Ultimamente he tenido ganas de escribir sobre mis pensamientos, pero no los "conocidos pensamientos", sino describir la alegoria de la vida de manera metafórica, es decir, una especie de slide of life de mis días. No todos, tampoco tengo la intención de ser puntual o que sea algo constante, no quiero volverlo un diario porque ya tengo uno hahaha.

Tal vez sea la mejor manera de dejar abandonado este sitio (hablo de una inactividad bastante grande, probablemente hasta que una nueva o vieja hiperfijación llegue) (Creo que al ir escribiendo en estos días podrá tener mayor sentido).

Art you don't like has a right to exist and be taken seriously

lethal company gabriel family guy death pose

girlbossing too close to the sun.

a nuance that gets a bit lost in martin 'murder' blackwood is that while he's definitely not against a good killing, it's more of a fun couple's activity rather than true heartfelt passion, you know?

i mean, twice he's had the opportunity to have Jonah get shanked, and he foils them, even though he wants the guy dead. Like, murder is always an option, but he usually tries other, less direct methods first - in fact id say that his trying to be clever and moral still leading up to the end of the world is exactly what drives him to say, ok well fuck it then, let's get our murder on

can i req some arlecchino kink headcanons? no pressure to answer! there's just a lack of new knave content lately ahhh.. (￣ヘ￣)

{☆} characters arlecchino {☆} notes drabble, hc's, gender neutral reader {☆} warnings 18+ content

{☆} dacryphilia

arlecchino is a sucker for crying. doesn't matter if you cry easily or not– either she sees it as a challenge to make you cry in the first place or to see how much you can cry before you have to tap out. her absolute favorite way to make you cry is straight up overstimulating (or understimulating you, depending on her mood) until you're practically sobbing. if you cry prettily enough maybe she'll take pity on you.

{☆} temp play

arlecchino has a pyro vision and she is absolutely going to use it. especially prominent if you're both in snezhnaya– it provides prime opportunities for her to slip her hands under your clothes when you least expect it just to see you squirm beneath her hands. she'd never actually do anything too scandalous in public, but if you're a bit more hidden away she'll have no qualms playing with your chest. if you complain about the cold you're just giving her an excuse to "warm you up" and see you tremble like a lamb.

{☆} face sitting

nothing prettier to her then seeing you above her with her face between your legs. her tongue is just as warm as any other part of her, and she knows how to use it, too. she'll hook her arms around your thighs just to hold you down until you've doubled over from the intensity of it– if you start crying, oh, she just gets worse. absolutely ravenous. she won't stop even if her jaw starts to ache. if you don't want her to stop, she could go for hours without a break.

"my child is fine!" your child listens to fictional auditory men comfort them in order to feel validated and loved

robo reposting the cute little picture someone drew of the cartoon versions of him and otter holding hands and tagging him in it. happy pride month stars fans

on moving out

man someone left a comment on one of my buckbucky fics today that said 'i can feel how much you love them through your writing' and i literally cried lol. why is that like. the sweetest/most fulfilling/validating thing you can say to a fic writer (who is way too deeply invested in his fandom of choice lmfao)? i've never gotten a comment worded like that before and it was so unexpected, i didn't realize how meaningful the sentiment would be to me wahhskdgjg <333

sukuna did not tell kenjaku about his plan to change vessels, which makes me wonder… what makes us and maybe even sukuna think that kenjaku told him everything. another yapping session incoming cause I need to get this out of me. we don’t know the terms of their agreement but sukuna is certain that yuuji’s only purpose was to seal his fingers and mind you that says the man who throughout the whole manga kept underestimating him and saying how boring he is, which creates a perfect blind spot. sukuna is so uninterested in yuuji, probably as a way to keep some sort of distance between himself and yuuji, that it is very much likely that he’s not aware of the actual plans kenjaku had towards yuuji. why was it important for them to keep sukuna caged? wa yuuji always supposed to have an engraved curse technique(s)?? why is he slowly turning into another sukuna?? and I’m not saying it to take away yuuji’s agency as a character but to point to the fact that the lines between the curse known as ryomen sukuna and yuuji are beginning to become more and more blurry with each new chapter. sukuna referred to himself as the fallen angel/disgraced one, but who was he BEFORE that?? and what’s the actual reason behind angel wanting to kill him? there’s so much we don’t know and honestly… as intelligent as he is I don’t think sukuna truly knows what is going on either… but I might be totally reaching and I still don’t why I keep brainstorming all of it cause gege is just too damn unpredictable so I really don’t know what’s relevant here or what’s not but there are just so many unknowns in this story that I just can’t help but wonder… (more in the tags)

sure i COULD ramble about how ai is one of the multiple things that check all the marks of humanity's seven deadly sins but would that be extreme

^^^ possibly insufficiently educated

GUYS,, FELLAS,, IM LITERALLY ROGER NOW,,

Tell me about how the structure of the medium impacts the story 🔫

My brother in Christ, prepare yourself for the most boring essay you could possibly imagine. I'm going to over-simplify a few things here for the sake of Getting To The Point, so bear with me.

I think a good starting place is that DSMP is an example of New Media. The go-to definition most folks use is this one: that New Media are stories told via "communication technologies that enable or enhance interaction between users as well as interaction between users and content." In other words, NM is basically this category of stories made up of convergent elements, which satisfy a multimedia requirement, and are heavily reliant on both participatory fan culture and recent advances in technology that allow creators/audiences to communicate with one another instantly.

There's a couple ways you can understand DSMP as a New Media, but as far as I'm concerned, one of the most interesting is prosumption. The term "prosumption" describes a creative situation where a piece of art is being produced (at least in part) by the same people that consume it; they're both audience and creator. DSMP is a really great example of this phenomenon, because A) it's serial and therefore the CCs had ample opportunity to respond to and engage with the audience's reception of their story; and B) because the chat feature allows CCs to interact directly with their audience during roleplay rather than after the fact. These features, among others, kinda set the stage for DSMP to function as a highly prosumptive piece of media.

In particular, the stuff that interests me is the stuff to do with storytelling convention (genre, perspective, etc) and how prosumption turns all that on its head. There are a number of altercations in DSMP canon where the course of the story is altered because of real-time interactions between the CCs and their chat - particularly times when a CC's chat warns them about events happening at the same time elsewhere in the server. In this kind of scenario, the CCs are static, they can't really leave their own stream. Their viewers, on the other hand, are able to jump between streams and talk to each other to figure out what's happening in the overarching story. When this happens, viewers have choices to make: are they going to tell a CC what's going down on the other side of the server? If so, how are viewers going to communicate those events? Viewers are biased, they directly inform CCs, and the information they divulge (as well as how they divulge that info) goes on to influence CCs' actions and thus the events of the story, to some degree. In my opinion, this is a pretty new and exciting way to prosumptively construct a narrative! Media has always been interactive to some extent (especially serial works), but the interaction being live and in real-time is pretty significant in my view because it can exert unique pressures on a narrative.

Speaking of audience choice, that brings me to the next thing I want to yap about: ergodic storytelling, a term that refers to stories “negotiated by processes of choice, discernment, and decision-making.” For reference, a good non-MCYT example of this would be hypertext fiction, because it's generally characterized by the ability of the interactant (that's the reader, in this hypothetical example) to explore material provided by someone else, either as a kind of conceptual landscape (think setting in a video game), or as puzzle pieces that must be put together in order to give the interaction the "big picture" of the story. Basically, with hypertext fiction, there is a core text (the main document that forms the skeleton of the story) and there are multiple hypertexts branching off of the core text - and whether the reader ends up reading those branches, and in what order, inevitably shapes that reader's perception of the whole story.

So here's where it gets tricky. In the case of DSMP, where is the core text located? Is there any one identifiable core text at all? Or is it more appropriate to consider each individual stream or VOD as its own singular core text, with the related Twitch channels and Youtube recommended in the sidebar being "branches"? Alternatively, if the streams and recordings distributed on the server members’ official channels are the central text in the grand hypertext fiction that is DSMP, then can adjacent spaces where audiences do the work of creating and archiving lore be considered their own story branches? I don't have answers to these questions. No one does. That's part of what makes DSMP exciting.

To translate the above quote out of Academia Hellspeak: in an ergodic story, the audience has agency, but the agency enabled and allowed by the text varies in its intensity and mode. Yes, stories told ergodically necessitate choice — and therefore enable agency, turning the reader or viewer into interactant — but that element of choice doesn't always look the same. Some hypertexts are more choice-reliant than others, or are choice-reliant in different ways. So, rather than being a choose-your-own-adventure story, DSMP is more closely analogous to a story where the audience chooses the perspective through which they view plot developments, in addition to having some influence over how plot developments unfold.

(☝️From a 2021 Polygon article, if you think I sound crazy☝️)

The web of choices DSMP presents to viewers is very complex, even compared to other forms of choose-your-own-adventure game. Because each CC approaches the task of story-creation from their own angle (bringing their own narrative baggage to the writers’ room, so to speak), those shifts in perspective this Polygon article describes often also constitute shifts in genre. For instance, cc!Wilbur brought his music production experience and interest in musical theater to the server, cited operas and stage musicals as some of his main inspirations; and accordingly, much of c!Wilbur's most crucial arcs observably draw from those sources. When you watch a c!Wilbur stream, you’re watching a story about statecraft, about revolution, about the triumphs and tragedies of ego that play out during the process of nation-building. On the other hand, cc!Quackity has repeatedly identified Breaking Bad and Better Call Saul as his primary influences; accordingly, his RP character’s story is closer to a piece of gritty prestige television in some places (especially LN series). Unlike with c!Wilbur, a lot of c!Quackity's tension does not revolve around a romanticized fantasy of revolution but around more personal conflicts: securing your place in a new regime, navigating exploitation as both exploited and exploiter, etc. In terms of both plot beats and character arcs, Wilbur and Quackity’s respective storylines embody many of the genre conventions the content creators are working within.

Moreover, a shift in genre often entails a shift in style or mode. Because cc!Wilbur was heavily inspired by musical theater, the presentation style of his character’s storyline is correspondingly both theatrical (i.e. only loosely scripted, nearly always televised live, and improv-heavy) and musical (featuring multiple instances of Wilbur singing in-character ballads and anthems.) On the flipside, Quackity’s streams (especially the later ones, since I'm mostly focusing on Las Nevadas era here) demonstrably mimic the prestige TV shows the CC draws his inspiration from, with lore sessions being pre-recorded rather than televised live, featuring distinctive sonic and visual aesthetics popularized by neo-Western thriller dramas. So, where a piece of media like DSMP is concerned, shifts in perspective entail shifts in genre, which in turn entail pronounced shifts in style. I don't think it's an exaggeration to say it's an entirely new story depending on which character the viewer decides to follow. In that regard, what initially appears to be a single choice (whose perspective to watch a plot event through) has the power to determine a wide array of other elements, as viewers’ responses to the options presented to them will decide the overall tone of the section of the story they're about to watch.

While I think the genre-switching is genuinely super cool, lately I'm a lot more interested in perspective-switching and how it's related to viewer empathy. One side-effect of DSMP being televised live is that yes, you can watch a plot event from 30+ different POVs, but you can't watch every POV live. Typically, you either have to switch between multiple streams, or you need to pick one streamer to watch live and maybe later you'll watch other characters' POVs as you see fit. This has an impact on your perception of how that plot point went down because watching something live feels very different from watching something after-the-fact. I haven't done study on this, so what I'm about to say is mostly conjecture, but I wouldn't be surprised if viewers felt greater empathy for (and greater degrees of kinship with) characters whose POVs they watched live.

The choice of which character to follow also has observable impacts on other kinds of narrative conventions (who is the main character of DSMP? the boring answer is c!Dream because the server's named after him, but the real answer is the protagonist is whoever's POV you watched most of the major plot events through) but to be honest, those questions don't interest me as much.

So, going back to perspective and empathy. I think viewers' reactions to Exile are a really solid way of exemplifying the thing I'm trying to say, so this is the part of the yapping where we gotta bring up the dreaded Exile discourse.

Even though the Exile VODs are available and new viewers can go back and watch them, those viewers experience the Exile arc in a way that is fundamentally different from the experience had by viewers who had to wait in between updates as the videos were being streamed serially in real-time. I would argue that viewers who were “present” during the whole arc noticeably felt the brutality of c!Tommy’s treatment to a greater degree, because the audience was effectively forced to sit in exile alongside Tommy’s character - stewing in anxiety, looking forward to the possibility of appearances from other characters, and living in fear of Dream’s next visit, etc etc. Obviously you could also make this point using c!Dream's time in Pandora as an example, but I'm using Exile here because I've actually seen a lot of fans bring this up when discussing the arc: "people who didn't watch live Don't Get It," "the reason newer fans don't see Exile as scary is because they didn't have to watch it live," that sort of thing. And while I have certain qualms with some of the implications here, I do think these are really fascinating responses! These sorts of responses show that viewers consciously perceive their viewing experience as having been fundamentally different from others' based on a temporal element that's unique to serial fiction!

This instance of a divergence in collective fan experience is an example of choice being rendered unavailable to viewers by virtue of the story’s structure and means of distribution; audience members who happen to accidentally miss streams or who begin following the story after major events have occurred will never be able to engage with and witness those events as LIVE viewers, merely as retrospective ones. They don’t get to make that choice, but they do get to make choices about which perspective (and therefore genre) they get to experience the story through. So it follows that each aspect of DSMP, a semi-ergodic story, can be categorized as either ergodic or non-ergodic, and whether a particular storytelling element is ergodic can change depending on WHEN the viewer began tuning in to the story.

I have a lot more shit to say (shocker) but I'm gonna cap it here for now. Though I do want to add that this is kinda why I have a lot of patience for the crazy diversity of interpretation you tend to get in DSMP fandom. If you took a random sample of fans and asked them what they think of various arcs, characters, and plot events, chances are they would all have fairly different things to say. To me, that's a feature, not a bug. Obviously I have my own opinions, and obviously I do think it's possible for a given interpretation to be "bad," i.e. not grounded in the text - but I have a lot more patience for it here, in a fandom where agreeing on what "the text" EVEN IS presents a challenge. We can't all agree on who the main character is, so I don't ever expect us to agree on more nuanced questions of theme and conflict resolution in the narrative. Again, that's a feature, not a bug. I don't think it was ever possible to reach a consensus with a piece of media like DSMP because of how inextricable the audience is from the story.

i REALLY enjoyed dungeon meshi, it has lovely characters and story and worldbuilding - but some of the posts and tweets i saw about it going in, lead me to believe that it had more horror/tragedy elements than it does. While it does have its more serious themes and dark moments, it fits solidly into the fantasy-adventure genre.

just thought I'd put that out there, in case some of yall following me for tma have gotten curious about it

do u think of feng xin every time ur math teacher starts talking abt functions and pulling up the f(x) or are u normal