Okay, so that ask ask got me curious. The Machine can't bring people back to life, that's very clear, but it can rebuild things in certain images based on the one in control of it. So like, I imagine if Joey reset the studio, he would rebuild Bendy and the toons from scratch as new beings. My question is; could that apply to people too? Like, if he based a toon or something like that on a real life person, would it act similarly to that person? Or would it be however Joey imagined them to be?
Think about how the Ink Machine works! It takes the imagination of the creator and brings it to life, yeah? For folks who aren’t very creative, well, this wouldn’t do them a whole lot of good. It’s not as though they’d deviate too far from reality. But with an imagination as vivid and prolific as that of Joey Drew, well, his creations were already practically jumping off the page!
For somebody like Joey Drew, his creations are not just characters brought stiffly off the page but rather fully-fledged 3-dimensional (it’s a figure of speech) personalities with minds of their own. They’re loyal to him at first, but his imagination is ultimately his downfall in that he made them a little TOO real – like, “able to think for themselves” real.
In the case of the cartoons, Joey created them from scratch, using the original ink from the machine.
Now, to answer your question – the Ink Machine can also directly bring something from reality into its OWN reality without really adversely affecting them… when used properly, that is. That being said, even the things it’s affected properly can destabilize if they are mentally incapable of handling the paradox of conflicting realities. This is what happened to Sammy.
It can also be used IMPROPERLY and simply reduce something that was once real into a sloshy mess of ink. Now – this ink still possesses, er… let’s call it the “essence” of the thing that it used to be. Anything newly created from this ink would retain some qualities of what it used to be, such as aspects of personality, vague memories, voice, or even physical traits. It varies in quality and intensity from case to case.
If Joey were to re-create Sammy from the ink that he was reduced to, this new “Sammy” wouldn’t QUITE be the same Sammy he used to be… rather, he’d be the version of Sammy that Joey keeps in his imagination, with certain qualities held over from the real Sammy. Now – this new Sammy might possess some repressed memories from the original Sammy, and those memories might be dredged up in the proper circumstances. This would be dangerous, though, as it would bring to the forefront of his attention the very same clash of realities that destabilized him in the first place.
If the new Sammy was NOT created using the ink that was the original Sammy, then he would be PURELY Joey’s perception of who Sammy either WAS or SHOULD be. This is where things get really creepy. Theoretically, Joey could create a second ‘toon version of Henry from scratch… modeled after his own view of his “best pal.” It’d be a risky gambit, of course, considering this second Henry would be an even further exaggerated version of the real Henry, whose personality has already been exaggerated over the course of being directly turned into a cartoon. Not to mention, if the duplicate met the original, it’d likely rapidly destabilize thanks to the paradoxical existence of two versions of the same “character” outside of the context of a gag. (The real Henry wouldn’t be so quick to fall apart, thanks to his ability to mentally adapt to shocking situations. Trauma-induced disassociation left over from the war might have its uses in this scenario, horrifying a condition though it may be… Also, he’s the original. That much has its perks here, too.)
There’s one more reason why a duplicate Henry would be risky, and it’s one even Joey himself likely understands all too well – Henry has always been a realist. He might have been a creative mind as an animator, but he always kept the laws of cartoons far distinguished from the laws of reality – even a ‘toon version of Henry likely wouldn’t behave cartoonishly enough to truly work as a ‘toon, and thanks to Joey’s lack of knowledge of what happened to Henry since he left the studio (The War), this duplicate of Henry wouldn’t have the real Henry’s craftiness or wit. He might even be at risk of ACTUALLY being the “traitor” that Joey imagines Henry to be.
“Look, real life stinks sometimes, okay? I’m not gonna lie. But there’s a better way to get through it than denial, and that’s with help from people who care about you. That’s how we’ve gotten through it our whole lives!”
*SOBBING BECAUSE LAST EPISODE OF GRAVITY FALLS IS IN 6 MONTHS*
I can vividly remember when I was kid how much I loved the old cartoons, Bugs Bunny and Tom and Jerry were my favorite to be specific. I can also remember that when I was around 8 or 9 years-old I realized for myself how open and blatantly racist those cartoons were. My family didn’t sugarcoat racism for me so they explained to me that the cartoons were were but I was too young to understand, So when I finally got it, I ran and told my parents, my older brothers, and all my friends Lol, I was in shock.
As you learn about how the media is ran and their intentions it makes sense. A lot of these cartoons and the companies that created them were founded in the early 1900’s by Racists in a Overtly racist America. The goal was as it still is to depict Black People in a negative way. Black Face and negative stereotyping different races was very popular in newspapers, magazines, plays, and eventually TV. Merrie Melodies, Disney, and Hanna Barbera are just some of the companies that depicted Black characters in their cartoons as ignorant slaves, they had exaggerated Lips and eyes with cheap clothing and poor speech. They even referred to them as “Tarbabies” and spoke to them like stereotypical slaves. “The Censored 11” are 11 of the most racist cartoons that were pulled from air as time went on.
It’s just a reality of the world we live in. We must educate our children about themselves and do not sugarcoat everything so that they will be prepared to deal with the real world. Keep in mind that some of these companies still exist and are currently producing major films and TV shows right now, Don’t forget what they were founded on and be mindful of what they are showing us.
We can describe this film in only 14 words: In Uganda, war has hit the streets. FUCK THAT, says The Ugandan Expendables. And since we have one word left over, underline that “fuck.”
It is wall-to-wall karate and machine guns and has virtually no interest in linking events together with a narrative. You’ll never know how unnecessary structure is until you’ve seen 500 Ugandan actors explode from inexplicable violence punctuated by trial version Adobe After Effects bullets.
There is no language barrier in Ugandan Expendables. In the time it takes for you, the casual English-speaking viewer, to think, “I don’t speak Swahili,” you’ve already missed 25 principal actors get kicked to death. This is a dense masterpiece made by passionate, industrious filmmakers.
The Ugandan Expendables includes the gratuitous shootouts from the Stallone original and somehow managed to do it with zero safety precautions and an unlimited stack of pirated editing software. Untrained stunt men fling themselves into the ground while wads of cartoon blood invade our reality from seemingly unrelated wormholes. It seems impossible you’ve ever done anything kind enough to Uganda to deserve this gift from them.
…at least to some of us in the roleplay community it’s not. Some might argue that crack, the genre that can be defined as anything nonsensical, outrageous or just silly, is not worth time or energy, but I would argue otherwise. In fact, here is a whole list of reasons why you should indulge in some absurdity every now and again.
1. Interactions you never thought possible are suddenly a reality. Sure, a cartoon character from 21st Century and a historical figure from the 18th Century probably won’t have a lot in common if you try to devise a legitimate plot that requires a setting and cause for interaction. However, throw them together with ingredients to make a birthday cake for the President of the United States and a deadline, and watch them take off! Sometimes you just have to suspend reality a bit to open up new ideas.
2.Low stress/high productivity makes you feel accomplished. We all have days where our drafts pile up to our throats and we feel like we might cry if we get another multi-para reply to add to the stack. Roleplay can be daunting and sometimes feel like a chore we just do not want to do. It’s okay to take a break and focus on some short, silly replies that are quick to turn around and don’t require a lot of thought. Sometimes it’s refreshing to put the angst aside, give yourself a break, and have a little fun. Your drafts will still be there when you’re done.
3.You will learn things you never imagined about your character. Part of throwing your muse into uncharted territory is the opportunity to find out more about them through situations they would not normally encounter. You are bound to learn different opinions and skills they have when you branch out from recycled plots and tropes.
4.You will end up creating genuine relationships. Crack threads tend to be short and sweet and (for the most part) don’t carry on for hundreds of replies. However, sometimes a spark lights or an idea is formed that leads to a lasting relationship or characterization that your muse will carry on longer than the duration of the thread. While the situations may be contrived and ridiculous in a crack thread, the exchanges will be genuine and those bonds will then be easier to incorporate into reasonable verses.
5.It will make you happy! There’s a reason why crack has the name it does. Like its namesake, it’s bound to leave you both smiling and addicted. At the end of the day, isn’t that kind of the point of roleplay?
Y’all! Problematic sometimes, but I enjoy Bojack Horseman (Netflix) for their moments like this. There’s also a mini subplot about a character who leads a business that focuses on women-only safe spaces, but because of his white male privilege he misses out on a lot of crucial perspective that screws up the initial concept of his business.