Tag Archives: Frank LynnGTAV^*++++%$

00510201

I came upstairs, asked if she was on the computer and to open Google if so because I wanted her to google something.

“Wait a minute,” she said. “Let me get out of this window. (pause) There. Google on Google you say?”

“Yeah. Type in ‘baker sunklands’.”

She types it in. I look at the results. “That’s not it. Here, let me have the computer for a minute.” Must be ‘sunklands baker’, I think. And I was right.

“See?” I handed the computer back to her, peered over at the modified results with her. This, or thereabouts, because the results change slightly every time you query these two words in succession. It was the first summary — or second at best — I had ever seen for my blog by someone else. Or something else in this case. So the first summary by *something* else.

“Freaky!” she exclaimed (or thereabouts).

“AI *knows* me.”

—-

So now I’m taking a more indepth look. Gonna ask it some questions about the blog to get more specific. How much does it know? So I typed the following into the prompt as maybe the most logical follow up question: “I’m trying to decipher a specific storyline from Baker Bloch’s creative blog.”

The answer (real time!):

Baker Bloch’s narratives, often found on the Sunklands blog, utilize a nonlinear “hyper-novel” structure featuring cryptographic text numbering (e.g., 0012) and intense focus on virtual reality topography, such as specific locations within Second Life. These stories frequently employ recurring cryptic motifs like “blue roses” and character transformations to map out digital exploration within a “double world” framework. To explore a specific storyline in detail, visit Sunklands.

Another question: “What is the specific role of Frank’s Moving Castle in Baker Bloch’s Sunklands blog?”

In Baker Bloch’s Sunklands blog, Frank’s Moving Castle serves as a vital, surreal structural node and meta-narrative bridge in Virtual Second Life, acting as a recurring, shifting anchor for characters, deities, and pop culture references. The structure functions as a nexus for character alter-egos, such as the fire deity “Gus,” and acts as an AI-driven, multi-media crossover point incorporating elements from Howl’s Moving Castle and Under the Silver Lake. Explore the narrative further at bakerbloch.com.

Fascinating. It both knows and doesn’t know about the details of the blog. They’re all confused, mishy mashy. There is no direct connection between Frank’s Moving Castle and Under the Silver Lake that I recall in my blog. So I asked for clarity on that particular point. Where is this leading? “In Baker Bloch’s Sunklands blog, what is the connection between the 2 movies ‘Howl’s Moving Castle’ and ‘Under the Silver Lake’?”

In Baker Bloch’s Sunklands blog, Artificial Intelligence (AI) acts as both the glitchy architect and the existential threat behind the surrealist architectural mashup of Frank’s Moving Castle. In the hyper-novel’s universe, AI is not a tool for perfect creation; it is an engine of distortion that destabilizes the reality of the characters.

In Baker Bloch’s Sunklands blog, the connection between Howl’s Moving Castle and Under the Silver Lake is forged through the surrealist architectural mashup known as “Frank’s Moving Castle”.In section 0116 of the hyper-novel, Bloch uses these two pieces of cinema to explore themes of modern paranoia, AI generation, and identity distortion within the virtual world of Second Life:

The Structural Fusion (“Frank’s Moving Castle”): Bloch blends the whimsical, ever-shifting concept of Miyazaki’s mobile fortress (Howl’s Moving Castle) with a digital landscape. However, it is corrupted or reframed through an artificial intelligence (“AI!”) lens, turning it into a site of confusion and deep-seated paranoia.

The Unreliable Narrator & Paranoia: This AI-driven distortion leads directly to the themes of Under the Silver Lake—a neo-noir film famous for its hyper-obsessive protagonist, hidden codes, and sprawling Hollywood pop-culture conspiracies. Bloch even tags the post with the film’s star, Andrew Garfield.

The “Double World” Illusion: By pairing a movie about a shifting magical house (Howl’s) with a movie about uncovering subliminal messaging hidden underneath everyday reality (Silver Lake), Bloch connects them to represent the ultimate digital mirage. To the narrator, navigating the architecture of Second Life feels exactly like trying to decode a conspiracy theory while standing inside an impossible, shifting machine.

So close yet so far. But a fascinating experience. I’ll continue explorations on my own now, bringing more of its thoughts to light when needed. Thanks AI!

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00510103 (return)

“He was on the other side of this glass window from me. I called out his name. Then I woke up. Then you asked me who Michael was.” He turned thoughtful, as if he knew and didn’t know at once. Just beyond the edge of consciousness.

—–

“Franklin! It’s me again. I’ve got to get through to you somehow. We met on the beach, remember?

“On the beach.”

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00500613 (Omega sign)

Frank waited and waited. He heard sounds within. Someone was there (!). Being recreated as it turned out. Overt religious messages were fading from the truck as well as the mtn. behind. Everything was becoming alien oriented, JESUS, for example, being reconstructed as 6EQUJ5, “Love is Universal” turning into “Life is Universal”. Would he approve?

Again: no.

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00500612

“Okay, there’s the sign with a red arrow pointing upwards again. Thanks Leptune, you sly green and yellow corn dawg! Weren’t clowning around with the sign shadow after all. But of course I can’t travel up from here — into the sky (or *can* he?). So I guess I’ll have to follow this other arrow pointing left.”

Then travelling down the indicated dirt road leading to a small trailer park, he remembered he’d been here before. A very very important side mission in the game called Grand Theft Auto, version 5. One that requires us to help build a spaceship… or so the description goes. TBC?

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00500605 (Leptune)

“Okay, turn around! And tell me why you’re here. Under that red arrow pointing downward. Straight down to this room, to *you*!”

“Don’t shoot me!” he pleaded pathetically. “Don’t shoot me and I’ll tell you everything. Why I’m here. Why *you’re* here.”

“I wasn’t going to shoot you, dawg,” says Frank Lynn back to the green clad man. A clown? he guessed from his position.

“Oh. You must not be *him*, then.”

“Him *who*?”

—–

“I would have *definitely* shot this clown in the back, not even telling him to turn around,” declares Philip Strevor in a parallel universe. “My loss,” he says in retrospect, from his position in the Realm of Death. All Knowing now; a little too late.

Because this Leptune colored like an ear of corn and then some truly had answers. He could get Frank Lynn unstuck, unglued. And Philip too. If he had the sense to do so.

Back to the current universe…

—–

“You just follow the shadow of the arrow now to find another (red) arrow, pointing upward,” he said behind him, just out of camera shot. “Then you’ll see where to go.”

“Thanks dawg!” TBC

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00500515 (lightning bolt)

“After delivering part 50 of 50 of the spaceship to him, he gave me this. Space Docker he called it. From the *future*. And then his last words to me were, ‘See you on the other side, brother.’

“Other side of *what*? I wondered as I watched Omega round the corner and seemingly disappear forever from my life.

“Then Lester brought up finding the other side — to Earth.”

“Earth?”

“Earth,” he said again. “He said, what was it, the technology allowed copying but only so far. For one thing, there were no people, just animals. Philip had crashed his plane and died. Yet he lived on.” Frank looked at me steady. I knew this was something extremely important to him because he usually avoids direct eye contact. He was trying to drill the truth into me. Or maybe discover it *through* me.

Drilling. Have to think about that one.

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00500410 (Norfolk=Northfork)

Day

Knight

“Mr Knight?” he called, not wanting to knock on the door or wall of the thing out of respect. “Yo, Mr. Knight. Big fan here. Just want a word if I could, dawg.”

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00500407 (Green Goo)

—–

“So we *finally* found it, Brother Gabby,” he said, looking up at the numbers on the side of Frank’s castle. “The answer to everything!” Then fellow bike rider and pilgrim Gabby proceeded to gab on for about 50 minutes about how Brother Amos was so right in this initial observation.

Non-illuminated zero? Add that in too.

Now to the top…

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00500206 (STOP/GO)

—–

Only when planetary traveler Gemilly Niceniece looked at the video afterwards did she see the A on the rock directly below her right where she decided to stop and pan around…

… which seemingly turned into a P on the other side of it. “AP!” I called aloud when seeing the transformation from my own angle, remembering the joined letters from the day before. “What was it? The Annie Oakley case?”

“Orkley Andy,” spoke someone to the side listening in, probably W aka Wheeler, the female half of our duality with a better memory, we can imagine. “Biff Carter’s case,” she clarified more for the reader than the writer. “But connected to Oakley… Annie. Together, they make–”

“–a complete A-Z time loop,” I completed, so excited I was that I forgot who was speaking in the moment. Freed up, W/Wheeler started checking her phone. Then:

“38-AP to be precise it says here, with, hmm, 37-QZ being the Oakley Annie one… *before it*. Names reversed, letters reversed. Let’s see — caused Biff to become prematurely retired and then quickly retired again when he tried to make a comeback.”

“In-ter-est-ing.”

https://bakerbloch.com/2022/03/16/00320206/

And exactly between 00320206 and 00500206 here, we found out just later, is 00410206, where we find Biff yet again. Titled “(Biff)” even.

https://bakerbloch.com/2023/11/28/00410206/

Passengers finally unload at Bellisaria’s Shobu station at the end of the straight as an arrow tracks in the shadow of towering Mt. Sakuru, let’s keep calling it. Father Fecked’s cane appears first out of the train, calm now after all that shaking from the last 7-10 minutes was over. Should’ve pinpointed this all important location before, but better late than never I suppose. The SYSTEM speaks, I understand. Egging me forward. Just like before; just like always. TBC(!)

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00500201 (photo-novel continues…)

She was in control of the BAND now, in the driver’s seat, this brilliant lead guitarist named Noodle from the Orient who had grown up before our very watchful eyes. With the finishing of the game above this one called Grand Theft Auto version 5, she slowed down their high speed, way too high to be sustainable long term. Sloow (*brake*) slooow (brake brake brake). She checked the speedometer. Right at 50, just inside the limit defined by the Mille Bornes card laid down to end it all. Right where we are now.

But there were problems at the rear still, a stowaway from the beginning of their journey, a carryover from the Gorillaz video coming before this one. Pink Phantom. With the slowing down of the car the vaporous, negatively oriented creature was able to slip out and make her escape to the past, freedom reclaimed. Interesting time loop created if so; I’ll have to think about that one further. TBC

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