Extract from the Catalogue of Minor Artistic Phenomena, Vol. XII
It began, as so many revolutions do, with an apparently innocent gesture: a man opening the digital gates and releasing his humble MS Paint works into the vast and indifferent internet. He sought nothing more than the simple dignity of display.
But soon came the first pivot. Criticism was requested. The world obliged. This act alone marked the transition from solitary creation to communal mythmaking.
Then arrived the blurbs — sly fragments of gallery text, each one pretending at gravitas, each one sharpening the absurdity. And when the critics materialized (Dr. Plimwell, Farnsworth, Vensmire, et al.), it was clear that what began as posting had mutated into theater. The critics were not merely voices; they were characters, orbiting the Paintings like satellites, granting the enterprise the air of a living, self-expanding fiction.
From there, inevitability: the Net caught scent. Threads spun, blogs formed, archives opened. The Paintings ceased being mere Paintings; they became artifacts in an unfolding universe where satire, sincerity, and digital folklore coexisted.
Thus, the Rumpelton Universe was not designed but discovered — an accidental architecture, built one playful escalation at a time.
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