#but i still feel like the general premise is smth that could happen w these two

[strawglicks]

Forgot to post this one

[reneesbooks]

Damn I really feel you on that one Stephanie Meyer book with the parasitic aliens, like that premise was so interesting, why did she have to focus on the stupid love triangle?!

ok here’s the thing. i could fix her

edit: i'm putting this post under a cut bc it got SO LONG lmao. read at your own risk it's messy and obsessive and a bit unhinged

the movie got so close in some ways and fucking missed in so many others. on the one hand, ian in the movie was imo a lot more likeable than he was in the book. I’m attributing this to less dialogue written directly by stephanie meyer and the actor's face. on the other hand. jared was awful. movie did not fix him even a bit. only thing they fixed was the age gap but not even that was explicitly addressed in the movie. it was just assumed bc the actors looked similarly aged

I should mention at this point that I haven’t actually read the book in a few years but I read it so many times at age 13-14 that it was an intensely formative experience despite being a generally terrible book. I could still probably quote entire passages from memory. I’ve seen the movie definitely more than 50 times, including in theaters w my mom the week it came out. I watched it last week just for something to play in the background while I crocheted. I can and will 1000% quote along with the movie. fucking brain parasite book got me I guess

the book delves so deeply into the genuinely fascinating world building that tbh has influenced me to this day in terms of depth and creativity. that’s where the movie set itself up to fail bc the ONLY redeeming quality of the book was the world building. its perfect for a tv show so that there is time to explore what it’s like for Melanie to live among the souls instead of focusing exclusively on wanderers time among the humans.

ok the love triangle. here's the thing. it didn't have to be Like That. BUT. i remember my edition when i was younger (that has since disappeared but i have a new one on the way bc i miss my stupid parasite book) had a bonus chapter or smth from melanie's perspective after she wakes up without wanderer in her head for the first time and runs into ian and they both have this moment where they reach for each other and there is that moment of horror on ian's part when he realizes that she is not wanda and melanie being so used to wanda reaching for him that she doesn't realize that her body is doing it automatically. and it was just so interesting to think about how that duality affected them and i think the movie kind of tried to do that with the conversation that ian and wanda have on the cliffs but it just didn't make it happen in the right way. so like. having the love stories there are important for why wanda is even willing to learn to be human but the focus on them in the movie and its general failure to properly execute the most interesting parts of them are what kneecapped it imo.

anyway getting back to why despite that the love triangle is literally the least interesting part of this book. starting with the thing that drives me the most up the wall. the fact that the movie didn't include walt at all and glossed over wes's death makes me chew drywall bc that plotline made me SOB. wanda's time sitting at walt's bedside and comforting him through his illness is one of the things that really teaches her about the gentleness of humanity despite their perceived cruelty, and what makes much of the humans actually start to trust her. they see how she treats walt and realize that she has a huge heart and capacity for kindness. so when jared gets mad bc the seeker looking for her has caused problems, and she has the whole compound backing her up anyway, it actually has some weight to it. the movie flattened wanda and her relationships to the others so much it's so disappointing!! she feels grief in a way that's different from how she's ever experienced it before, despite knowing and understanding grief from her previous lives. she is devastated and forever changed by walt's death, and similarly by wes's. i don't remember exactly if he had a partner in the book but i think he did so wanda also had that experience of seeing his death devastate someone else so completely (and for her to be able to connect that to how jared feels about her being in melanie's body). so when she asks doc to let her die at the end, it's go so much more significance because she specifically asks to be buried WITH walt and wes!! she finds peace with death and understands it and wants to be with the people who taught her about grief and love and that just. i'm so unhinged about it. and it wasn't in the movie. chewing drywall.

this isn't like. a big thing. but it's forever a little disappointing to me that it wasn't in the movie either. bc the movie went a more "ethereal being made of light" direction for what the souls' actual bodies look like instead of the book's "segmented body with thin tendrils that attach to the brain of the host" description. this matters to me for a sad reason and a funny one. the sad reason is because when wanda sees the souls that the humans tried to cut out, she notes based on the vestigial feelers of one of the dead souls that it was a baby. horrible and sad detail that makes that scene 100 times worse. the funny reason is because since the humans know what the souls look like for the above sad reason, they refer to them as worms. which essentially leads to them calling ian a worm fucker and that's hilarious on a lot of levels the least of which being that it's true. like while melanie and jared and jamie go looking for a new body for wanda he literally doesn't care what it looks like and just sits holding her containment tank the entire time. worm fucker and proud of it good for him

i could write a whole other essay on the worldbuilding but i don't have my copy yet (and all the library copies are checked out who ARE y'all who else has read this book???) and i can't remember enough of it to really get into it. but wanderer's job was to be a teacher because she'd been to almost all the different planets (hence her name) so there were some glimpses of the fascinating universe of this world. the stories that she tells about the other planets?? unparalleled. wanderer tells this story about an ethical dilemma (among parasitic aliens lmao) because their host species on one planet burns another alive for its food source BUT they had recently discovered that the food source species was also sapient and intelligent so they were trying to figure out a way to handle the situation. that entire thing could be more interesting than the love triangle but instead it was like. a maximum of two pages about that planet and a one-off appearance from another soul that used to live there at the very end of the book. wanda tells the people at the compound about the underwater planet, and the one with the giant blind flying creatures that they call the Bats, and she mourns using the ritual from that species after the whole seeing the corpses incident. all of this gone completely to waste and for what!! for what stephanie!!!

another funny thing that i think might be better left in the book--when they take the seeker out in the book the human that was in there in the first place is so nasty and awful that everyone is lowkey mad at wanda for not just letting them kill her. top tier comedy ngl

ugh i also remember a scene where wanda is going on the long supply trips and sees a couple of souls with a human child who isn't occupied and is like. huh. that could be really indicative of a beautiful direction for humanity to go. could souls and humans live in peace in a real way? and then it's never really addressed again bc sexy feelings about two men oohhhh

so. is she fixable?

yes. i could fix her. a tv adaptation is what she needs. bc then there's actually time to delve into the thoughts and feelings of melanie and wanderer (and you could do that really well if you made a visualization of their shared mindspace--the book talks about how they put up walls against each other, and how they can block each other out or grab at control) as well as the worldbuilding and ethical questions. i have a whole three-season plan for fixing her so buckle up.

season one starts with wanderer waking up in melanie's body and the first half explores their time as a uni professor and the seeker's insistence on trying to find the human resistance through melanie's memories. this is where we really get a chance to see wanda's perspective--not because she's right, but because it's interesting. she is a huge pacifist and is horrified by violence, whereas melanie is used to using violence to get what she needs and tends to jump directly to it as a solution. so before they run off to the desert, when the seeker is still constantly checking up on her, as wanda gets more annoyed, melanie keeps suggesting that they kill her, and wanda has a harder and harder time holding her back. finally at the midpoint, wanda snaps and attacks the seeker, not because melanie made her do it, but because she's finally reaching that point in her journey towards humanity. and of course everybody blames it on melanie and they have to run because they're going to be separated.

then the second half of the season starts with the wandering through the desert. btw. book jeb my beloved. unhinged grandpa didn't get to be nearly as unhinged in the movie. the second half of the season is wanda acclimating to the human environment. i am of the opinion that romance should not happen until the second season at LEAST. obv melanie is pining for jared and wanda is dealing w that but it's not a romance. she doesn't love jared she's just comforting her dramatic roommate. maybe ian is starting to show interest in wanda but she hasn't noticed yet because she's still getting used to being human. season one ends with walt's death, since that's one of wanda's biggest turning points.

so season two opens with wanda understanding humanity a little better. and now she notices that ian likes her. melanie rightfully puts up a fuss about this (because it's her fucking body, steph meyer why did you almost make a convincing bodily autonomy argument and then fall short you almost had it--) and we can have that drama still while setting it up against the backdrop of wanda's journey to understanding humanity and ultimately becoming human herself. this is the first half of the season, and then there is the turning point--discovering that they've been trying to cut out the souls even as she lives among them. this is her major fracture with ian and is when she realizes that she can actually push melanie out of her head entirely and has to scramble to get her back. season midpoint cliffhanger is melanie being gone. and that finally brings jared around about her when he sees how hard she works to get melanie back and help jamie. so the second half of the season starts with healing jamie and how jared being ok with her changes the dynamic. now she's going out on raids, seeing how humanity and souls can live together, starting to come around to being in love with ian maybe, and generally settling into a comfortable existence. and this is when the seeker comes back into the picture at the end of season two, killing wes and being captured by the humans.

and season three. where it all comes together. the seeker represents the biggest obstacle to humanity and souls living in harmony--she is a mirror and a foil to wanda and melanie, two people too stubborn to let the other take over, unable to coexist. when she's captured by the humans, they want to kill her and her host, forcing wanda to come face-to-face with what she hasn't wanted to admit--she has to tell the humans how to remove a soul from a body. and in doing so she has to admit that she's been selfish and cruel by not telling them before. because by now they've more than proven that they can accept her kind under the right circumstances. so she's able to lay that out with the seeker and the first half of the season shows them starting to do it--to take souls out of humans and send them to different planets. the book does so many interesting things with this, showing how some people come back right away, some come back very slowly, some don't come back at all. there's a lot of material to work with (looking at you jodi and kyle and sunny) but eventually we get to the midpoint which is wanda asking doc to remove her and bury her with wes and walt. and then he does.

so the second half of the third season begins with melanie alone. and for the first time ever we don't hear from wanda at all. because she's in a cryotank and unable to have thoughts. so now we have what didn't get a chance to be really explored by the book--the aftermath of wanda's removal and the ethical debate of violating her wishes to put her in another body as well as the fact that when they do put her in one, it's one of the people who never woke up. it starts to get fuzzy here bc there's less original material to work with (and what is there is...not great the body they find for wanda is a 17 year old and ian is like 27 throwing up) and because there are so many directions to go after the book ends-- they find other human groups like they do in the book that also have a soul like her living among them, they try to work with the soul government to reach an agreement for peace, etc etc etc--and they're all so interesting! but the book ends because the love triangle has been resolved and it just doesn't address any of that. shaking steph by the shoulders and screaming

anyway the point of all of this is that this book and movie have been living rent free in my head for over a decade and i would simply like to make the good version of it that lives in my head real.

tldr i could fix her. steph meyer wya.

[legy]

random game roundup

Wand Wars - $11

Included in Bundle for Ukraine

this is pretty neat. wand wars is a party game about being wizards shooting a magic orb at each other and the last one standing wins. this has to have far more staying power as a multiplayer game but, alas, i am by my lonesome. i didnt love the control scheme (does really feel like it wants to be a twin stick shooter and not something played on keyboard). also it really bugged me that the projectile wasnt pixellated when everything else was. wand wars kinda fits the niche of a good boutique board game IMO, fun to break out with nerd friends at some nerd gathering

Baldi's Basics Plus - $10

Included in Bundle for Ukraine

my commitment to the premise of this project being vastly outweighed by how much i dont actually want to play baldi's basics. i could have hit random again and nobody would be the wiser

so i guess my take is roughly that im in the exact nostalgia bait audience for baldi's basics (i played tons of these edutainment games in elementary school) but its specifically aping so much of its aesthetic and presentation from sonic's schoolhouse which i cant imagine had a widespread school computer lab adoption. if someone made a off-color video game inspired by Disney's Adventures in Typing with Timon & Pumbaa or smth that would probably actually get somewhere. for me. also i hate jumpscares and YOU DONT EVEN SOLVE MATH PROBLEMS IN THIS ONE???? WHATS THE POINT

this is not a good review for baldi's basics sorry. i like that the camera controls are vertically locked even tho the game makes a lot of other concessions for a modern audience. and there really is nothing else in its genre that looks like this

Valfaris - $24.99

i cannot for the life of me figure out why i own this game.

ok first things first the art direction in this fucks insanely. it feels like a ps1 game in a way many other ps1 throwbacks don't. i really enjoyed looking at valfaris.

however this controls like SHIT and not in a way that i think would be fixed by a controller. i spent a couple minutes rebinding my controls so it isnt arrow keys to move and q/w for main attacks (this randomly reset to default at some point so that was cool) and i was still fighting for my life to actually accomplish what the game wants me to. there's a segment only a few seconds into the first level where you need to climb on ropes over some evil dogs to cross a ledge but 1. the dogs can jump up and attack you and 2. you can only aim your gun straight down. and the dogs respawn infinitely so you cant jump into the dog pit, slaughter them all and continue on your way. i legitimately could not get past this section because the controls were so ass. really unfortunate.

also the game has "wishlist the sequel" as one of its three menu options which: lmao

Thou Shalt Be Brave - $1

Included in Bundle for Racial Justice and Equality

this is a micro-rpg that is imo unfortunately hamstrung by its gimmick (the really small resolution). theres some really bad readability issues happening in this game. there is a manual on the itch page which helps a lot in combat but its really hard to excuse the "you sease lok s" message you see constantly.

this is pretty light on gameplay also but its generally a pretty fun timewaster. you explore the woods and fight guys and the ultimate goal appears to be maxing all your stats. i just wish i wasnt examining every button like it was a cryptic glyph to decipher

Planets Under Attack - $11.99

you know its bad when ive had this game on steam for over 10 years and have no idea what it is

i'm not sure how to describe planets under attack. it's a very minimalistic strategy game about spending resources to take over planets in each map. it seemed pretty chill but i did kinda feel like i was wasting my time playing it. the presentation is really competent and overall i think this is the strongest of the five games i played today

[janiedean]

Since we're in topic, do you have some advices for writers? Where do you begin when you write original stories and characters? The plot, the concept, the description of characters?

spewell considering that you’re talking to ‘oh hey I have the original idea that might work but I’ve been figuring it out for a whole year and a half’ take them with the necessary skepticism but since I did come up with some decent ocs in fic apparently my advice is probably not entirely shitty lol so with the premise that writing is Not A Science and other than reading a lot no advice is 100% foulproof especially if it doesn’t work for you...

I’d start with the concept, ie: what do you want your story to be about or what message do you want it to be about or what do you want to do with it. do you want to scare people? do you want to make people happy with quality entertainment but without writing a Serious Novel? do you want to write a sad thing to make a point? like, you need to know where you’re going with it in general;

when you have your concept, whichever it is - for one, without going in-depth let’s just say that my original novel concept that I’ve been trying to figure out for good is ‘blade runner meets high fidelity’ (don’t worry IT MAKES SENSE) -, you need to work at once both on main setting and protagonist. I mean, idk let’s just discuss a thing I wanted to write last year when I was thinking of sending original writing to this scifi anthology and then never managed because time and drama and real life happened and I couldn’t commit to it;

so, the theme of that anthology was ‘alternate peace’ ie write a short story where a situation that in history ended up in a fight/war/bloodbath is solved peacefully and write the alternate universe coming from it. so: I had to come up with the idea first because otherwise I wouldn’t have known where to start, then the worldbuilding, then the characters - ngl I think that if you have the worldbuild the characters come a lot easier but that’s me. so: I was like ‘what if I wrote something where the ludlow massacre never happens?’ (the ludlow massacre was tldr a strike in colorado which ended up with the strikers being mass killed by the national guard and in turned caused enough scandal to get unions/unionized labor a lot of traction in the US at least until maccarthysm.) then I didn’t, but in order I went like:a) if what happened is that it had repercussions on the history of unionized work in the US, if I did it so that the workers accepted a plea or smth and the rockfellers won without no one dying, those repercussions would Not Have Happened, nor it’d have created all the left-leaning literature/politics/thinking that came out of it, john reed wouldn’t have written about it etc, so I had elaborated an entire situation post-wwii where unions had all died long before, people were pretty much without any single social lifesaver and could get fired at will and it was basically dystopian hell with mccarthy being president or smth;b) at that point I was like, who do I put in this, and at that point I didn’t manage to go much forward but I had a feeling I should have some young person who was born after the not-massacre who had no idea of what went on talking to an older one that had actually been there and wished they hadn’t taken the deal;c) young dude would have been more or less cynical/not really much of a politics person, old dude would have been old school leftist who still wishes there could have been a better world and wishes the new generation would put two and two together and talk to their elders;d) young dude wouldn’t have known how to read/write because he wouldn’t have needed it for factory work, old dude would have etc;at that point I could have probably gone and gave them families (or not), or a friend (or not), and my general idea was having them discuss politics for the main part of the story, then old guy dies or smth like that and young guy actually gets the message and idk I basically wanted you to read it and feel like I felt when I listened to the ghost of tom joad, that was the general idea;that said, the characters were the last part i came up with because I needed the worldbuilding to know what character I wanted in it, which is why I’d say worldbuld first if you’re writing that kinda thing ie scifi, alternate history etc;

now, obv. if you’re writing the coffee shop au just in novel format or if you’re writing something lighter where the setting doesn’t matter, you need good characters first. I mean, if you write the coffee shop setting just to have a good love story you might want people to pick yours and not the umpteenth version of it with the same dynamic (same with the YAs with the sixteen year-old girl who thinks she’s ugly falling for the hot dude with abs and a bad attitude), so in that case I’d go for the characters. for one, if I had to write a YA, I’d make it with a girl who is actually ugly and has hobbies other than just reading and maybe plays in the school band or has some peculiar post-school job or idk can repair cars but is not good at everything she does and the guy would be moderately hot though not THE SPIT COPY OF DAMON SALVATORE JUST WITH GREEN EYES, he wouldn’t have a license and he wouldn’t think that it’s sexy to tell your girlfriend that you own her, and while I’m nowhere near interested in writing YAs, that would differentiate it from 99,9% of the YAs around from what I see, and so at that point I’d make sure I got the main two down and then I’d work on the friends and family and make them less stereotypical as possible so my YA is different from everyone else’s YA, and if any of them is a supernatural creature they suck at it and hate having supernatural magic and the likes. I mean, you want your characters to have a personality, but if you have a good worldbuilding behind them it might come after, if you don’t gaf about the worldbuilding and just want the standard setting work on the characters and try to give them depth before you plan anything else;

figure out where do you want your story to go before writing it - ie: the only reason I haven’t written the original yet is that idk what kind of spin I want the ending to have and I’m not 100% convinced so I’m not doing it yet, but if you don’t have the backbone of it planned then you’re going to lose steam or the plot will fuck you over (in my experience). like, try to have at least clear what happens in the main arc so that you know how to get from beginning to ending without needing to figure shit out as you go along, then you start, and if you change your mind while you do go with it, but try to start it knowing where you’re headed because it makes it easier imvho;

if you go for complicated shit like time travel figure that shit out before you start writing it including every possible repercussion because you’ll hate yourself if you don’t;

don’t try to re-do what others did obviously. I mean, if I wanted to write rep for non standard attractive cishet women I would not try to re-write brienne of tarth just changing the hair color. I would try to take the same tropes he’s using, change the setting and go with it, but it shows if you read a book and your character is the exact same as your favorite writer’s. like, if you read ian tregillis’s milkweed tryptich it’s going to be obvious that one of the main characters is the same tropes as jaime but that guy has enough personality differences and an enough different background and circumstances of upbringing that while you can see it has the same basics (generally nice guy forced to do horrid things who wants to redeem himself, live without his overbearing sister who wants to control him and has a generally straight moral compass), you don’t think ‘oh ian tregillis who is grrm’s friend has copied from him and put jaime lannister in a wwii alternate history trilogy’. like, we all have our tropes and our favorite writers and it’s good to take inspiration and homage them, but try to give your spin on those tropes you’re using, because otherwise it’ll just look lazy;

do whatever the fuck you want with your plot. don’t think about what others would want to read - it’s your story and you should tell it the way you want to. then please listen to criticism and find people who’ll provide it for you without tearing down your work but telling you what works and what doesn’t, but like... if you want to touch some themes or write characters from a different background or whatever do it;

also, do your research. I mean, I could have written the ludlow massacre story because:a) I read all of john reed’s articles pertaining to that specific happening and those articles include interviews with the people who were there, a description of who they were, an extremely detailed reconstruction of the facts and so on;b) there’s folk songs, two novels and one opera on ludlow not including history books, so it’s not only easily readable upon, but you also can see the impact it had in media/the american culture.so, even if I’m not american, having read all of that, I could have probably gone for it and done a decent job, find someone with a history degree to veto it and go for it. but like, again, unless you’re writing the coffee shop au or the ya or the kind of novel that does not require an established setting or you are making the entire worldbuilding up from scratch with no influences from the real world, you can’t not do at least some basic research. and when reading something, it does show if the author has at least done basic research or if they’re winging it. then they might be good enough that you don’t care they’re winging it, but still, research XD because research also gives you a lot more ideas that you might not have taken previously into account and might save you a plot detail or so;

I also would advice not to write what you know - because that’s easy and it doesn’t let you go out of your comfort zone and at some point what you know will finish -, but: write something you know. as in, my blade runner + high fidelity au should be scifi and touch stuff idk shit about, but since it’s a high fidelity au half of it is supposed to be set in a (pseudo) record shop and the protagonist miiiiiight have a thing or a hundred for springsteen. now: who has spent half of her life in record shops and is into bruce? yes, me. now, the character in question has zero in common with yours truly except for that, but let me tell you that if there is one thing I know how to write that you can’t convince me I couldn’t write is someone into springsteen who hangs around record shops. I know my people and I know why someone would be into springsteen. like, when making up characters and you want to make them relatable or you want to relate to them more, give them one thing you can relate to even if it’s dumb - idk you like strawberries? that character also likes strawberries and so on - because that will get you closer to them and your reader will feel it. it’s a thing I do with fanfic all the time - like if I have to try and write someone IC I try to relate to one thing they have if I can, because that makes the characters more relatable and it’s easier. ie when I was like ‘how do I crack the jaime pov’ the answer was ‘ALL THE BAD SELF-DEPRECATING HUMOR YOU DO ALL THE TIME GO DOWN ON IT’ bc that’s what I relate to jaime for and so on. idk that is a thing that’s always helped me when coming up with any character so I guess it might be useful advice? *shrug*

(obv: if you’re writing a 100% bad guy that you don’t empathize with then you don’t have to, I mean grrm did say he had to take a shower after writing chapters from A Certain POV because it’s horrible being in their head so like.... you can feel disgust at what you’re writing esp. if it’s the POV of a terrible person, but That Character resonated with people and felt relatable to some of them because to them they had... RELATABLE moments/humane moments too so if you’re writing bad guys but try to not make them cardboard cuts/TOO HORRIBLE it will make them stronger as *bad guys*. mvho.)

but mostly: read a lot of stuff, try to put your spin on things and don’t gaf about what people think until you finished it. then you can worry about concrit xD