The Very Hungry Caterpillar is, on a the surface, merely a sweet story about a very hungry caterpillar and his journey of consumption and metamorphosis.

The author had an entirely different meaning in mind.

TVHC is a story about the author's struggle with their sexual and gender identity, preceded by years of substance abuse and high-risk sexual encounters.

The story begins with the caterpillar hatching from an egg. The Egg is both vaginal and penile, resulting from the combination of ovum and sperm. Within the author, they realized their own sense of vagina and peepee, causing a cognitive dissonance in their own identity.

TVHC's insatiable hunger for food can be seen as a metaphor for a deep longing to explore and understand one's own identity. It reflects the desire to consume knowledge about gender and self-discovery.

TVHC starts by eating through one red apple. This symbolizes the early stages of puberty, menstrual blood, and singular s*x (masturbation). The fact that future foods continue to grow in number and frequency shows the author's increasing libido, but also a shame cycle that is both calmed and exacerbated by continued high-risk exploration.

When TVHC eats through two pears, this symbolizes their first sexual encounter with two people. The green color of the pears symbolizes marijuana abuse, as well as the color of young, supple growth of a plant and the loss of the author's innocence. Since this is the second day of TVHC's life, it can be inferred that this sexual encounter occurred early in life, most likely in abuse as a minor, setting the stage for a life of sexual confusion and impulsiveness.

As the numbers of food increase, so too do the sexual partners. As visualized in the artwork, the penetration of TVHC through food symbolizes the penetration the author experienced as the sexually receiving partner, and the resulting holes in the food represent the continued diminishing of their psyche and worth.

After the numerical scaling of partners achieves maximum, TVHC binges in many different singular foods, much like the author's series of promiscuous encounters. The pace of the text is at a crescendo, the sexual encounters frequent and fleeting.

The Cocoon is not a transformative moment, but one of death and burial. Death of the Soul. Death of the Vagina. Death of the Peepee. Death of the Self.

The emergence of The Butterfly is the emergence of Denialism. Unable to face the damage to his body and soul from illicit drugs and STDs, the author adopted a new persona in order to dissociate from their true self. It is too late however, and so a short-lived life of denialism is all that is possible, until TVHC lays a new egg for the cycle of abuse to continue.

https://en.wikipedia.org/wiki/List_of_English_translations_of_the_Divine_Comedy

I was referred to it by Revolt Against the Modern World, where Evola mentions the book being about how the "initiatory woman" or "secret woman" could be evoked in a real woman. This sounds like stuff that womens' kitties get omega wet over. fr fr?

The strags of /r/DragonAge deleted a very dramatic thread and I CAN'T FIND IT, because I was browsing on another PC

Anyways I'm turning this into a rant post.

You guys ever get tired of these /r/GaymingCircleJerk leftoid fricks who reiterate and regurgitate the constant mEDIA lITERACY talking point about how the in-universe of a media supports THEIR particular brand of modern contemporary PRESSENTISM views?

You know the types - well over the past year since the Dragon Age FAILGUARD slapfights, a lot of liberal peeps have been denouncing the originator of the series (DA Origins 2009) to make Veilguard seem less shitty in retroactive comparison, especially in terms of writing and in-universe political lore.

And one constant r-sluration they continued to spout was that apparently that they could not figure of what precisely the game (DA Origins 2009) was trying to say in terms of it's political commentary.

An example is even way back when, when Zero Punctuation guy stated in his video from like 10 years ago, he could not grasp "wtf the game was trying to say politically"

as in all of these shitlibs could not comprehend what the political message was trying be!

Because in-universe for the ignorant, magic users (mages) live a double-edged life. Magic comes at a cost, basically mages are connected to an ethereal dream dimension called the Fade, from which they draw their power, and in-universe mages are very very powerful. But stupid or poorly disciplined or foolish mages can easily be possessed by entities from this dream dimension and lose their minds,

and basically become rogue school shooters with flamethrowers and rocket launchers attached to their arms, and completely devastate communities, causing mass shooting casaulties in the hundreds before being taken down by Dark Age police. Because of this, mages are feared and ostracized, and kidnapped when they show magic attunement during their adolescence, and forced to live their lives in these Wizard Tower prisons their whole lives. Except when the lord of the land conscripts their talents to flamethrower fantasy orc zombies every decade or so

Point is this grimdark gimmick, makes being a very power magic user in-universe, just as much of a massive bane as a boon, and the whole setting and its medieval in-universe morality and politics are shaped by this.

You as the player character can shape the world into adhering to this Wizard Tower Prison doctrine for the safety of the community or advocate for freedom and other boring shit for the school shooter mages.

But of course shitlibs are so neurodivergent, they are like: WHO IS THIS GAME REFERRING TO? The gays, the jews or the blacks?

They are too foidbrained to realize that all of the fake fiction morality and politics are unique and explicitly not dependent upon real world events. They take inspiration from history, but create their own unique in-universe setting.

The amount of midwits and Medea Literacycels who endlessly type how confused they are about Elf ghettos and what the games are trying to say is funny.

It reminds me also of Vampire the Masquerade: Bloodlines, and the 3hour philosophy Youtube videos and reddit sneeds about how the fake fictional in-universe factions and their unique moralities TOTALLY supports their modern contemporary commie beliefs.

It's ironic that they espouse the Media Literacy meme so much and then display their confusion at fictionalized factions and fake in-universe moralities and moral conflicts.

It's like they have something like Reverse-Media-Literacy-Illiteracy or whatever. Like they are incapable of interpreting new complex questions and moral conundrums posed to them (by vidya slop standards) by new unique settings which do not adhere to the secular religious doctrines of modern Presentism Shitlibery.

It's like they are like OMG WHO IS THE GOOD GUY AND BAD GUY whenever they are confronted with fantasy morality that isn't turbo wingcuck propaganda

"My PRESENTISM Youtube Philosophy Tuber hasn't spoken about how Crapitalism is evil about this shooter game yet! HOW am i supposed to know who to vie for!?"

As in they literally cannot comprehend fictional moral complexity OUTSIDE of the framework of their current contemporary modern day shitlib doctrines

I've fricking seen r-slurs be like "I don't understand what Ursula Leguin was saying in Left Hand of Darkness" cuz they cannot shoehorn their Presentism into the unique worldbuilding of a Novel written 60 years ago.

!bookworms what do YOU guys think of this

I get that it's a series but come on, what the frick was that ending?? Give me something you peepeesucker. It can be vague, it can build mystery for the next book, but give me something.

Death to series books. Yes I'm mad.

!bookworms !writecel

https://boards.4chan.org/tv/thread/209709675

!chuds !bookworms