Dungeons and Lounges It could be that this D&D gameplay shifted all of us to an alternate universe where Oracle Night features an old asian guy similar to Master Zeo. Because this theory could be true, I suggest excluding non-deterministic spacetime anomalies from any further gameplay. With the virus/economy things are bad enough as it is. — praxis
Coincidence is an explanation for the parallel you describe also, but not very exciting or spooky. You've provided a new means to shift the content of this thread because we can go back and edit that which has not really carried into the future yet by someone elses acknowledgement. Who would notice unless they were constantly re-reading? New authors/readers would have different stories from old authors/readers unless they reread the content frequently.
That kind of extinction of the thread (by vaccum decay wave) is not necessarily a bad thing though. I explain it as just trying to set a limit on the boundary of our play or as motivation to continue or end. All decisions are reversible by whatever proposed mechanic. There are really as many get out of jail free cards as you'd care to use in the world of fiction.
I was thinking about Tinker Bell effect today but need to read up on it. "Every time someone says 'I do not believe in fairies', somewhere there's a fairy that falls down dead." There is a moral qualm (just a feeling) about torturing fictional characters. We are priming and exercising torture circuits in doing so, or it reveals something about the pscyhology of the author. But I want to pursue the idea that if a imaginary character is being tortured and folks have the ability to relieve that torture by changing fate, as participatory authors, are they at all motivated to? How much work does it take for an audience to invest in a character? Is there an audience of more than two here? Mysteries.
The gods of the Ancient Greeks are looming, moving and transmuting characters like clay. When do their works become alive?