>>14740
> I did not see anyone else who could understand that. :) You don't seem to be getting any comments from anyone.
You don't see them because you're looking the wrong way. Of course you won't see any comments on this new iteration of gurochan where I've barely posted anything and there aren't that many people who could leave comments in the first place. But at AO3 for example, which doesn't keep dying every so often, people do leave both kudos and occasional comments, where you can see that some people get mesmerized by these ideas in just the way I myself am. There was even a comment on Black Ice that praised the twins' logic for being so sound, that I was worried for that person and warned them not to use this logic in real life, but apparently that offended them and they went as far as not just deleting their comment, but their whole account. I can only hope they didn't go even further by deleting their life...

And if you look at the archives of the previous iteration of gurochan... hey, wait, I went there just to confirm there were comments, but look what I've found... apparently we've already had that argument before and you ended up saying "Now after all that thinking and seeing it from another perspective, I actually like your idea even more." And then that lead to us making the Dream Gift together. So what the hell happened to that?

> Either way your characters die not for fun but for expectations of fun. the only problem is that their logic is so horribly absurd that there can't be any other thoughts about them than "they are idiots of unseen proportions" And looks like you even said it yourself by introducing Miku in to the scene to voice that.
> If you ae least could hide it somehow when characters are expecting to have fun but what they do leads to something different even if intention was correct so that only in the end it is found out that it went wrong

You're having it completely backwards. If they were expecting to have fun but it didn't go their way, then they would have been idiots for not foreseeing it. But instead they are very well aware that being dead won't let them get any of the fun they expect from it. They acknowledge the absurdity of their logic and derive fun from that very absurdity. Failing to see common sense would have put them below it and make them idiots, but instead they're rising ABOVE the common sense and laughing at it from up high, because they're free from its bounds. ​Or, as one person you won't see commenting because they chose to PM me, said: "I think it's funny because it's so logical, it gives so much agency to Rin and Len that no human could have in their judgement - usually desire and personal investment get in the way" (you can know I'm not making it up because the word agency isn't even in my active vocabulary). Although to be completely honest that was not on Black Ice, but on an idea where the twins are anticipating a party but don't see it as a reason to mind being killed before it arguing that "being dead won't make us miss the party, because there won't be any us who would miss it". Maybe you'll say that there's a difference and this one is indeed logical while "dying for fun -> not getting fun because dead -> that's what makes it so fun" is not, but from where I stand both of these ideas play with agency above one's own desires and expectations.

> Formal logic in that joke is completely right, but fundamentally it is wrong.
That's the same as in "dying for fun -> not getting fun because dead -> that's what makes it so fun".

Let me ask you, have you read my short story "Marina"? Give it a try, it's very short an won't take much of your time. Are you able to get what makes it fun?

> Unfortunately no not my personal taste, His stories and stories is many authors on GC are plain horrible quality objectively.
They can't be objectively bad when there are people who go as far as calling them the best they've read.

> There is no itriques no plot no jokes just very straightforward actions that have no meaning of any kind.
That's just factually wrong (as are most of your arguments anyway).
Let's simply count.
In "Die Young" the action of hanging seems to take the whole second half of the story, except even then most of it is not description of what happening, but what the twins feel about it.
In "Black Ice" the action of drowning takes one paragraph.
In "Trust" the action of being crushed by a train takes one sentence.
In "Suspicious Silence" all the action is over before the story even starts.
My stories fully consist of the characters' emotions and motivations, with all the jokes and meanings of those, and only have a sprinkle of action just because those emotions and motivations have to be about something.