#which is where ink comes in

[onlyplatonicirl]

@lightyearssurrogatedaddy i saw your tags lol. cue incoming characterization essay because i dont want to do my homework:

I've actually attributed the sunk-cost fallacy to Error's mindset on multiple occasions, and it's something I'm going to be referencing in my writing when it comes up.

The sunk-cost fallacy is the core principle in regards to Error's character and why he does the things he does in TCOTI. You have this character (error) who has spent his entire life dedicated to an impossible goal: complete annihilation. At first it didn't really seem to matter whether or not it was pheasable - it was just something he felt that needed to happen. He made it his life's goal, he became the villian of the entire multiverse to see his plan through for what he thought would right the mess and clutter of a chaotic world that shouldn't have even existed. Of course, it's a stupid plan, and he has that plan because he's literally insane. Error's spent an untold amount of time in a white void, both his mind and body warping to an unrecognizable degree. His view of the world is skewed, and he sees things different than others - while being stubborn and refusing to listen to anyone's thoughts but himself.

My story (but you can apply this to potentially any story involving Error because I personally feel like it's on par with his character) takes place at least a century in the future. Time does not matter to world-walking immortals. He is no closer to his goal than when he first started. Why would he? Error is essentially trying to stop an immutable force of nature - the deviance of timelines and branching pathways of the multiverse. (And if we're taking the canon route in regards to creators, then he's attempting to stop people from creating.) It's a completely impossible task. Universes are created at a much quicker rate than he can destroy them.

Even in a hypothetical situation where he achieves his goal and nothing but the original universe remains, it's going to branch off again eventually. His goal of "killing everything and then himself" would never last because once he's gone, there won't be anyone else left to "take out the trash" that will once again branch off and spread through the entire multiverse. Not that it's ever even gotten to that point though.

And like a said - He's crazy. These aren't really concerns of his, nor is he following sound logic or reason to his plan. But while he is crazy, he is not stupid.

How long do you think it would take him before he realizes he isn't getting anywhere? That everything he destroys just ends up replacing itself in one form or another? My story is a hypothetical century later. He may be able to stall the growth by killing off a main universe, or potentially backtracking the progress, but it's not the same as permanently making a dent in the net growth. And perhaps he's eased himself into that routine, into being content with just keeping things at an even level of creation and destruction. But it's not the goal he has centered his entire existence around- and eventually in the very subconscious of his mind, after an uncountable amount of time doing the same thing his whole life -running on a treadmill towards nowhere - does he begin to wonder why he's still doing this.

It wouldn't even register to him as a fully formed thought. It would be a nagging feeling in his gut, a general unease. It would take him years to even recognize that something is wrong, to try and think about things that go against his ideology and his reason to be, as stubborn and narcissistic as he is. But eventually it surfaces as a fully formed thought:

Why is he still doing this?

He had a reason back then, but it's going no where. It's been ages. decades. Almost nothing has changed.

But the simple fact is, he can never really answer that thought. Because he has been on this path for so long, there is nothing else left for him outside of it.

Sunk-cost fallacy.

If he stops, if he tries to seek out an alternate path, than what was EVERYTHING he worked for for YEARS and YEARS even for?? He went through so much pain, he's isolated from the rest of the multiverse as a villain, he has solidified his place in the world. If he ever stopped, it would be admitting to himself that every second of his long existence so far has been a waste. That he has done nothing with himself, and that he worked for nothing but the insane whims of a corrupted mind, towards an unachievable goal.

The world continues to move on. The multiverse continues to grow and change. And he remains, destroying, and convincing himself that he's fine with forever keeping balence.

Because what else does he have left?

And the question he doesn't even think to consider: What of the future?

[outofcontextdiscord]

[inkedmyths]

It's not necessarily a knock on ppl but man there's something about being in a fandom and seeing people who's lineup of favorite ships are all the most. Like. Hetbait ships? You know what I mean?

And it's like one or two you can go "yeah I get it, there's at least some canon backing to it" but when that's all they're into and it leaves you going like. Where's your imagination dude these are all so... basic. Like it's not even necessarily that they're straight ships it's that they're the most surface level things you could come up with. And some of this is dependent on the way they treat their ships ofc but still

And its not even that they come across as anti-queer (at least outwardly) its just the general feeling that the idea of something that isn't a heterosexual romance even crosses their minds. They live in a little vanilla bubble, and you're watching them floating along, wondering how they can't be so so bored

[dxcinhx]

Sam is the one who buys Tara's mascara. It's deliberately not waterproof so she can always tell when she's been crying. If the girl won't be honest with her about how she's feeling, she resorts to the next best thing, tricking her into telling her.

KAIIIIIII

listen when u (sam) have a child (tara) who doesn't like talking about things u have to resort to sneaky measures

[airenyah]

calling it now:

this

is pat making fun of pa and

there's just something about the way pat says น้องภัทรอยากกินกุ้งอะ [nóng pat yàak gin gûng à]...

tell me this isn't peak sibling behaviour

[art-from-the-pantry]

Some more art for that old Au of mine

[emdotcom]

For years, I've been trying to put into words Why I give a single iota about Bendy & the Ink Machine, but it's such a tangled mess that no thread can be seperated -- they're all interwoven in a way that makes it hard to pick them out. The game, overall, makes me miserable, because I can see that there was love put into it, but a lot of it is thrown to the wayside in favor of a story that I think was retroactively improved by the sequel's recontextualizing of it, but is ultimately not worth the price of admission & majorly drops the ball.

It's easy to list things I don't like about it -- the gameplay is sparse, the combat is uninteresting, none of the chapters feel connected, the bugs that assault all my playthroughs & kill my saves are consistent & fill me with dread every time I open the game, the lack of thought in the contents of a chapter (chapter 3's wheel ""puzzle"" & the animatronic Bendy from chapter 4, in specifc, really grind my gears), which speaks to the amateurish & rushed way that the game was crafted -- there's a lot to hate, & it's easy to hate it. But I don't. Despite all that, I am compelled by this game, by what it's trying & failing & trying again to say.

It's really easy to understand why you dislike something. I couldn't have told you much about what I did like, in Ink Machine.

& then, I played Dark Revival. I didn't realize I liked the story of Ink Machine, until I played Dark Revival. It's a better made game, it's just not fucking interesting, to me, because it doesn't have a story worth tuning in to.

[acetechne]

Étienne M Maisonneuve for the art meme if still open (the letter is M incase not obvi lol)

Old school outfit

[seismologically-silly]

i just want my printer :(

[toytulini]

sodies are fun, but i miss ink armor. i preferred it

[tracle0]

I am dead inside I just want to write !!ONE!! story!!!!!!

[mildmayfoxe]

top 5 fav colours to use in prints

HOT PINK

LIME GREEN

NEON YELLOW

ELECTRIC BLUE

black

[mostlysignssomeportents]

“If buying isn’t owning, piracy isn’t stealing”

20 years ago, I got in a (friendly) public spat with Chris Anderson, who was then the editor in chief of Wired. I'd publicly noted my disappointment with glowing Wired reviews of DRM-encumbered digital devices, prompting Anderson to call me unrealistic for expecting the magazine to condemn gadgets for their DRM:

https://longtail.typepad.com/the_long_tail/2004/12/is_drm_evil.html

I replied in public, telling him that he'd misunderstood. This wasn't an issue of ideological purity – it was about good reviewing practice. Wired was telling readers to buy a product because it had features x, y and z, but at any time in the future, without warning, without recourse, the vendor could switch off any of those features:

https://memex.craphound.com/2004/12/29/cory-responds-to-wired-editor-on-drm/

I proposed that all Wired endorsements for DRM-encumbered products should come with this disclaimer:

WARNING: THIS DEVICE’S FEATURES ARE SUBJECT TO REVOCATION WITHOUT NOTICE, ACCORDING TO TERMS SET OUT IN SECRET NEGOTIATIONS. YOUR INVESTMENT IS CONTINGENT ON THE GOODWILL OF THE WORLD’S MOST PARANOID, TECHNOPHOBIC ENTERTAINMENT EXECS. THIS DEVICE AND DEVICES LIKE IT ARE TYPICALLY USED TO CHARGE YOU FOR THINGS YOU USED TO GET FOR FREE — BE SURE TO FACTOR IN THE PRICE OF BUYING ALL YOUR MEDIA OVER AND OVER AGAIN. AT NO TIME IN HISTORY HAS ANY ENTERTAINMENT COMPANY GOTTEN A SWEET DEAL LIKE THIS FROM THE ELECTRONICS PEOPLE, BUT THIS TIME THEY’RE GETTING A TOTAL WALK. HERE, PUT THIS IN YOUR MOUTH, IT’LL MUFFLE YOUR WHIMPERS.

Wired didn't take me up on this suggestion.

But I was right. The ability to change features, prices, and availability of things you've already paid for is a powerful temptation to corporations. Inkjet printers were always a sleazy business, but once these printers got directly connected to the internet, companies like HP started pushing out "security updates" that modified your printer to make it reject the third-party ink you'd paid for:

https://www.eff.org/deeplinks/2020/11/ink-stained-wretches-battle-soul-digital-freedom-taking-place-inside-your-printer

Now, this scam wouldn't work if you could just put things back the way they were before the "update," which is where the DRM comes in. A thicket of IP laws make reverse-engineering DRM-encumbered products into a felony. Combine always-on network access with indiscriminate criminalization of user modification, and the enshittification will follow, as surely as night follows day.

This is the root of all the right to repair shenanigans. Sure, companies withhold access to diagnostic codes and parts, but codes can be extracted and parts can be cloned. The real teeth in blocking repair comes from the law, not the tech. The company that makes McDonald's wildly unreliable McFlurry machines makes a fortune charging franchisees to fix these eternally broken appliances. When a third party threatened this racket by reverse-engineering the DRM that blocked independent repair, they got buried in legal threats:

https://pluralistic.net/2021/04/20/euthanize-rentier-enablers/#cold-war

Everybody loves this racket. In Poland, a team of security researchers at the OhMyHack conference just presented their teardown of the anti-repair features in NEWAG Impuls locomotives. NEWAG boobytrapped their trains to try and detect if they've been independently serviced, and to respond to any unauthorized repairs by bricking themselves:

https://mamot.fr/@q3k@hackerspace.pl/111528162905209453

Poland is part of the EU, meaning that they are required to uphold the provisions of the 2001 EU Copyright Directive, including Article 6, which bans this kind of reverse-engineering. The researchers are planning to present their work again at the Chaos Communications Congress in Hamburg this month – Germany is also a party to the EUCD. The threat to researchers from presenting this work is real – but so is the threat to conferences that host them:

https://www.cnet.com/tech/services-and-software/researchers-face-legal-threats-over-sdmi-hack/

20 years ago, Chris Anderson told me that it was unrealistic to expect tech companies to refuse demands for DRM from the entertainment companies whose media they hoped to play. My argument – then and now – was that any tech company that sells you a gadget that can have its features revoked is defrauding you. You're paying for x, y and z – and if they are contractually required to remove x and y on demand, they are selling you something that you can't rely on, without making that clear to you.

But it's worse than that. When a tech company designs a device for remote, irreversible, nonconsensual downgrades, they invite both external and internal parties to demand those downgrades. Like Pavel Chekov says, a phaser on the bridge in Act I is going to go off by Act III. Selling a product that can be remotely, irreversibly, nonconsensually downgraded inevitably results in the worst person at the product-planning meeting proposing to do so. The fact that there are no penalties for doing so makes it impossible for the better people in that meeting to win the ensuing argument, leading to the moral injury of seeing a product you care about reduced to a pile of shit:

https://pluralistic.net/2023/11/25/moral-injury/#enshittification

But even if everyone at that table is a swell egg who wouldn't dream of enshittifying the product, the existence of a remote, irreversible, nonconsensual downgrade feature makes the product vulnerable to external actors who will demand that it be used. Back in 2022, Adobe informed its customers that it had lost its deal to include Pantone colors in Photoshop, Illustrator and other "software as a service" packages. As a result, users would now have to start paying a monthly fee to see their own, completed images. Fail to pay the fee and all the Pantone-coded pixels in your artwork would just show up as black:

https://pluralistic.net/2022/10/28/fade-to-black/#trust-the-process

Adobe blamed this on Pantone, and there was lots of speculation about what had happened. Had Pantone jacked up its price to Adobe, so Adobe passed the price on to its users in the hopes of embarrassing Pantone? Who knows? Who can know? That's the point: you invested in Photoshop, you spent money and time creating images with it, but you have no way to know whether or how you'll be able to access those images in the future. Those terms can change at any time, and if you don't like it, you can go fuck yourself.

These companies are all run by CEOs who got their MBAs at Darth Vader University, where the first lesson is "I have altered the deal, pray I don't alter it further." Adobe chose to design its software so it would be vulnerable to this kind of demand, and then its customers paid for that choice. Sure, Pantone are dicks, but this is Adobe's fault. They stuck a KICK ME sign to your back, and Pantone obliged.

This keeps happening and it's gonna keep happening. Last week, Playstation owners who'd bought (or "bought") Warner TV shows got messages telling them that Warner had walked away from its deal to sell videos through the Playstation store, and so all the videos they'd paid for were going to be deleted forever. They wouldn't even get refunds (to be clear, refunds would also be bullshit – when I was a bookseller, I didn't get to break into your house and steal the books I'd sold you, not even if I left some cash on your kitchen table).

Sure, Warner is an unbelievably shitty company run by the single most guillotineable executive in all of Southern California, the loathsome David Zaslav, who oversaw the merger of Warner with Discovery. Zaslav is the creep who figured out that he could make more money cancelling completed movies and TV shows and taking a tax writeoff than he stood to make by releasing them:

https://aftermath.site/there-is-no-piracy-without-ownership

Imagine putting years of your life into making a program – showing up on set at 5AM and leaving your kids to get their own breakfast, performing stunts that could maim or kill you, working 16-hour days during the acute phase of the covid pandemic and driving home in the night, only to have this absolute turd of a man delete the program before anyone could see it, forever, to get a minor tax advantage. Talk about moral injury!

But without Sony's complicity in designing a remote, irreversible, nonconsensual downgrade feature into the Playstation, Zaslav's war on art and creative workers would be limited to material that hadn't been released yet. Thanks to Sony's awful choices, David Zaslav can break into your house, steal your movies – and he doesn't even have to leave a twenty on your kitchen table.

The point here – the point I made 20 years ago to Chris Anderson – is that this is the foreseeable, inevitable result of designing devices for remote, irreversible, nonconsensual downgrades. Anyone who was paying attention should have figured that out in the GW Bush administration. Anyone who does this today? Absolute flaming garbage.

Sure, Zaslav deserves to be staked out over an anthill and slathered in high-fructose corn syrup. But save the next anthill for the Sony exec who shipped a product that would let Zaslav come into your home and rob you. That piece of shit knew what they were doing and they did it anyway. Fuck them. Sideways. With a brick.

Meanwhile, the studios keep making the case for stealing movies rather than paying for them. As Tyler James Hill wrote: "If buying isn't owning, piracy isn't stealing":

https://bsky.app/profile/tylerjameshill.bsky.social/post/3kflw2lvam42n

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/12/08/playstationed/#tyler-james-hill

Image: Alan Levine (modified) https://pxhere.com/en/photo/218986

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[fipindustries]

yet another thing i really like about dungeon meshi:

a lot of ink has been spilled on this idea that "people dont have autism/ADHD the problem is actually capitalism". usually paired with the notion that in agrarian societies being neurodiverget was actually super useful and that neurodivergent people would have been content with menial tasks like sorting berries or watcing over cattle, instead of the modern fallen state in which we find ourselves where we have to go to 9 to 5 jobs and sit in boring offices all day or whatever.

i wont rehash all the reasons this is clearly nonesense, instead what i will do is point out how brilliant ryoko kui was, yet again, for finding the way of eating her cake and keeping it too. dungeon meshi is clearly this power fantasy consisting of "what if your hyperfixation was actually extremely useful and was the thing that allowed you to thrive in this niche field". so in this case laios autism actually works almost as a superpower for him.

but then every single detail we come to learn about his past shows us how incredibly maladapted he was to the life he was born in. he couldnt meet his parent's expectations or those of his town, he couldnt fit in the army as a soldier, living on his own at a caravan he was malnourished, dirty, dressed in tatters and covered in fleas. and even after he manages to establish himself as an adventurer he gets constantly taken advantage by other people.

a lot of the reason why he is thriving in the story is because he is a) in the very specific niche of circumstances where his peculiarities actually are incredibly useful, in a dungeon filled with monsters where he doesnt have to deal with other people and b) surrounded by people who are either just as weird as he is or care about him deeply (or are consumate professionals like chilchuck)

[nettlewildfairy]

quick question why does your cat command you to print something on the printer

he really likes to watch the printer print. It seems like he thinks there’s some kind of creature in there that I have the mysterious power to summon that he can then hunt for sport?

he sticks his entire arm inside the printer and breaks it if I don’t put some kind of physical burrier between him and the printer but like he purrs so loud when it starts printing and will beg harder for people to print things than he will for treats.

he just loves hunting the printer so much. he even tried to climb inside the place the paper comes out of the printer when he was a kitten.

No matter where he is in the apartment if the printer makes a noise he sprints full speed. He also knows which button to press to get the printer to print like the ink levels info and alignment sheet, so you have to make sure it’s off or locked up or he will print nonstop himself and then attack the printer and jam it.

is it inconvenient that my cat is obsessed with the printer? yes, but damn if it’s not also adorable.

I don’t actually have a ton of photos of him sticking his whole arm in there though because stopping him from jamming the printer is usually a task that involves all of my arms and also all of my roommates arms.