4chan-originated culture and Analyzing Symbolic Attacks
In response to the latest pitiful moderation, I expose why I was abused for “plagiarism” as a queer metaphor while discussing Coelasquid and Mechanica.
Astarian Nights continues with 2 webcomic pages. “Machines can re-emerge mighty strong, and that strength can change completely.”
Popular rappers inspire black youths and other youths to become successful too, albeit typically seeking literally success from rapping. As part of this narrative of success there is active guidance that “only makes sense to real Gs”. 50 was special to me as an adolescent, spoiled by people refusing to explain why it’s special that he was shot 9 times. This song teaches that you can spit pure fire and yet still wait for success for you to “explode”. I became special to the heavenly dimensions of rap by refusing to let it be consigned to a ghetto reputation, but rather seeking the genius people loved without showing why, and this is retroactively reflected in some songs as well
When the Spumdonor-led Ren and Stimpy community harassed me about thinking “everyone plagiarizes you”, that was vengeance for using the name guy on 4chan. As this made it clear that certain parts of 4chan culture had one specific source, and that a minor had been making types of comments that appeared frequently as he had dropped out of high school. This must be a major reason why the psychosis became extreme when I was 18 (while I expected people would come to see what I mean in that time.) People like animation students saw that they learned from the same guy when it came to critiques and observations.
“Copyright” was a metaphor for laying claim to my contributions, and /co/ and other parts of 4chan was important for producing wide swathes of culture today. People post “/co/ doesn’t make anything anymore” there as another psychological attack for my decisions on how to contribute to that culture which spread into wider culture. As back in the day the characters Fionna and Cake were made there, now an ongoing series, and other such things happened.
The Spumdonor faction and the industry faction both have their pent-up resentment that I “sabotaged” the development of industry cartoons, but garbage with a deceptive sheen to it is worse than honest garbage. That’s what series like Five Nights at Freddy’s teach kids, it’s not enough for something to look likable to them if it will end up eating you.
And so parts of /co/lture were cut off from industry folk, who had their vengeance by refusing to see the uncanny compatibility between myself and longtime /co/mrade Coelasquid and doing other such things. Unfortunately for them that compatibility inheres in Mechanica as one of the most pointed facets of it for their current lives, as it would never be the same without her.
Personal Expansion
Songs listened to at a certain time while living out a certain place can provoke a cosmic experience whose great meaning can be simply summarized that I am embarking on depicting a completely separate universe from our own. Recent years of song covers are dismissed as the cosmic significance of a cover is not noticed. Art groups died in their whines as the cosmic context of their errors swelled around them, no longer needing to do the talking, I focus on my own creation.
Coelasquid’s personality is defined by /co/, radically developed in things like big thoughts about The Terminator because of my own big thoughts about The Terminator. Other industry artists and other art community artists were defined by it less dramatically, and that definition can pass down to artists and others who never went to 4chan, hence so much 4chan stuff scattered around the internet.
“Everyone” is really everyone in certain communities; no one says anything about my johnkstuff comments as they must have destroyed their thoughts about it while coping with seeing “guy” on /co/ after being angry at “Guy” there. Anons would occasionally break and say things like “what’s your employment history,” “you’re still here,” and other such things, as I had deflated into a crushed state in my soul, biding my time for my current Initiative. The trajectory of the trouble ate at them.
They wanted to use petty tactics to tarnish my teenage genius like bickering about me giving up on John and what I said as I did so, when the right thing to do in that situation would have been to reconcile my childish disappointment, just as the right thing to do would have been to explain how much of the Batman mythos Batman: TAS created, but they take any pathetic “win” to assassinate other young competition, which rots as part of their adulthood. By the time of my Initiative, the rot had progressed enough that they settled for this tactic to stall the exposure of the rot as best they could.
Conclusion
I watched part of Batman Forever as part of The Penguin premiere and was sad to think of the absence of the monster bat scene, which is the missing piece of the concept. Animation folks complain about executive meddling, problem is they can hardly ever show something like this, something actually really meaningful, as I saw monsters in my own mind many times too, representing what I must rise against and for.
“Everyone plagiarizes you” is infuriating bullshit that merges together a variety of queered past drama that was convenient to “forget”, but actually defines their daily lives. It is formed from a technique for abusing children by pretending to misinterpret my words, but that’s not even the actual problem, it’s that they home in on whatever psychosocial symbolism that will make me give up on my story. “Boohoo you didn’t let industry folks keep developing their personalities and skills with your help so they serve the devil with a deceptive face of ‘cartoon fundamentals and new ideas’” is the queer sucker punch symbolized in things like Amphibia, which I happen to excel at countering.
