#but the narratives that could go out of them are pretty interesting i think

[taffywabbit]

oops i accidentally wrote a review for zelda II: the adventure of link

(originally posted to Cohost on Feb 22, 2024. you can ignore this if you want, i just wanted it archived somewhere before that site disappears)

Finally beat Zelda II for the first time last night (I forced myself to finish it before starting Splatoon 3's Side Order DLC, because I knew if I didn't push through to the end of the Great Palace THIS time then it'd be years before I tried beating it again. This is probably my 4th or 5th attempt at this point). Not that this is a particularly hot take by most people's standards, but I don't think it's all that good, at least from a gameplay standpoint.

I don't regret playing it though, because I think I'm finally able to put my finger on the stuff I actually disliked about it vs the stuff that was honestly fine, or even (very rarely) actually good? I'm kinda fascinated by it, honestly. Sequels where they immediately screw around with the first game's formula (to mixed results) are neat! FE Gaiden is another example that comes to mind (hey they should give Zelda II the Shadows of Valentia treatment, that could be really cool actually).

Obviously Zelda II has a reputation for being kind of a rough experience. It's an NES game, and NES games are often susceptible to being frustrating, buggy, hard to control, or overly punishing. Sometimes, all of the above! And for what it's worth, the original Legend of Zelda was a tough and sometimes very cryptic experience as well. But I feel like the two games are challenging in drastically different ways, and I think TLoZ ended up being the formula that was retained in the long term primarily because its method of challenging the player overall did a better job of inspiring curiosity and exploration. Despite narratively being a direct sequel (with a really badass story premise that is unfortunately not really conveyed at all in-game) Zelda II took a different approach to nearly every element of the original's gameplay, which is a pretty bold move I suppose. Whether or not it succeeds at anything is fairly subjective, but it's undeniably had a lasting impact on the series, as well as the people who grew up with it (and then they went on to make some really excellent mid-2000's flash games inspired by it that I frankly enjoyed a lot more than this... and also a weirdly solid licensed Adventure Time game on the 3DS? I should go back and play that sometime, it's really fun).

Where to start with this...? Uhhh, the EXP-based leveling system where you choose what stats to put your points into is interesting! It creates a risk-and-reward system for fighting enemies instead of avoiding them, whereas in most other Zelda games besides BotW/TotK, the only reward for killing monsters is "they are no longer bothering you while you solve puzzles, and also sometimes they drop rupees/hearts/ammo". It also introduces a bit more player choice in what areas you'd like to get stronger in first, which is cool! I just wish it actually mattered in a way that let you feel powerful for even a moment. Instead, leveling Life (which is functionally just defense) is never enough to actually make you feel like you can afford to take a hit - the expectation seems to be that leveling Attack, Life, and Magic is something you do purely to keep up with how badly every single thing in this game wants to stomp you into the ground and soak up a million hits and waste all your magic. You CAN skip out on leveling one stat to prioritize another, or even try to evade tough combat situations entirely, but if you aren't leveled enough and in the exact things the game expects you to be WHEN it expects you to be, you'll immediately bump into some new asshole who jumps out of nowhere and can cut you down in 2-3 hits. Leveling doesn't make you tangibly stronger, it merely keeps the game barely playable.

This actually ends up being the core problem I have with Zelda II's design, far more than just the combat being clunky and overly punishing or the levels being visually samey and super hard to navigate. In most Zelda games (and also in a lot of other RPGs!), you get a better sword or a new power or item, and it opens up exciting new options for both exploration and combat. In Zelda II, you level up or earn a new item/spell, it's useful for maybe 20-30 minutes, and then it's immediately nullified. Wow, you got the Fire spell! Now you can finally deal with Tektites and Basilisks (which are immune to all other attacks) on the way to the next area! Well, I hope you had fun with that, because Fire doesn't work on most things you run into afterwards.

Easily the biggest game-changer is when you unlock the Downward Thrust sword technique, and finally have another option for combat besides just crouch-hopping and poking monsters with a dull butter knife. It's satisfying to use, it looks cool (by this game's standards), and it even has some utility for crossing hazards or defending yourself against swooping enemies! Cool! Unfortunately, they don't let you play around with that for long either, before nearly every enemy you see starts rolling up with helmets or shells that make them immune to attacks from above, and you never really get anything like that again (the Upward Thrust exists later, but it's far more situational and frankly not very fun or intuitive to use). Rather than feeling like you're being given tools to overcome challenges and stay above the difficulty curve, it feels like you're constantly just slightly underequipped for everything (even if you grind to earn extra stat levels) and any edge you're given is swiftly taken away from you. (Except the Reflect spell, which is ALWAYS a banger after you get it because it makes your shield Actually Do Its Damn Job after nearly every enemy starts shooting projectiles you can't block. Good work, Reflect spell.)

I feel like I grew up hearing plenty of people talk about the overall difficulty of Zelda II, though most of the complaints about its puzzles were surface-level jabs about the short cryptic NPC text, and none of that prepared me for just how ridiculously obtuse its mandatory puzzles/secrets can be. I genuinely have no idea how anyone would EVER find the Life spell - pretty much your ONLY source of healing outside of towns, since there are no hearts to pick up in this game - without some kind of guide. I was FURIOUS when I finally looked up where to find that lady's mirror and discovered that you have to walk into one of the houses, go over to the table that looks EXACTLY like every other table in every other house in the entirety of Hyrule, crouch, and press B, and you'll just pull the mirror out of nowhere. This type of interaction does not exist ANYWHERE else in the game and there's no in-game hint to indicate that you should try this. Absolutely maddening.

This and its predecessor are both games that seemingly expect you to have the physical manual on hand to help you find secrets, but at least in the first game, the way the game was designed was consistent enough that you COULD feasibly find your way to the end of it without a guide. Bombable walls in dungeons always being located in the center, things like that. It had rules and it could generally be trusted to follow them. Zelda II, in comparison, has a final level (the Great Palace) in which there are numerous rooms that look IDENTICAL and if you make one wrong turn you can go through the entire [very difficult and dangerous] dungeon on a path parallel to the one you need to be on, only to hit a dead end and be able to see the spot you're supposed to be reaching on the other side of a wall. Except you would also never KNOW you need to get there, because it looks like another dead end full of monsters but there's actually a completely invisible hole somewhere in the floor over there that drops you into the hallway leading towards the final boss. Also there is no map. TLoZ had a map. I don't know why this game doesn't have a map. Possibly because if you try to look up maps online, most of the dungeons feature non-Euclidean spaces? Idk, even a Super Metroid-style grid map would've done wonders here.

The combat is... fine? I truly don't understand how anyone thinks it's GREAT though. Zelda II is kind of like a version of Castlevania where you don't have a whip and instead have to stab everything at extremely short range, and also sometimes enemies have shields so you have to crouch sometimes to stop them from blocking you. It feels tense and high-stakes but only because, as I mentioned earlier, you really cannot afford to take stray hits in this game. Most enemies chew through your health at an alarming rate, even with the Shield spell active, and there's almost no way to replenish it unless you use a Life spell (which costs a huge chunk of your magic, possibly softlocking you if you end up in a place that requires other spells to progress). I got better at the combat over the course of my playthrough, but I never felt like I got good at it - most of my victories against strong enemies felt like pure luck and there were rarely consistent strategies for success. All of this combined with the fact that Zelda II has limited lives (and I mean LIMITED - there are only six 1-UPs in the entire game, which can each only be collected once) and getting a Game Over anywhere outside of the final palace will send you all the way back to the starting area, and it makes for an incredibly stressful experience. Even making use of savestates to lighten the fear of death can only do so much to improve it.

Overall, I think that Zelda II is a game that has a lot of really promising ideas, but then just absolutely flops when it comes to the execution. I didn't have a better way of organizing these but here are a few examples of elements I DID particularly like, even if they didn't always stick the landing:

I like the idea of the RPG leveling system in theory, but wish it was more empowering in practice and actually let the player make meaningful choices instead of just being required to survive. Choosing to hold off on a Life upgrade and instead save up just a little longer to boost your Attack feels awesome, until you time one of your inputs wrong and get destroyed. In a game with better-tuned difficulty and combat, this system would be great!

I REALLY like that Zelda II introduced a magic system to the series! I think it's cool as hell to have Link learning and casting spells to protect himself, solve puzzles, and exploit enemy weaknesses, instead of relying purely on items. (It's honestly weird to think that a system I associate so strongly with classic Zelda gameplay has only actually showed up in 4 of the games?? I guess you could consider the runes/hand abilities in BotW/TotK to be kind of like modern spells, or the slowly-refilling energy gauge in ALBW to be the most recent iteration of a Magic Meter, but both are highly debatable. Anyways I just think they should let Link shapeshift into a fairy again, that was cool.) But most of the spells in this are fairly situational and your access to magic refills is so limited that you rarely have the freedom to experiment with the spells' secondary functions (hey did you know the Spell spell turns most enemy types into slimes? that's wild. I wish I'd known that sooner).

The overworld functioning like a traditional JRPG, with top-down exploration broken up by semi-random enemy encounters, was something I honestly didn't hate. It's a little weird for Zelda, sure, but I could see it working well to support other systems in a more polished game. Overworld encounters that switch you into a type of gameplay other than turn-based JRPG combat are something I've always been fascinated by!

Anyways, weird game! I'm glad I finally got closure so I could figure out how I personally feel about it, independent of whatever the random youtubers I watched as a teenager thought. And now I never have to play it again :)

[rei-ismyname]

X-WOMEN highlights

X-women was a one shot released in 2010 with the explicit purpose of showing women in 'skimpy clothes' - at least according to the wiki which references a now dead Marvel URL. With Chris Claremont on words and Milo Manara on pencils, you can decide that one for yourselves. Implied SA content warning.

Believe it or not, there's several pages of other girls gone wild shit before the plot actually starts, with Rogue inheriting a villa in Greece (from who? Never mentioned.) Gal pals only, except for the gay dudes Kitty busta in on when phasing on a jetski.

Turns out they recognise her, lol. She's entering people's rooms on a cruise ship - it'd be more surprising to not see fucking. Ororo does Karaoke, nailing Proud Mary. Rachel sneaks off with that dude, but he shoots her and shit goes wild. 'I can't quite make sense of it' wild.

The cruise ship gets attacked so they flee and somehow end up in the dingy boat with Captain Dave. They notice they're depowered so Rogue takes the opportunity to touch someone - Ororo is happy to be that person. While platonic intimacy is wonderful, I'm going to label this 'pretty damn sapphic.'

The least believable bit is Storm wearing those jeans tbh.

Then that boat gets attacked too, and they're shipwrecked with the 'chief' who claims to be a God-King that can bring down planes. The tribe worship him and planes, which seems odd. I think they're all his wives now, but he takes special interest in Storm. Dude never gets a name, but he's creepy AF. I assume Captain Dave is dead.

Less favoured wives perform manual labour. Believe it or not, this explicitly rapey chief is not the bad guy of this tale. Rachel and Kitty's psychic rapport runs through the mini, something famously associated with platonic friends. There's some nonsense in the background about China and India doing ... something. War, maybe?

This whole 'trying to rape Ororo' scene goes on for quite a while, and the chief's main wife is jealous of her for the attention. Gross. Ororo beats him down a bunch but he does have some powers. She agrees to 'stop fighting' if her friends are released. Nope! He likes it. Again, this creep is not the bad guy in this narrative. What the fuck was CC thinking?

The real bad guys show up with guns and start shooting but the chief has fucking eye beams and some kind of telekinesis. Or magic, or maybe he really is a God. The X-Women, sigh, team up with him to take down the Baroness' troops. Baroness of where? Doesn't matter. I definitely hate aristocrats who try to steal my friends' brain juice but this jerk enslaved them.

The Baroness' plan has been developing off panel and is now ready. She tries to fire the 'weapon' which involves the psychics' cooperation, but Emma Frost (who is in this story!) says nah. The chief becomes a reasonable person all of a sudden and does ... something. Whatever it is it works and he releases the X-Women without incident, saying he'll miss Ororo. She tells him to pay attention to his main wife, who is surely a slave too? I have no idea - this was such a bad idea.

The Baroness can control mutant powers and tries to get away. Storm unloads on her with max weather and freezes her solid. Emma punches her and breaks a nail. 🙄 I don't think she could possibly survive this, so yay?

After all the bullshit, the girls realise they never truly got to frolic. They do so, yet the chief is there? He's literally chasing Ororo in the last panel and she doesn't look happy about it. Everyone else is partying so I don't think we're meant to worry, but I do. Let's pretend she murdered him. This was in 2010, and it's not like rape culture doesn't exist - but it's baffling that this was either missed or just approved. Wait, no it's not. Marvel is not great with anything like this, and middle aged white dude writers and editors could totally see this as unproblematic. Rogue is doing some Coyote Ugly shit, the others are grinding on each other, and Ororo is playing chasey with the rapist with 50 wives? 💩

[fettery-fetterie]

Like I doubt peka experienced physical touch outside being changed. Which like yeah fair whatever

Do you think he'd be aware of the times other people touch him. Do you think he'd wonder "wait so do people just like. Touch? No reason behind they just do?" And everyone else goes "kinda yeah, you just don't overdue it"

He'd feel like. The make-fun-of cheek boops, the hands in his shoulders, the pick your noses, the wink wink nudge nudges, the messing with his hair (he has none but that didn't stop anyone)

How would he feel about the warmth of his own touch, one seemingly unaffected by the burden of the past

How would he feel about the touch of the guide - his guide, the glimpse of light he needed most

How would he feel over touch. Both standard and intimate

Like cmonnnnnnnnnmmn surely he'd feel a lot

[perpetuallyfive]

God, I'm so happy with what they did with Maddie Nolen.

I'm sure there will be plenty of people mad because obviously there was a weird backlash over a character who has sex with one half a ship, so I'm sure some people worry this will lead those people to feel justified in their initial response.

But ignoring people who can't emotionally regulate for a second, because those childish impulses aren't worth dictating the fun things a narrative can do: Maddie is SO INTERESTING as a character and she fills in a lot of the questions people seemed to have about the rest of the season.

Consider for a moment that it wasn't Caitlyn who convinced Vi to be an Enforcer. It was Maddie.

I know that some people took this line to be about Zaunites, a sort of obvious connection to the very racist idea of "one of the good ones," but since Maddie is talking about Marcus and his betrayal of the Enforcers just before this, I'm pretty sure her framing here is something else. The point she's making is specifically targeted at Vi's own beliefs and weaknesses, her desire to protect. That seems clear to me now with all we know about Maddie's capacity for manipulation.

She's not saying, "You're good, for a poor."

She's saying, "Wow, I agree with you, the Enforcers are really bad; it's so upsetting. I think you might be the only one who can change it, but only if you join us." This is what convinces Vi to do something she never thought she would.

Well, this and the fact that Caitlyn believes in her so much which, again, is information she gets fed to her directly from Maddie. It even seems like Maddie seeks her out just to say this, which on first viewing felt oddly convenient. Wow, Vi just happens to meet this naive girl who just happens to say exactly what she needs to hear to do something so out of character.

Except obviously none of it was coincidence. Everyone already knew how much Vi meant to Caitlyn and getting Caitlyn under control would require either controlling Vi or removing her from the equation. This was a push in that direction.

Then there's her more obvious role as the spy in Caitlyn's bed, there to reassure her that the Noxians are only trying to keep all of them safe. Then when Caitlyn expresses larger doubts, she's immediately ready to lay out an alternative. You could just give up, Maddie seems to whisper gently in her ear. Just reestablish things as they were before.

But she knows Caitlyn isn't going to go for that. She's not going to go back to the council as it was, because it's only going to remind her of the empty place her mother left behind. Maddie knows that Caitlyn isn't going to take this offer, which is precisely why she suggests it. She frames quitting as the only clear alternative to going along with everything Ambessa wants because she knows that Caitlyn will refuse, which leads her right back into alignment with Ambessa. She makes continued obedience into an active choice that Caitlyn affirms she's making.

Even Maddie's comments that suggest direct opposition to Ambessa — "you're our leader... I follow you" — are designed to frame herself and her true leader in direct opposition, just as Ambessa's own warning about entanglements is there to further that point. They both make a point of reminding Caitlyn that they are her true ally, isolating her further from anyone who isn't the devil and (other) devil on her shoulders.

This way Maddie and Ambessa can both tug at Caitlyn, pulling in what feels to her like opposite directions, all so that she lands precisely where they wanted her all along but with the illusion of active agency.

And look, I'm not saying my read on her is gospel, because I think they intentionally gave us enough room to really speculate and wonder about her, someone who could have been just a background nothing character but ends up being such a huge part of the second season. That's so interesting!

I especially love that she comes across as really naive and innocent, just some poor little thing swept up in the fervor, when in reality she's a true believer who has been manipulating things to go her way from the start.

[muntitled]

Condom or No Condom: Dreamy Edition

-' 7dream x afab!reader

-' Which dreamies are wrapping it up

-' cw: +18, mdni, Name calling, Breeding Kink, Coercion, Degradation Kink

Missed Renjun <3

# Mark | No Condom

-a very shy boy at times but his kinks are anything but

- the type to verbalize his interests in different kinks with small actions so you'd really need to pay attention

- Mark would intentionally forget to buy condoms

- Recently he'd be staying inside you longer.

He'd already be easing you out of your clothes, leaving wet kisses along your soft abdomen as you begin to tug on his long brown strands.

You'd already been wet for him a long tine ago, Mark just needed you especially pliant for when he could really start talking his shit, "You know how good you'd look with my baby inside you?" Mark's panting heavily, "Dude, seriously,"

Your hips would stutter upwards without you even meaning to, quickly prompting Mark to undo the drawstring of his sweatpants.

"You like that idea, yeah?"

You'd watch through hazy eyes as Mark pulls his cock just enough to line it up at your entrance. "Want me to hit it raw? Huh, Pretty Girl- fuck-" Just saying those words out loud has his cock twitching eagerly. Mark would be a heaving mess as he presses hich cock into your cunt. The sensation of your bare skin against his would give him brain fog, making him tremble as he kissed against your neck.

"Fuck, I'm gonna breed you, baby-" he'd kiss you again non stop, "Gonna breed my baby..."

# Renjun | Condom

- he can be persuaded into forgoing one but you'd need to construct an incredibly good argument (no you wont)

- the moment the idea falls from your lips, Renjun can't help the desire that runs through his stomach

- still, he'd try to be a good boyfriend. A responsible boyfriend.

"Why are you so scared to fuck me today?" You'd whisper into Renjun's ear, wholly frustrated from this make out sessions that has lasted for way too long. "We're not high schoolers, Ren, why aren't you inside me?"

He'd sigh in frustration as his threw his hand backwards on the pillows scattered around your bed. His hands naturally going to your hips.

"Condoms-" he'd sigh in frustration before peeking up from her palm of his hands

"I forgot to buy more-"

You had continued kissing up the side of his neck. Renjuin shivered when your tongue slithered out to lick a long stripe down his neck. "Thats fine."

His eyes are wide and so incredibly hungry when he swallows and asks. "Thats fine?"

"Thats fine," you'd nod. "Im on birth control-"

"Shit, why didn't you say this sooner-" he'd grumble

# Jeno | No Condom

- As soon as you're dating he'd forgo buying condoms altogether

- he actually thinks it's weird and unnatural not to have raw sex with his girl who's both tested and loyal

- this would also spur on his breeding kink

Jeno's teeth sink into your collarbone as he fucks you roughly against the wall. Like a dog in heat, the sound of your body snapping together is the only thing that fills the entire room.

"Such a pretty slut," he'd muttered through clenched teeth. "You only let me fuck you like this?" He'd have his palms locked around your neck as he watches you wrestle to stay conscious, "You only let me fuck you like this?" He'd repeat, this time with a much firmer voice.

Your lips trmeble as you say, "Only you Nono-"

"Fuck, I'm cumming-" and he would. The thought of you belonging to him being more than enough.

# Haechan | No Condom

- A menace in disguise

- For the better part of the relationship he'd entertain you and your 'we need a condom" narrative

- Boring

- He'd roll his eyes

- Until one day he just stops buying them altogether

- And then he'd throw away the condoms you kept in your house too

- And then he'd throw your birth control pills down the drain

He's whispering the most vile things into your ear as you sat on his lap, legs spread open as his fingers repeatedly stab your cunt.

His voice is low, in the way you like and your eyes are squeezed shut as you picture every filthy thing he's saying to you.

"God, Hyuck-"

"Listen to how wet you are- you want me to stick my cock inside you, huh? You wanna squeeze this tight pussy around Hyuck's cock?

"Fuck I'm, so close,' his thumb circles your clit, "I'm gonna fill you up so good, babe I promise-" you'd be done for, cumming everywhere as your body spasmed around his fingers.

"F-Fuck-"

"Great so we're on the same page then?" He'd ask,

"Huh?" You'd crane your lightheaded-head backwards, watching him with hazy eyes.

"No more condoms? We're on the same page"

"Hyuck when did i-"

"Exhibit a- he'd say, showing you his cum covered fingers glistening with your arousal.

# Jaemin | No Condom

- Jaemin considers himself a perfectly cautious guy. He is reliable and responsible, thank you very much.

- He just didn't really see much need for a condom anymore.

-He's growing tired of pulling out everytime

- He's a romantic

- He needs to feel close to you.

- When you slip up and tell him you're on birth control he's absolutely done for.

- He'd been dreaming about this since you started being intimate.

- since the thought of spurting his cum inside you had been rendering him absolutely feral

"Sorry," Jaemin said, lowering his iPad as he stared at you from across the couch, "What"d you just say?"

"I'm on birth control- hope that's okay-" your eyes would nearly fall out of your sockets as your boyfriend begins stripping right in front of you.

# Chen Le | No Condom

- He's thought about it... of course he's thought about it

- Chenle isn't too open about Sex until it's happening right in front of his eyes

- Only when the environment calls for it, would you even feel comfortable enough suggesting something so lewd

- the thing about that is, although he might not voice all his sexual interests allowed, there will be signs

"Jesus, what the fuck did you say to me?" Chenle had removed his headset, swiveling in his chair to stare at you wide eyed. From your spot on his bed you roll your eyes, as you tap away at your screen. "Oh so you're too busy gaming with your friends whenever i ask anything important. But the second I tell you I wanna feel you inside me, then you can hear me,"

Chenle's hand rushes to adjust the bulge forming in his sweatpants, lest he cums right there. He murmers in mandarin before severing the line as he rests his headsets on the table, fully gaining his attention. "Oh my god you're such a fucking slut-" he smirks as he slowly stands from his gaming chair. You swallowed thickly as he talks towards the bed. The environment being apparently perfect enough for Chenle's mouth to spew whatever it wanted.

"You wanna be my little slut huh? Just mine?"

# Jisung | No Condom

- a very shy boy

- a very perverted boy

- of course he's thought about hitting it raw before

- he's gotten off the the idea of breeding you ever since you became a couple.

- it was be the biggest thing on the forefront of his mind

"Wanna feel you- Jisungie," you were grinding yourself on his lap, prompted by his trembling hands guiding your hips on top of him. Jisung's mind was rotten with all the dirty things he'd dream about doing to you. This being at the top of his list.

"I need you inside mee-" you'd whisper in his ear, prompting him to gasp as his hips stutter upwards into yours. You could feel the size of his bulge underneath his clothes. You could feel the desperation with which he grinded his cock along your crotch, hoping for even the tiniest bit of friction.

"You wanna do me raw, Sungie?"

The second those words leave your mouth, a wet spot begins to form in his pants as he cuts accidently.

"F-Fuck-" he couldn't stop himself.

Despite this, Jisung's cock is still hard.

[sophsicle]

okay, hold my drink *hands u cursed ancient goblet full of mead* i gotta talk my shit for a second.

ive been seeing a lot of severus snape love recently. and this is fine, obviously, y'all can love whomever you want. but. i need to rant or i will explode. if we're talking about canon. severus snape spends his adult years, seven books of it in fact, abusing children. and his excuse for this is the girl he loved (tho not enough not to join a group actively trying to exterminate her) fell for the hot jock instead of him (a tragedy indeed, i weep 4 him, i really do). and also she died, which, admittedly is very sad.

it is simply crazy 2 me 2 look at that and think *romance* or *genuine care and affection*. LIKE. fo real. snape calls her a slur in public, apologizes in private, hangs out with dudes who commit hate crimes against her friends (CANONICALLY, she says "you've been hanging out with that douchebag Mulciber, how could you do that after what he did to Mary???" this is not a direct quote but like, it's close enough). lame. loser behaviour.

"Oh but what about regulus" i can hear you say "he loves James potter but snape doesn't love lily???" well. idk. maybe. bit different tho, innit? due to james not being the demographic regulus is attacking (which doesn't make regulus a better person but does make the dynamic between him and james different). ALSO. Regulus chooses to turn against voldemort without hope for anything in return. snape doesn't seem to give a shit about voldemort, he's just sad he's not gonna get to bang lily evans. he switches sides for that reason alone. also doesn't care about what happens to her husband or her son which like. considering lily would be pretty fucking destroyed if they died. once again points to my whole, he doesn't really give a shit about her, theory. lame. loser. behaviour.

also. im sorry. I"M SORRY. but what snape does to neville? to hermione? to harry? gross. a grown ass man out here telling an eleven year old neville he's worthless or hermione she's ugly and annoying. or spilling harry's potion and refusing to grade him for it???????????????

reg and draco are children when we see them at peak suckage and therefore they feel like they can be redeemed much more compellingly (CAN be, not SHOULD be, not HAVE to be, just narratively i think they are easier to turn into interesting, sympathetic characters). but snape? snape grows up into a garbage adult. like he doesn't get better. and again, the only real excuse we're given is his obsession with lily. not very demure. not very cutesy.

ALSO. yall remember that time he got a destitute, struggling Remus Lupin fired from the best job he ever had just because he felt like it? remember that time snape weaponized Remus's lycanthropy and people's prejudice against him just cause. like. literally just cause??? his ego was bruised after the shrieking shack incident so he was like "get wrecked Lupin I'm going to tell everyone your secret so you will be forced back out onto the streets" DO YALL REMEMBER THAT BITCH ASS MOVE????????? THAT HE DID AS A FULL ADULT.

IN CONCLUSION, this is silly and, of course, like i said at the start, everyone can have their own thoughts and feelings about characters, but i simply needed to interject here on behalf of snape haters everywhere because i feel like so much of snape's shitty behaviour as an adult during a time when he was really under no duress and was very safe and cozy, is ignored. and my hater heart just cannot let that stand.

[abyssalzones]

can you tell us about your interpretation of the better world universe!!!! especially curious how stan/mystery trio works into it

hell yesssss I definitely can. ABW is maybe my favorite niche gf thing and probably the only "AU" I care about but that may be due to the fact that it's an AU that exists in the canon and we know so little about it. so it has an established foundation that you're left to fill in the details with yourself... it's like a poke bowl to me. you can put anything in there

and since I felt like it here's a bonus pic of them living their best lives pestering ford

[explanation-y stuff under ze cut because I got very longwinded]

as for specifics of how I see everything working out, there's a few key points that establish why things happened differently from canon, the most important being:

Stan agrees to hide journal #3 somewhere

Ford reunites with fiddleford and they begin working together again

both of these are already confirmed in canon, the first being the most obvious "schism" between timelines. literally everything in ABW is the way it is because stan made a different decision. kind of crazy in terms of its implications: I feel like that moment in the basement is a really good example of how stan gets so few opportunities to shape her own life (while ford is in the picture...) because of her role as the 'black sheep' twin. it's not exactly a premeditated decision to push ford into the portal, it's her acting on feelings that have been bubbling unaddressed under the surface for 10-something years at that point, and only then does she have any sort of power over the "narrative" of both her life and the story itself, something that from her pov has been ford's story. and in the canon timeline, she says no.

so like, what the hell made her say yes in ABW's timeline? this question kind of haunts me because I feel like it has to be entirely dependent on what the inside of stan's head looked like at the time. it's possible something influenced her, but overall I think it's more interesting if ford did and said all the exact same things up until this point and it really was entirely dependent on stan's decision internally.

so stan says yes, goes on a big trip to the other side of the world somehow, and buries journal 3 somewhere probably never to be found again. yay! but, uh, going on a trip like ford was suggesting would... take weeks. that would leave ford alone again. and not to have my established thoughts informed by new material or anything but bill did give him 72 hours.

so, next order of business: how in the fuck would ford convince fiddleford to rejoin him??? I'm unsure between journal 3 and tbob's information how ford may have tried to reach out to him but it seems like fiddleford was pretty adamant about staying away from that guy, out of guilt or fear of bill/the portal or both. I don't think logically it would just be a matter of ford calling him enough times or finding out where he lives- and I think that's kind of getting away from the point of why ABW is the way it is too. if stan is suddenly making decisions that are influencing ford's life, I think it would be similarly interesting if fiddleford also possessed some unique autonomy in this scenario.

aka I think ford got fucked up badly (possibly involving losing an eye) and fiddleford found him half-dead while trying to burn his house down. [mabel voice] romance!

to clarify: I don't think fiddleford is obligated to take care of ford. a major part of him leaving the project was finally making the decision to leave a situation that was hurting him, that he'd been staying in entirely because he still cared about ford and felt on some level he could still help him (which gets broken with "I don't need you!") and I think that's a very reasonable decision on his part. but I also do have to think about all the times ford has been "the hero" in situations where fiddleford ends up hurt and helpless because of something traumatizing. I think it'd be fascinating to see that reversed and have fiddleford actively making the difficult, messy decision to take care of that guy even when they're on miserable terms. and so begins like a solid week of these two desperately trying to look out for eachother in a nightmare scenario where one of them probably needs to go to a hospital + keeps getting possessed off and on and the other is going through the worst addiction/withdrawal cycle of his life irt the memory gun. yay! (part of the reason this even works To Me also is heavily informed by the lack of secrets: if fiddleford is actively dressing that guy's wounds he can't really keep it all to himself anymore. crushingly intimate perhaps...)

stan gets back eventually. such is the context of this pic

from there it's a nebulous grab-bag of things I think could happen up to the foundation of the institute.

how do all three of these incredibly fucked up individuals get along? well they don't but then they do.

how do they get bill out of ford's head without performing amateur brain surgery? idk. my best guess is a fiddleford and stan bonding trip into ford's mindscape that potentially helps answer the first question. possibly utilizing the memory gun. shrugs.

what's up with that one picture you drew of parallel fidds holding the memory gun up to ford's head? well. okay that one might or might not be something that actually happened but the idea was just that ford is coping badly with a few specific things and I liked the idea of fiddleford "holding onto" something for him to remember and work through later when he's ready to deal with it, it's an interesting reversal of how he's normally more of a memory sink.

from the point in canon about them stabilizing the portal so that bill can't use it to get into their dimension anymore onward, I think it just becomes a matter of them living the lives they could've always had in canon without realizing it. hence "a better world." some cool tidbits I like to think about:

stan gets to transition much earlier (late 1990's perhaps?) and probably starts going by "lee" instead

she's also the institute's CMO and is mostly in it for going on business trips abroad with ford. and the money. obviously.

the institute probably also legitimately changes the world on a sociopolitical scale outside of just interdimensional travel since their research renders them uniquely untouchable and all three of them are trans (I'm cartoon logic-ing a little bit here just let me have this one)

ford is the eccentric bill nye esque face of the company, fiddleford is the backbone. that isn't to say ford doesn't do anything as I think he'd always moreso be in it for the science than the fame (though it is nice to be more than comfortable financially) but it's an open secret fiddleford keeps tabs on literally everything, he's still very security-oriented.

the northwest family now has a more prominent ongoing rivalry with the pines family that could be very funny to think about. they've taken all the LOGGING JOBS with their damn SCIENCE

part of the reason I thought ford should lose an eye is because I think having him wear an eyepatch would be a neat way to parallel stan's "role" as mr. mystery visually! stan wears an eyepatch for no legitimate reason to keep up appearances as a schlocky tourist trap host, but it also alludes to her being more than she seems under the surface. ford's eyepatch does sort of have a legitimate reason to exist, but he also could just wear his glass eye and it would probably be less "conspicuous." he chooses the eyepatch instead because it's part of his image as Stanford Pines, Founder of Oddology, and because it keeps him safe. there's also a little residual scarring there from damage to his eyelid/tarsal plate which could easily represent him hiding the more "damaged" aspects of himself under his successes. ouch.

I'm unsure if ford and stan would ever feel comfortable getting back in touch with their parents. I know a lot of people go that route with fan material but I don't think they should have to. I think they're much happier now having healed the rift between them on their own and getting to live successful lives for themselves, rather than to prove something to their father.

that being said I do think fiddleford gets in touch with emma-may and his son again and they end up on better terms with time and a Lot of effort. tate's family is now composed of his father, mother, "uncle" ford (in the ye olde gay closeted sense of referring to your dad's partner as an uncle), and auntie lee, and I like to think they go out on trips to the lake together often :]

also ford and fiddleford tie the knot unofficially (in the eyes of the government anyway) in 1990. owed to stan somehow getting "ordained" as a rabbi. don't ask me how.

the pines twins start visiting the institute from a younger age than they do irt visiting stan in the show-- but they're only permitted to come along on heavily-supervised interdimensional excursions once they turn 12. cue antics!

anyway, hopefully this extremely longwinded and loosely structured mess helped answer your question. I like ABW sooo so so much you guys

[shorthaltsjester]

i could talk a lot about the reasons that i think vox machina as pcs is actually a perfect insertion into the c3 narrative right now but the one that’s really sticking out to me is the diversity in the opinions on the gods that the party has and the lack of influence their individual opinions have on their commitment to save the world. because with bh they’re all pretty ambivalent or anti-god with fcg and now braius being outliers, but both of those cases are still very unique and particular ones: fcg had his cleric powers prior to his religiosity and so it was largely just about the personal meaning he found in the changebringer but he still ended up having divine exchanges with her and braius is in the fjord stone school of being a willing child of god divorce. and with those of bh who dislike the gods it’s for completely valid reasons with completely invalid application of their personal woes to a universal scale. but in vox machina we see the way that experience with people that the gods matter to beyond just the magical exchange and experience with the weight that denying the rise of a new betrayer left on the shoulders of the gods they aided. i have to say that beyond the fact that i am just fond of vox machina as a party, it is also incredibly refreshing to see people who have diverse opinions about the gods but also actually engaged with opinions (a word which here refers to taking seriously, and not using confirmation bias) beyond those of their insular party.

a while ago ashton with his insistently short sight said he’d like to see the gods pray to mortals — something they’ve always been doing and is in fact a definitive part of their established metaphysical status in exandria — and vox machina is taking on the role in the c3 narrative of proving (once again) that has been the case, but they differ from bh because where bh (as a group) tends to deny the pleas from the gods unless it already serves or proves what they’ve assumed to be true about the world and the gods, vm (as a gorup) took seriously that the gods might have something new to introduce to them. i mean that’s obvious in scanlan and vex, both of whom became champions of gods they hadn���t really even considered in a serious vein prior to speaking to them. and scanlan very much takes on the label of ioun’s champion as a job to be fulfilled in the specific battle, but with vex being pelor’s champion has more significant weight tied to whitestone becoming her home and the fact that she belongs to a community that does, very much, take seriously the symbolic and literal power of the dawn, and she admits she hadn’t really realized the people-ness of the gods themselves until she met the everlight and the dawnfather.

but from the very same community, with a more historical basis in it, we get percy, who is very much uninterested in gods, until of course he might find value in an exchange with them. or, in one of my favourite moments from percy, until he is given hope that his family still exists somewhere beyond his memory of them, even if bound in the divine books of a god that calls him out on his selfish habits. vox machina also has keyleth who is pretty anti-god, not to the degree of ‘let’s kill them’ that we’ve seen in bh, but even when facing them directly, she wasn’t subtle about how little she cares for them, especially when offset by the people that matter much more to her. vm has pike who is the spearhead of the everlight’s return to power, they have grog who fucks with the stormlord’s teachings even if he doesn’t deal with the god part all that much. there’s a multiplicity of god-to-mortal relationships in vox machina that is diverse in a way that bh certainly isn’t, and i think that allows a really interesting deepening of what’s at stake. because, of course, their focus is getting vax out of the orb, but there’s a weight they all carry regarding what happens to the world if it loses the gods, especially if the way they go is through the machinations of a ancient elven jackass.

and i mean it’s a jokey moment but i think an exchange that’s really illustrative of why it’s so nice to get vm who are certain about their stances about the gods and who don’t have to discuss the philosophical implications of their actual lived and material reality is the one between vex and keyleth where they’re discussing stopping predathos and vex jokes that ‘hey maybe predathos gets out and just eats the matron, surely that’d be fine’ and keyleth laughs with her but then they both kind of step out of that and are still committed to fighting predathos. because as keyleth emphasizes in her speech, exandria belongs to a collective, one made up of people who both hate and love the gods and though vex and keyleth both hate one god in particular, they have the awareness to treat that as their own issue, not one worth risking exandria to solve. anyway. this isn’t super well put and maybe i’ll elaborate some other time but i’ve seen a lot of people being bitter about vox machina showing up (which is their right!) but saying they’re only there in ways that detract from the narrative (i obviously disagree) so i just wanted to put into words why i think that’s wrong (though to be clear i don’t doubt that the fact that vm is cr’s personal blorbos plays a significant hand in the fact that vm showed up, they just also are succeeding (to me) at having a narrative purpose as well)

[gingerhastoomanyobsessions]

the lords in black are so interesting to me because. they’re so us. we’re watching the citizens of hatchetfield suffer for our own entertainment just as much as they are. we’re their accomplices in all of it

pokotho made hatchetfield into a musical because musicals are entertaining. and we ate that shit up! it’s soooo fun watching a little man scramble as the world around him bursts into song. the musical genre is satirized because pokey knows how the genre conventions work just as well as we do. we like watching musicals so much that black friday and npmd are musicals, too, even though they don’t revolve around pokotho’s plans as much as tgwdlm. we want them to sing. pokotho does too.

bliklotep is the audience and the audience is bliklotep. trail to oregon calls the audience “the watcher with one thousand eyes” and that’s not all, in watcher world blinky seems to be able to see through the eyes of anyone and everyone who loves spectacle. he wants to see the characters go through angst because WE love angst. it’s fun to watch alice and bill express their buried frustrations. blinky wants it to end in bloodshed because he loves tragedy, and let’s face it, so do we. it’s like that one post about how hamlet is aware of the audience and is angry that we don’t do anything to intervene because we want to see how it plays out. personally, I think blinky could have stopped the woodwards if he really wanted (he’s an elder god, after all) but alice shooting him shifted the narrative so that the emotional payoff would be more fulfilling if they escaped. and blinky loves a good story.

t’noy karaxis has blorbos. we joke about it, but that’s really what it is, isn’t it? he’s the fan who watches the movie again and again and again and again to see his favorite character’s dramatic death scene. he’s the guy who writes and reads angst fics by the hundreds because he likes to see his faves cry. he’s the hatchetfield enjoyer who’s on the edge of their seat waiting to see how ted kicks the bucket this time. the bastard’s box is pretty much just an ao3 account filled with whump and hurt no comfort. he’s sadistic AND he genuinely adores ted, because we fans are often cruelest to the characters we love the most. he puts ted through character growth— the realization that his life went the way it did because of his own mistakes, his inability to be vulnerable with jenny before it was too late— and he does that by writing a 56-chapter angst fic that’s still updating to this day

nibblenephim is the fan who voraciously devours every scrap of content that a creator produces and demands more, more, more. let’s face it, the fandom will never let starkid rest until we see this story through to its end. and then someone will demand a sequel series. nibbly is hungry because we will never stop yearning for more stories. he’s simple because that desire itself is simple— as humans, we need creativity like we need air to breathe. nibbly wants more because we want more. and we will never be satiated.

wiggog y’rath is the ruler and the king because he’s the self-inserting writer. I think jon matteson plays paul *and* wiggly for a reason— wiggly is the only lord in black to be played by the same actor in every single show, and that actor also plays the protagonist of tgwdlm. wiggly wants to be the protagonist. he tries to force himself into the human world of hatchetfield because he wants to participate, dammit! he wants to be the bestest ruler that the earth has ever seen! everyone has to love him because he’s going to be their bestest fwiend! when he appears in human form he’s gonna be the prom king! he’s the ebony dark’ness dementia raven way of the hatchetfield multiverse. he wants every human character to bend to his whims and to love him and to put him at the tippy-top of planet earth because he’s the writer and the writer’s main character, you fuckheads, and he can make whatever story he wants, whether the other characters like it or not! if you’ve ever written a self-insert story? congratulations! you’ve been wiggog y’rath.

and the funny thing? I don’t think the lords know that they, too, are as fictional as anyone else in hatchetfield. maybe blinky knows— he sees through the audience’s eyes, after all— but I don’t think the others do. if they did, maybe they’d be a little less tyrannical. a little bit nicer.

but then the starkid writers wouldn’t have much of a story to tell, would they?

[dangermousie]

I was chatting about this with a mutual and it made me want to expand this because I've been thinking about this for a bit on and off.

I think the disconnect/arguments between people who watch/read books/shows/movies etc, label things as green flag/red flag and complain when there are "problematic" characters or "dynamics" - both in terms of the narratives and people who enjoy these narratives being targets and people who like me love some intense/fucked up/weird stuff is because these two groups of people approach fiction in two fundamentally different and incompatible ways.

The former view it as a sort of aspirational content or self-insert - they want to watch/read about people/lives/situations they would enjoy being in/with in real life. It's sort of a self-insert wish fulfillment, the way other people watch youtube channels about traveling the world or cooking or home decorating - you imagine yourself in this.

And I think this is where the disconnect comes in - because a decent chunk of them assume everyone else uses fiction for the same reason so if you enjoy e.g., watching a dysfunctional relationship or a bad dude/lady or some world set up that is nuts it's because you think this is all great in real world and that you want to be (or be with) with a problematic partner/in problematic situation and you think it's morally worthwhile.

To that former "aspirational" type of fiction consumer, fiction taste = morality.

But the disconnect is that for that latter "we like fucked up/dark/problematic/intense/whatever" group it's not really about aspiration or self-insert. People didn't love Hannibal because they secretly long to run off and cook humans in a stew. The fans of 2ha don't really want to kidnap their hot teacher and keep them as a sex slave in a palace. Harem dramas aren't popular because women are dying to poison and frame others to get to sleep with a fat old powerful megalomaniac. Most of consumers of mafia romances don't really think it's a great idea in real life to be taken against your will by a hot killer with abs who can't control himself around you and is great at forcing you into orgasms against your will.

That latter group (among which I find myself) likes all that stuff precisely because it's nothing they have or want to have in real life. It's a safe way to explore fantasies that would not be great in real life (I assure you most people who have noncon fantasies don't want to be raped in real life; also in real life no most people don't want to bang a buff but super murdery villain; fiction is a safe place in a way) but also to explore situations and interactions and characters you would never want to in real life from the safety of the page/screen. To use a very easy example - think of the large audience of action movies. I am pretty sure most fans of action franchises don't want to be in car crashes/insane chases/explosions/etc. Any more than roller coaster enthusiasts want to actually be thrown upside down for real or horror movie fans want to either chase someone with an axe or be chased with one. I myself love really intense situations in fiction, ones that push characters to their limits and sometimes beyond, but I cannot imagine anything less pleasant to go through in real life.

Unlike with the self-insert group, this is actually the very opposite. It's like a game of what-if, a glimpse into an alien world fascinating precisely because of its difference with my life. An exploration of aspects of life/relationships that one could never safely or happily do in one's life but are interesting at a safe fictional remove.

This is getting repetitive so I am going to stop but I really do wish more people would understand that enjoying X in fiction does not mean enjoying X in real life (or approving of X in general.) I mean, I love period epics but you'd pry antibiotics and rule of law out of my cold dead hands.

The moral panic over fiction reminds me both the old "video games make you into killers" panic of a few decades ago and the much older belief that reading novels would wreck morals of society especially by those weak women since the novels' (lack of) morality would warp them. Most people have brains and use them and can distinguish between fiction and reality. I wish people would accept that.

P.S. A corollary is conflation of morality/quality/enjoyment. By that I mean I wish more people would accept that moral message, quality, and enjoyment of work are all three separate things. You don't need to prove that some fictional piece is immoral and/or badly made to justify you not enjoying it. It can be well done and just not for you. And conversely, you do not need to prove a work having societal value or being high quality to justify enjoying it. It's fiction. Just enjoy it or don't.

[transmutationisms]

oh i would actually be curious to hear your thoughts on lolita book covers in that case. i do get the sense that some of the covers are designed to uncritically titilate and seem to misunderstand the text, but that could obviously be an assumption on my part lol.

oh i agree that the cover designs tend to run counter to nabokov's intentions, both in the text and in the literal instructions he gave about covers lol. they pretty clearly rely on putting some young girl on display, which is exactly what nabokov did not want to do visually; they also tend to suggest dolores as some kind of seductress (sultry gazes, pouty lips, &c). clearly this is precisely the opposite of what the text tells us about her.

however when evaluating these visual choices i find that many people portray them as some kind of originary and culturally polluting act: that is, a narrative emerges that the problem here is people misinterpreting 'lolita', and then publishing it with covers that will do harm to young girls &c. i think this is lazy analysis and fundamentally makes idealist assumptions overestimating the effect of cultural products (books, book covers) on problems, like the sexualisation of children, that are in fact grounded in material relations, such as in this case the status of children as legal property and the total power granted to adults over them. that is to say, these broader conditions are at root the reason that cultural products like the cover of 'lolita' look the way they do, and chalking it up to individuals not understanding the book is never going to get us very far; and also, although some of these covers are pretty egregious, they are the reflection rather than the cause of the sexualisation of children, a problem that would continue to exist even if every edition of 'lolita' ever printed just said "humbert humbert is an unreliable narrator and dolores haze is a child he is preying on" on the cover.

fundamentally i also think this sort of conversation often elides some more interesting points about whom these covers communicate to and what they say. you suggest they are meant to "titillate"; although i would agree dolores is often shown as sexual, desirable, and seductive, i'm not sure that's the same as assuming the cover is trying to arouse the potential reader. for one thing, to put it bluntly, this style of cover tends to be associated more with books marketed to women than to heterosexual men. and more broadly, and this is something the lolita podcast really fails to understand imo, the phenomenon of people reading 'lolita' and relating themselves to dolores is not mutually exclusive with this type of rhetorical construction of dolores-through-humbert's-eyes. that is, often what appeals about dolores is, i think, precisely the fact that through her, people find a way of discoursing about or simply re-enacting the kind of sexualisation that they are already subjected to or have been in the past, whether or not at a level as explicit and extreme as what nabokov depicts.

i'm not really interested in a simple moral condemnation of the people who design these covers; that critique writes itself. they are obviously bad and facile, and reflective of precisely the culture of child sexual abuse that nabokov's text condemns. but if we are interested in the reception of these objects, or interrogating the cultural meaning and implications of their existence, i just think there's a lot more going on here than what the podcast portrays as a simple sort of 'broadcast' model of mass media wherein the 'lolita' book cover and trope is beamed out to unsuspecting innocents who are then exposed to its nefarious elements. dolores appeals to people for lots of reasons, some prurient, some pitying, some openly self-projective, and these are not mutually exclusive with one another nor are they mutually exclusive with readings that reproduce elements of the very lolita character that humbert creates and uses to silence and re-write dolores. we can be uncomfortable with that and refuse to talk about it but if that's the position someone wants to take then i'm not likely to be interested enough in their opinions to, like, listen to their podcast about this book lol.

[ot3]

The Flower That Bloomed Nowhere

What is it, and why you should read it.

(Art by purple)

The Flower That Bloomed Nowhere is a currently updating webserial by author Lurina. It's one of my favorite things I've read in a long while and I'd like to convince you all to give it a chance.

My elevator pitch is this: A time-loop murder mystery directly inspired by Umineko, with a lot of similar vibes to the Locked Tomb Trilogy - partially due to it's meditations on grief and mortality and partially due to it's far-future magical sci-fi world where we follow a fucked up lesbian necromancer on a task she is determined to see through to the end. A deeply complex, unique, and believable world that plays hosts to one of the best interpersonal dynamics I've read.

In a future so far-flung that it is past the heat death of the universe, humanity has constructed a new society that is post-scarcity but not post-stratification. Utsushikome of Fusai is one amongst a class of prodigious young medical arcanists (essentially grad students) who are invited to visit a recently legitimized conclave of top-of-the-line researchers studying immortality. Accompanying Su is her best friend Ran, a fellow arcanist. Over the course of the novel we begin to slowly unravel exactly what ulterior motives have brought them to this conclave and how events in their childhoods and years of working toward their shared goal has warped their relationship into what we now see. This relationship is the crown jewel of Flower's narrative, and getting to peel back the layers of it as you read is a delight.

Like Umineko, Flower is a murder mystery that prevents itself with in-universe Rules that dictate the murders' parameters, meaning there's a lot to chew on for anyone who likes solving mysteries. For those that don't, like myself, Flower offers instead a richly developed world and plenty of open questions about the sociopolitical and metaphysical implications of its own worldbuilding.

Below the cut, I'll go into more detail about the series (without spoilers!) for those of you whose interest has been piqued.

The Flower That Bloomed Nowhere is currently ongoing, updating every few weeks. It's several hundred thousand words, so if you're looking for something substantial to keep you entertained, you've got it. As you might expect from the length, the pacing is decently slow. I don't see this as a bad thing at all, because within this pacing Lurina dripfeeds the readers enough new and interesting information at a regular rate that it never feels like your time is being wasted. But if you can't handle slow burns, I wouldn't recommend this one for you.

If you enjoyed the Zero Escape series and liked that they stopped solving murder puzzles to infodump about fringe science, I think you'll get a lot out of Flower. Characters are frequently interrupting their life-or-death scenarios to have lofty, philosophical and political discussions. It's a ton of fun if you like reading characters argue.

'People have to sleep.' 'People have to work.' 'People have to die.' But those were just vague rules, phrasing I'd used because it had been easier in the context of that conversation. What really mattered, on the day-to-day level, was the idea that it was all for something. If someone invented a elixir that made people not to need to sleep, it would, in retrospect, recontextualize all nights everyone ever wasted sleeping as wastes of time. Not something that occurred for some inherent purpose, but whims of circumstance, a tragedy of when you happened to be born. If you accepted that all unfair things in the world could be removed, if only someone knew how - fatigue, labor, death - then to exist in the world we had now, with all its grotesque imperfections, was to know that you had been violated by fate.

Along those lines it's just got a sense of humor I really enjoy. Pretty dry and cavalier. It manages to keep the mood light without feeling like it's undermining it's own stakes. I'm particularly fond of Su's penchant for telling incredibly depressing suicide jokes that just Do Not Land.

The peer pressure cut into me like a hot knife. I hesitated a little, biting my lip. "Well, uh, okay. I'll just tell a quick one." I swallowed, my mind quickly scrambling. "Okay, so, there's a woman who runs a dispensary for second hand goods. She sees a man come in who's a regular customer. He's kind of a mess-- Has a big beard, a bad complexion. He buys a razor, and tells her he needs it to clean himself up, because he has a date." I could see that I now had Ophelia's attention and that Kam was looking pleased with herself, but Ran was watching me, too. I could see the look in her eyes. It screamed at me, with such vividity that it could be sold at an art gallery: You better not be telling a suicide joke right now, or we're going to have a talk. But it was too late. The wheels were already in motion.

As I mentioned up top, the relationship between Ran and Su is just one of my favorite interpersonal dynamics ever. Period. The author is playing some insanely complicated 5th dimensional yuri chess and I am absolutely here for it as someone who likes characters who are deeply devoted to each other in a way that is deeply deeply fraught. I cant emphasize enough how obsessed I am with what they have going on.

Additionally, as stated, the worldbuilding in Flower is top tier. The author clearly understands how every part of her world functions, which makes the moral quandaries and politics presented all the more impactful because they're very believable. It's hard to talk about Flower's world without spoiling too much of the specifics that get slowly revealed, but it doesn't fall back on any typical sci-fi standard fare and feels like a breath of fresh air amongst recycled and repetitive worldbuilding tropes.

A lot of really fun side characters. Strong voices for all of the supporting cast (♥♥Kamrusepa♥♥) and even though not every character gets their own arc, they all clearly have plenty of interiority. Once again, another thing that makes Flower feel very believable despite it's absurdities.

Autism

"Did you notice anything out of the ordinary with anyone?" She eyed him. "Anyone who seemed tense?" "Saoite, I'm not sure if you've noticed, but half of our class is so autistic that they constantly seem tense. You might as well ask me to find a specific turd in a sewer." "Just answer the question, please," she replied flatly.

Guys it's really good just trust me I don't want to spoil you for the more intricate plot beats but they're doing some crazy shit here. It's never a bad time to support an independent author's project. If you're sick of corporate mass-media and stuff needing to be marketable, getting into independent works owned and supported by individual creators is a great way to push back against that. I highly recommend it.

[thefandomenchantress]

DRDT Character Popularity Poll Results

The results have been tallied! It's finally time to find out who the most popular DRDT Character really is! (...According to this specific format on this specific website).

For those unaware, this poll was conducted by asking people to write down their top 5 favorite DRDT characters in no particular order. Each time that character's name was written, it counted as one vote towards them. And, without further ado, these were the results!

---

18th Place: Elliot Cuevas/Felicity Giles/Unnamed Classmate

Elliot, Felicity, and Unnamed Classmate managed to receive exactly 1 vote each, putting them in last place. I can't say I'm too surprised, since there are so many excellent characters in the main cast to choose from. Still, Felicity, a character mentioned only in an ask game, managing to tie a character with a whole-ass MV dedicated to them as well as a character featured in two bonus episodes, is pretty impressive! So props to her!

(Someone wrote 'Relaxation Room Fish' in one of their slots, which I considered including to be funny, but I decided not to. One day the minnows will get the bonus episode they deserve).

17th Place: Mai Akasaki

Mai managed a whole 5 votes. I was a little surprised by that, since she only really has a hypothetical personality, but hooray for Mai! She's the most popular non-main cast member. I can totally see why people would be intrigued by the mystery surrounding her.

16th Place: MonoTV

MonoTV, self-proclaimed most popular DRDT character, is the least popular main cast member. How sad. With only 6 votes, it barely outranks Mai, and ties with her if you count Unnamed Classmate and Mai to be the same person. While it's silly emoticons and lore implications won a few people's hearts, it still can't compete with the human main cast members.

15th Place: Hu Jing

...I doubt many people are surprised by this. While Hu may have been one of the characters helped most by my decision to make people write down their top five characters instead of only their favorite, she still couldn't gather enough votes to get out of last place within the (human) main cast members.

Hu gathered 26 votes. While that came pretty close to 14th place's number, she ended up here. Like I said earlier, this isn't surprising. Hu's behavior is supposed to be flawed, but unfortunately, it doesn't seem to be the kind of behavior that most people enjoy watching as much as the more cartoonish character's antics. Still, she has her fans (including me, in case you couldn't tell haha).

Well, if there's one thing we can all agree on, it's that Hu should definitely slap the shit out of David next chapter. /j

14th Place: Min Jeung

Min barely managed to beat out Hu for 14th place with 28 votes. Her low placement, sadly, also isn't a surprise.

Min died in chapter one, and her screentime being limited definitely hurts her here. Not only did she have only a few mentions in chapter 2, but she also didn't haunt the narrative quite like Xander did. Xander managed to leave quite an impact on both David and Teruko. And to put it bluntly, Xander is a conventionally attractive male character with a ton of screentime during his time alive. With the way fandom is, he was almost definitely going to have more staying power than a female culprit, especially one with as little screentime as Min.

That doesn't mean she has no fans, though! There's a ton of cool Min content on this website, and she is one of few characters I have never seen anyone say they vehemently dislike. And how could they? She's such a charming little bookworm.

13th Place: Arturo Giles

Arturo received 33 votes. His relatively low placement isn't exactly something I didn't see coming, seeing as he spent all of chapter 2 stalking J and being generally pretty creepy.

That's not to say he's devoid of charm, of course. His backstory was also expanded on, and I don't think we'll ever forget "Shut your whore mouth!!!!". Arturo's a pretty interesting character, but until we see his full potential in chapter 3, this position in the ranking is pretty understandable. At least Aceturo was confirmed canon in the last five minutes of chapter 2 (/j).

12th Place: Levi Fontana

Oh, Levi. Such an interesting little guy who may or may not have committed multiple felonies.

Levi received 41 votes, beating out Arturo by a good margin. He seems to have gained a little popularity after his backstory was expanded on at the end of chapter 2, and I'm sure we're all excited to see where his character goes in chapter 3! Well, if he survives, but I refuse to admit him not surviving is a legitimate possibility haha.

Overall a decent showing, about what I expected for him! Our next character, however...

11th Place: Xander Matthews/Nico Hakobyan

Attentive readers may have noticed that, despite there being 16 main cast members not including MonoTV, there were only 15 slots when we started ranking them.

And that's because, against all odds, Nico and Xander managed to tie each other at 44 votes each, 3 votes above Levi.

Not only am I a little disappointed I managed to get a tie in these results, but I'm also rather surprised! I was always under the impression Xander was a rather popular character, so I was fully prepared for him to break the top ten. Seeing him underperform like this wasn't what I expected. I suppose the popularity of Xanvid may have always been what carried Xander's popularity, not Xander himself. After all, one of the few things keeping Xander relevant right now in canon is David.

As for Nico, they performed closer to my expectations. I was prepared for them to be somewhere in the middle ground when it came to popularity. I suppose them being alive longer than Xander was evened out by them almost committing murder...Except Xander also did that, but that's a whole other can of worms. A shame neither they nor Xander can make it to the top ten, but maybe next time.

10th Place: J Moreno

Woohoo, J makes it to the top ten! She got a total of 47 votes, and was one of the hardest to count since she has so many name variations haha.

J managed a pretty good showing. With more backstory details and her based-ness during the trial, I'm not surprised she was able to score a top ten spot. As someone who thinks non-violent tsunderes are very fun and amusing, I totally get the appeal.

9th Place: Eden Tobisa

Eden managed to also make it into the top ten with 49 votes, beating J by only 2 votes.

I'll be honest, I'm pretty impressed with Eden. I think she probably benefitted from the top five rule, since she got a lot of points from the 2nd to 5th slots. While the first slot didn't have to be your favorite character, most people probably did put their favorite there. So even if she isn't always people's most favorite, how could they possibly dislike such a sweet character?

8th Place: Arei Nageishi

Next up, Arei Nageishi, the Ultimate Bowler with 63 votes. That's quite a gap between her and Eden. But they still ended up next to each other, which can only mean one thing: Areden is canon /j.

Arei doing well is something I expected, since she's a bit of a wild card. If you like jerk characters, she's got you covered. If you like nice characters, she tried so hard to be good at the end. If you like crying, she died before she could achieve her dreams. Truly a character that pleases everyone, haha.

7th Place: David Chiem

...Holy shit. Seriously? Only 7th place? He barely made it into the top half of the main cast? Damn.

David got 64 votes, only beating Arei by one measly vote. Gotta say, David barely getting to the top half of the main cast in this list surprises me. I mean, he's so popular, right?!? Everyone was so obsessed with him right after chapter 2 ended! Who knows, maybe the hype died down a bit after people got used to his new act--I mean totally 100% real personality reveal.

6th Place: Rose Lacroix

After David shit-talked Rose, I'm sure we're all very amused to see her beating him, haha.

Rose gathered 66 votes, scoring 6th place by only 2 votes. Rather impressive, I didn't expect to see her up so high, but I'm pleased! After her little angsty speech during the second trial, I have to say I'm more endeared to her as well, so it's nice to see her defy my expectations. But then again, she's yet another character I've never seen a single person say they particularly dislike, so maybe I should've expected this.

5th Place: Whit Young

Whit makes it to the top five! Yay! He got here with 69 votes, a number I'm sure he'd have at least one joke about.

This is pretty expected, since I think most people are aware Whit is decently popular. A seemingly happy jokester who's secretly depressed is an archetype that usually endears a lot of people, in my experience.

Though I would like to give a shout-out to the person who wrote: "1. Whit, 2. Whit (mastermind version), 3. Whit (traitor version), 4. Whit (psychotic kanade version), 5. Whit (pinkie pie version)". I considered counting it as only 1 vote, since voting for the same character five times is against the rules, but I decided it was too funny to not count and counted it as 5 instead. So If you want to get technical, Whit is technically only 6th, without me breaking the rules. Sorry Rose.

4th Place: Charles Cuevas

See, my intervention allowed Whit to be next to Charles, it was meant to be. /j

Charles got 71 votes. I expected him to do well, but almost on the podium of top three? Wow! Congratulations, Charles. Like I said with Arei, people who like jerk characters and those who like nice characters are both appeased by characters like this, so it makes sense that he's rather popular. Especially since he has a bunch of cute sprites.

3rd Place: Veronika Grebenshchikova

Our top three begins with...Veronika, who got 72 votes! She barely managed to get past Charles by a singular vote!

I'm impressed with Veronika! I knew she was popular, but not top three popular! I suppose she is basically every Danganronpa fan to the extreme, so it makes sense most people like her at least a little bit. Not only does she have a super awesome design, but an interesting dynamic with many cast members as well.

2nd Place: Ace Markey

HOLY SHIT???? SECOND?!?!

Ace received a total of 77 votes, beating Veronika by a solid number, though not a crazy amount. And I'm...Super impressed with this! I knew more people started to like Ace after he died, but second? Wow! I guess I can never claim he's not one of the top three most popular characters ever again, haha.

Though...Since I hosted this poll, and I'm an Ace Markey-centric account, I should recognize Ace probably had a liiiiittle bit of an unfair advantage, since many of the people guaranteed to see the post the poll was in had to like him at least a little. Whoops! If a completely neutral party hosted this poll, maybe he would've ended up losing to Veronika or Charles, but I suppose we'll never know.

Anyways, Ace probably benefitted the least from this format, since he took an early lead in the first slot only to get closer to the others as time went on. A stark contrast from our champion, the most well-liked DRDT character...

1st Place: Teruko Tawaki

Congratulations, Teruko! She won by a HUGE landslide, getting a whopping 104 votes and blowing everyone else out of the water!

Teruko started out well, but not super well during the first slot, only to consistently get high numbers all the way through the 2nd to 5th slots. She was probably the character who benefitted the most from my top five system. While she may not be everyone's favorite, a lot of people still really like her! Making her the most well-liked, popular DRDT Character!

Since you see so many people saying that Teruko is hated on too much, it's nice to see her being able to pull out a victory on this one! There were 185 voters, which means more than half of the people who participated wrote down Teruko as one of their top five favorites. Her luck truly pulled through on this one!

---

And that's the end! Sorry this took so long, schoolwork has been mean to me lately. That's the reason I haven't posted in general that much either. But the results are finally complete! I hope you enjoyed this little experiment, and one of your top five did well!

[thydungeongal]

any advice for playing a character very different than you IRL? i know it sounds silly, but i play a warlock who would reasonably have good knowledge of magic that i don’t have as a newer player and would be far more eloquent/persuasive than i am on the spot. my dm asks that we speak in character before resorting to rolls which is great but i feel like i get nerfed for not memorizing books of lore/not being a theatre kid with great improv skills.

I think you should talk to your GM about the need to speak in-character because for some people it can actually be an obstacle. Now, I'm very much an advocate for players describing their characters' actions before they roll, like shit like "Can I roll to persuade this guy" is nothing. But there should not be an insistence on a strict need to speak in-character.

So like, as long as everyone else, more or less, knows what your character is doing and saying, I don't see there being anything wrong with your narration being more detached. It's also okay to switch between these two, describing character actions more abstractly one moment and then speaking lines as your character might speak them the other. A strict insistence on having to speak lines in-character all the time seems unfair, provided you describe what your character is doing in terms of actions and intent.

So anyway, assuming Gonad the Barbarian, you could like do something like "Gonad steps towards the guard and says 'What ho, good guardsman, wouldst thou allow me to go and see yon magistrate?'" or you could just say "Gonad steps towards the guard and asks the guard if he may see the magistrate." And then when asked to present an argument you could just say "Gonad says that it's of utmost importance and waves the letter with the viscount's seal in front of the guard." Like, as much as I like putting on a goblin voice and playing out my character's lines, that shit isn't necessary and this more detached form of narration is just as fine.

And finally, it's literally just okay to ask. I sometimes do this still: sometimes I'm stumped for what a cool line would be for someone to say, and this happens to me on both sides of the GM screen, and sometimes it's fun to just defer to the rest of the table like "Hey I know this would be a perfect moment for Morningwood the Elf to say something epic, but I can't figure it out, does anyone else have an idea?" Like, Morningwood the Elf may be my character but he's part of a narrative that everyone is partaking in creating, so like it's always okay to step back and ask everyone for what would be a good and cool thing for your character to say. Especially as a newer player the rest of the group should be okay with letting you ask them for advice on stuff like this without being weird about it.

Also, the folks at @anim-ttrpgs are very passionate about this sort of thing and especially third person narration, and their game Eureka encourages it very heavily. They have a few interesting posts about it on their page which I hope to dig out once I'm no longer tired, but I apparently slept pretty badly last night and am already nodding off when it is barely past nine here

[idontcaboose]

Haunted car Au part 14

So, it has been a week, and it feels like when you wake up from an unplanned 30 minute nap and have to ask 'What year is it?' While feeling like you have been run over by a whole procession of clowns, clown cars, and maybe a camel for good measure. Granted, that may be from the ragweed that is pollinating like crazy, but oh well... new part!

THIS IS YOUR WARNING! SWEAR WORDS! Plenty of cursing ahead! You have been warned!

Previous. Masterpost

It had been over 24 hours since Jason saw Danny. The most troubling thing was, there were no whispers of a trafficking group in that area. He couldn't fathom what had happened to the kid. Barbara couldn't find the kid on her cameras either, so he might need to go to the cave and look at the Batmobile himself. The footage Babs pulled were just as corrupted as the ally cameras were. Maybe the kid built himself a little jamming device, wouldn't be his first strangely useful creation. Whether or not he had a jamming device, he was still missing and none of the other street kids had seen him. He knew they were probably not harboring him with the bounty for finding Danny being as lucrative as it was. Jason knew offering to cook 3 meals a day for a week would get all of his street kids looking, some adults too.

Jason was a little surprised to see Duke looking at the Batmobile's underside when he drove in. Normally only Bruce and Jason worked on the cars since they had the most hands-on experience with them. Case in point, Duke had the car up on the lift with the front doors open. Did he have to sit Duke down and go through safety in maintenance 101? Maybe he could borrow little Timmy's version “The importance of Maintenance Safety: Or why you don't let Megan write safety plans.” It would hit all the important bits and sear the information in with neon yellow and blue comic sans font.

“So, Glowstick, mind telling me why the fuck you are trying to get yourself crushed?” Jason growled at the kid, the helmet making it even more menacing.

Duke gave Jason an unimpressed look. “B got a stick up his ass and thinks I somehow was involved with the Batmobile running weirdly." Duke sneered as he continued. "Last night when Red Robin activated his emergency beacon, the lead goon got in it and ran over some of his goons. The fail safes for theft didn't activate. Somehow, it was my fault. Perks to being the closest non-injured, I guess.”

Jason was surprised at the bitterness the usually sunshine-y kid had.

“Well, good news, we can swap for a bit, and I can teach you properly how to maintain this beast.” Jason offered.

“Why are you so interested?”

“I can't be nice?”

“You are here willingly, and no, you usually are not ‘nice’. So what is it?”

Jason was not expecting such hostility from Duke, but if Bruce had his panties in a twist and took it out on Duke, he could forgive some of the bite. Couldn't hurt to get Duke in on his hunt for Danny anyway.

“I… need help. One of my guys mentioned they bet a kid, named Danny, some money to put a sticker on the Batmobile. No one has seen the kid after entering the alley where the car was parked. Oracle said the cameras were corrupted at the time the kid was there with it. Figured I would check the car for clues.”

“Oh…. Sure.”

They both looked at the undercarriage of the car in silence before Jason gave a snort.

“The kid really did put a sticker on the oil pan. That is hilarious.”

Sure enough there was a Green Arrow sticker, one where he had his arms crossed and looking smug as all hell, positioned in such a way that eluded that when the oil was drained it would look like Green Arrow was pissing.

“That is amazing, if you find the kid let me give them a high-five for that. What does he look like anyway?”

“Adoption bait, pretty much a mini me with a more ‘polite’ mouth.” Jason was sure Duke could hear his smile when talking about the kid.

“No shit? You with manners? I don't think I can imagine that from a Alley Rat.” Duke teased.

“Watch it Narrows, us Alley Rats are all a little rabid.” Jason found himself teasing back before sniffing. “Besides, Alfie would have my head if I didn't have some manners.”

They went back into a more comfortable silence while working, Jason took to looking through the center, hoping to find some sort of clue of a struggle if Danny got nabbed. Duke was focusing on the engine compartment and any wirings that he could follow. It was rather relaxing until Duke went to move some rubber piping to get a closer look at a relay.

Neither person expected the car to shudder and produce a kind of creepy giggle. Duke froze and Jason reacted by tackling him away from the car and pulling one of his guns at the Batmobile.

“What in the ever loving fuck?” Jason screamed, the Batmobile responded with its own car alarm going off.

“Don't shoot! I'm sorry, I didn't expect that to happen, we are still trying to figure things out!” Duke had jumped back up and put himself in front of Jason, waving his hands and trying to keep attention on him.

“We? What the fuck Narrows?!”

“Just, both of you, stop! Hood, gun down, Car dude, stop the alarm. Please.” Duke all but whined the last word in desperation.

Jason took a Very deep breath, and growled out in the now silent cave.

“Car. Dude?”

Next

@kizzer55555 @sebas-nights @candeartist422 @trappednyourheart @fandom-life-corrupted-me @tkiesai @2lbballpeenhammer @admiralwidow @rewrittenwrongs @whotfevenknowsanymore @symmetricalastigmatism @thespacedragons @atinygracie @okami-love @lesbian-spider-drone @1n0sss @forgetmenot-bluepurple

[thesiltverses]

Hello! Writing first to thank you for such an extraordinary creation - as a piece of writing and even more so in performance. Every episode manages to somehow build on and outdo the last; you navigated that transition from a smaller scale story of grisly mysteries and personal crises of faith to a grand scale of war, revolution and political satire with absolute aplomb, and never lost that throughline of exceptional characterisation and sharp writing, always steering to the most interesting conflicts. You are always very humble in your public comments, but I hope you allow yourself a little pride, because this is absolutely top notch stuff.

I was struck by Paige's final words, that she hopes what they left would be found 'flawed, inadequate, yearning'. As the show went on, I was surprised - in a good way - that the show's politics gradually crystalised into a full-on nihilist anarchism, something perhaps even along the lines of Monsieur Dupont. (Muna used the 'a' word in one of the Q&As but it was pretty evident even before that). Taking these gods as a metaphor for ideologies and social systems, the scope of it becomes pretty universal - and unsparing. And, equally, hard to answer.

I wondered when the Many Below/Wound Tree was introduced what answers they would find: what political movement could truly resist cooption or becoming its own horrible self-sustaining egregore. And in the end the answer you express I suppose is a negative one: that even Paige's god of victims is a tool, one that must eventually be discarded to go into some unknown place beyond it all (to walk away from Omelas), towards something that narrative fiction - as a form of the 'endless words' that are derided so much in the third season - can no longer address. Which I respect - to pose the question is vital, even if the tools can't reach any answers if they even exist.

I think this struggle exists in many stories that address themes of making a break from the rapacious society that created them (and take it seriously) - your Baru Cormorants and Mononoke-himes. We can describe the problem vividly, but since we do not have a counterexample to hand, any story we tell about ~what is to be done~ and what it will look like when it is feels like it will be just as hollow as the spins and angles and parasitic fantasies that so many characters advance in the Silt Verses. (How could there possibly be a time where it finally works out, after we have seen all this? But then, what are we living for?)

To try to make this a question and not a ramble, I wanted to ask - what do you see as the role of fiction in addressing the horrible machinery of this world? Is it enough to pose the question particularly sharply, skewer the bad and inadequate answers, and leave the readers/listeners to figure out how to make the killing of gods concrete? How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

I don't know what answer I'm hoping for here, but given the themes of the show, I feel like this must be a kind of thing you've thought about, and probably have a far more developed line of thought than I do. And if this is a bit too much to drop in your inbox on a Saturday morning, I will say again thank you for writing this story and all the actors for making it so strikingly concrete - it truly means a lot, and I will treasure it.

Hi, and thank you for listening and for a beautifully written and thoughtful ask! ('Horrible machinery of the world' stopped me dead in my tracks.) And I am very proud, genuinely.

I don't have a good enough answer to your questions, and for me a lot of TSV is very much about trying to figure those answers out, but let me try and sum up my perspective bit by bit.

Is it enough for fiction to pose the question, without also proposing the answer?

I don't think it's enough for fiction as a collective body of work.

I'd argue there's probably a tendency towards open-endedness and irresolution in these individual narratives simply because it feels like a more honest acknowledgement that in real life, the foe has yet to take a real body blow and will not go down easy; that the foe, in fact, is the marketplace for the work itself and ironically profits from the popularity of stories with easy heroic victories over villains who represent capitalism. That these stories inevitably become a pleasant consumable that serves our complacency within the belly of the beast, a kind of daily tonic to reassure us that good always triumphs and regular people always come out on top.

I also think that the sheer scale and scope of the topic creates its own challenges; you probably can't engage thoroughly enough with both the dystopian question and your ideas for a utopian answer all in a single story, without ultimately turning the latter into that false reassurance, a quick handwave of a happy ending.

You mention Omelas, and I think we could illustrate the problem by looking at how LeGuin handles her two successive masterpieces:

The Ones Who Walk Away From Omelas, which gives us the titular resource-rich u(dys)topia built on invisible suffering, and the dissidents who turn their backs on that world and walk out into the inhospitable wilderness in search of something better.

The Dispossessed, which as its premise gives us Anarres, an imperfect but sympathetic anarchist society whose adherents turned their backs on a neighbouring world of capitalist plenty to live out in the inhospitable wilderness in search of something better.

Anarres can very reasonably be viewed as LeGuin's direct answer to the question posed by Omelas, and she would have likely had it in her mind already as she wrote Omelas. But if the short story had ended with 'I hear that against all odds, the ones who walk away have successfully founded an anarchist utopia where hardship is everywhere but it's shared as equitably as possible. THE END', the amount of lazy shorthand and empty comfort involved in that happier ending would inevitably make it a dishonest and unserious offering.

Instead, Anarres is a starting premise to be interrogated at length over the course of a separate story, rather than a happy ending to simply reassure the reader that better things are possible - and even at the end of the novel LeGuin's unresolved questions are still very similar to the ones that we're left with in Omelas (and the same questions that I feel like we were knocking about in The Silt Verses, and which I guess you could argue are all lingering concerns at the end of Mononoke, as well): how and where can we find space to create and sustain a genuine alternative when the narrative environment of capitalism is so powerfully all-subsuming and constantly growing to fill the space? Do we need to disconnect entirely, vanishing as if dead? If we disconnect, how can we possibly survive and what inhumanities or ethical compromises will be required of us? If we do survive, is our isolationism a dereliction of human responsibility to those left behind?

All of which is to say that I think present-day fiction absolutely can make the attempt to meaningfully explore potential alternative-utopian solutions in more depth and with far more tangibility than we attempted with TSV - but that dystopian fiction like ours which concludes with the unexplored promise of a revolutionary utopia and the vague reassurance that the irrepressible human spirit will figure things out from here on out (Chewbacca gets a medal, everyone's in the streets wearing a Guy Fawkes mask) doesn't do much more than dramatically undermine its own goal of disrupting the audience's comfort.

That said, one of my big regrets this season was that we didn't succeed in more engagingly exploring and articulating the Woundtree camp's development into a flawed but functioning society in Dispossessed fashion ahead of the ending. That was my intention, but what quickly became clear was that in a dramatic format, with a limited cast, it was just endless static meeting-room scenes with Paige and Elgin discussing difficult responses to impossible challenges, while everyone else was out having dynamic and exciting adventures with lots of fun and exciting gods. Dystopias remain too entertaining for utopias' own good.

What do you see as the role of fiction in addressing the horrible machinery of this world?

I believe that absurdist horror fiction specifically, founded on the principle of 'people in a world that makes no sense, deluding themselves that it definitely does make sense' can play a very powerful role in that stated purpose.

Many horror traditions carry the baggage of inbuilt or inadvertent conservatism - the concept of a peaceable, passive, safe, middle-class Normality which is then disrupted by a terrifying outside threat (alien, ultra-foreign, ultra-low-class, underworldly, wild, etc). But absurdist horror very directly identifies Normality as the true source of our terror and very directly confronts our human response to it. It creates the right environment for us to ask all of the good questions. Isn't this an unsustainable nightmare we're living in? Why are we expending so much energy pretending it isn't? How do we get out and what do we do if we can't?

Probably the only listener reaction that's genuinely frustrated me about both of our shows is the folks who come away turning their noses up at the bluntness of that approach and acting like they've Solved The Art simply for figuring out where our broad sympathies lie. "Hm, just listened to The Silt Verses and I understood it at once; it's clearly trying to say that capitalism is bad. A little heavy-handed in its messaging for my liking, hm-hm!"

Not to go full Garth Marenghi, but for me the directness of the provocation and the obvious outrageousness of the nightmare is the point; it then allows us to go to places that other genres (or more understated critiques) generally can't.

How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

God, I don't know.

Maybe it means nothing; maybe we can't punch through; maybe there is no story unruly enough to be truly unco-optable, and therefore even the most radical fiction ultimately serves as a distraction, a placebo, a reassurance (that we are not alone, that better things are possible) which will impact the wider world more by keeping us subscribed to the Kindle app than by any action we might feel inspired to take.

Amazon is paying Boots Riley to make TV shows. Disney won much praise for delivering a revolutionary fantasy in a Star Wars shell. Apple is funding excellent, discomfiting and furious corporate satires about how we happily ignore invisible worker abuses for the sake of our own lifestyles, but they also cannot be considered accountable for the deaths of Congolese child-labourers in the global cobalt supply chain. The Dispossessed is in development as a limited series and the LeGuin estate are closely involved.

The master doesn't just own the tools, he's been buying up the guillotines as well.

What if, as with the unknowable nothingness outside of Omelas, the only art that cannot be reduced to product in net service of the status quo is the art that's so invisible and inaccessible and disconnected as to not exist at all? Does being relatively small and ramshackle really lend us any ideological purity, any genuine detachment? You can listen to The Silt Verses on Apple and Spotify and Amazon Music. Brought to you by Acast.

Chapter 36 with Dev and Seb was to a large extent intended as an articulation of that worry. To what extent can we still trust in the integrity of a sincere love story (one that we want to believe in) it if takes place in an insincere and predatory environment? Can any meaningful story be told honestly within such a space?

This stuff really worries me. I think it's probably right to worry. I don't know the answer. I do know that there are some folks for whom the show has made a tangible difference in terms of their life's direction, and that's a huge comfort to me.

There was someone who said it helped them find their faith, strangely and wonderfully. Someone else who said it contributed to their decision not to go down a more lucrative career path within what they view as an exploitative industry. (I hope they don't regret that decision; I hope it makes them happy.)

So there's something there. Maybe.