbot and wallhacks, probably through an exploit in Source engine-based games which allows for remote code execution

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ceranovis · 1 year ago

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So... the thing that IMMEDIATELY stood out to me in Fit's Dec 30th lore stream was the use of the nocom heatmap:

Like this is the exact version if the heatmap Fit uses in his 2b2t vid about the nocom exploit (which is a wild story in itself, please watch it if you haven't before).

But some musing about how nocom might be connected to the lore (which quickly spiralled into some theories about Madagio, the 2 Cucuruchos, and the eggs):

Nocom was an exploit that tracked players in real time, predict their movements, and allowed remote spying on physical changes to locations. Madagio being drawn in by the remenant signal of that could just be a nod to their interest in finding ways to collect information and why they would find Fit suitable for the job.

HOWEVER-- Nocom was built on a Papermc vulnerability that meant it could also work on other multiplayer servers that run it. While nocom was patched on 2b2t, that doesn't mean other servers have patched the vulnerability & the source code has been released by the creators. So Madagio could have been interested in going to 2b2t to get ahold of nocom to use on Quesadilla island so it could uncover the "secrets [it] must have at all costs"-- their POV when tracking down fit shows entity lines so they clearly have some tracking ability/tool.

Maybe they got the nocom code, but found they couldn't use it yet. It's been mentioned before that Fit tried hack clients on QSMP but they didn't work, and exploits get fixed pretty quickly to keep the server stable. Madagio said the only way onto thr island at the time was the Federation train-- presumably the Federation had thing heavily locked down and Madagio wouldn't be able to enter or run any sort of exploit.

2b2t's nocom was made possible because of social engineering-- Madagio could have hired Fit to collect information so it could find a way to successfully manipulate holes into the Federation's security and get onto the island/run nocom.

In the Dec 21st QSMP Info stream, Dark Cucurucho seems to be looking for something the Federation has hidden, and demands Cucurucho tell him where it is. Maybe Madagio is looking for the same thing? Nocom would theoretically allow someone to find hidden facilities/people anywhere on the server.

Where Dark Cucurucho seems tied to the Nether, and Cucurucho the overworld, its becomes pretty notable that Madagio has Fit go through a giant Ender portal.

Madagio being tied to the End also has some interesting implications if you think about the (ender?) dragon that supposedly inhabited the island & created the eggs. While the federation claimed the dragon left when the wall was blown up, there's no actual evidence it was there at the time. Perhaps Madagio is the dragon.

Fans seem to be interpretting the "i am a god" anagram of Madagio literally, which could fit with the ender dragon being a sort of godly being presiding over the End dimension.

BUT it may not be a literal dragon-- the eggs seem to be some sort of science experiements, so what if the anagram is a reference to a scientist playing god?

Maybe Madagio literally created the eggs from End-realm-DNA or something before fleeing/being kicked off Quesadilla, and the dragon story is just what the Federation made up to explain the eggs without having to bring up Madagio.

Maybe the experiements that led to the eggs were about opening up inter-server travel? Madagio said whatever made it leave Quesadilla also gave it server-hopping powers (powers which seems similar in reach to the Federation's ability to pull people to the island/send workers to other places).

The Federation can block interdimensional travel too-- we saw that with the Nether, which the residents eventually broke through with the train bug, implying hacks/bugs are needed to bypass Federation security.

Dark Cucurucho told Forever it wanted to leave, desired freedom, and that the Federation didn't want it to have that. Maybe the thing Dark is looking for is the thing that Madagio created that allows for interdimensional travel, which the Federation stole.

I think the only non-Federation example of cross-server travel we've seen is with the Watcher/Purgatory, but it may have actually been Dark Cucurucho who enabled that, not the Watcher. Aside from Dark being the one to give the residents their tickets to Purgatory via the dice game, Cucurucho claimed the recent security vulnerabilities were due to Dark, so maybe Dark found an exploit that allowed for limited interdimenisonal travel-- if it's tied to the creation of eggs somehow, maybe that's why there were 3 new eggs found on Egg Island?

The Unknown Egg diary Cellbit found could potentially be connected to Dark Cucurucho leaving & making contact with the Watcher prior to the purgatory arc, given the timing (about a month after the residents broke open the Nether, which may have created a door for Dark to get to the overworld despite Federation security and set things in motion). Maybe Cucurucho sent Cellbit to investigate because it suspected Dark was up to something? Cellbit assumed the egg's fate was the Federation's doing, but why would they send him to investigate it then? Maybe it was Dark making a cheap immitation of the Federation adoption center so it could travel, and then abandoning the egg once it had what it wanted?

Cucurucho also said that Dark didn't understand the potential of the eggs, which could explain why Dark would only be able to achieve limited travel.

#qsmp lore #Qsmp #Fitmc lore #Madagio #Fitmc #qsmp theory #Ive not really been keeping up on all the Cucurucho and Federation lore so some of my interpretations there could be off #Also sorta wondering if the binary entities could be connected to madagio attempting to hack and manipulate its way past Federation securit

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suusoh · 11 months ago

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you've already talked what if Johan is horny before. But what if READER is horny? I mean... What will he do/react?

What else other than help you with your predicament. In any way imaginable.

But I actually think before his uhm... sexual awakening with you, he probably would see sex and you cumming as a means to placate you than as a means to like... actually pleasure you.

I actually think it'd take a long while before Johan would stick his dick inside of you.

He doesn't see sexual activities as a form of intimacy (yet!), but rather a very interesting experiment to learn about sexual gratification. He never saw the appeal of sex, all the more he doesn't understand "horniness". He understands it in the way in which he's seen people make stupid decisions just to get their rocks off, but it doesn't matter how much he observes and reads about it if he himself doesn't know how it feels like.

So it's a good thing he has you doesn't he? Gets to learn all about it front row view <3 It's so amusing to him.

You're telling him that if he presses his fingers against a certain spongy spot inside you, you'd literally just go powerless?? just like that?? The human body and its exploitable wonders. He feels like he's found a real life hack or cheat code.

If we're going yandere johan, I can even see him use sex as a means of keeping you pliant as well. If bringing you to countless orgasms has the added benefit of leaving you limp and weak, then why wouldn't he make you cum over and over again?

He'd eat you out for hours until you're crying and passing out, he'll use his fingers to work your insides out while his other hand just holds onto his work phone as he makes calls and negotiations.

And his favourite of all- a remote controlled vibe. so that even if he isn't in the same room as you, all he gotta do is press a little button and that thing inside you would do the work for him of leaving your legs jelly and yourself unconscious from how overstimulated you are.

You'd be so fucked out and tired. unable to think straight, let alone think of actually trying to avoid him.

#Like it's so amusing to him.#Like he gets a hands on learning experiment AND a means of power all from that??? that's it? it's almost too easy to be true.#don't worry though. after some time he'll learn to enjoy sex as well :-)! He'll enjoy the intimacy once he feels how nice it is.#but in the meantime..............#johan liebert x reader #johan x reader #yandere johan liebert #yandere johan liebert x reader #yandere johan #yandere johan x reader #c.johan liebert

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distantkairi · 1 year ago

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For me, Link being "unhealthily obsessed with Zelda and finding her to the point Ganondorf is a footnote" isn't something that I think is "bad" at all, but precisely what makes this version of him remotely interesting (to me) when Nintendo is otherwise so adamant about keeping him a stoic knight most of the time.

It adds a different layer to him, turns him from this perfect, bland stoic boy into someone who only outwardly appears that way, appears like he has everything together, but is in fact flawed inside and a little broken from what has happened to him. A little off. That makes him much more interesting to me. It gives him a major character flaw that can be exploited by his enemies, and what do you know, Ganondorf and the Yiga Clan do exactly that (they even remark on what good bait she makes).

I also find it interesting to think about when he became this way. Was it the years he spent with her in-between games? Was it well before that, when he was aimlessly chasing that "beautiful voice" even before he remembered who he was? Was it some point before the Calamity? Did he become a knight in the first place not merely to follow his father's footsteps, but to one day protect her? I find this compelling to think about. Is making a specific person your life's purpose unhealthy in real life? Yes. It's also very interesting in a story.

And also on that note, isn't him becoming at least a little too obsessed with her a completely natural thing to happen?

For me, if you take away Link's (yes, I'll admit, unhealthy although I kind of like that), obsession with Zelda, then all that is left is the exact ways that people who hate not only zelink but Link himself describe him as all the time: A robot who feels nothing but duty.

And sorry, but I just find that very boring. Dull. Unexciting. I also, then, can't see why on earth Zelda would have feelings for Link if she's just a duty to him and her acts of affection, like sewing him a new tunic, are never returned. Frankly, I think she deserves a lot better than that, to have her feelings reciprocated and a happy ending after all that she's been through.

And to be honest, why would any writer make her feelings unreciprocated when she's basically the main focus of these two games? How does that make any sense? I also doubt any professional game dev working on a deadline would waste precious time writing and coding dialogue about it into the games if it supposedly wasn't meant to mean anything? I honestly rather dislike people brushing off things like Kass's song, because it ignores that it was purposefully written by the game's creators to tell the player something. It not only feels disrespectful to whoever wrote it, but ignores an extremely common convention of video games. I don't think it's really very fair to call it "bad writing" simply because it delivers the information like a video game and not like other visual mediums would have. Video games have always demanded the player to read things, investigate and read between the lines. Especially so when they are more focused on gameplay, which is exactly where Nintendo's focus lies.

And when it comes to "it should have been more obviously shown", well, look how people complain even when it's subtle? If you're someone who hates it, why complain about the romance not being overly blatant? Isn't that good? I mean, clearly an even bigger fit about it would have been thrown if they had been even more obvious, so personally, I think that the way Nintendo went about it was perfectly fine.

#zelink #totk #tears of the kingdom #link #breath of the wild #botw #legend of zelda #tloz #loz #zelda #princess zelda

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specss00 · 6 months ago

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✨the moots✨ playing minecraft!

@asqadia-banthen: the only one actually playing the game like you’re supposed to. I just know this goober has an army of dogs, too. Minds their business in their castle on the hill, Definetly

@mxmorbidmidnight: CLINCAL griefer. If he catches even a WHIFF that you have anything remotely valuble, she’ll be at your base and it’s gone. (Also rocking the permanent dirt hut)

@capn-atlas: travelling merchant vibes!! Except you’re gonna get scammed if you buy anything-😭😭 Also, the first one to get fully kitted out with diamonds!

@thelab-experiment: redstone genius, also kind of a menace bc it keeps putting traps everywhere. Also the only one who can build worth a dime.

@fluffywolfboyy: REFUSES to build a house. Constantly dying to mobs and getting sent back to spawn bc he WON’T SET HIS DAMN RESPAWN POINT-

@bees-not-wasps: yearns for the mines. I just KNOW this man is rocking the coal miner fit constantly. probably has all the music discs too, just by the sheer NUMBER of mobs he’s killed.

@whyshouldilistentoyou: CAPITALISM. the SECOND the server starts, they are taking over a village and exploiting resources. Definitely has a morally questionable villager farm.

@feral-ass-raccoon: professionally unemployed. Just here for the sillies and nothing else. Probably spends most of their time wandering around and doing insane shit like burning down an entire forest

@crowthekiller: VILLANNNNN. Does some actually metal shit like taking over a nether fortress or smth megamind coded. Aura for days.

#my moots #minecraft #tumblr moots #hey guys

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qwertyprophecy · 2 years ago

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The Illusion of Aggravating Player-ness

Pictured above: demo footage of me attempting to hit the Hero when their dodging program is turned to maximum. (I can only test this for so long before getting annoyed, which is exactly the vibe I'm going for.)

More about the feeling that has inspired The Dark Queen of Mortholme under the cut:

A couple years back I happened upon a tumblr post identifying a surprisingly common sentiment when playing Pokémon. The player has an edge over NPCs in battles for basically the entire game, because unlike those silly programmed losers we've figured out how to use healing potions. So upon getting to end game and witnessing our first case of the NPC trainer healing their Pokémon to full with a hyper potion, it feels like such bullshit. How come they get to do that? Only I get to do that!

There are instances of little details in many other games that evoke a similar emotion, like this one boss in Sekiro who can sneakily counter the player's charged attack with a move that till then only the player has been using. (Please let me know if you personally recall any examples!) The sheer audacity of non-player characters using player-only moves, being annoying as I am! It's a deliciously strong reaction that goes beyond the game's difficulty ramping up; I think it's about recognising ourselves, the essence of distinctly player-like behaviour in this fictional entity made from code.

While thinking about that I also happened to be mulling over what I considered a huge missed opportunity in the end boss of the game Katana Zero. Without spoilers, let's just say that it made me consider whether it would be even remotely doable to create a narrative boss fight against a player-like entity who appears to get to save and re-try the fight by themselves. In Undertale there's a brief illusion of a NPC saving and loading game states, but they don't quite do it like a player would.

The illusion would have to include a feeling that your opponent not only gets to try again but is learning from their mistakes. Furthermore it's specifically an advantage they have over you; you don't get to try again, nor do you get room to improve. And unlike them, your preprogrammed skillset is designed to have exploitable weaknesses and a static power level which can be surpassed.

No matter how skilled, you'd be doomed to lose against an opponent like that. The bosses we beat have it rough, huh. I myself am not particularly good at video games–when I try to get past a difficult boss fight in any game where those are designed to take a fair amount of attempts and learning, I feel in my bones that meta-level story of striving to overcome a seemingly impossible obstacle. It's a journey through various emotions from eagerness to frustration, culminating in the triumphant success.

But from the boss's point of view, that story takes a very different shape, involves different emotions, and (assuming the player keeps playing) invariably culminates in a predestined loss. Sounds unfun. So obviously, that's the experience I aim to provide! (Unfun games really are my forte, with my previous work simulating jubilant experiences such as job hunting blues! anxiety! exam anxiety! trying to fix a spaceship engine that's killing you!)

Who wouldn't want to enjoy being the most powerful being in their universe until some little dipshit bursts in and locks you in an unending battle till they’re satisfied and you’re dead?

#the dark queen of mortholme #indie dev #game dev #game development #dev blog

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queenlua · 8 months ago

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My favorite example of this is zlib. Just like xz-utils, it's a compression library. Arguably it's the compression library, because zlib is absolutely everywhere – including in OpenSSH. New versions of their source code are distributed from zlib.net, and the server running zlib.net is hosted by a small company in Michigan called a2hosting.com where a managed VPS starts at $26.95/month. This hosting company is particularly fond of using CPanel and exim, both of which are enabled for zlib.net. That means the supply chain integrity for practically everything relies on the integrity of a2hosting.com and the absence of any remote exploits in CPanel or exim. The track record here isn't exactly encouraging, and I haven't even got to Pure-FTPD, Apache httpd, or Dovecot (and this is just the stuff that's directly on zlib.net, we're not even considering how a2hosting.com itself might be attacked). Find a good vulnerability in any one of these projects, or a way to backdoor them for that matter, and you have a good shot at backdooring the zlib source code distribution.

#lmao #thanks. i hate it.#filthy hacker shit

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jeaninelatragedia · 8 months ago

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A big part of why Artists feel so negatively about people in the tech industry is that the Tech Workers also fall into the trap of believing their work is more Noble And Superior than anyone else's, and they tend to get pretty obnoxious about it too (Even if Tumblr these days doesn't have those types on here anymore). It especially doesn't help that there's always been a huge push in American culture to value hard sciences/STEM over soft sciences like arts and philosophy, which results in people who think that STEM is the only intellectual pursuit that's Useful, and another who believes the exact opposite and that only the humanities are Truly Intellectual.

i hope you won't take this response too disparagingly because i truly do see what makes you say this. but this is kind of a made up problem. just like how there are people discouraged from being artists, there are people discouraged from being scientists or engineers, or honestly, even people who are discouraged from ever wanting to engage with bureaucracy or sociology. i know a lot of engineers who've gone through this and who have never remotely had that sort of superiority complex, because they're the people exploited to have to jump between failed start up to failed start up, or crushed under the tedium of having to code for multinational corporations without them owning any of their code and being subject to extremely violent crunch times. none of those people believe their work is Noble and Superior, probably because they don't get the luxury to see their work as their own (because, say, a graphic designer who is by all means An Artist in the aesthetic sense will also lack that luxury.). you're conflating the very real proletariat workers of these industries with their bourgeoise counterparts, the ones who hold the means to pay the coders, the ones who launch the startups with loans from their rich parents, the ones who don't actually do the production or the labor, who do have a very real entitled attitude, but not any more than academics in humanities, or publishing houses for books, or art gallery owners. any sort of perceived "favoritism" from hegemonic culture exists both ways because it's, fundamentally, a distraction from looking closely at the class relations existent in any industry at all.

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monetizeme · 5 months ago

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"On November 20, 2024, Shubham Shah and I discovered a security vulnerability in Subaru’s STARLINK connected vehicle service that gave us unrestricted targeted access to all vehicles and customer accounts in the United States, Canada, and Japan.

Using the access provided by the vulnerability, an attacker who only knew the victim’s last name and ZIP code, email address, phone number, or license plate could have done the following:

Remotely start, stop, lock, unlock, and retrieve the current location of any vehicle.

Retrieve any vehicle’s complete location history from the past year, accurate to within 5 meters and updated each time the engine starts.

Query and retrieve the personally identifiable information (PII) of any customer, including emergency contacts, authorized users, physical address, billing information (e.g., last 4 digits of credit card, excluding full card number), and vehicle PIN.

Access miscellaneous user data including support call history, previous owners, odometer reading, sales history, and more.

After reporting the vulnerability, the affected system was patched within 24 hours and never exploited maliciously."

#surveillance capitalism #big tech #us politics #artificial intelligence #technology #privacy #ai #subaru #starlink #elon musk #billionaires #canada #japan #united states #america

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3handshakepvt · 3 months ago

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What is Cybersecurity? Types, Uses, and Safety Tips

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#cybersecurity #data security #networking

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