The Lost Wish of Wish; Daughters of Protestantism
I analyze the "sympathetic" quasi-traditionalist motivation of the mainstream fighting the legacy of my teenage Revolution, and the offense of the sitcom-era Disney Channel I felt as a kid
Oil-Worlds continues: “Almost all of them had the consistency of exceptionally old and brittle paper, but every once in awhile there was some sturdy fabric of a real story.”
“Golden” is part of ochre coloration. This is a song about being in an ochre mood illustrating the ochre dimension of life which sweeps around like weather, and so the glory from my life achievements is arising already. The emphasis on going down connects with the Underrealm. This sort of meaning suffers as is illustrated in the song while in the mainstream people still try to keep their sanitized brand slop going
Post-Script to the main article. The central conflict of Wish is driven by the protagonist wanting her grandfather's wish to inspire people to be granted. As part of the undernarrative of Wish, this obviously pits the legacy of American Protestants against my teenage plan to inspire the world, costing them the ability to inspire instead. Problem being that Protestantism rejects tradition and so they can't have any proper claim to a legacy. They try to have their own strange equivalents to things like theology and saints, but they just end up with tons and tons of holes that lead to people leaving the faith in droves.
When I was a teenager people treated cartoons as just stupid things, I saw that cartoons had a massive impact on how kids grew up, I sacrificed everything to fight for them to be better and I was rewarded with a Lion's share of legacy. The Protestant collective was lazy and dismissive, they gave it up, I took what they gave up. Then they got frustrated and angry like Spumdonor, whining about how the traditions of animation developed according to the gravitation towards a random Catholic online. And as a result I spent years picking apart their attacks and lies.
The whole dream of Wish is entirely retrospective, if I had done nothing I'm sure they would have been glad to see their kids stiffen into the lifelessness their Church provokes. Indeed, that basically is the whole wish, to raise a generation of Hannah Montanas and either dull careerist boys (like Disney protagonists) or dumb asshole boys (as standard “creative” personality, like George Carlin or Andrew Hussie or Alec Baldwin) They merely weaponize the implication that they have higher ideals than crippling potential of the youth for easier lives, a standard Protestant tactic as they can't win any direct confrontations. They wanted me to be guilty for doing my best to save the world; they could never say it out loud, but they did a ton of work to accomplish this as with Wish.
Calliope, the Hostile Identity-Twin
Meanwhile, hostile women like Amber can expect to be severed from the Underrealm for eternity, and as a result miss out on ochre life.
Calliope directly relates to the Lost generation of Hannah Montanas who want their ideal Fantasy Life in upper middle class insulation, treating merely contacting them ever as like interacting with a princess, and meanwhile their main purpose in society is to control social norms and evaluate youths for social acceptability.
They were intercepted by my teenage self who wanted animation to involve entertainment, lofty ideal role models, soul nourishment, and other such things that lack worldly priorities. My vision was so powerful that it outweighed privileged young liberal art school women by the thousands, and in the aftermath we basically had to coexist as cultural presences indeed about half and half.
When Andrew has Caliborn say he “accepts being punished for that excellent thing”, that was condemning my Catholic virtue. To be focused on the heavenly instead of maybe a little of the heavenly but mostly half-measure concessions to the World. They did their best to vilify this, but when I message young crew members in animation I don't get angry Protestant dads. They spent all their anger coping with being hit hard by my Cosmic presence.
Friendly artists who relate to the Underrealm have me become an alternate divinity in the distinct dimension of its connection to their artistry. Part of this participation from my own heavenly existence involves being granted by God my own discretion in my impact on courses of events, mysterious choices changing the same situation, and so they can wonder why I make things more difficult as is my nature.
The Horror Teen
Indeed, one of the reasons why Protestant elders sputtered in incensed outrage is that simply because I was Elect, and having a Cosmic destiny, and was developing new legacies for Catholic culture, I could have said that their kids could see me as ideal to imitate. But I did not. Indeed I had a crisis of faith. (Easy to have one when you're punished for being good, a process immortalized by the extremely implausible attempts to make Caliborn a villain)
My gambit while only a teen was to do better than bad parents after their bad schooling did nothing but tear down my potential, out of the anti-catholic bigotry encoded in it. This erupted outrage which was translated - as my soul burst into flame from the cosmic agony taking place - into things like people accusing me of being better than all other artists, speaking for their Protestant elders with demonic artistic metaphors. This sort of song amps down the remainders of that psychotic backlash those responsible don't want to remember at all with a fun hell dad instead of an abstract Protestant dad figure suffering a humiliating defeat. Retaining the conflict with myself as represented by Alastor, but being the opposite of that psychotic cultural figure by having lots of appeal instead of no appeal.
One spooky thing I did was recontexualize ipgd as Calliope. Part of the point of how shitty she is at reflecting any friendly artist girls is to push connecting with unfriendly girls. If you know what Homestuck is, you know it was extremely affected by developments online. Homestuck was an expression of Protestant culture, and they were trying to put together storylines of me giving up on my vision and accepting that mainstream culture is legitimate after all.
Instead I forced it to be about reconciling how my life with ipgd was destroyed. When ipgd poisoned my brain back in 2014 with corruption of her muse interactions, indeed it can be expected that she was pushing this development. She could have been more like “a caricature of herself” as she said back then, but that was not the honest path. The organic path. The proper way to be true to herself was to go all-in on the disaster Protestant culture had created.
The hostile social electrical line coming from Amber and Shelby, poisoning my connection to things like the legacy of Steven Universe, is the legacy of our mutual decisions. Shelby was the artist of Calliope, and as an artist she was a representative of large cultures and social groups. They wanted to transmit through her the “reasonable adult sane” decision to dial back on my personalist-driven path through life to make concessions with their collectivist priorities.
But we have all seen what conservatives and traditionalists who make concessions do. They don't preserve their beliefs, they don't preserve the impact they make. They may do some good here and there, but the standard path of that choice is to become a Republican. To be like Nikki Haley instead of me.
All of the hatred they have expressed coexists with my massive gravitation as a cultural leader. And as has always been my reaction, the cost has been worth it to improve Society and thereby create a lasting heavenly Legacy on the basis of my intact vision.
Now a whole generation is growing up with this secret battle for the course of nations, and they have lost. Part of the point of condemning their social life with no male authority figures is that the youth are yearning to embark into the future that has been created, and Hazbin Hotel is a great example. The pre-BentoBox art is good, many aspects of the characters and dynamics and whatnot are good, the original concepts have been ruined and it awkwardly coexists with multiple interpretations of the theological narrative without any of them really being settled because mainstream women refuse to allow that settling to take place.
As a man in the model of The Birdman, I am focused on responsibility and I have always been. If I was focused on myself I could simply email the most mind-bendingly fucked up ways for me to comment on what people involved in gravity falls, Homestuck, etc. did. I don't do that because I'm not focused on that, I am focused on God and repairing the good of society.
Things like Calliope will be returned to later, an alien version of her is actually a major character in my afterlife webcomic, fully settling every topic involving the original character. Meanwhile women want to hold on to their self-interest priorities, and I will keep shocking them back to basic human decency priorities they loved to reference without actually explaining what basic human decency is.
Conclusion
When I was a kid people thought that their shiny smily safe future for their daughters was a sensible one. There were many problems for that interpretation. Like that part of their shiny, smiley Miley Cyrus safeness is rejecting any male who gives them too much of a fuss, fueling abortion, cancel culture, and Gen Z being afraid of dating and hitting on women.
A lot of the problems are now obvious. As a child I took the excruciating choice of embracing the problems while they were not obvious. I was constantly haunted by the cultural awareness of mainstream interpretations of my self-invented style of adulthood. They had nothing good to say until it erupted like an oil well to spread everywhere, sensitive to being burnt. Random white girls seeing me as the sexiest thing they've ever seen while anonymous makes me feel better