#syntax fucks for real

[ducksarebloodthirstylittlebeasts]

hi sorry me again. apparently the dyslexia made me think you said syntax sucks. tbh I mostly say it affectionately though. like "wow this is the worst/pos" and then I sit there and cry because we're doing the thing about how syntax interacts with semantics and this specific topic is so mean :( so actually the period of enjoying syntax is over ((until next semester when I'll get back to binding normal, non-semantics-related things. please. please this is so mean to me/hj))

oh damn yeah when it interacts it's both the best most interesting thing and the worst nightmare (I have a semantics my beloathed tag hanging around for this specific reason) hang in there then, I promise syntax is fun without lambda everywhere...

also syntax brain rot means I read "this is the worst part-of-speech" lol

give me a shout when you're back to the beloved side, will be glad to have you back!

[vegalocity]

Time for 'Vega rambling about spider demons' again

The concept: Syntax thinks he's much closer with Huntsman than Huntsman thinks.

Like, Huntsman is fully 'this is my rival/enemy we work together for the queen's sake but i hate him and he hates me and we're always arguing and competing with eachother and i'll put a knife in his back when he stops being useful'

and Syntax is fully 'this guy starts arguments for fun and has a combative personality, so it means probably that him constantly singling me out that he wants to be my friend so naturally the best response is to answer in kind so he knows i understand and appreciate his form of communication'

[shoforca]

Horseshoe theory real but only for linguistics

[alcedeerie]

🪄 lingwizard Follow

Magilinguistics and magiconlinguistics are so underrated. The idea that the specific language and syntax used to cast a spell can alter the efficiency and flow of a spell is amazing; it’s honestly infuriating how many people, including many mages, think Latin is the only valid conjuring language even though glossolalia is a WELL-DOCUMENTED PHENOMENON. I use many other languages in various spells and it’s really fun. Would recommend.

🪶 featherspells Follow

YOU CAN DO THAT? YOU CAN TRANSLATE LATIN SPELLS INTO A DIFFERENT LANGUAGE AND THEY’LL WORK!?! EVEN YOUR NATIVE LANGUAGE?!

🌱 gandalfbignaturals Follow

Yeah, welcome to the club! Using your native language isn’t recommended for summoning forces from other realms, though. The portals tend to collapse if you do that.

🗝️ keytomychest Follow

Wait wait wait, I just consulted my familiar about this, is magiconlinguistics modifying or inventing an entire language to optimize your magic? Because that sounds like something both extremely commendable and also batshit insane.

🌳 druid-ruin Follow

Yeah, that’s basically exactly what it is. We’re surprisingly pretty chill. I mean, except for that one time where someone hyper-optimized Taikureiden Suomen Kieli V5 to create the first, and most dangerous, known instance of the Everything-Damage Fireball spell, but we usually don’t talk about that.

🪄 lingwizard Follow

Ah, Taikureiden Suomen Kieli, the most absolutely broken magilang to ever exist. Go Finland, give us more fucked-up spells!

🪶 featherspells Follow

wait, the Everything-Damage Fireball is REAL? I thought you guys were joking.

🌳 druid-ruin Follow

We WERE joking. ONCE.

🔥 icastfireball Follow

on one hand, this is really cool and all, but on the other hand, i'm scared of what this can do. However, on the secret third hand, i kinda wanna modify a language to make demonic creatures physically sick upon hearing it, cause i wanna do a little trolling.

🪄 lingwizard Follow

Grand Mage Amara Lightningchain coming up with the idea for the Volapük Silananazunik experiments be like:

🔥 icastfireball Follow

hold on let me look something up

🔥 icastfireball Follow

wh. what the fuck

[paper-mario-wiki]

hey you want to know why the only major selling points of AI right now are the types of generative mock-art that it creates, while all other uses are mostly just talked about and all real-world tests of it have been catastrophic failures?

art is one of the only human-made things that does not require any degree of precision to be considered acceptable. an AI cant code because it would need to master precise, contextual syntax. it cant design the floor plan of a building because it would need to comprehend precisely how to arrange a room. it cant drive a car because it would need to make sense of everything that could possibly happen on a roadway to make decisions that are on par with a human acting on instinct.

there is so little AI can actually do, and the freak cunts trying to cram these LLMs down our throats are painfully aware that as soon as people start to recognize AI art as inherently flimsy and low production value (already happening), and AI writing becomes so incestuously self-fed that it's instantly recognizable to the human eye (kinda also already happening), theyre gonna be fucking sunk.

thats why youre seeing advertisments everywhere pushing AI so hard, with taglines like "you cant stop the future" or "welcome to the future" or whatever. it's the same reason crypto bros got a super bowl ad. they got what everyone wishes for: to get rich quick. unfortunately, after they flew up that mountain at breakneck speed, all they found was a sheer cliff face that they now see themselves barreling towards.

we can only hope their wheels are greased and their brakes are cut.

[evegwood]

Nosferatu’s Contracts: A Linguistic Deepdive

(This is one half of a blogpost I put on my website! Read the full thing for a full list of sources and even MORE information on the contract from the 1922 film).

So I saw the new Nosferatu film the other day and while I didn't think it was all that fantastic (I loved the first half okay, calm down) the one thing that did stick out to me was the absolutely gorgeous scripts used for the contract that Thomas has to sign. Thank you to this Reddit post for sharing a picture of the entire thing:

The BEAUTIFUL red calligraphy is called Vyaz, a form of decorative Cyrillic calligraphy. In Vyaz script, letters are all joined and interwoven together to create a beautiful, ornamental typographical piece. The Wikipedia page about it is fucking pathetic but it does feature this example of text with a coloured breakdown of the individual words that comprise the piece:

Obviously this itched my language brain like crazy. The best resource I have found since to learn more about Vyaz is this full, free guide written by Viktor Pushkarev. He has also released a 254 page PDF for 25 euros called the Modern Slavic Vyaz Calligraphy Workbook and I think I'm going to have to buy it. His examples look stunning and I would love to learn more about this style of calligraphy. Thank you, Nosferatu.

The Vyaz calligraphy is only one style of writing used in that contract. The other is a completely different style of writing and, surprisingly (or not, maybe?) the best place to look for answers turned out to once again be Reddit. This commenter suggests it's another form of Cyrillic:

Here's some Glagolitic, to compare:

In a different thread, this commenter claims to have cracked it:

This commenter replies with an addition:

So that's cool! In that same thread, this commenter says that the contract looks like a Romanian hrisov, or medieval chancellery charter, and recommends this video explaining how they were written. As you can see from the example below that the commenter shared, these traditional contracts look pretty damn similar to Orlok's contract! So let's talk about them real quick, because it's interesting!

The video is by Adrian Gheorghe, a historian whose speciality is the editing and translation of all documents regarding Vlad the Impaler. He talks about how unlike letters, which would be written in Latin, these charters were written in Slavonic, a liturgical and "literary language, based on Slavic dialects of the Balkans, developed by monks in the 9th century" (X). Viktor Pushkarev suggests a book called Grammar of the Church Slavonic Language if you want to learn more about the grammar and syntax. Slavonic was often written in Glagolitic and hey, we've seen that before!

These charters also had explicit and strict structures that they adhered to. This strict standard served to not only prove the legitimacy of a document, but that "the document was drawn up with all due solemnity" (X). Interestingly, each charter would invoke God in the opening lines or would simply have a cross at the beginning, and according to the translations given above Count Orlok's contract does not seem to include this. I recommend checking out the video in its entirety to hear more about this cool bit of history.

But of course... that's not all that's written on the contract, is it? Thomas signs it, and he signs it in Kurrent script, an old traditional form of German cursive. If you'd like to learn how to write in Kurrent, there's a free guide by Margarete Mücke right here! Here's a screenshot I took of the scene along with a Kurrent alphabet for comparison:

Kurrent has a really interesting history. It evolved from gothic cursive at the beginning of the 16th century, which saw a lot of use in the medieval ages. Compared to the vast variety of gothic cursive writing styles, Kurrent was "beautiful, fast to write and comparatively legible" (X). It soon moved out of use solely in chancelleries and into everyday use, becoming more and more standardised.

This script saw a bit of a rollercoaster of popularity; in the early 1900s it was established and taught in all German schools, then steadily became seen as "antiquated and ugly", then the Nazis declared other writing scripts "Un-German" and promoted gothic typography until 1941 when Hitler declared Kurrent and its sister writing style Fraktur "to be of 'Jewish origin' and therefore taboo". More information about this can be found on this page about the history of Old German Script (another name for Kurrent).

So that's that! Count Orlok's contract is based on traditional charters of the region with set structures to highlight their legitimacy and importance as documents, using traditional scripts and handwriting of the time, and is also a style of document that is directly tied to Vlad the Impaler, the inspiration for Dracula and ultimately Nosferatu. Extremely cool and also totally makes sense considering Robert Eggers interest in authentic linguistic detail (like I didn't even mention the language that Orlok speaks throughout the film, which is Dacian, an extinct ancestor of Romanian). Lots of really tasty stuff to look at and I had a blast putting it all together.

Except.......... it's not the end. There's a whole second saga to be told about the contract from the 1922 film, and if you wanna read that (I get deep into talking occult symbols and angel languages) you're gonna have to read the original post on my site!

[catboybiologist]

the real way to tell if someone Uses Something (programming or otherwise) is the Rage - Specificity ratio.

General rage at Thing? could be made up. deep frustration that ends up a rant about Something Fairly Slecific? thats a User Baybee!!!!!

I'm in a VERY strange zone where I program a lot, but not as a software engineer, so I have a really fucking weird combination of patchwork knowledge about it. I know a lot about the exact subset of programming that's relevant to my data analysis, and out of my depth for a lot of other things.

Slicing vs indexing syntax is so goddamn common for me though, and I mean. Pretty foundational to python as well.

[april]

if you went back in time to when I started contributing to xkit, and told me we'd be generating this selector string someday, i'd interrupt you and ask what year you were from, and not believe you if you gave me a year prior to 2035.

:is([data-timeline="/v2/timeline/dashboard"], [data-timeline-id="/dashboard/following"], [data-timeline-id^="following-"]) :is(.I1C5C, .XKCjm, .iM0gm, .HPWUP, .gPQR5, .gG278, .GzZtE, .dzJuF, .HT4SV, .zNXsU, .pgfyp, .X4sMj, .fxR1V, .QiSmE, .GIEHd, .q1ZAL, .aVu3s, .FQkf4, .y8Hml, .Qq2kF, .y7ZcS, .S3E1Y, .gg0IL, .RkANE, .R2VSD, .rGuEh, .M4ozn, .pNyDU, .Jexdo, .HEmvO, .NRB1z, .veGhd, .sGELZ, .IO8lN, .Ax_5I, ._45C1, .qE7QX, .PenwM, .Qihwb, .BGh2j, .VE_M2, .n4if2, .DqHCa, .uzQXY, .leVy7, .yCNr1, .X2bNy, .n3ka2, .xMd0G, ._72ef2, .XuT0g, .Rn2ZH, .UH33k, .v4Qva, .HaeOc, .c7xit, .Jslv2, .o1SJL, .WEIv6, .PuLtZ, .UPJCY, .qb7cY, .oX7Oa, .cfBaP, .As9E4, .Yunii, .EatnB, .p3LhK, .q9Ryt, .skjTR, .mXiaF):has(~ div [tabindex="-1"][data-id]) > .LQ3tN

If you went back in time to when I started contributing to xkit, told me we'd be generating this selector string someday, and asked me what it did...

[the-most-humble-blog]

“GOOD MORNING. THAT KNOT IN YOUR STOMACH…”

A Blacksite Literature™ Scrolltrap — Codename: Draft Evolution Directive

---

Good morning.

That knot in your stomach?

That heavy feel in your chest like your ribs are harboring a war drum?

That flash of white-hot anger when someone disrespected you in front of others and you swallowed it?

Yeah — that’s the draft.

That’s the manuscript.

That’s your source code trying to punch its way out of your body.

Most people run from it. Numb it.

Vent it to friends or dissolve it in “content.”

But if you’re here?

You write it.

You convert it.

You weaponize it.

Because the first draft isn’t meant to be clean.

It’s meant to bleed.

---

I. First Drafts Are Supposed to Hurt

Stop trying to write like an MFA student on benzos.

Write like a goddamn witness to your own crucifixion.

Let the shame speak.

Let the flashbacks shape the metaphors.

Let the “fuck yous” stain the margins.

Because that’s the real draft —

Not the one that earns applause.

The one that starts with:

> “I’m going to fucking die if I don’t say this.”

---

II. The Evolution Through Reading It Back

The real edit starts when you read it to yourself.

And a flash hits you like:

> “F*ck no. That’s not how it happened.”

That’s the rewrite cue.

Every time your own draft triggers a surge of buried truth, you level up.

Suddenly, “It did indeed hurt,” becomes:

> “It hurt like the spanking of an overworked parent, whose hand was a little harder tonight.”

No, it’s not polite.

No, it won’t pass a sensitivity reading.

But you lived it. And that makes the edit holy.

---

III. Emotional Truth Is Worth More Than Literary Polish

You’re not trying to win awards.

You’re trying to exorcise something that’s been rotting in your jawline since middle school.

You’re writing because someone told you to shut up

when your soul was mid-scream.

You’re writing because your dignity

had a knife pressed to its throat and you smiled anyway.

And now?

You’re taking that smile and converting it into linguistic napalm.

---

IV. Your Job Is to Disrupt the Reader’s Nervous System

Writing isn’t storytelling.

It’s nerve hacking.

When they read you, they should feel:

Goosebumps

Heart rate spikes

Sexual confusion

Anger at their father

Tears they didn’t authorize

And that doesn’t come from “good writing.”

It comes from honest fcking writing.*

---

V. The Line You’re Afraid to Keep? That’s the One That Works

If you look at a line and think,

> “Someone’s gonna judge me for this…”

Then keep it.

If you think,

> “This might make people uncomfortable,”

Then sharpen it.

If you think,

> “This isn’t poetic, it’s just real,”

Then highlight it and build the whole goddamn post around it.

That’s not bad writing.

That’s corrective surgery for the part of the culture

that made you lie to survive.

---

Final Transmission:

You are not here to entertain.

You are not here to impress.

You are here to burn the poison out using syntax and memory.

So start ugly.

Get raw.

Write the line they told you to cut.

Say the thing they swore was “too much.”

Because that’s where the real writing begins.

— Blacksite Literature™

Codename: Good Morning, Gutpunch Draft

Classification: Weaponized Revision

---

Use it as a mantra.

Reblog it to someone who needs that tiniest bit of motivation in a world that tells them they're not good enough. Don't be an asshole.

[xhollowfaerie]

silverv (sadness hours) drabbles #2

warnings: angst, character death, mourning, big big sadness :( a/n: I haven't even finished the game, I just vaguely know some of the endings, so idk if this even counts as spoilers? it's more of a what-if I imagined bc I don't even know if it really makes sense but this isn't super canon compliant, I just really missed my partner while they were at work and ended up depressing myself more lol I cried sm writing it and they cried reading it so idk if there's typos or inconsistencies or weird syntax, neither of us can reread it well enough to fix them bc we're saps

- End of Beginning.

“Hell of a ride, huh, Johnny?” Blood spurted out of her mouth onto his clothes as he held her. Johnny had never trembled before in his life. Not when he performed in front of thousands. Not when he raced through Arasaka Tower. Not when Adam Smasher blew him in half. 

“Don’t do this to me, V” was all he could say through the lump in his throat, feeling the drips down his face before seeing them roll off her cheeks.

Fuck. He’d thought it over and over, but he never fucking told her. And now, he’d fucked up. They were out of time.

She was so beautiful. V laughed, clinging to his hand and squeezing it reassuringly. He squeezed it back before cupping her face, running his thumb over the mix of his tears and her blood.

Both of their visions glitched and a rapidly climbing percentage aggressively flashed at them.

“Fuck, FUCK! It wasn’t supposed to go like this, I was- I was gonna fix it, V, I- FUCK!” Johnny broke down and buried his face into his hand, holding V closer to him as he looked away and clenched his teeth, bumping his balled up fist into his forehead.

“This isn’t happenin’. Tell me this is just one of our nightmares. We’ll wake up and blow these fuckin’ ‘saka bastards off the map.”

All she could do was smile up at him, reaching her hand to softly brush some hair out of his eyes.

“I know you’ve heard me thinkin’ it, but I’d never admit it. Your fangirls were right... You are a hunk.” Her own eyes filled to the brim with tears. She held his face lovingly.

“V, listen, this isn’t how this ends, I won’t fuckin’ let it-”

“Johnny.” “Damn this fuckin’ cesspool of a world, fucked full to the brim with greed, I’ll burn it ALL TO THE FUCKIN’ GROUND IF IT MEANS!-” “Johnny.”

His miserable expression lingered on her smile. He touched the warm hand over his face, and both of their expressions flickered with the faintest relief, followed by the deepest sorrow.

One last time, they get to feel each other’s touch. 

And this time, they both knew. It was as real as it could get.

“We both suck at this, don't we?” Her voice. No, he couldn’t fucking imagine living in a world without her voice, without their bickering, without hearing her scream her heart out and play his old songs on her guitar…

“I’m sorry, Valerie.” Her eyes widened as he apologized, before leaning down to rest his forehead against hers. “I’m so fucking sorry.” She took in his scent for one last time. Her favourite mixture of cigarettes, whiskey and chilli peppers, that stupid mac and cheese he always had her make…

He would never forget how sweet her voice sounded.

“It’s okay.”

With the last of her strength, she held her necklace, the fateful bullet Vik had plucked out of her skull, the day her and Johnny first met. The day she died.

“Take care of Nibbles, alright?”

She held it to his chest, taking his dog tags between her fingers and tangling their necklaces together with a sly grin.

“Go. And promise me… you’ll really live this time. For yourself. For…” Johnny didn’t want to hear it. He inched in closer, their lips barely apart. 

He didn’t wanna hear it.

Their kiss was short and sweet. Johnny didn’t want to let go, so she whispered against his lips.

“I forgive you, Johnny. I’d do it all over again, and there’s no other rockerboy I’d rather cuss out  in my head until the end of my days.”

With shaky hands, Johnny took off his dog tags and placed them around her neck. His sobs worsened, and he tried to hold her tighter, squeeze her harder; as he did, she began dissipating into ones and zeroes, melting into him until he caught one last glimpse of her before she was completely gone.

“See you in the next one, John. Don’t miss me too much.”

Johnny collapsed onto the bare floor of code, feeling the agony of the Relic inside their head. 

Feeling the thing he’d feared the most.

He couldn’t feel her anymore. At all. All that was left in her wake was her necklace. He held it so tightly his knuckles turned white. The last thing he remembered was the sensation of his palms going numb.

- Sailor Song.

Johnny flicked the cigarette into the dirt, taking a sip of the pomegranate soda. V’s tastebuds relished at the familiar drink, making a laugh bubble in his chest.

“Fuck, V. Your body really likes this shit. It don’t even taste like mudwater no more.”

Her bullet necklace dangled from her- his neck.

He glared at the view of the city off the cliffside, resting against the hood of their Impala.

His shaky hand squeezed the paper it was holding onto before catching himself and loosening his grip, lest he wrinkled his most prized possession. Wordlessly, he tucked his wallet out of his back pocket, opening it up to a small picture of V’s smile he had taken one time she got drunk and he used her lack of sobriety to take a selfie of her grinning like an idiot with messy hair and no makeup. He thought he did it to fuck with her at the time. Now he knew he did it because he was aware, in the back of his mind, of how much he’d miss her.

He stared at the picture for a moment before stripping his gaze from it, catching his reflection in a nearby puddle. The way the face staring back was as much him as it was V both destroyed him and helped sew back together the irreparable gush inside his heart. He struggled to settle into her body, to claim it as his - it felt wrong - but he could no longer recall struggling to call her home. So he did his best to keep bits and pieces of both and carefully stitch them together. He let her natural roots grow out and dyed them black, the rest of her hair staying pink. Johnny used her muscle memory to redye it from time to time, remembering the countless nights he’d try to explain to her, time and time again, that he couldn’t see the damn back of her head, woman, I can’t see any more than you do, you-

“...drive me insane” their gravelly  voice rang out of his throat. “You’re a dick, you know that?” he replied to himself, before returning to the lower, rougher tone his voice had settled in her vocal chords at. He had found himself replaying many of their conversations out loud, lately.

“And you’re a cunt. We might just fit together after all.”

He cleared his throat after a moment of silence and slid the aviators back over his watering eyes. “Christ, Johnny. Talkin’ to yourself? Who’s a senile old man now?” The words took him by surprise, so much so that his eyes widened and, for a moment, darted around as if to catch a glimpse of her. The gust of wind howled past him, leaving nothing in its wake.

He took one last fugitive glance at his arm, Johnny + V permanently inked into them. He broke into a grin before grimacing and grinding his teeth, hopping off the hood to kick an empty beer can and grab his head, letting out a howl.

The words scribbled in V’s handwriting resided within the letter in his wallet, the same words he had taken the liberty to tattoo on V’s other arm, opposite of their stupid tattoo he got when he took over her body one time. The note she had left him the day she knew was their last together, taken out of a poetry anthology they had been reading over cigarettes and bourbon for weeks, whenever they woke up from a nightmare.

"Where you used to be, there is a hole in the world, which I find myself constantly walking around in the daytime, and falling in at night. I miss you like hell. ― Edna St. Vincent Millay"

[shabbytigers]

voice evolution on t is at an interesting stage, allow me to blather about it, may have found a useful trick for shrinking the uncrossable gap between low and high ranges

ok so status

new low voice range: exists. interesting af. still hinky and unreliable and ~nothing i know about projection and support from my lyric mezzo past helps, bc it’s not just a different procedure but one i don’t have a mental model for — trying, rationally and cognitively, to project correctly is like i’m a character in Flatland trying to point at the n+1th dimension. my current plan is stop trying to think about it and wing it, like shower, spotify, bad karaoke, whatever to develop a stock of sense memories, not just song by song but literally phrase by phrase. (like trying to learn a language by talking in it instead of studying grammar and syntax, which i’m very resistant to wrt languages but this is different.) anyway though fuck alla dat: the real point is that johnny cash is now like eighty percent sing-along-able and i’m the fucking king of the world about it. where did this even come from, the men in my immediate family are very high tenors? i don’t think it’s settled enough to label, and, like, 360 idk here, but my money is firmly on baritone

medium-high voice range: back from the war. i’ve mostly stopped getting that thing where i go to sing and got silence. the high end is probably still gone, but i was jealous of the altos and not the coloraturas my whole life so i’m cool with it; the temptation to karaoke “wuthering heights” was a curse i’m well rid of tbh. it’s bedraggled and fucked up and needs intensive rehab but i think it’ll be okay

but between the two? there lies an uncanny no-man’s-land

theoretically i could sing both parts of “henry lee” now, but i wouldn’t dare. i can’t get from low to high range or vice versa without some sort of hard reset that may or may not be executable in the v short time between two verses

this seems to be a stage people go through. i found a reddit post that described it acutely. so yeah. midrange transition from chest to head is not currently functional

so and but i think i might’ve just found one weird trick to train the problem away

“in dreams” by roy orbison

starts low and climbs high and then higher with a lot of swooping and sliding: therapeutically it feels exactly on point. i’m gonna do some shower exercises with it. rip my roommate and the neighbors

h/t david lynch for the suggestion

[snailsnaps]

Part 2 of a Computer Science student's analysis of the FNAF: SB intro

Full with tech lingo, abundant personal interpretations, and translations so that my tech illiterate fellas may undertand whatever the fuck im yapping about!

This post is written under the context that you've read my last analysis. I highly recommend you first check out these two posts before continuing with this one if you haven't already: > First post + Continuation ( IMPORTANT!! ) > An addition to the first post

Once you've read through those two (three?) posts, come back here! You're back? You've read them? Awesome! Let's begin then. =)

Reminder! This analysis has been done based off of my own understanding of the subject of both computing and programming - which I am currently studying. I would also like to yet again shout out this reddit post, that also gives a great perspective. Definitely check it out if you're interested later!

Also I have not re-read this, you may find typos - don't hold it against me, they will be fixed, someday =(

Now then, fellas, this is where shit gets wild.

Last post, I talked about the command box we can see at the top right corner of the intro - what each command did and how it basically corresponded to what happens to freddy in the events of the intro.

However, you might recall I mentioned a second command box, the one found at the left side of the screen. This command box is by far the most important piece of information we have throughout the entire duration of the intro. Mostly, because it changes 3 times.

It changes a total of 3 times in the time it takes for the right command box to finish.

Each time it changes, it displays new lines of code. And every single line of code it displays, tells us a lot about what is happening to Freddy.

This is the first block of code that we get:

system32> Get-568_win heat_869%yTnu_bl8 lvl_b> 228.wst serial.dot_btb rec.556> dtd /

You might inmediately realize that the first line of code from this command box matches exactly the one from the first analysis. Here are both of them as comparison.

Hopefully, you've already made the connection. This command box is the one possibly being run by the Glitchtrap/Vanny Virus. Whatever lines of code appear on the command box to the left, are the ones being executed by the Virus - and they affect Freddy in real time. However, the command box on the right ir Freddy's, so to speak.

Both CLI (command line interfaces) are being run at the same time - yet independently of one another. Keep this in mind.

I don't want to go too in depth with this first block of code. All you need to know is that it moves around some directories and runs something called 'dtd', wich could be a command or a program.

The next two blocks of code, however? Ohhh damn... This is it, fellas. This is what I've been waiting for.

Now, I want you to know that this doesn't quite resemble any 'real' code, at least not at first glance. I do believe that it is a very 'condensed' form of the Python programming language, since the syntaxing of the commands shown here somewhat resemble how a string written in Python would look like.

So, I have taken the time to try to decipher what each line means, and what they do. And well, let's just say it explains why Freddy wasn't affected by the Virus in the first place.

def rule(x) return warning78 init; self_overdrive abort(3)RTLKt abort(5)XGE END

This is the second block of code that we're shown, so lets break it down.

def rule(x) return warning78 init;

This string would define "rule" as a function, specifying "x" as the parameter. Basically, this line specifies that if the command rule is inputted, it should return whatever value (or argument) x has taken.

Normally, define is followed by a return function, which is why I've shown them together, as well as the init; command.

The command return followed by "warning78", makes it so whenever we call upon the function rule, it shows us whatever warning78 may be - and judging as to what happens in the intro, it could be any of the multiple warnings that appear in Freddy's GUI. Or it could also easily be the big "WARNING!" message that can be seen the entire time near the top of the screen.

Lastly, the init; command isn't exactly a standardized python command - but it is a common abreviation of the initialization command, where in the field of programming, it means "the assignment of an initial value for a data object or variable". Basically, it's when you assign the initial values and variables to a program so it can start.

All in all, these three lines create a command that, when called upon, gives out the warning78.

self_overdrive

Again, not really a python function, but important nontheless. This command doesn't have a specific meaning, but we can try to understand what it does.

The term overdrive doesn't really exist in the field of computing/programming. However, it is asociated with overclocking - "the practice of increasing the clock rate of a computer to exceed that certified by the manufacturer" - Overdrive is also a term in the field of music, also known as distorsion, which is when you force an amplifier to output past its limits.

Both of these definitions go around the same concept, pushing a computer to its limits so that it works better, or faster - even while it possibly damages the computer.

We can then assume that the function self_overdrive is making Freddy's system run pasts its usual limits. Which is why I believe Freddy's integrity level plumits during the intro.

abort(3)RTLKt abort(5)XGE END

Lastly, we have these three lines.

The abort function isn't a real python function - but I believe you can asume what it does. Both lines are attempting to kill something - a program, a process, another function... However, I am not sure wether these two are really functions, since they could very easily be error handling messages. Essencially, warning messages that the system returns when something crashes, for example.

The last line, END, specifies the end of this string of code.

Which leads us to the third and last block of code. The one which in my professional opinion, is the one that reveals to us why Freddy's cool with us during Security Breach! =]

report.NULL gridlock [ax674] init_task>void alloc [overload] SW.failure return /

THIS IS WHAT WE'VE BEEN WAITING FOR, FRIENDS. THIS IS IT. This is the part where I had the most fun with this analysis...

report.NULL

Now, usually report, in the field of programming and software, it means to record or log something. For example an error log, or crash log. However, it being followed by NULL could also mean that this is an error handling message of sorts.

In computing, Null is, well, zero. It's nothing. It's the absence of value, when something that should be there, isn't.

From this, we could gather that this is a warning message that attempted to report something, yet failed to find anything to report back. No value at all.

...or, we could take this line literally. Taking into consideration that this code is being executed by the virus - this line of code could be taken as an attempt by the virus to stop Freddy's system from freaking out.

Remember that this entire code is being executed as Freddy's actively getting a big flashing WARNING! message. So, this line of code could be an effort to silence it, returning a null value to a warning message.

Both scenarios are plausible, so stick with the one you think fits best!

gridlock [ax674]

This one... man... this line was wild. It's where everything clicked for me. You will want to ignore the characters [ax674], what we truly care about is the first word: gridlock.

You see, a gridlock isn't really a term used in computing at all. It is a term refering to a "severe congestion of traffic, where continuous queues of vehicles block an entire intersection". HOWEVER, gridlock is also known as another term for deadlock.

A deadlock is what's known as a stalemate. A situation where two opposing parties come to a point where no progress can be made. In programming, it means basically the same thing.

A situation where two processes can't proceed, since both of them are waiting for the other to release a resource. Now, imagine this scenario. We have two processes, A and B, and two resources, R1 and R2.

Process A is currently using resource R1.

Process B is currently using resource R2.

Process A requests resource R2, but is blocked because it's held by Process B.

Process B requests resource R1, but is blocked because it's held by Process A.

Now... imagine this situation, but with Freddy, and the virus.

What we most likely have here, the line gridlock [ax674], is an error handling message, warning that a deadlock is ocurring. The string of characters beside it has no meaning, and could easily be but an error handling code of sorts.

init_task>void

I've explained before that init is the abreviation of initialization. So, we can gather that this is a command that is attempting to initialize a task. Now then, in the context of the previous line, this one could mean one of two things:

The virus is attempting to initialize a task (a set of instructions) called void.

The virus is attempting to initialize a task, however, due to the deadlock, it returns this line as an error message, indicating a void return. In programming, when a function returns the word void, it usually means that the function was not able to return a value. It is similar to Null, yet not the same.

Either of these could be a posibility, so I will leave it to your personal interpretation.

And here it when it all goes to hell...

alloc [overload] SW.failure return

Alloc is not a real function, but it can be considered an abreviation of the word allocation. In computing, the allocation is the assignment of memory and resources to the various processes the system may have.

Proper memory and resource allocation is very important in a computer. As you may know, a computer as a limited amount of RAM it can work with, and the same goes for it's processing power. But, for example, what happens when you try to allocate resources that aren't available?

Well, a lot of things may happen. Mainly, the program could hang, the process could freeze - or the entire system could crash!

Remember earlier, we saw that it was likely that Freddy and the virus were in a deadlock. Yet, the Virus tried to allocate more resources to itself... Which overloaded the system, and likely resulted in the next line.

SW.failure has no real meaning - but I've interpreted the first two characters [SW] as software. This would make this line an error message warning about a software failure.

So... What does this all mean? How does it all tie together? Why didn't Freddy get infected by the Virus? Because it got too greedy. It tried to allocate too many resources/memory, overloaded the system and crashed both itself and Freddy.

Why only Freddy, though? Why didn't this happen to the other animatronics? That... I'm not sure. I believe this is more of a lore question rather than computer question.

In my opinion, I don't think this was a case of 'Freddy knew that he was getting infected by a virus, and fought back'. I'm leaning more to the posibility of it being a 'wrong place wrong time' type of situation... or maybe 'right place right time'? In general, a lot of factors and a lot of different things happened that lead to this specific scenario happening.

Anyways, this is it! This has been my analysis - or nerdy infodumping, if you please.

I do hope that I was able to teach you something today, and that this whole analysis helps you understand the animatronics a bit better - and helps you with future fanfics, comics, AUs, artworks... whatever!

One last reminder - if you have any more questions about this stuff, my ask box is open! I love talking about this stuff!!

Oh, and, coming soon...

DJMM's Bouncer Mode ! A theory by a computer science student as to why it's still present, and why it makes him so aggressive.

[vegalocity]

It’s honestly a crime that the writing just brushed Syntax’s becoming a Spider under the rug. No, he’s fine with it, don’t worry about it. No we’re not gonna explore this, they’re bad guys and we’re killing them off anyway, don’t worry about it.

There was so much room to explore, especially with how Goliath and Huntsman might’ve felt, but no.

I MEAN RIGHT?

Admittedly it's a running thing with LMK to IMPLY a lot and then look at the audience and say 'no followup questions' with their full chests, (like all of the implications of Red Son's home life being kinda fucked but it barely gets touched upon again after season one despite clear evidence that things aren't all fixed in S3 and we're just supposed to believe everything's aces by S4) And the Spiders i think are probably the most egregious example

the deleted character (rip Spindrax regulated to the shadow relm), one of the characters never gets a dedicated episode to see how he acts as an independent agent and that spider doesn't even have a real NAME (which im sure drives you crazy in particular Twinkle) there are IMPLICATIONS of character arcs and backstories and overall POTENTIAL that just got thrown away to show everyone how cool and dangerous LBD was and gave NO hope of rescue.

Back when s2 was airing i thought LMK was sort of like- Building a rogue's gallery- a sort of batman rogues are we type cabal that could keep the adventures fresh and fun and... nope. I would have KILLED for a sort of 'Harley and Ivy' type episode that was focused entirelhy around the spiders, and possibly run it like essentially an Ed Edd N Eddy episode as the spider boys tried running a heist or smth without SQ there to keep them from feeding off of eachother's vibes too hard and it all turning to complete chaos.

LMK has a lot of stylistic influence to Adveture Time, and you can tell they WANT MK to be a Finn type (I mean his place in the mythological system seems to be essentially Finn's Catalyst Comet arc truncated significantly) but you kinda can't make an adventure time style world without understanding that the world belongs just as much to the semi-reformed wizard kidnapping princesses as it does to the hero that kicks him in the boingloins, you know?

and LMK very much belongs ONLY to the Monkie Kid Krew (I mean ive gone on record to say that Tang's arc would have been MUCH more interesting if he WASN'T actually the Monk in a past life and really was Just Some Guy and fully earned his own magic, but that would mean the world was bigger than just the characters designated as important so that couldn't be) and the villains are just pins to set up and knock over in a season and a special's time (if they even get that, sorry Nine Heads)

But as for Huntsman and Goliath's perspectives on Syntax- man i WISH i knew those... I think the ones i like the best are Goliath being... nice but distant to the new guy in like a 'whatever the queen clearly thinks its fine' type way and Hutnsman being like- INSTANTLY thinking Syntax is gunning for his 'position' (whatever it is) and is HYPER aware of him, Syntax is living RENT free in this spider's head because he's CONVINCED that he's after his position in the 'loyalty to the queen' social ladder or smth and meanwhile Syntax, genre savvy as he is is like "oh we're gonna do that thing where we start out as rivals but grow closer to respect eachother and eventually become very close friends and playfully compete with eachother sometimes to keep the spice in the banter! this is fun! ^.^"

Idk sounds like more fun than a pile of dead bodies that don't even get the dignity of being brought back in flashbacks

[sai-int]

random question but do you have any professional creative writing training of some sort because your fics are amazing and i’ve wondered if writers like you are entirely self taught or otherwise <3

hello and thank you!!

i’ve answered some asks like this before, but i don’t have any sort of training haha! i’ve just been an avid reader since i learned how to.

on a technical level (grammar, syntax, partially vocab, etc), my writing has improved thanks to school and what not. I was always in advanced english classes throughout middle/high school, and in uni i do a fuck-ton of writing as well, giving me the opportunity to sort of flex those writing muscles.

on a creative level (partially vocab, metaphors, analogies, prose, etc), it truly comes down to finding what works for you and what doesn’t. it’s been a lot of trial and error, but i eventually figured out what helps me tell the best version of the story i want to tell.

—for example, i tend to heavily rely on sensory details to immerse my readers as much as possible! i genuinely try to work in a sensory detail into every line, if not every other line. in writing that way, i’ve found that that’s what most accurately translates what i’m trying to say in my head to a written story.

—i mean, think about it. we are constantly experiencing touch, sight, hearing, etc. it’d be odd to have a fic without any of that. but like i mentioned, i think i incorporate it a little more than the norm. i also have a tendency to do extensive, genuine research for the most minute facts that take up all of 3 words in a 10k+ word fic. (i’m not even kidding; the baseball references in low country are real and are aligned with the real days that the games happened, hurricane bob was a real—and catastrophic—hurricane , bromley is really 30 minutes away from belmarsh, etc)

anyway, tldr: i haven’t had any sort of writing training, i’m just neurodivergent and a nerd. and i never know when to shut the fuck up (clearly)

hope this answered your question 🤍🤍🤍

[atori-matriarch-of-ram-fam]

Epic Strange Behavior/Dan Shor Post by @astercontrol

(If you want to see a BUNCH of amazing Dan Shor gifs...by JAYSUS click the link! 😂👀🥵)

Dan Shor! Dan Shor! Dan Shor! 😍😍😍

Watch how much Dan does Things with his mouth besides speaking. Seriously... *licks lips*

I found the interaction between Pete and Pete's dad's girlfriend strangely...sexual? Cuz...I mean...it's Dan...and that's how Dan do I guess?...

Oliver is not a real boy...his strings are just hidden really well.

The gif where Pete and Incomprehensible Oliver are walking down the hall and Pete smiles!? Oh my God Dan's big Basset Hound eyes are on full, glorious display! ❤️😍🫠

"Gourmet shrimp" lives in my head rent free.

I'm not complaining...but whyyy did Dan wake up with his hand in his pants?? 😂

Those are some Big Doors!! 😃

OMG there's a guy doing disc tricks!! 👀

AAHAHAHHH, Pete overcame his programming! Very nice connection to Ram.

I too love this awesomely terrible but endearing movie.

And I must add a smol gif catch of my own... The scene where Pete is strapped down to the Mad Scientist's chair begging to be released and is about to be injected...

HE FUCKING GRINS!!

*bites lip* (Huh...I think I've caught whatever makes Dan do Things with his mouth...👀)

Here is a much higher res looped video. 😉

[bloodscribed]

INTELLECTUAL PROPERTY.

a set of prompts featuring lyrics from the album of the same name by waterparks. may contain suggestive content. feel free to change things as needed for the sake of writing!

ST*RFUCKER

"I'm gonna move out of my loft and into a limousine."

"Jesus Christ won't text me back."

"I'll always be around, in fact."

"I'm climbing up your window now."

"It's been a pleasure, it's nice to meet you."

"Maybe I'm a soul-sucker."

"But you're just a star fucker."

"I bet you wouldn't ask me to do that by this time next year."

"You can't hide my face and save me for a rainy day."

"It don't go two ways."

"I don't wanna be toxic, I just wanna be honest."

"But this shit hurts like a comet."

"And it just hurts 'cause I want it."

REAL SUPER DARK

"I'm outta my cage, and I'm on the stage."

"I'm dying to give you a show."

"I'm alienated, way overrated."

"Here are a few of the notes."

"My fans are the best."

"They'd love me more dead."

"But baby, it's gettin' too loud."

"Yo, shut the fuck out of your mouth."

"Bite tongue 'till there's blood in my mouth."

"It freaks me out."

"It gets real super dark around the edge of my heart."

FUNERAL GREY

"Now I'm tripping off the deep end."

"So call me a Lyft or a black hearse."

"I know you'll make my head spin."

"What's your favorite color?"

"That's not a color, it's a shade."

"Don't disagree with me."

"And then she walked away."

"I didn't get her name."

"I can't explain the look on her face."

"She wore a sweater in summer weather."

"It was funeral grey."

"And now it's killing me."

"I just want you to be my next mistake that I'm gonna make."

"She walked in, took a hit."

"That shit is gonna kill you."

"Well now you're gonna die too."

"I said that you can call me, beep me if you want my skin."

"She rolled her eyes."

"I know your dying wish is to be baptized in my spit."

"Float my way, I'm melting for you."

BRAINWASHED

"What's up?"

"Hello, I'm tryna meet ya."

"Shocked at the words coming from my tongue."

"A language that I'm not familiar."

"Don't take it away."

'I wanna play."

"Where did the time fly?"

"What if I pray?"

"Hoping you'll stay into the daylight."

"Wait, what am I saying?"

"I feel insane."

"It's only been a couple days."

"I'm having the same thoughts, can't stop."

"Thinking you got me brainwashed."

"I'm see-through, need you."

"Why do I think you're so cool?"

"Everything's clean except for my thoughts."

"Thinking about me getting you off."

"It's been a week, I'm still at your house."

"I don't wanna leave, it's freaking me out."

"Why am I acting like that?"

"Are you really that funny, or am I hallucinating?"

"It's like my brain isn't mine."

"This syndrome feels Stockholm."

"Do you wanna keep me on lock, though?"

"Symmetrical feelings match best when we're staring at the ceiling."

2 BEST FRIENDS

"I'm trying to turn my mind off."

"But I don't know where to go when the night's long."

"I could have picked your body in a lineup."

"Now I'm sick of waiting on you to call."

"Yeah, I'm sick of playing it cool."

"So I went out with my two best friends."

"Tried anything not to think of you."

"It didn't work, and I feel like shit."

"Wake up tomorrow and try again."

"You hit back with the syntax."

"You treated my heart like a handbag."

"So now I'm solo when the night's cold."

"Yeah, I kissed a couple people, but they taste wrong."

END OF THE WATER (FEEL)

"If you feel it, then I feel it too."

"If you believe me, I could be your truth."

"If you need me, all I need is you."

"Why we ghost each other for a week at a time?"

"Make plans and let 'em fall through."

"I can't even call you, let alone call you mine."

"I can be nonchalant, if that's what you really want."

"But I'm just glad you and I are alive at the same time."

"We can't take back what we never gave."

"And that distance keeps us safe."

"But nobody told me that safe is so lonely."

"Can't we act like you and I are alive at the same time?"

"Do you feel it? 'Cause I feel it too."

"Do you need it? 'Cause I need it too."

SELF-SABOTAGE

"When we talk, I'm never wrong."

"Might unplug my phone at night."

"When you need me most, I'll miss that flight."

"Now we're at the part where you'll hate what you see."

"What the fuck is wrong with me?"

"I'm on my way to you, but I'll self-sabotage."

"So I might drive my car and crash into your garage."

"To get away from you, I'll self-sabotage."

"If you like when we talk, I'll dislocate my jaw."

"I'll piss you off and ask what's wrong."

"I want this to work so bad."

"But I want but I can't have."

"Make plans and break them to see what you say."

"'Cause you put on makeup and I'm still in bed."

RITUAL

"Gotta clear my front lawn off."

"Melatonin, eyes feel heavy tonight."

"I could sleep for weeks."

"Don't look for me."

"They're killing me when I'm fast asleep."

"Are you hearing me?"

"I'm living fucking betrayed."

"Living like I'm dead and on my own."

FUCK ABOUT IT

"I like you but I need some space."

"I like you kinda far away."

"It's not that hard to kill a day looking at your face."

"I like you but I need some room."

"It doesn't always stay that way."

"I hate the aftertaste."

"I don't wanna leave you hangin' on."

"But when we fight, it's like a marathon."

"Give me three days alone."

"We can fuck about it later, if you want."

"It's all we really do when something's wrong."

"You don't seem to like it when we talk."

"I guess I'll see you later."

"Because we never fix the problems that we've got."

"You've been at my crib for like the seventh day up in a row."

"You've been doing silly things like checking who I follow."

"I won't lie to you."

"It's like scars on my wrist."

CLOSER

"Nothing stays the same."

"I feel love a different way."

"I got my space, but what did I pay for you?"

"'Cause I love you, or I want to."

"But I don't know how."

"I need to really feel you."

"But we're running around."

"Is it easy now?"

"You only hit me in the evening."

"I need you closer."

"I need it over."

"There's nothing left to let go."

"It's the darkest afterglow."

"Maybe in another life, we can try and get us right."

"You're the holiday I celebrate too late."

"You're the eyes I gave up trying to captivate."

"You're the song I loved but then overplayed."

"I'm the b-side throwaway."

"I hope you never rain on my charade."

"I've been fucked so much that I no longer wait."

"I sabotage and break my own heart just in case."

"Will it kill me in the evening that I let you down?"

NIGHT OUT ON EARTH

"Am I missing out?"

"Am I having fun?"

"Is it just me, or is it everyone?"

"The love I get is virtual."

"Now Jesus hates my guts."

"It's getting personal."

"It's a night out on earth."

"The last one for a while, can't get worse."

"Now if I ever feel jealous, I just turn it into lyrics."

"I turn pain into rain and sing along."

"I wear all my red flags like a cape."

"Life gave me lemons, now I bleed lemonade."

"It gets so fucking hot under all this shade."

"Everywhere I walk's a toxic parade."

"The glove don't fit, but I wear it anyway."

"It's a hell of a time."

"Was I loved, or was I right?"

"Am I gonna go to hell in my sleep?"

"Or will God forgive me?"

"I gotta hide everybody that I like."

"Because everyone I know knows another me."

"It's getting hard to keep track of everything I keep locked behind my back."

"I'm leaving when the night goes."

"I ain't gonna let go."

SNEAKING OUT OF HEAVEN

"When we fuck, it feels like I'm struck by your lightning."

"They say I'm brainwashed, yeah I might be."

"I built a secret room for you."

"Just one more chance to adore you."

"If you're toxic, I'll wear a hazmat."

"Do you think God knows?"

"You've been sneaking out of heaven."

"Were his eyes closed?"

"There's no way He's just letting you fall from the stars."

"I swear to God my heart's gonna pop."

"If I'm not brainwashed, man, I'm trying to be."

"Swallow my shoes and my car keys."

"I don't need those, 'cause I won't leave."

"I'll have to jump the gates when I die."

"Go to my place, and you put away your halo."