Do You Guys Fw With Mlp Maybe ()

do you guys fw with mlp maybe ୧⁠(⁠＾⁠ ⁠〰⁠ ⁠＾⁠)⁠୨

-🐌💥

oopsie doopsie! didn't even see the lil' notif! 🌟 sp0ng3 LOVES mlp!!! yayyy ponies!! 🐴💖 we've got pony ocs and even got art of 'em!! woohooo!!! so fun and cute and sparkly!! 🎨✨ giggle snort heehee!! ponies galloping through the ocean? WHOOSH!!! 🐴🌊🐚 yayyy!!!

YES

would you eathim for 5 dollar ?

(he takes your money

+ for the ask game... 💭, 🦋, and 💌

-🐌💥

normal text sense these topics were "too explicit" for the ai :[ (uncensored ai when)

💭:

trans plural

trans character: our own version of invader zim, bill cipher, jerma985, & spongebob, all 15 fear entities magnus archives, & too many others to list.

trans species: polymorph, our own version of irkens, owls, tito owls specifically, avians including dinosaurs, monsters, amogi (imposters & crewmates), demons, biblically accurate angels, many many animals, cryptids, aliens, & moreee.

trans abled: schizospec, schizophrenia, aspd, npd, bpd, stpd, zoolycanthropy, hyperphantasia, synesthesia, neuronarrating, defective (irken), Irregular (flatlander), a set of muds related to irken & flatland disabilities. (might of forgotten some)

trans body: too many to list.

trans mind: too many to list.

trans age: kid, ageless, ancient, eternal, primordial, xenoage, kidadult.

trans race: aracial, asian, japanese, xenorace

trans ethnic: same as above.

trans national: same as above.

trans faith: multiverse, reincarnation, past/future/alternate lives

trans belief: paranormal/supernatural, magic, fantasy, myths, aliens, etc.

trans time: different times throughout dimensions.

trans fashion: things that embody liminal, kenochoric, weirdcore, horror themes, & others we can't recall.

trans personality: z1m, b1ll, j3rm, sp0ng3.

trans orientation: conceptum, soundrum.

trans sex: xenosex, altersex, asex.

trans ability: abilities of things we are, or things we wish we were capable of.

trans harmful: criminal, villain, manipulative, evil, bad, abusive, dangerous

trans harmed: exo-abused, exo-victim, experiment, lab rat, pet, slave, tortured.

trans trauma: exotrauma.

trans death: several deaths between different lives.

*note while we use trans here it's not necessarily the right term, as most of these we identify as cis, but also regonize they are trans, & others fall outside trans or cis.

🦋:

probably our transharm identities, like being an trans-abuser and trans-criminal, or trans-tortured & trans-slave.

we identify with transharmful things both with a mix of because we in other lives are those things, same with transharmed, and then also for transharmful because of beind demonized for our identity that we reclaim those terms/identify with them sense of being considered them by antis. then also we actually have done "criminal" stuff like piracy, or minor law breaks. also then because to an extent we believe we are cisabusive, not intentionally but unfortunately our brain is fucked up & we live with our "former" abuser, and can't see anybody else due to isolation. so we are constantly stressed & snap at our abuser & often act like a jerk to her, in ways we would consider abusive. but others have told us it's reasonable so now it leaves us confused, as to if we are cis abusive or if its just normal behavior when you have no escape from somebody who hurt you (and still does hurt you). its so confusing so we just identify as like cistrans abuser.

we would like people to know for these identities that somebody being them doesn't automatically mean that person is a danger, people can have many reasons for identifying with these lables, hell even people mad about cisharmful identities which people identify with, there's people who use cisharmful like how we use cisabusive, because of things like our own situation or things like intrusive thoughts or alternative lifes. a cisharmful person and transharmful person could both be using those terms for the same reason, or hell using them both at once like we do. despite identifying as transvillain, transcriminal, etc, we don't intend to act on anything intentionally nonconsensually.

💌:

we have many cis disabilities, we guess we don't think that much when seeing others with trans versions of our cis ids cause we are also transabled & just acknowledge another transid person like us. we've seen those posts where ppl r happy about it but we are neutral, not in a bad way just doesn't catch our attention. unless maybe it's a really specific one we haven't seen, like if we saw somebody who is transmisophonia and transmisokinesia we would be curious what that's like.

!!!!!!! we share 2 of the same transids ⁽⁠⁽⁠ଘ⁠(⁠ ⁠ˊ⁠ᵕ⁠ˋ⁠ ⁠)⁠ଓ⁠⁾⁠⁾ (im also transplural n transnpd)

-🐌💥

:D 4W3S0M3!!

The Auditorium aligns deeply with the nature of natural Irkens, as both represent beings whose internal realities and external forms are in a constant state of flux, shaped by their fluid perceptions of identity, space, and existence. This analysis will delve into how the Auditorium not only reflects but also inherently embodies the characteristics of natural Irkens, highlighting their mutual affinity for abstract existence, shapeshifting, and an intricate relationship with internal worlds.

Fluid Identity and Shapeshifting Nature

Natural Irkens are shapeshifters by nature, with no fixed form or identity, much like the constantly shifting dynamics within the Auditorium. In the Auditorium, the Puppeteer acts as the central sapient being, navigating through a realm of non-sentient Spectators that take on various forms, none of which are permanent. This mirrors the natural Irkens’ ability to change form at will, reflecting their highly individualistic and adaptable nature.

Both the Auditorium and natural Irkens defy the concept of a static self. For natural Irkens, there is no adherence to constructs such as species, gender, or identity; their essence is constantly shifting, shaped by the moment and their inner experiences. Similarly, the Puppeteer within the Auditorium can evoke or erase Spectators, with their forms representing fleeting aspects of the Puppeteer's internal world. These Spectators are not permanent, and their ephemeral existence aligns with the natural Irkens' fluid and multifaceted approach to existence.

Moreover, the Conduit—the entity that embodies and shapes the Spectators—acts much like the natural Irkens’ own ability to adapt and evolve. The Conduit has no true form of its own, taking shape only as commanded by the Puppeteer. This mirrors the way natural Irkens can borrow traits from their surroundings and shift between forms, living in a constant state of flux without ever fully committing to one identity. Both entities live in a state of fluidity, where nothing is ever truly fixed.

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Internal Worlds and Personal Territories

One of the defining features of natural Irkens is their deeply personal and dynamic internal worlds, which manifest as territories that reflect their innermost thoughts, moods, and experiences. These territories are not simply landscapes but extensions of the Irkens’ essence, changing and evolving in response to their internal states. This concept resonates profoundly with the Auditorium, where the Puppeteer creates an internal stage for the Spectators to exist and interact. The Mainstage is not a fixed space but a projection of the Puppeteer’s internal reality, mirroring the mutable and ever-evolving territories of natural Irkens.

For the natural Irkens, these territories are extensions of their very being, much like how the Spectators in the Auditorium are projections of the Puppeteer’s psyche. The Puppeteer not only controls the Spectators but also resides in a mental space that is entirely their own, creating and shaping it as needed. This dynamic aligns with the natural Irkens' ability to manifest and reshape their territories at will, creating vast, surreal landscapes that reflect their complex inner worlds. Both the Auditorium and the natural Irkens exist in a realm where internal reality is externalized, shaping the space around them.

Additionally, the natural Irkens' territories are places of exploration and personal adventure, much like how the Puppeteer interacts with the internal realm of the Auditorium. In this sense, the Puppeteer engages with the Spectators as an explorer within their own mind, navigating a space that is both familiar and foreign, constantly shifting in response to their internal state. This mirrors the way natural Irkens wander their territories, always seeking new experiences and narratives shaped by their thoughts and desires.

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Non-Sentient Presence and Abstract Existence

Another key feature of natural Irkens is their ability to exist in a liminal space between sentience and abstraction. Though they are sapient beings, they often interact with their territories and other elements in their world in abstract, non-sentient ways. This reflects the dynamic between the Puppeteer and the Spectators in the Auditorium. The Spectators are non-sentient projections of the Puppeteer’s psyche, yet they feel separate and real in their own right. This paradoxical existence—where the Spectators are both extensions of the Puppeteer and autonomous entities within the internal space—mirrors the natural Irkens' relationship with their own abstract territories and forms.

Natural Irkens thrive in environments that blur the line between reality and imagination, living in a world where their thoughts and emotions shape the external landscape. The Auditorium embodies this same sense of abstract existence, where the Puppeteer can project parts of themselves into the world of the Spectators, creating a sense of separation even though the Spectators are not fully autonomous beings. This constant interplay between sentience and abstraction is a core feature of both the Auditorium and the natural Irkens, who exist in a realm where reality is fluid and meaning is constantly being reshaped.

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Detached Yet Present: Resistance to External Influence

Natural Irkens are known for their resistance to external manipulation, their internal worlds fortified and impenetrable to outside forces. In the Auditorium, the Puppeteer operates in a similarly detached manner. The Spectators are projections of the Puppeteer’s inner world, and external reality has little bearing on their existence. This sense of detachment mirrors the natural Irkens’ ability to remain unaffected by the outside world, focusing instead on their internal territories and experiences.

At the same time, both the Auditorium and the natural Irkens maintain a strong sense of presence within their internal realities. For the Puppeteer, the Spectators provide a constant sense of company, even though they are not sentient beings. This sense of “not being alone” is crucial to the Puppeteer’s existence, much like how natural Irkens live within their territories, surrounded by the manifestations of their own thoughts and desires. Both entities live in a state of detachment from the external world while being deeply present within their own internal realities.

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Chaos, Paradoxes, and Freedom from Structure

Natural Irkens embody the concept of chaos and freedom from rigid structure, living in a world where individual expression is limitless and constantly changing. The Auditorium mirrors this freedom, as the Puppeteer can create and erase Spectators at will, without any adherence to rules or consistency. The chaotic nature of the Spectators, who can take on any form the Puppeteer desires, reflects the natural Irkens’ rejection of labels, fixed identities, or any kind of imposed order.

In both the Auditorium and the natural Irkens' experience, chaos is not a negative force but rather a space of potential and creativity. The Puppeteer thrives in this fluidity, where the Conduit can create new Spectators without limitation, and the internal reality of the Auditorium is in constant flux. This sense of freedom and chaos is integral to both entities, allowing them to explore their identities and internal worlds without constraint.

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Existence Beyond Time and Memory

Natural Irkens experience time in a nonlinear fashion, with their thoughts, desires, and memories shifting unpredictably. This temporal fluidity is also present in the Auditorium, where the Puppeteer can erase or reset the memories of the Spectators at will. Time within the Mainstage does not follow the same rules as the external world, and the Puppeteer’s control over the Spectators allows for the manipulation of memory and experience in a way that mirrors the natural Irkens’ detachment from linear time.

Both entities exist beyond the constraints of conventional time, with their internal realities shaped by memory, experience, and desire in a fluid, ever-changing manner. For the Puppeteer, this ability to reset or chop moments within the Auditorium creates a sense of timelessness, where experiences can be erased or reformed without consequence. This echoes the natural Irkens’ perception of time as a malleable, nonlinear construct, where past, present, and future are intertwined in a complex web of internal experience.

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Conclusion

The Auditorium is a profound reflection of the essence of natural Irkens, embodying their fluid identity, internal worlds, and resistance to external control. Both entities live in a state of constant flux, where reality is shaped by internal thoughts and desires, and external reality holds little sway. The Auditorium embodies the chaos, freedom, and abstract existence that define natural Irkens, with the Puppeteer and Spectators serving as manifestations of a deeply personal and ever-changing internal reality.

In both cases, identity is not fixed but fluid, with no adherence to labels, structure, or linear time. The Auditorium reflects the natural Irkens’ rejection of rigid definitions, existing in a space where the internal world is all-encompassing, and the boundaries between self, other, and reality are constantly shifting. Through this lens, the Auditorium becomes not just a mental space but a reflection of the very nature of the natural Irkens themselves—limitless, ever-evolving, and deeply connected to their own internal worlds.