The Primal Side

I write a DOTA 2 story about Wraith King and Bristleback and explain that it shows the significance of animality to the arts, a sacredness whose absence creates furries.

A story is written: Wrath of the Wraith King: Empire of Bone. “But now that mad beast man irradiates you for me. Sayonara, trainees.” … The boy watched from the corner with shining eyes. “I’ll remember you. I’ll say you’re the one who saved the rest of us, and you disappeared.” Ostarion looked down. His darkened, scritched bones would never be welcome in the light of day again.“

I did not play the game while being absent a gaming computer for years or read the lore before making this, using my primal memory to fashion a backstory and story arc that incorporates the copyright-motivated shift from skeleton to wraith naturally, while incorporating the original Warcraft inspiration. All these layers do not require conscious planning - or notes from executives, or the input of fellow artist employees - but only my primality. This storytelling soothes fractures in the brand from things like copyright dispute resolutions, a missing expertise for Valve’s stalled creativity. And the fact that I can easily create cartoony interaction between Valve characters creates mental illness for artists like on the Netflix DOTA 2 fake anime because I could upset their fake style of Dota 2 content at any time, so my artistic efforts were attacked on no basis to provide them with “free healthcare”, so I attacked the animation industry as a necessity for going back to my 00s and 2012 career goals.

This new story draws upon my long passion for the Wraith King, a simple hero to most. My practice Hauntlyre comics started off referencing the DOTA 2 thread saying a patch nerf “cast mass osteoporosis on his skeletons.” Such extremely esoterically personal writing was what was called “schizo” by hostile artists, who are inspired by industry to hate such personalness in art to any degree, not merely that extreme of degree.

This song was pure beauty in the couple days of making this, showing the specialization of my person - not for any nice lady - and my artistic process at work. My effort to become an artist was spoiled not by lack of “gitting gud” as Protestants taught people to say, but by people refusing to accept the islandization of my mind and sacredness of my artistic enjoyment. I literally refused to watch new cartoons as it would only lead to the community using the cartoons as tools for violating my mind, it would lead them to pick apart my opinions like animals picked apart in factory farms. Without accepting the sacred nature of an artist, I would only engage with industry art in the most tangential ways, and they spoiled non-industry paths. Since they consigned good treatment to being a reward of success, like cartoon creators being treated as people again instead of autistic drones to scream at for support of industry product, I accepted and found the joy of a hollow artistic existence, permanently branding my soul with eternal sympathy for undeath and desire to make it real.

It requires a variety of specialties: there is a lot of fake-medieval new things like the Castlevania show and DnD comics and cartoons, but as a Catholic I get into a genuine medieval mindset. I give WK medieval words and thoughts without needing to resort to “thee verily” language. It connects to the widely popular skeleton humor of Dril (which he didn’t understand at all, but ipgd found my game design based on it and other responses precious) as in “a tombstone that had absorbed the nutrients of his fallen skeleton to swell like a great mushroom exploded”. The legacy of the anonymous boy matches my drive to explain why both Africans and evil are associated with black on the basis of a random GameFAQs user’s question, which led to Cosmic Theology. My ease at designing armies for WK and BB comes from my warlike mindset and designing of The Underrealm, full of soldiers and great leaders.

Batty mirrors my crafting of the depiction of undeath before I published it. (Also writing about my mom’s rage, as we share the same cosmic specialties to our adulthoods.) Her sentiment makes my brain go haywire due to showing what a perfect match she is for me, lewd specifically to me. I admired the artistry of Jhonen Vasquez as a teenager, and wanted people to identify obscured signs of my influences from my work, and people screaming at me to “post what I like” in 2010 were seeking to break my approach to artwork, an approach that is most important for forming relationships with female friends, hence finding a gay norm in art completely godawful, beyond even normal Christian sentiment. That screaming was, itself, gay. “Dude we need to know what you like so we know how to work with you” is gay logic. My alternative was to grow artistic life like you grow a baby: with girls, not nasty careerist males. Girls spread my values, my personal characteristics, they don’t need to be explained, they pick up on My Things automatically. And so for all the time that my personal life was broken by tantruming males, life was like being a Wraith.

Most of all there is the fact that it involves my own spiritual experience of Sheol, of my own soul being cursed and torn and made to resemble a skeleton, hence why characters like the Wraith King and Caliborn were so easy to identify with, while hardly anybody else could, Caliborn used as a cudgel against males who did not see themselves in him.

In recent days I have started doing constant signals while moving throughout work and other places. These come from Rare functioning better, my physical side — as a kid it was a major concern for me of how to resolve coming at someone walking towards you properly by splitting in opposite directions, like with the proper bodily signal. Such concerns were completely disregarded by my parents who insisted that only verbal communication matters as a teen when I was falling out of society due to their neglect. My mom was obsessed with institutions, their rules, which become broken from reality, passed down as mental illness to her children like my sister who just said “oh but he has money for that” because I used the money I saved on an Uber to my physical job for dinner, energy drinks, and an after work protein shake. That’s what I need to get through the night and week without injuring myself from lack of recovery or falling asleep on the job and injuring myself.

Thus inspired me to hate the validation of institutions like the animation industry, when it is capable of validating bad work and bad decisions. Getting self-righteous over someone merely trying to live, like attacking me for being lost in my head working on my artistic projects there. It’s an accomplishment itself to do that, hence doing it at work without injury anymore.

I nail the Homestuck style like by Xamag. The sketchiness and small errors serve a tactical purpose in such art, so that artists can extrapolate the fully finished look (not much difference here.) And so it signals my capabilities for employment. Not doing styles like this came from RARE’s physicality being crippled, so that different aspects of my creativity could not properly communicate. This mirrored the state of the animation industry since I entered the community in 2006, hence shouts of shock and demands not to look at my work, and overwrought screams of how ‘bad’ it is, much like my mom becoming enraged at her bad parenting being shown in my personal dysfunctions. Parents like her became enraged by fetishes not out of some holy character or sense of propriety, but rather because it is produced by their bad parenting, creating dysfunction in a child’s puberty. My mom became enraged by fetish photos I didn’t even like - downloaded blind from filesharing programs - which was also traumatizing, but also a kind of prank from Rare, who loves pranking people with my adult qualities. One my mom surely took straight to heart, with her control freak tendencies that went ballistic late in the decade. Vriska had a hyperreal character to me from 2010-2011 due to using my spidery nature to intertwine throughout artistic communities abstract webs, rather than wasting that cool potential on fetishism. These webs create luck because I am the one who made them, like Vriska, except I gave all my luck away, as is masculine.

This expressed playing with my process of capturing artists for my brand. Protestant sects screamed that Pokémon was “demonic” due to manifesting friendship so strong a friend comes under sway of its power, so the Catholic Church uniquely made a stand in favor of it. The ties of friendship create powers in society that have their own domain beneath God’s, that can ascend to be godlike, as with ipgd’s connections to the animation industry (like Coelasquid), and producing Homestuck and Undertale. And so I arise from the crimes done against my artistic brand, like a myriad of abuse against ipgd all the way back to Redditors refusing to lowcaps her name… indeed, like a full demon, not mere demon-y traits like Vriska’s mind control, that batty represents with Mewtwo.

This physicality indicated previously Unexplored aspects of life. I took to cartoons as a tool of such exploration. My critiques as a teenager entirely focused on formulaic art avoiding such exploration, as with gamer comics of the time and most Flash cartoons. This advanced the interests of humans against the interests of art industry.

This is very much my style of cute. It indicates a wild dive of artistic income in need of protection. I remember when people wondered what the point of art commissions was, and someone commissioning a Pokémon batty identifies with forms a jewel of her need for support from me. Such natural expression would embarrass a lot of batty’s female peers.

The new FNAF “Secret of the Mimic” synchronizes with me discussing the series and my mimic nature. It brings in Terminator styling, and the idea of my enemies that they can just do this without an organizing intelligence fails to take into account the utter hopelessness of the attempts at continuing the Terminator franchise, despite its obvious massive appeal and potential. My Anomalous Phenomena had a Terminator-style ending to a story arc, the series is vastly meaningful to me, and I have embodied the series in real life. FNAF manifests my analysis of the world of today’s children and successfully makes meaningful use of the motif. Markiplier thought this game came out of nowhere, but not me, despite being famous for playing the series.

Primal Nature

I treated my actual life as its own side of the art world, while people confused my participation in the discussions of others with being one of them. The assholes of the Ren and Stimpy community do not see Coelasquid as an artistic genius who is in fact the perfect candidate for making episode 1 of the new King of the Hill. (My article also mentioned Coelasquid as natural lead-in before I saw them shitting on her.) I did my best to encourage the good of the community from its sections I could visit, my actual side was a secret I reserved for friends to find first, and no one else would get to first.

Furries, neopagans, are created by Protestants refusing the primal aspect of humanity. They imagine that Heaven is a nice place where you enjoy pleasure forever. And yet Christ was slain. The passion narrative emphasizes details like scourging and bleeding that have their own significance, it’s not merely an automatic fulfillment of sacrifice. There is a primality to how Christ dies.

If the Lord can die, that shows how animalistic existence has its own profound and infinite significance.

I was abused by the animation community for identifying evidence of the flaws of their primality in their work: going to animation college even when there are better alternatives like learning from a mentor online is mirrored in Disney product by ruining Lilo and Stitch which emphasizes the flourishing of family amongst broken systems the family was formed out of. What they consider to be the nature of artist life is shown in their work, just as Batty shows evidence of keeping back horrible things by her characters seeking to prevent horrible things from each other.

My artistic process arises the question of how I exactly can bring dinosaurs to life gradually. As a paranormal enthusiast I raise the question of whether reptilians are in fact real and they are supporting my creativity - my actual mind people didn’t find out about. Malegooning and femgooning led to enormous bellows about me being “egotistical and prideful” to feel justified in tearing me down, but my actual paranormal personality is the opposite of that by nature, a logical contradiction with their claim, so they did not see my nature.

The passion is the proof divine eternity is not always nice, so as always, the heresies of Protestants have no excuse. To understand the divine, animals are frequently invoked. And indeed, ancient people found the power of animals so impressive they started worshipping them, creating Paganism. Laughable to a civilized mind, and yet the power could impress that much, so a truly civilized person seeks to understand the power.

Furries, neopagans, arise from prots refusing to understand. The desire for war and brutality creates neopagans, and the soldier duties of angels point towards what neopagans should seek instead. The unloved desire for animality leads to some prot kids breaking their heads and identifying with animals entirely - amongst other furry origins, like high-pressure corporate careers leading to the desire for an outlet for being wild and natural, hence the famous wallets of furries.

This joke of making fun of the animation “standing in place moving up and down and side to side” is directly inspired by my teenage observations, with the reasoning being if a creative kid can see through animation cheats, you should come up with better ones. Incorporating my feedback broke the minds of the animation community about me, but my nature was to prefer making cute observations that artists like Coelasquid appreciated than to have my young outsider soul stripped and sanded down to be another participant in blind failure within the industry. And so I found solace in ipgd making me feel like a boy again.

The primality of humanity shows the grandeur of God being a lion, and Hauntlyre has already written foes of God who lack his primality. Portrayals of the Cosmos will show the nature of God goes beyond being all-powerful and uncreated, there are entities with similar traits. The brutality with which sin is defeated demands a flourishing that Protestantism does not produce. And so the screams and shock of my enemies in animation and elsewhere from my first attack is basis for calm planning to be savage again with my second about to begin, consciously wielding violent instincts which have faith and skill written into them so I unleash brutality correctly, not like the disaster of being brutal in my last teen days that created spirit coma-level trauma.