However, Viole(n)t Existence does not make good on all of its promises. Although notable in the likes and comments on public platforms, these contributions do not necessarily modify the shape of the text because they are not officially recorded nor playfully embedded in the text(s) as some of the other forms of engagement are. They function as “paratexts” (first coined by Genette 1997) as described by Shanmugapriya et al. (2019) in the context of digital literatures: they are another digital literary system within multiple digital literary systems. Although “born digital”, Viole(n)t Existence is limited only to making sense of the writer’s postdigital involvement and performativity. Indeed, audience reactions and interactions during performances may too have been integrated into “new” configurations of the text but they are not evidenced here. Arguably, the potential of unpredictability was leashed to the writer’s own hyperlinks and “suggestions”.