#its an important chapter thematically but not that eventful

[spacejammie-eimmajecaps]

Me: I'm going to write shorter chapters now because that's way easier to edit 🙂

The last chapter: over 8k words

The rough draft of this chapter: over 5k words

Me: 🥲

[freudenstein]

Simulanka fed us so well that was great....a W for the scara fans especially. The parallelism with Durin linking important pieces of the lore together while creating a heartwarming storyline with a solid message made for a pretty worthwhile investment.

The crumbs regarding Scaramouche's personal feelings and his lingering scars and insecurities, the subtle hints towards future plots that remain unresolved, and Scara's character development as overseen by traveler and Paimon were satisfying. Moments like when the traveler silently gave him a VERY loaded look after someone mentioned the hero of simulanka, and his snide and dodgy responses, his awkwardness and avoidance and Traveler's giddyness, absolutely sent me lol. The idea of making Scara act kinder to himself via extending kindness to his thematic match is pretty good, and having Durin put more words to the pain they share was nice. Scara is a refreshing hero to follow because he's self-aware and is more savvy than the other characters, so he comes off grounded and easy to empathize with in a more profound sense and he cuts through the bullshit and gets to the heart of things efficiently. I think it's cool and good writing that Scara was the hero of Simulanka because of his strong sense of compassion, one willing to show bravery in following that big heart of his. Coming immediately after the Sumeru archon all I can say is that his characterization is solid and very consistent. Plus, he's very fun when he's being mean, and while he shows that he knows what to do in his self-aware state of villain redemption limbo, he still acts in ways that make Paimon yell at him LOL.

Plus seeing scaramouche get flustered and angry because he's acting nice was like, crack cocaine, so.

It was very nice to see Navia and Nilou and Kirara as well. Surprisingly enough, this ragtag group of people worked well together. In my opinion, Kirara's presence was the weakest, but the Narrator Footnotes story was very, very fun to play through with the 4th wall breaking stuff and bright sense of humor. The themes in this event were rather interesting and heavily pandered towards some theories I've held about Teyvat its lore. I'm still confused about a lot of the lore drops so I gotta check out what the theorycrafters and meta posters are cooking up about this event. Nilou's chapter felt the weakest but she as a character came off pleasant still. Navia was gorgeous and I took a hundred screenshots wherever she was on screen.

That's about it for my thoughts I guess.

[stelladess]

I find it odd when people frame lore revelations as being some sort of opposite to character development as they often are pretty heavily connected.

There are tons of examples like the mechanics of how the seaborne works being actively thematically important for multiple of the stories with them for example.

Kal´tsit being a synthetic being created by a now gone precursor civilization isn't just random lore fluff, it informs her character. Why she feels isolated and set apart from people and it makes her strong love for the people of Terra more meaningful because it would be easier for her to justify that she does not have to care about them because she is not one of them. But she does care about them! She considers herself part of Terra and responsible for helping people, something which clearly makes her feel very guilty for "failing".

spoilers for Babel event and chapter 14 below:

The doctor´s entire motives for betraying Theresa only make sense from their past and the goals of the precursor civilization. Those reveals do not undermine the character drama but enhance it, the contrast between the doctor wanting to be able to help people like Kal´tsit, Amiya or Theresa clashing with their mission to ensure originium absorbs everything. They know what they are doing is wrong but they feel like all choices are wrong and the one they have a duty to fulfill is the one that required betraying Theresa. I also think a nice detail is after the doctor made up their mind to betray Theresa they start referring to Kal´tsit as AMa-10 in their inner monologues and stop trying to think about Amiya at all. Pressumably sort of trying to dehumanise or ignore the people they know they will hurt because it makes it psychologically easier for them to go through with it, this is especially notable since the doctor gave Kal´tsit her name in the first place.

And when we get a bunch of weird reveals about originium and the past civilization in chapter 14... its mainly used to get some interesting character interactions between Kal´tsit and other characters and to facilitate the situation that allows for the confrontation with Theresa, also the stuff relating to the sarkaz souls stuck there is to explain why Theresa would willingly work with Theresis despite his uhm... evil aspirations, furthermore it is also to finally reveal a bit more about what Priestess was actually like as a character.

Heck back in Lone trail while the stronger character stuff was elsewhere (I especially love the Ifrit and Rosmontis focused stuff) the sarcophagi and Friston stuff is mostly to give some more insight into characters like Ho´oleyhak, Kal´tstit and doctor, introducing us to Mark Max and giving an actually believable reason for Kal´tsit having to burn her bridges with the Tin Man, causing Rhodes to be in pretty hot water with the Columbian government.

I find the idea that the story is deciding to "stop doing character focus to do lore" absurd quite frankly.

World building is important! What makes Arknights unique compared to a lot of other popular gacha games is in large part the world and history. Arknights characters are well written, but in particular they are well written in the sense that Arknights is good at showing how the world they live in shape people into who they are. Learning more about that world to explore it in greater depth is not contradictory to the goal of interesting character writing, it helps it.

[campbyler]

why choose to do two parts of a chapter instead of just two separate ones? like doing 10.1 and 10.2 instead of just having 10.2 be chapter 11 instead (sorry if that makes no sense)

i think what anon meant was why didnt you make 10.2 a separate chapter thematically or literature-ally (? lol) instead of just physically? so like... 9.1 could have been called 'are we going somewhere?' and finished with that gorge cliffhanger of mike saying he's gonna teach will to drive. and then chapter 9 part 2 could actually have been chapter 10 both physically and from a literary point of view - if this was a published book, it would have been the actual next chapter. so 9.2 would instead become Chapter 10: I've Got You Baby (or some other title based on lyrics etc)

basically, once you realised the word count was taking you too far, they're wondering why you didn't split the events of the fic into more chapters than you originally have planned. perhaps is there a reason you are attached to a certain amount of chapters? otherwise, i think it would have still made sense for the drive date chapter and the bonfire night chapter to be split into two chaps each - many pro writers split chapters this way even when scenes in a single event are occurring.

of course its the writers' discretion to split chapters where they feel it fits, but i agree with anon that the ending of each half chapter makes a lot of sense as the ending of an actual chapter thematically!

i hope this makes sense haha

hello!! yes what you’re saying makes sense, and we appreciate the perspective!!

i think we did it the way we did for two main reasons — one, this is not a published book, so i do feel like it’s a little bit different since we have the liberty of doing whatever we want rather than being bound to any traditional rules. the second is that the chapters alternate povs, and it was important for all of 9 to be in will’s pov and all of 10 to be in mike’s pov because they’re the realization chapters.

to that point, i don’t agree with the notion that the ending of each half chapter is what makes sense as the thematic ending of the chapter. the themes of chapters 9 and 10 are Realizations. the point of ch09 is literally to get will to his realization — are we going somewhere? is a double meaning because they’re physically going somewhere and emotionally going somewhere. so while the mustang was a big focus in ch09, it was used as a vehicle (teehee) to give will the last push he needed to admit to himself how he feels. mike’s vulnerability in part i resolved a lot of will’s longstanding issues with mike, and the driving lesson’s purpose was to show how much they trust each other: mike trusts will with his car, and will trusts mike to be there for him, and mike being there for him is Truly the One Thing that will wasn’t sure about until ch09. all of these things needed to happen in the same chapter to contextualize that realization!

for 10, the focus is still on realizations — it’s also mike actually admitting to himself that he likes will, yes, but it’s also very much about that realization at the end that will needs to be the one to vocalize his feelings! whereas 9 spends the whole chapter justifying actions to get to the feelings realization, 10 starts with it and then spends the entire chapter trying to justify feelings he is already aware of. it was still important for these to be in the same chapter because it’s all completely connected!!

that said, because word count was really the only obstacle we had, the split chapters are two halves of a whole rather than being two distinct chapters. as we’ve said, this decision was done to benefit all of us — me and suni for writing purposes and being able to get chapters out sooner/avoid as much burn out as possible, and readers for not reading 50-60k chapters in one sitting. we already have a lot of talk about how long the chapters are, and we are both aware that we could probably cut certain scenes or events out, but we also are very adamant about maintaining a pace that feels realistic and makes sense, which usually leads to those higher word counts 😙 if we were to ever convert this into a published book (which we have no plans to), there would be a loooot to cut and we recognize that!! so shout out to the local ao3 for enabling our specific breed of insanity 🤸

[lullabyes22-blog]

First of all, I just wanted to say how much I love your Arcane fics. I’ve been following FnF since I stumbled across it at 10 chapters long, and it’s been a wild ride since! Like a lot of people I’ve been all over the place with my feelings regarding season 2, but as far as I’m concerned FnF is my season 2 (and 3, 4, etc.) lol. You’re a gift to this fandom. Thank you for sharing your brilliant mind and imagination with us readers ❤️

You’ve answered some what-if asks and shared other Arcane thoughts on this blog before, so I have two questions for your consideration, but no pressure to answer either of them!

1. As a fellow writer, I’m in awe of the scale of FnF and the amount of planning/outlining that must be involved—HOLY SHIT! Are there any elements of s2 that have inspired you as you continue to write FnF? Have you considered adapting any s2 elements into later chapters (beyond what you’ve already predicted), or have you held fast to a specific Vision throughout the duration of this writing project?

2. Not sure if you’ve been asked this in the past, but what the hell would a living Silco’s reaction be to Vander’s hellish resuscitation as Warwick, assuming he isn’t immediately mauled in a confrontation?? Is Singed (assuming he’s the culprit) definitely fired??? This feels like such a MESSY terrible horrible no-good very bad situation for everyone involved lmao, and I would love to know your thoughts.

Aaaaah thank you so much! I'm super happy you're enjoying the story! I've been having a lot of fun with it, and I'm glad so many other folks are having fun with it as well <333

Also deeply honored you'd consider FnF in any way adjacent to canon material; that means so much T_T Especially since my own feelings on s2 are pretty mixed, and I'm not really sure what I would even do with those ideas, except maybe throw them out as a one-shot sometime down the road.

1. In terms of the s2 inspiration, I will say I was not the biggest fan of the plot's coherence/cohesion as a whole (too much stuff going on in too little time, too many threads left dangling etc). However, I was very gratified by the thematic journeys of the characters in S2, as in FnF they're actually following a similar trajectory (except for Silco who is, well, dead), and a lot of the same conflicts and themes are coming up. There was a happy sense of vindication that came from that, like, "Oh, so this was actually important, and not just me making a fanficcy mountain out of a molehill."

I will say though, that FnF has its own pretty airtight-ish plot, with many aspects already sketched out in advance, so I'm not going to go re-plotting things to match s2's direction unless and until it becomes necessary. In some ways, tbh, there's a sense of gleeful overlap, as a lot of the plot beats do mirror one another. (The Black Rose make an appearance by Act VII, there's a greater emphasis on magic and high fantasy going forward, Jinx is in the grip of an identity/existential crisis and Vi is stuck at a crossroads, Jayce has become disillusioned and split with Mel, Viktor has retreated underground and will be withdrawing deeper into his work, Ekko will be the one to snap Jinx out of a critical juncture and save Zaun in the long term, Sevika will take a greater leadership role etc...) All of the parallels if not the outright similarities were pretty satisfying.

As for how that's manifesting, a lot of the major developments and character arcs going forward are largely set in stone, but I do have a few key S2 events/details I've been mulling over in the background that I can see myself weaving into the plot at some point. But the rest is probably best kept as a surprise :>

2. As for the hellish resuscitation, well, I'd be lying if I said I haven't been thinking about that one a lot hehehe...

But long story short:

Singed is 100% fired because there is NO WAY Silco would sanction such a thing - and if it occured in the FnF universe, then Singed was absolutely doing it behind Silco's back and will now face the full consequences.

 As for Warwick himself - he'd 100% retreat to Silco and Vander's little Brokeback bunk in the mines. And Silco would 100% don his old mining duds and dustry greatcoat and go looking for him, because he needs to be SURE it's not just a rumor, and also because he does, subconsciously, desperately want it to be his Vander. And Vander, who has a good measure of the old Vander's memories, and is 100% aware it's not a rumor, because hello: deranged wolfman, will 100% run towards Silco with every intention of tearing him to pieces.

And that is where the similarities end.

Because Vander is too deeply trapped within Warwick's killer shell, and is therefore incapable of having an emotional reunion with anyone, and because Silco is not an idiot and would never go into a skirmish without a loaded gun and an escape route, the end result would be bloody, messy and tragic.

Worst case scenario: both men would kill each other, and in their final death throes, find boyhood memories resurfacing. They'd die in tears, messily and bloodily entwined, but finally at peace with their own demons - which is how Jinx and Vi, teaming up similar to S2, would find them.

Best case scenario: Silco would find Warwick and be forced to try and capture and contain him. He'd enlist Sevika's help and succeed, but when Jinx finds out, she'd be appalled and retraumatized, and convinced Silco is trying to erase her dead dad and supplant him in every sense. She'd go off the rails and have a complete breakdown, and Vi would be the one she'd run to, because Vi is the only person who understands and cares. The sisters would end up teaming against Silco to try and bust WarVander out, and this would cause an irreparable rift between Silco and Jinx.

Cue mass destruction and an epic family feud.

Sevika, who'd be the only person left in Silco's circle of trust, would have to make the call to have Warwick quietly killed in order to save the city from a war, and then lie to Silco, telling him Vander succumbed to his own madness and perished. This would cause Silco's mental state to completely disintegrate. He'd lose what little sanity he had left, and would descend into a pit of guilt and grief.

 Either way, it's a pretty awful tragedy on both sides, and it would take the entire remaining plot of FnF to resolve the fallout, and for Jinx and Vi to find any kind of peace.

So you can see why I've been mulling a lot, but also left it alone haha.

But who knows?

Maybe the story will change my mind, or I'll be struck by some miraculous idea and figure a way out, though I'm doubtful.

Thanks again for the lovely words and thoughtful questions! They really mean a lot <3

[meimi-haneoka]

Musings

I was scrolling through my TL this morning and I stumbled again on a certain scene from volume 8 of xxxHolic.

I went "...ah" and shook my head, smiling.

Then I started writing a thread with my musings, but it became so long that I decided to pour them here instead.

The scene in question was this one. The Spider Lady and Watanuki.

Kimihiro Watanuki and Yuna D. Kaito. Two boys who have initially no idea what they're doing on this earth, what their life is worth for, growing up alone, quick to throw their life away to make others happy. Although in personality Watanuki and Kaito are very different, this one complex aspect brings them closer.

I couldn't help being reminded how CLAMP love to portray this particular theme in several of their stories, almost as if they were tormented by it.

Clear Card Arc introduced the theme of self-sacrifice, with all its devastating effects, in a series where it hadn't been explored deeply yet. First in a milder way with Syaoran, but I think we all agree that the character who brought that message home the most is indeed Kaito.

Yet, I really appreciate how this doesn't turn everytime into the "same reheated soup", as we say in italian, because each series' approach is different from the get go.

Holic addresses several thematics straightforwardly, without sugarcoating them. All the volumes are brimming with life lessons and impactful lines that corner you and force you to think about life and your relationship with others. Sometimes those truths are hard, like a slap in your face. It's no wonder that the entire "Phrase" area of the CLAMP exhibition was all dedicated to Holic. Its portrayal of the thematic of self-sacrifice follows the same pattern, and one example is the criticism from the Spider Lady directed at Watanuki in the aforementioned volume. He will leave that encounter having learned something very important from those words.

For CCS, on the other hand, CLAMP have always chosen a different approach, fitting for its genre and demographic.

Although there are several nourishing lessons we can get from it as well, the messages are usually always passed without judgement. It seems CLAMP prefer letting the characters go through things, make their own decisions, their own mistakes, learn and grow firsthand from them. The thing we hear the most in the entire series is "Look in your heart, find the answer in yourself".

And despite how often Momo gets angry at Kaito, as an impartial magical beast she's prevented from doing a speech similar to that of the Spider Lady. While many might think that would've worked best, the world view and narrative structure of CCS is different from that.

In the same way, CLAMP leave the readers free to perceive and take the message home as they want, guided by the characters' actions rather than their explicit thoughts and spelled out words of wisdom.

While in Holic it's clearer what their stance on a certain topic or thematic is, in CCS things are more blurred and nuanced. The events are presented as they are, resting on a delicate balance, as if asking you "This is what happened. Everything considered, what do you think?", making an effort to not pass a judgement along so you can make your own idea of it.

We never get anyone lecturing Kaito for what he did, nor looking down upon him, because that's not CCS' language and there's no need for it. The characters understand the sentiment that moved Kaito, even though that's not treated as a justification for the path he chose. The message will be conveyed eloquently enough by facts - Akiho's tears full of anger in chapter 78. Rather than choosing to make a character lecture him harshly, CLAMP "left" Kaito dealing directly with the consequences of his actions, in order for him to look into his heart and learn a lesson from it. More than the act of deciding her happiness on her behalf, Akiho is furious because Kaito crumpled his life and threw it away in the trash in the attempt of saving her and giving her a happy life.

This approach is totally in line with CCS' compassionate world view. A world view that tries to cause changes in the world guided by kindness, refraining from applying prejudices and dispensing judgement upon others.

But beware, comparing the two approaches to the same thematic doesn't mean that one is better than the other: depending on the situation, sometimes we need the frankness of Holic, sometimes the sensitivity of CCS.

It is in my opinion pretty wonderful how the same theme can be communicated in different ways, choosing different paths, approaches, just like in these two examples here.

Two different approaches for the theme, but same conclusion: once we form connections with others, we don't belong to ourselves alone anymore. We're not free to dispose of our life without affecting other people who share that bond with us.

We may think we're not important, that we can come second or third or last behind everyone else as long as they're happy, but that's not true. Seeing us suffering, or missing our presence will ultimately make other people cry. Even people we didn't really think they could ever love us.

So cherish your life, always. Today you're doing it for your loved ones, tomorrow you'll learn to do it for yourself, too. ❤️

[mooniemp3]

I just want to talk about the curious connection between Dabi and Mr. Compress.

When MVA starts, we have 6 members of the LoV, these 6 are the most recognized members. While everyone in the LoV are connected because they share a lot of between themselves, each member have their partner. This duos are thematically connected, their characters share more specific things and usually, their best relationship in the LoV are with this partner. These duos are formed around the main 3 villains: Toga and Jin/Twice (the most notorious duo), Tomura/Tenko and Shuichi/Spinner, and Dabi/Touya and Mr. Compress/Atsuhiro.

A lot was and is talked about the first two duos, so let's focus on the third one.

I think it's not a surprise that despite the fact that Touya didn't want to get along a lot with the LoV, he did. And the one who weirdly had and has a better relationship (the best Touya can do) is Atsuhiro. The two mysterious ones.

What they have in common?

Theater/Dance theme, performance as the core of how they show themselves: While Atsuhiro is more "dramatical" and elegant, we know Touya, when it comes to showing before his family, he does his act, certain poses, phrases, etc, it's more like gothic literature btw (he is like Frankenstein's monster) Both share this theater theme/aesthetic, it's obvious, it's the first trait that its presented about Atsuhiro. While in Touya's case, is something we see later.

The family heritage and believing they are an extension of certain relative, the core of their stories: Core piece of their stories is about the accomplishment of his family heritage, the importance of their family ties.

Touya puts emphasis on being Endeavor's son, explaining that he does what he does because of being his son. He is Endeavor's projection, his continuation, his extension.

Atsuhiro puts emphasis on being Oji Harima's descendant, explaing he does what he does because he has to do what Oji Harima did. He has his blood, he sees himself as his continuation, his extension.

Atsuhiro himself highlights that Touya and him share this thing about being part of certain lineage.

Both let their lifes be about this relative, making it the core of their decisions and actions.

Of course it's extremely different what they lived but the point here is the essential part of the influence of family heritage in their lives.

New identity: Easy, Touya died, Dabi was born.

Atsuhiro before was a magician, an entertainer. But now he is Mr. Compress.

They new identity are their choice, it isn't a reference to someone else, and it's not only a new name and look, it's a whole new life purpose, their new self.

Both hid their true appearances, and revealing themselves is a big show.

Dabi's Dance and Final Performance: Touya's revelation and Atsuhiro's escape "act" are events that happened next to each other. In fact, one is ch. 290 and the other ch. 294. Atsuhiro's revelation follows Touya's. He starts the show with his dance, and Atsuhiro finish it with the League's escape. It all start with Touya first move of presenting himself as Touya Todoroki and ends with Atsuhiro's reverence. And they use the same stage for their show.

Both chapters have this curious theme about staging and their performances. For Touya its the beginning of his show, while for Atushiro, its the final. It's literally in the titles, the show theme is so important.

In these chapters, both reveal their real appearance and present their family ties and how important they are for who they are now.

Another detail is that the last one that Atsuhiro compressed is Touya, giving him something like a high five, looking like some takeover for Touya. Now he is the principal performer, the principal entertainer, it's his show, the beginning of it.

Self destruction as their show: Atsuhiro mutilated himself making the great escape for his friends. He didn't stop until Mirio punched him, but even being hurt, the show didn't stop. Touya is burning himself even more for his show. In Dabi's Dance he burned more parts of his skin, and during this final arc, he looks like a corpse, and it's crucial to his "show", his last show. Also, both do this using their quirks.

[basedkikuenjoyer]

Brick by Brick (Putting it Together)

Well, 1126 certainly ends off on a wild and very interesting note I have a lot to say about. But I don't want to bury the very interesting stuff getting there. First...hell yeah we're getting trashed on Giant absinthe! If you're unfamiliar, that is an alcohol made with a specific type of wormwood that isn't necessarily the strongest booze out there but it's unique for having hallucinogenic effects. Well, for having a reputation for that though it's exaggerated.

Still, it's important to note we're here just casually partying on the way to Elbaf given what happens next. On the way there though, we're going to continue this element of getting back to some of the side stories set up in Egghead. The lines are still very blurred in terms of whether we've finished that arc or are starting a new one. Much more than we typically see in these intermission chapters. So let's look at the two we have, remembering there are thematic ties and how they may all resonate with the title. "Payback" is an interesting term with context in this series.

Especially when we see this guy. So yeah, FWIW this chapter title is the same Kanji as the "Payback" in Payback War, where Marco led the Whitebeard Remnants in trying to get even with Blackbeard. That's not the only time we'll mention the legacy of the Whitebeard Pirates which is always something I'll take interest in when a certain one of them felt unfinished in his own arc. We still have Marco and Bakkin/Weevil's story running through Sphinx Island.

That said, the scene is interesting in its own right. BB getting onto Pizarro here is pretty funny. Lafitte keeping an eye on the Revolutionaries current siege on the Red Line is intriguing, but the big thing to me is the prisoner swap. Perona & Moria got away but they captured Garp and we see Pudding here too. Blackbeard always has that way of mirroring Luffy. If nothing else, they've both "captured" a big shot to the World Government here with Lilith/Garp. Moria slipping away with important secrets though could mirror Caribou doing the same to Luffy and of course Pudding is interesting as well. But this isn't the only side story we get an update on.

Hell yeah Barto, and fuck you Shanks for blowing up the Going Luffy-Senpai. I wanna get to the fireworks factory though so we'll keep this quick. There's two elements. One, this works nicely with other scenes showing the Grand Fleet getting up to trouble since Dressrosa. That plus Shanks hammering home the idea he has to respond to save face. Explaining why it matters. Shouldn't be anything new to you if you've been reading along with me for a while, but for a refresher I do still feel this is something Luffy was starting to get in Wano. Key word being starting.

It's something he was showing he was learning with how Kiku in Bakura Town builds off Katakuri/Future Sight and flows into Hyogoro in Udon. Then it starts to break away from that first with Yamato forcing his way in, then Gear Five, then seems completely forgotten come Egghead. Which starts with aggressive reminders none of this nonsense had anything to do with you and ends on the complementary note of losing control of how the story gets told. But...we all know we're here to talk about one event this chapter.

Huh? The Sunny mysteriously disappears and we see Nami being woken up by someone in...a Lego house? I wanna do bullet points and kinda quickly address all the stuff we see flying around because this is both absolutely bonkers but also not too far off from some of the things I thought could happen with how we've had weird elements of how Wano/Egghead were written:

First off who. Who was split off into this odd area. It was the original six and the more recent four crew mates this time. Interesting. A lot of people jump to Vivi right away. It's equally true that these are the crewmates who met Ace and also that we got the younger ones apart from their elders.

A lot of people have jumped right to thinking this is Elbaf and Loki has Nami in something like a dollhouse. Lego do come from a "Viking" country and that'd explain the outfit...but we've never seen anything like this aesthetic.

Real absinthe may not be super hallucinogenic...but it has a real reputation for that. One the Giants invoked. That could be a part of things.

Stussy isn't out of the question though. Especially when we get a little reminder of the brokers via Umit coming up earlier.

If there's any known Devil Fruit power this may fit with it'd be Sugar's. Which is a stretch. But this vibe could be a bridge to thematically tying Elbaf & Whole Cake.

This could be a ship, that was the first thing I thought seeing the actual panel. So the "Man Marked by Flames" and his ability to cause whirlpools isn't a bad idea.

OG Kuma is there, he coulda shoved the Sunny away. Doubtful but a possibility.

Hopefully next chapter gives us more to go on. But for now if we want to ponder things keep the facts we can glean in mind. It had to be something sudden that could happen without the other ship noticing. Whoever is calling out has to be someone who'd know Nami. We don't know which side we'll focus on for resolving this. By the same token you could say this is the gang that knows Vivi so she has to show up...it's really just split based on time. We could just as easily focus more on giving the latecomers a chance to shine figuring this one out. Or they could go on to Elbaf and set it up like Zou so we don't really need to fabricate a conflict for that arc when we finally get there.

Whichever way it goes...this is exactly the type of shit I wanted to see and I cannot wait to see how it unfolds...

...

...

Have you stuck with me this long? Humor me, it's my birthday weekend. Probably the last time I get to say this...but what a swan song. There's a bullet points I left off, but it'd check all the boxes right? Someone unassuming has been on the ship and thus gets snagged away with the early comers. There you go, friendly face that isn't drunk and has had time to get a handle on the situation. And still a reason to keep them obscured. Blends well with this Blackbeard/Shanks stuff, Yamato's entry in the cover saga, and still leaves Drake for the actual reveal.

[lu-is-not-ok]

do you think that what EGO someone manifests is based on what caused them to reach the crossroads of Distortion and Manifestation? because distortions are pretty clearly based at least a little around that given... Phillip, but I'm not familiar enough with Xiao's story to make a conclusion about that.

Soooo I know you've only asked about like, the form a manifested E.G.O takes and what might affect it, but uh, I really want to just ramble about everything we know thus far about Distortions and Manifested/Effloresced E.G.O, so I hope you don't mind me hijacking your over a month old ask for that.

Alright? Alright. Under cut because I want to pop off. Oh, also, I'm going to spoil the fuck out of Lobotomy Corporation, Wonderlab, Library of Ruina, and Leviathan. Be warned.

Let's start from the basics. What causes one to Distort and/or Manifest E.G.O?

If you've gone through LobCorp and/or Ruina, your answer is most likely going to be the Light, the final product of Carmen and Ayin's research that was released during the White Nights and Dark Days, and which currently houses the essence of both of them. However, I don't think that's the full picture.

First of all, and probably most importantly, there have been cases of both E.G.O Manifestations and Distortions before the White Nights and Dark Days, that being Kali's E.G.O, and the Bloodfiend lineages.

Now, I have not read Distortion Detective yet, so all of my sources on this are second-hand, but from my understanding Bloodfiends are a kind of Distortion that has existed far before LobCorp took place. The process in which one joins this lineage is by "recieving blood from a certain mansion", apparently implied to belonging to an Abnormality called Nosferatu.

But wait, those who have played LobCorp might be asking, aren't Abnormalities created by L Corp? How can Abnormalities exist before the events of LobCorp?

Here, allow me to talk about Cogito.

For those who don't know, Cogito was the Singularity of L Corp. A substance that, upon being injected into a person, would materialize concepts and ideas from that person's mind into the form of Abnormalities. This process is described as using Cogito as a sort of "bucket" to draw these concepts and ideas like water from the Well of Humanity, aka the (implied to be collective) human subconscious.

While I don't recall if we're ever told what the initial source of Cogito was for Ayin and Carmen's experiments, we do know that after Carmen's "death", her disembodied nervous system became a constant source of it for L Corp.

So, this tells us something important: Abnormalities are concepts and ideas that float around in this Well of Humanity given physical form, which makes sense considering how many of them are based on things such as fairytales, folktales, legends, fears, events in the City's recent history, and other general ideas that the people living in the City may have.

However, it is important to note that not all Abnormalities come from Cogito specifically. In fact, we see an example of one such Abnormality in Chapter 19 of Leviathan. We see an Abnormality we see in LobCorp, Schadenfreude, burst out of Distorted Jumsoon when the beliefs and desires he held and which were the fuel for his Distortion were completely broken down.

Notably, there is a thematic similarity between Jumsoon's Distortion and Schadenfreude, that is being the theme of observing every moment in the world.

What we see is an Abnormality being born out of a Distortion's ego death, where the moment a Distortion loses its desires and beliefs, its identity, the wish that pushed them into Distorting in the first place is the only thing left, that physical manifestation of a concept taking place of that missing self.

Did that make any sense?

Basically what I'm saying is: an Abnormality is a concept that became the self in its entirety.

As such, anything that would be able to give a concept or idea by itself physical form or sense of self, like Cogito or the ego death of Distortion, could potentially form an Abnormality. Which, laid out like that, means it's absolutely not impossible for some proto-Abnormality to form on its own, whether due to a concept acquiring a sense of self naturally, or due to the interference of some other factor we currently might not know about.

So, now that we know what Abnormalities are about, let's go back to what we were talking about: where the pre White Nights and Dark Days Distortions and Manifested E.G.Os could have come from.

We already established that Bloodfiends join the lineage due to ingesting a substance (blood) that came directly from an Abnormality.

Now, let's talk about Kali. Luckily, we get a much clearer picture on what led her to manifest an E.G.O thanks to the story on the Red Mist Key Page. Kali was the first person to wield a prototype of an E.G.O weapon, a weapon and a byproduct that was able to be extracted from the Abnormality called Nothing There. As Kali used this weapon, the ego of the Abnormality would seem to speak to her, its words becoming clearer the longer Kali used it. It would ask if Kali wanted a shell, a form of armor to protect her flesh. Though initially ignoring it, Kali started to interpret its words with her own bias, becoming torn between how much blood she spilled, and how much of it was for protecting others. This eventually leads to her momentarily breaking down, only to steel her resolve and vow to protect Carmen at all cost, this desire of which leads to her manifesting her own E.G.O in the form of an armor, a "shell" to protect her while she protects others.

So, to summarize, Kali had direct contact with an unstable version of E.G.O gear extracted from an Abnormality. Upon being broken down by this gear, seemingly on the verge of Corrosion, Kali instead steels herself in her resolve, and her desire to protect others mixed with the influence of the E.G.O weapon allow her to manifest a shell to protect herself.

Effectively, both pre White Night and Dark Days are caused because of some sort of contact with something extracted from an Abnormality. For Bloodfiends, it was physically consuming Nosferatu's blood. For Kali, it was being in prolonged contact with an unstable Nothing There E.G.O, almost becoming Corroded, but staving it off by focusing on her own desires.

Now, some of you may be asking, why is that important? That's that and this is this, the current Distortion Phenomenon is different because the Light, right?

And here, dear reader, is where you would be wrong.

Let's recap what the Light is, shall we?

From what we know, the Light is the product of the Seed of Light. Carmen's thought process was this: to save humanity, people need to be cured of a "disease of the mind" and have light returned to their souls. The Seed of Light is meant to be the medicine to this disease, something that would draw out from the human subconscious, a formless concept taking shape and becoming a literal seed that could be planted and bloom within people's minds (...is that where the term Effloresced comes from, I wonder).

We know two things that the Seed of Light requires to be fully created: the emotional catharsis of all the Sephirah and A himself overcoming their pasts, and energy in the form of Enkephalin, which is extracted from Abnormalities. Upon being released in the form of Light shining over the City, Carmen and Ayin would enter the Light itself, their essences becoming a part of it.

Interestingly enough, one of the bad, non-canon endings to LobCorp reveals that the incomplete Seed of Light would have the effect of turning people into Abnormalities! Which, makes sense, considering the main power of this Seed is to draw out formless concepts from the human subconscious and give them shape, literally the exact process that Abnormalities are created through.

However, this isn't what I want to focus on here. I want to focus on one of the components of the Seed of Light - Enkephalin. A substance that is extracted from Abnormalities, in the same process that results in E.G.O as a byproduct.

Can you see the pattern yet? Nosferatu's blood, an unstable E.G.O weapon, a Seed of Light created using Enkephalin. All of the sources of Distortions and Manifested E.G.Os are themselves either substances extracted from Abnormalities, or something created using substances extracted from Abnormalities.

Another funny thing to consider is the alternate source of Enkephalin we learn about from Limbus Company - human nervous systems. You know what other substance was extracted from a human nervous system? That's right, Cogito.

Perhaps that's why the Seed of Light had to also include emotional catharsis as an ingredient. Perhaps Enkephalin on its own being used makes it too close to Cogito, thus resulting in the same outcome. And perhaps, it's also why the Light is able to make people give form to thoughts in their own minds on such a wide scale. But, that's just speculation on my part.

So, now that this whole preamble is out of the way and we roughly know How the Light is able to cause people to Distort and Manifest E.G.Os, let's take a bit of a closer look. After all, the Light itself wasn't enough to make everyone Distort/Effloresce all at once, perhaps because it was cut short by Angela. No, the Light in its current actual form merely allows people to Distort/Effloresce, it's not the actual trigger.

Which, begs the question: what is the trigger?

From what we see in Wonderlab, Library of Ruina, Limbus Company, and Leviathan, there are two main variables that one needs to reach the threshold of either Distorting or Efflorescing.

The first is being in a state of high emotions.

Catt learning that all of the suffering their coworkers had gone through was for nothing due to the Manager having been dead all this time. Philip being at his lowest after the people who he cared about and who tried to protect him had died. Xiao losing the man she loved and her coworkers/friends one by one. Yan being forced to face where the Prescripts truly come from, and realizing that all of his attempts at working against them were in vain. Roland finally arriving at the moment he could make Angela suffer for what her actions caused. Vergilius losing Garnet and being reminded of the reason why he cared for the orphanage in the first place. Dongbeak being reminded of why she's doing what she's doing in the face of Dongrang's mocking and the possibility of her defeat. Dongrang being reminded of the better times and being forced to face just how far he has fallen.

The second is having strong, sincere desires, and the resolve to follow them.

Catt wishing that the heart could have done something in the face of this meaninglessness. Philip initially wishing to selfishly avenge those he lost, only to then break down and wish to shut the world out at all cost. Xiao wishing to not let her loved ones' deaths be in vain, to be someone that people can rely on despite her missteps. Yan's desires becoming one with the will of the City after falling into despair. Roland's desire to make Angela truly suffer as revenge for Angelica's death. Vergilius wishing to carry his sins and the suffering he's seen with him. Dongbaek wishing to be the soil that a new world could bloom upon. Dongrang initially wishing to run away from the shadow other people's accomplishments put him under, and then deciding to instead find his own path towards reaching success.

But then comes the question, what is the difference? What decides whether someone Distorts or Manifests E.G.O? Funnily enough, Chapter 18 of Leviathan spells it out.

To Distort is to fully become one with one's desire. It's to expel everything that isn't the "self", and to paint the world with that desire as well. It's making one's desires and thoughts take form through one's body, the self becomes unified and true.

On the other hand, to Manifest E.G.O is to "show restraint", as Carmen puts it. To understand and face reality as it is, yet still let one's desires take physical form, in this case as "clothes and tools". Using those thoughts and wishes rather than becoming one with them.

And this, well, succintly explains what form a Distortion or E.G.O takes on, doesn't it? It's entirely based on what desire triggered this process, as that's the concept that is given physical form thanks to the Light.

This isn't even speculation at this point. This is actually something directly spelled out in Leviathan as well.

To quote Vergilius describing his Effloresced E.G.O:

"I wear a crown of thorns upon my head, so that I may shoulder everything until my future victory. Faded laurel leaves sprout to cover all of the thorns on my head, and tears of blood flow from my eyes so I may see all the sins I'll have to bear from now on.  And the thorny path I shall travel is a curtain of blood containing my karma, a crimson cloth that covers my whole being."

...

Yeah I think this is a good point to end this post off. This already took me several hours to write, dear lord.

[duskwingmoth]

"Your choices don't matter."

This is and will continue to be the most-misunderstood line in the game. Even now in June 2023 with ample evidence, many players seem to believe that Deltarune is a game that disregards player agency and their decisions, despite the Player still being the single most powerful entity in its universe.

The confusion is understandable, as I do believe it's an intentional red herring, and certainly with regards to the outcome of Chapter 1's events it holds largely true. Nonetheless, people seem to overlook the fact that Ralsei, mere minutes later, has this to say:

"I believe your choices are important, too!"

The importance and implication of both lines together goes overlooked, likely because the latter doesn't happen with nearly as much fanfare as Susie's explosive introduction. But the parallel framing gives the game away, as does the dichotomy in Susie and Ralsei's reaction to your role as the "leader" of the Lancer Fan Club.

What Deltarune is telling you with these lines is that whatever Chapters 3 through 7 hold, a defining aspect of the RPG formula is going to be heavily scrutinized and deconstructed, just like player/game morality, repeat playthroughs, and player character agency were in Undertale.

In RPGs, be they western or eastern in origin and influence, a largely unchallenged assumption is baked into their design. You, the Player, will be the final word on any decision that the Party makes, whether it be a party of one or 100 characters. What Kain, Rosa, Rydia, Edge, and every other party member in Final Fantasy IV want out of their lives is irrelevant, and their thoughts and feelings on the next course of action even moreso; they all default to Cecil's decisions, and Cecil can do nothing without you. Therefore, Cecil is entrusting the events of the game to the player that controls him in the overworld and in the battle scene. They will all be in your final party lineup, whether they like it or not.

Later versions of Final Fantasy IV will take this even further, allowing you to subvert the exit of other party members from your control once the finale is ready to commence. Cid, Yang, Palom & Porom, and Edward no longer have the security of irrelevance to convalesce, heal from their wounds and sacrifices and traumas. If you want them to be part of your lunar expedition, you need only speak to them at the Tower of Prayer, and they will hop into Cecil's pocket while another party member (of your choice) is left behind.

Their choices don't matter. Yours do.

As far as we've seen in Chapter 1 and 2, Deltarune is absolutely holding NES and SNES Final Fantasy up as a strong influence, especially IV, with party members entering and leaving your command as the plot and their agency within demands. This makes for interesting gameplay changes and challenges, certainly. What the game is doing with it thematically, however, seems to be going thus far largely unexamined. Final Fantasy IV, after all, was something of a subversive JRPG experience for its time as well, and if there's one thing that's very clear about Undertale and especially Deltarune, it's how much it wants to subvert player expectations, thwarting the flowchart mindset with which a game-savvy person is conditioned to approach video games of similar trappings.

Through the majority of Chapter 1, Susie is completely impossible to control, command, or influence in any direct way. She has absolutely no regard for what Kris and Ralsei think of her actions, ignoring the rules set out by Ralsei and the game's mechanics, and you are expected to merely play around it. When she rejoins and when you do finally gain the ability to command her in battle, it is only because of forces utterly beyond your direct control, and even then, only because Susie made the active decision to submit to your will for the time-being.

Even still, she reserves the right to comply maliciously or revoke her trust in Kris (and your) decisions.

Not only that, but her actual ability to follow certain orders is immediately called into question.

"Your choices don't matter" to Susie. Only Susie's choices matter to Susie. She is the party member who rebels against your controlling influence as the player on the basis of her own whims, taking actions unprompted and departing entirely when being with Kris is inconvenient to her impulses and desires. You, and the game, have no control over Susie thus far.

Compare and contrast with Ralsei, the goodest goody-two-shoes floof you ever did see, obediently and staunchly obeying the laws of the game and its universe. Despite ostensibly being a ruling power within the confines of Castle Town, he immediately, happily, and without argument submits fully to the Player's will, whether you wanted to have that much control over him or not. What he may want, what he may think, what he may feel, he considers secondary to what Kris wants. As we have seen, that too is equally meaningless in the face of what the Player wants.

Even when the laws of physics, relativity, and the very rules Ralsei himself establishes dictate that he cannot be in the Computer Lab with you as far as we are currently aware, Ralsei goes out of his way to return to Kris' side, and take orders from them once again. He does not argue when you deliberately flout his advice and are just as violent as Susie in Chapter 1, and he does not make any attempts to actively rejoin with you when Susie drags him offscreen to parts of Cyber City unknown in Chapter 2. Even when violating the set rules of the game is the consequence, he will follow yours and Susie's directions.

Whatever the mysterious forces may be that compel Ralsei to be so rigidly obedient that he will diminish his contributions when you purposefully belittle them, the demonstrable fact is that, in effect, you own him. You are everything he is, and his everything is yours. Will this be reified within the plain text of the game? Who knows. It would certainly be fitting if it was. Though whether that makes for a stronger story remains the opinion of the development team, and they are 100% willing to play with your expectations.

Like, for example, the prevailing understanding coming out of Chapter 1 that "your choices don't matter" was the be-all, end-all statement Deltarune had to make, something that somehow persists beyond Chapter 2's release and collective analysis, and, more specifically paradoxically, in light of the revelation that is Noelle Holiday.

Much of Noelle's life beyond what you can observe as her classmate is left ambiguous. In part to maintain some fun textual mystery for later, but more so that you have a blank slate upon which to work as the unchallenged master of Deltarune's entire universe. A master that likely has experienced Undertale in some form or fashion and is well aware of its conceits and statements, thus likely looking for more explicit, gameplay-defined dichotomies. Think of Susie as Deltarune's thesis, Ralsei as its antithesis, and Noelle as a synthesis of the two opposing ideas. Or, more simply, a question posed to the player:

"What happens when we give you the power to subvert someone's will without their knowing consent?"

In relation to Queen, Noelle is to her as Susie is to you. She does not want to obey her commands or be in her presence because her own desires are not in alignment with Queen's. The thing about Noelle, is that she is far less rebellious, and escapes Queen's control via simple avoidance, instead entrusting you with her agency based on prior familiarity with Kris and the fallacious assumption of shared goals.

Your relative anonymity, and the ambiguity of your desires as a Player are what leave Noelle susceptible to your influence. And you, the Player, may well not be someone who should be trusted with that kind of power.

Thus, Snowgrave.

In a deliberate echo of Undertale's deconstruction of multiple playthroughs and game morality, you can, if you want, turn Noelle into a murderer, a thing she would never become on her own, and thus demonstrate that the rigid rules of Deltarune and what you previously believed it had to say fall limply before your power like wet paper. In the process, you also subvert the supposed control Queen has as the chapter's antagonist, and make an example out of the one character who actively and completely refuses to submit to your will, rendering them both completely obsolete.

In the end, you have final authority on whether Noelle Holiday the character is a person with agency in her own story, worthy of her own backstory and motives, or a set of actions with no capacity to argue with anybody, only perceiving the world through the lens of violence, as most RPG party members are. And it should be stressed; you never have to go through the motions of Snowgrave yourself to "see what happens"; the internet already has your answer. You choose to do this to Noelle and the characters, because you want to do it.

There's a lot to appreciate about Deltarune and its dedication to being a richer experience in every way, but most fascinating are the questions Noelle poses. "How ethical is it, really, that you have the power to veto everything about a character and what they want? Are you okay with this arrangement? Do these cute little pixels mean anything to you beyond what they can do for you?" For the fact that it explores this so thoroughly in under two hours, and for the implication that there's even more musings just like it in the future. I don't know if there's a game that has really interrogated the concept of party members like this, because I've certainly never heard of it. Compared to the well-trodden ground in Undertale's core statement, this is a mental exercise the general audience isn't primed for, possibly one that a lot of game developers haven't entertained either. Certainly not with this large a crowd watching with bated breath.

I'm not a Deltarune theorist by trade, but this is my one that I will openly put forward: Deltarune is not done making you feel uncomfortable with the monopoly you hold over these characters in this way. This is what sets it apart and elevates it to one of the greats in the medium, mark my words. Your choices do matter, and they matter very much.

[nostalgebraist]

comments on almost nowhere for new readers

A few points that may be useful to people who didn't read Almost Nowhere before it was complete, but who are planning to read it now. (AKA "archival readers," as opposed to "serial readers.")

(1)

You'll want to read it fast enough that you don't lose track of the plot.

But, you probably shouldn't read it as quickly as you can. If you "binge-read" it over a very short span of time, some of the effect will be dulled or lost.

When planning out the story, I thought a lot about the reader's evolving state of knowledge. "What the reader knows" was almost like a character unto itself, and an important one.

For example:

I tried to create a enjoyable, continual "rotation" of mysteries, with new questions arising at the same time that old questions get answered, repeatedly across the course of the book.

In between the point when a question is raised and the point when it finally gets a definitive answer, I often tried to create a succession of interesting intermediate states. For example, the reader might first encounter something important in the form of an enigmatic, unexplained name or phrase, mentioned incidentally. Later, the same term starts appearing more often, and gets more coloration, and this coloration is different each time, so that the sum total of "what the reader knows" traces out a series of different "shapes" over time.

So you'll have the most fun if you stop regularly to savor your current state of knowledge. The questions that haven't been answered yet, the partial glimpses you've seen of things you don't fully get. Maybe even go back and re-read earlier bits, if you like.

(1b)

All that said, I also want to caution against viewing the book as a puzzle you're meant to be able to solve on your own, like a "fair-play whodunit."

I intended it to be fun for the reader to wonder about how the questions will be answered, but there's no pretense of playing fair. And that "fun" is often more aesthetic and thematic than it is intellectual.

(2)

Almost Nowhere is divided into 3 parts.

You can see them if you look at the table of contents. In Part 1, the chapter titles are Roman numerals. In Part 2, chapters have verbal titles, together with Arabic numerals that start over from zero. In Part 3, the Roman numerals resume again.

The three parts tell a single continuous story, and share most of the same major characters. But each one is somewhat distinct in its style, tone, themes, and areas of focus, and each one extends the scope of the plot considerably.

Maybe the closest comparison-point is a trilogy of SF/F novels, where each of the sequels is clearly "its own book" that feels distinct from the other two books, while still continuing the story in a coherent way.

I mention this here in the hope that these transitions will be less jarring if you're prepared in advance for them.

(2b)

In another, more "spiritual" sense, Almost Nowhere really has just two parts.

The transition happens at Chapter 13, which could fairly be grouped either into the first or the second part, or both, or neither.

Why? Up through Chapter 12, my planning for future events had been fairly slapdash and vague. I was still in the "throw stuff at the wall so I can create the real story by looking for patterns in it later" stage of my unusual creative process.

After Chapter 12, I thought "okay, that's enough of that. Vague inklings of the future aren't sufficient anymore. It's time to get start being more serious about my planning. It's time to 'create the real story.'"

So I did a bunch of that, and it profoundly shaped everything from Chapter 13 onward. (I don't know how obvious this transition would be if you didn't know about it beforehand; to me it feels very obvious, but maybe deceptively so.)

It goes deeper than that. Chapter 13 is tonally different than any of the preceding ones -- darker, more personal, with a new focus on obsession, bittersweet reflection on the past, regret, resignation. And, semi-accidentally, that ended up setting the tone for the whole rest of the book.

It's not all like that afterwards, to the same extent. But that stuff is always there, at least in the background.

I don't know if this is actually useful to know or not, but I felt like mentioning it, so there it is.

(3)

Like Floornight and TNC before it, Almost Nowhere is a hybrid.

It combines elements from a number of different genres and story types that would not normally be seen alongside one another. At the same time, it doesn't really belong to any of the genres or story types that it draws from.

This aspect of my fiction tends to elicit bimodal responses. When I mix one type of story with another, it tends to come off either as the best-of-both-worlds or the worst-of-both-worlds, depending on the reader.

Some people see five individually good "normal" books, merged into one and singing in harmony. And people see five half-assed attempts to do five different things, without following through on the promises of any one of them.

For example, I noted above that I put a lot of care into setting up mysteries, and I expected the reader to be very aware of them. And I also noted that the story isn't very rewarding if treated like a puzzle that can be "solved" in advance.

But some people are going to see the mysteries, and the care put into them, and think, "ah, I know (and enjoy) this genre, this is a puzzle you're supposed to work out in advance." And these people aren't wrong; it does kind of look like that, especially at the beginning.

Likewise, Almost Nowhere has several chapters that explain math and physics concepts to the characters and to the reader -- either real ones, or fictitious ones that have some pretense of continuity with real math and physics. Sometimes these get very involved, in the manner of Stephenson or Egan.

A reader who sees this stuff, and thinks "ah, I know (and enjoy) this genre," is likely to be disappointed when they discover that the story is not really about math or physics in any deep way. Certainly not about real math or physics. The invented "physics" is closer to the core of it, but less so than some other things -- and anyway, there is more of pure fantasy to it than serious scientific extrapolation.

Like Floornight, AN is arguably "best" described as a fantasy story, and not the GoT kind of fantasy -- the highly aestheticized, thematic, emotional kind of fantasy, where "feels" and "vibes" are almost literally magic and drive everything from the inside out.

But if you read it for that genre, specifically, it may feel odd that it keeps lapsing into long descriptions of nuts-and-bolts plot mechanics, and into laborious explanations of made-up technobabble. Or into setting up "puzzles" that almost feel solvable-in-advance.

Or just, like, being written in this really weird, particular, often opaque style.

I can't just say "leave all your genre preconceptions at the door," as if it were that simple -- as though one could just do that by force of will. But be aware that the elements you recognize, from other fiction, may not be there for the usual reasons.

But they are there for a reason.

When I think about why I write, I often come back to an answer that Andrew Hussie gave on Formspring long ago:

Q: Do you enjoy your own work? I mean if Homestuck was made by someone else and not you, is it the kind of thing you would like reading [...]? A: I am making the kind of thing I would want to read. I am making the kind of thing I wish existed, but doesn't. Yet.

I am doing that, too. I'm taking elements from all over, and building something else out of them. It looks deceptively like the sources it draws from, but it's very different from any of them, underneath.

If it had already existed, it would not have been necessary for me to invent it.

(4)

As I mentioned in the last bullet point, Almost Nowhere is written in a very particular style.

This style gets better-defined over time, and more ossified, and possibly more extreme. (Chapter 13 played the same role in this process as it did in various others, for instance.)

At various times, I've said that Almost Nowhere is my favorite of my stories, or the most ambitious or accomplished one, or the one I like most on re-reading. And that is all true -- in certain senses, anyway.

But I don't want to convey the impression that I think the "Almost Nowhere house style" is like, the epitome of Good Writing or something. Or even that it's my best writing, necessarily. It simply is what it is, as much for consistency's sake as anything else.

(I confess there were times when I looked back on something I'd just wrote, and thought to myself: "I'm not actually sure this is, like, good. Maybe it isn't. But is is definitely Almost-Nowherey, that's for sure." And then I let it stand, for that reason.)

In the best-case scenario, you'll find that you greatly enjoy the "Almost Nowhere house style." If it's not to your taste, hopefully you will find it at least tolerable enough that you can access and enjoy other aspects of the book.

But if you find that really dislike the style, this book is probably not for you, sorry.

It's over 300,000 words, and they're all like that. I wouldn't want someone to force themselves through 300k words while hating every one of them, in the name of finding out what happens, or being a nostalgebraist completionist, or whatever.

[ndrayton]

Ghost Stories Postmortem!!!

It’s me, FieryGaze!!! Now that Chapter 13 is out and posted and my brain has freed up about 75% of its RAM, I wanted to make a post just to reflect on the journey, drop some fun facts, & explain the intent behind some of my choices. Here they are in no particular order.

Spoilers beware, obviously. I'm going to be talking about the whole fic here.

Episode Titles

Each episode title refers to two things at once – the monster or challenge the group is facing, plus one other important thematic element. “The Demon King” is the simplest one, referring both to the actual Demon King and then to Kim Dokja gaining that power for himself. The others are a little more open to interpretation, but were chosen with the intention of referring to 2 specific things.

Constant reappearance of the number “Thirteen”?

I’d like to say there was a lot of thought behind this, but there wasn’t. I just went “ooo, unlucky number” and ended up repeating it as often as possible. 13 years since KDJ and HSY met; 13 years spent in the spirit world chasing the Endless Cycle; 13 loops before KDJ met YJH. It was a lucky coincidence that the chapter count also happened to be 13 (I’d initially planned for twelve, and everything that happened in Unseen World was supposed to be squished into the end of Infinite Loop Part II. When I realized that was absolutely NOT going to give me enough space to resolve everything, I was delighted to realize that I could make the chapter count 13 and have it be thematically relevant and Not just a case of poor planning).

Lee Seolhwa also states that the number 7 is significant for certain spirits. I just think it’s fun that the total chapter count ended up as 13 and the total Episode count as 7.

Perspective and Tense Changes

From the beginning, the use of first person was actually a bit of a false flag—it’s meant to represent the ghost of Kim Dokja, trapped in the loop, imagining himself as the living version of himself going on these adventures. Kim Dokja as the narrator states this outright.

It was about time I stopped pretending that “I” was really this person called Kim Dokja. (Ch. 11)

Maybe I pretended for a while, for a long while, that it was really “me” who was fighting at your side. (Ch. 13)

The first person narration also tends to flip between present and past tense, especially in later chapters when Ghost!KDJ begins using second person to refer to Han Sooyoung and Yoo Joonghyuk, but also when he’s making general observations about the world. It’s not technically grammatically correct, but I was trying to grant a small step of separation between him and the other characters, whose perspectives are written more strictly in third person past tense.

The final monologue is also in present tense, unmooring it from the sequence of events of the story, hopefully making it feel a little more dreamlike/internal. I feel like I’m allowed to mess with tenses this much only because it’s an orv fic and I’m not afraid to get meta.

I also used present tense during almost all of chapter 10. I wanted it to feel like a whole separate fic-within-a-fic, and a lot of fanfic is written in present tense, so I was deliberately evoking that (including See You Yesterday, undeniably a MAJOR inspiration for this chapter). I also wanted to provide a sense of immediacy—Yoo Joonghyuk truly believes that what he’s experiencing in the dream is really happening to him, right now—that I could pull back on once he realized he was dreaming, returning to past tense and the main flow of the larger story.

As a side note, by the time I finally finished chipping away at chapter 10 I thought it was awful, so I was surprised and delighted when it became everyone’s favourite chapter, lmao. This is probably why people have beta readers, to get a little bit out of their own heads. Anyway, the positive response to that chapter really brightened my week.

… My favourite scenes 😊

The first scene I really had a blast with was probably the possession scene—what can I say, you don’t make a “Paranormal investigation AU” without wanting to play with a few of its standard tropes. That’s when I realized I could happily keep writing this fic for as long as it took to finish it (I initially planned for 2 months. It became 4.)

I also had such a fun time writing all of “Blank Message”, from the kids bullying poor Dokja to what amounts to me basically just drawing hearts around Yoo Joonghyuk’s name as he fails to use technology but also gets to be the most specialest boy in the world. That episode practically wrote itself, honestly. I accidentally wrote like 12,000 words of it in my phone notes app because I kept having ideas at work and had little else to do during our slow season.

My actual favourite scene, though, might be Yoo Joonghyuk cooking in Han Sooyoung’s kitchen in Ch. 12? I just thought it was sweet. Maneuvering those two into a position where they could be emotionally vulnerable with each other was a challenge. My notes for that section are funny to me, I’m just struggling to get to the heart of the scene and yelling at them to please be emotionally vulnerable.

... There was like 500 more words of this.

I can’t help but feel the yoohan corner of yoohankim got a little neglected in this fic, but it’s because they had so many unresolved issues that I couldn’t just leap ahead to the romance angle without first addressing them… and by then the fic was kinda over. Please understand, however, that they love and understand each other deeply despite (because of??) being the way they are. Maybe I’ll explore that more in future stories. Who could say.

Most challenging part to write?

Wrong Room Part II, Forgotten Boy Part II, and the first bit of Devourer of Dreams Part II before Kim Dokja showed up (it was way easier to write once he was there because the joongdok dynamic really pulled the plot along).

All three of these had significant rewrites and Forgotten Boy Part II took me like… an entire week to figure out. The Part II’s tended to be tricky because that’s when I was making all the setup from Part I pay off, but I wanted it to be engaging and exciting and not feel too paint-by-numbers. I learned a lot writing these!

What was Yoo Joonghyuk saying at the end of Blank Message that got censored?

“▪▪ ▪▪▪ ▪▪▪▪▪▪ ▪▪▪ ▪▪▪▪▪▪▪▪ ▪▪▪▪▪▪▪▪ ▪▪ ▪▪▪▪▪”

“Do you really not remember…”

Well, maybe you can intuit the rest from context clues (what Mia was saying just beforehand).

There was a bunch of other censoring when Kim Dokja was trying to explain to Yoo Joonghyuk where all his special knowledge of the time loop came from, but I didn’t actually note it down as it was all pretty much able to be inferred, like “the loop is actually based on a book series”.

There’s certainly more to find, but that’s all I have to say for now!

I fun with foreshadowing, but I’m not going to call out anything specific, because I think it adds to reread value. There’s an especially mean bit of “foreshadowing” in one part that had me absolutely cackling. Let me know if you find it.

Anyway!

I had no plans to put so much time and effort into writing fanfic this year, and yet here I am with 120,000 words in four months, which is… FAR AND ABOVE my normal writing pace, especially lately. What can I say? Omniscient Reader’s Viewpoint is a really special story and I don’t have any friends who have read it, which put my brain into an absolute pressure-cooker for which the only release could be writing orv a novel-length love letter.

I’m seriously thankful for everyone who read the story and left so many emphatic, excited, and kind comments. The readers absolutely transformed this experience from something I was plodding away at by myself just to see if I could do it into something I was really excited to share with others, and as a result I put a lot more effort and care into the story.

I do have a few other ideas for this AU—for which the seeds are actually already planted in the story—but, as I mentioned in my author’s note, I desperately need to take a fanfic break for a while. I can’t promise if/when I’ll get back to it, but I would definitely like to at some point.

IN ANY CASE, FOR THE LAST TIME ON THIS ADVENTURE….

THANK YOU SO MUCH FOR READING!!!!!!!!!!!!!

[magnorious]

Review: I Plunge to My Death; Percy Jackson Ep. 4

TL;DR: They turned a pit-stop into a main event and troubles ensued.

The consequences of shoving half the book into the first two episodes? Episode 4. Baby Percy is, again, adorable, no complaints. The opening scene, Kronos’ slithery voice – we are right back in the thick of it, until we’re not. Best part of the episode is easily the first 4 minutes and it does not recover, I am sorry.

Echidna gets a ridiculous amount of screen time, monologuing on and on and on… On the train, no less, not in the Arch.

Adaptations are allowed to be their own thing, but they are *adaptations* first. The choices that were made in the source material were made for a reason. If the book was bad, no one would have read it, and money wouldn’t be spent turning it into a TV show.

So, in the book, Echidna had a couple pages, and Percy was completely alone confronting her. She showed up, revealed herself, got a one-liner or two in, kicked his butt, and then he fell – end of scene. It was a whirlwind of chaos and incredibly efficient without being spoonfed “I am a monster” until they get the picture.

The purpose of this beat in the story came from Percy’s experience in the river and then St. Louis is behind them – it’s a pitstop, not a centerpiece. Echidna has no thematic connection to any of the characters like Medusa, she doesn’t need to overstay her welcome.

If you didn’t read the book, the episode is fine. The writing is okay, the acting, the VFX. They do retain the family of centaurs and establish Grover being a Searcher for Pan.

It’s not bad! It’s puzzling. The changes are puzzling.

All the filler – Echidna’s monologue, Athena’s temple, Annabeth being unnecessarily rude to Grover, Percy getting poisoned – they don’t feel like the same meaningful changes that were made to extend Medusa’s scenes. They feel like they exist to fill an entire episode before the next big set piece that has to wait until episode 5. The pacing has been thrown completely off balance.

Which wouldn’t have happened if they didn’t rush ten chapters of content.

Because they knew exactly how long the chimera fight would be – about 45 seconds, beat for beat, exactly as it was written. Echidna is just not important in the grand scheme of the story. They still have to fill an entire episode now, so what do they do?

They double back on the character development and the growing friendship established in episode 3 when they all start arguing over Athena for… reasons? In Athena’s temple, Annabeth’s suggestion for Percy to reach out to his dad there would be mighty offensive to the goddess. She calls herself out, saying she knows she’s forcing herself to believe Athena cares about her, the way it was written just makes her look selfish and rude.

There Grover is, all upset about the monument filled with paintings of humans over-hunting buffalo and Annabeth’s response is basically “get over it”. Doesn’t matter if she regrets it once he’s gone, she doesn’t apologize to him and she still believes what she said.

Percy doesn’t need to be poisoned to lose hard to Echidna and the chimera. He’s at his full strength and still panics and botches the fight. He already doubts that his dad cares about him.

The episode does recover its footing somewhat (after padding the runtime) by finally getting him alone in the last 8 minutes. Percy cements his disdain for his dad and how little he feels appreciated, respected, or even noticed by the gods – enough to decide he’ll fight and probably lose alone because he doesn’t matter to the gods anyway. Once he’s in the river, the nereid shows up, tells him to breathe, that Poseidon’s proud, and… cut to black. There's no wonder at his new abilities, no fascination, no "maybe being a demigod is a little bit cool, wow," and no consideration that his dad does care, even a little bit.

The only book change for the better? Percy choosing to go at it alone instead of ending up alone by accident.

I hate to come down so hard on this episode but pacing is critical. The beginning of the book feels slow because there’s a lot of internal monologue, a lot of introspection, lots of breaks between action, and several time skips – Percy spends a couple days at camp before going on his quest and packs a lot of character building moments into it – and they rushed through it all.

St. Louis was already rushed in the book, and this is where they decided to throw in all the filler to slow it down? Writers, if you wanted to pad the runtime, include Gladiola the Poodle giving them directions. Include chapter 14 – the entirety of which is spent in the river establishing new powers and getting told about the gift in Santa Monica, and exacerbating the problem of Percy being mistaken for a terrorist. Ares can still wait and no one would complain.

It’s not the acting, from anyone. It’s not the directing, either. Everyone who worked on this show: The actors, the editors, the set designers, costume department, makeup department, VFX, foley, props, music and sound design, and everyone in between – you all did fantastic and your work is recognized and appreciated.

It’s the big picture that just did not come together this time.

I really, truly, wanted to enjoy this episode coming off the high that was Episode 3 and I’m just left confused once again at all the choices that were made. Just because the bar for greatness was two feet into the topsoil from the first adaptation doesn’t mean it gets to skate by on “well it’s better than what we got before”.

[red-dipped-feathers]

Moon of the Crusted Snow

(picture taken by me)

I am starting off the year with this amazing book written by an indigenous author. Not gonna lie, what attracted me to this book was the beautiful book cover and title with its wintery desolated landscape and mysterious name. Usually, the apocalypse or post-apocalypse genre isn’t something I would read but I was very interested in seeing this genre being explored from an indigenous perspective and boy was I not disappointed! This book was captivating from start to end and it’s definitely going in my recommendations. So here is my review of it. Hope you like it and that I convince you to give this book a shot 😊

Title: Moon of The Crusted Snow

Author: Waubgeshig Rice

Genre: Novel, Apocalypse, post-apocalypse

Publication Date: 2 Octobre 2018

Rating: ⭐⭐⭐⭐

Introduction:

In Waubgeshig Rice's "Moon of the Crusted Snow," the tranquil existence of a remote Anishinaabe community in Northern Ontario is shattered by an unexplained societal collapse. As winter blankets the land, the novel explores the community's struggle for survival amid diminishing resources and isolation. Rice skillfully blends traditional Anishinaabe storytelling with a stark portrayal of the post-apocalyptic landscape, offering a poignant reflection on culture, community, and the resilience of the human spirit against an unforgiving backdrop of crusted snow and encroaching darkness.

Plot:

The overarching plot of the narrative proves to be a compelling and intriguing aspect of "Moon of the Crusted Snow." Waubgeshig Rice skillfully introduces a palpable sense of anxiety that permeates the characters' experiences as they grapple with the impending end of the world, all while remaining oblivious to its occurrence. Although the story begins at a deliberate pace, it progressively gains momentum, ensuring a smooth and well-paced development without feeling rushed.

What sets Rice's storytelling apart is his ability to sustain a high level of suspense throughout, even when readers are privy to the impending apocalypse. The narrative skillfully keeps readers on the edge of their seats, evoking a genuine sense of unease for the characters and their uncertain fate. Remarkably, despite the limited action, the storyline remains engaging, avoiding any dull or stagnant moments. The brevity of the chapters contributes to the overall dynamism, allowing the narrative to maintain its momentum and ensuring that the reader remains captivated by the unfolding events.

Plot rating : 4/5

Characters:

The narrative predominantly unfolds through the lens of the central character, Evan, serving as the focal point through which the actions of the other characters come into view. While it's worth noting that the book doesn't delve into extensive character development, I find it to be fitting for the genre. In the context of this apocalyptic tale, the emphasis on character evolution might be secondary.

Evan, as the protagonist, provides readers with a vivid portrayal of life in a secluded community during the apocalypse. The narrative encapsulates the prevalent mistrust and paranoia that takes root within the community, creating a palpable atmosphere of impending doom. This thematic focus, coupled with Evan's perspective, adds a layer of intensity to the storyline, making it a captivating read.

Notably, the narrative occasionally shifts its lens to Nicole, Evan's wife, offering a valuable alternative perspective. This additional point of view provides a nuanced exploration of the unfolding events, enriching the reader's understanding of the characters and the dire situation they find themselves in.

Character rating : 3.25/5

Themes and Messages:

"Moon of the Crusted Snow" by Waubgeshig Rice delves into the themes of survival, resilience, and cultural identity within an Anishinaabe community facing an apocalyptic scenario. The narrative underscores the importance of preserving traditional knowledge, emphasizes community bonds, and explores the fear of the unknown. The novel subtly addresses the impact of modernity on indigenous communities and reflects on power dynamics within the community during times of crisis. Against a backdrop of a harsh winter landscape, the story intertwines environmental resonance with human experiences, prompting reflection on the interconnectedness between nature and humanity. Overall, Rice weaves a compelling narrative that goes beyond the typical post-apocalyptic tale, inviting readers to ponder cultural preservation, collective strength, and the profound effects of societal collapse on a community deeply rooted in its traditions.

Theme rating : 5/5

Strengths:

Brings a different perspective to the end of the world

Well written story line

High level of suspense, you can feel your anxiety building with each chapter

Weaknesses:

Does start off at a slow pace

Not a lot of action (personally, I don’t feel it was needed for this story but I know some of you might find the story a bit lacking or even boring)

So here you go, the first review of the year and the first review on this blog! let me know if you liked it and if it made you want to read the book.

Also, if you already read this book let me know if you enjoyed it and if you agree or disagree with my review 😊

See you next time !

Red dipped feathers

P.S. I’m def going to read the second book to this story called “Moon of the Turning Leaves”, so make sure to stick around for that review!

[no-where-new-hero]

Fire and Hemlock Readalong: Chapter 0

I’m starting this a day early because I realized that I had so much to say about the front matter that I didn't want to clog my discussion of Chapter 1. So here’s a little teaser to whet your appetite for tomorrow!

I always love entering this book because, much like entering a fairy tale or a ballad, it offers many introductory signs along the way to alert you to the textual milieu. The first is the part name: New Hero. If your edition has a table of contents, as mine does, you see that each of the four parts are anagrams of the same letters. Of course, this will become thematically important (as every other paratextual guide in the book is) but for now, we know that this part will introduce us to a new hero: Polly Whittacker. It also signals not only a protagonist, but heroism as a theme: though the novel's setting is grounded in 1980s England with only a few overtly magical moments, the events are filtered just as much through the heroic mode of adventure stories, fairy tales, and myths.

The second signpost is “allegro vivace”: I actually never looked up the translations/definitions of the musical notations in the book before, so I figured now was a good time. This one means "fast and lively," instructing a brisk pace of energy and dynamism, which sets up the vitality of Polly's youth and its concerns. The musical direction signals a tone for the initiated, and to those who aren’t, it establishes music as another major theme, alongside literature and stories.

Finally, we have the epigraph at the start of the chapter ("A dead sleep came over me / and from my horse I fell") taken from the 17th-18th century Scottish ballad, “Tam Lin.” Fire and Hemlock is most obviously a retelling of the ballad (though it retells and draws from other tales, as Diana Wynne Jones has cataloged in her essay on the novel), and interweaves the original material throughout. Later epigraphs will also be drawn from a medieval lay, Thomas the Rhymer, which is typically accepted as Tam Lin's direct antecedent.

It isn’t necessary to know the plot of Tam Lin to appreciate how the themes comes in—partially thanks to these epigraphs—but I also wrote my senior thesis on the ballad, so I’m going to offer a summary anyway: Janet, a noblewoman’s daughter, goes into the forest of Caterhaugh, where Tam Lin lives/hangs out. They have a sexual encounter, initiated by Janet’s own confidence. She becomes pregnant, and her father, not knowing who the forthcoming baby’s dad is, wants to marry her off to one of his nobles. Janet prefers to abort the baby and is about to do so when she meets Tam Lin again, who tells her to keep the child. He explains that he has been placed under a curse by a Fairy Queen, and unless Janet liberates him, he will be offered to the devil as a fairy tithe. Janet agrees, mostly to legitimize her child. Through holding onto Tam as the Fairy Queen attempts to shapeshift him into submission, Janet turns him back into a human (there is an assumption throughout that he is a bit fay himself, though born a man) and the queen rages at them for having escaped her control. The ballad ends with an unspoken HEA. Several of these thematic resonances will become really important as we work through F&H, even though the plot itself is altered (crucially, neither a sex scene nor a pregnancy feature in this version, though sexuality and transgression and also creation certainly do).

This particular quotation is an interesting choice from the ballad itself, if you excuse my nerding out: it doesn’t feature in the main version but in one of the variations, and it is spoken in Tam Lin’s voice, which contradicts the immediate narrative expectation of a line in Janet’s voice (since Polly is pretty consistently Janet throughout). But what’s most important about it is that Tam says this line (and only in a variation on the main version, incidentally) to describe what happened when he fell under the Fairy Queen’s thrall. At the outset, it signals us to enchantment: as a reader, following Polly’s navigation of this perilous world she becomes drawn into, but also merely as readers. One of my favorite things about this novel is DWJ’s ability to pull her readers into her richly felt, incredibly paced world. The first time I read this, I gulped it down in the course of an afternoon, and when I finished, I surfaced feeling as though I had woken from a dream. This book is a beautiful enchantment, and it very kindly lets you know so.

[zan0tix]

Do you have thoughts about Dirk and Jake's relationship in canon? I am not anti dirkjake but I do have a hard time understanding the ship and why it's so massively popular. /gen (I have not yet read the epilogues so I'm just working off of whats in the comic)

Oh boy. DO I. Im currently working on a powerpoint presentation thatll be a little guide/recap/compilation.. thing about them whilst im reading act 6 and ill post it whenever i finish rereading the comic and writing all my notes! It will go into all the little bits of dialogue about eachother or narrative ties to certain things and such and such. (Will probably post this some time in the next two months or three. no guarantees)

But! The portrayal of their relationship and who they are and their struggles felt so real to me and it constantly astounds me that theres a fictional character who accurately displayed my own struggles in such a sincere way i feel like im getting put on blast when people psychoanalyise jake english orz

Homestucks character writing and thematic paralleling are some of its best assets and dirkjake are FULL of some of homestucks greatest moments of both. I would say that this post from @/tomatograter goes more into detail about those said moments and also alot of the other reasons i like them! And what they said in this post was true!-

-Theres just so much you can explore in homestuck through their relationship and aaaguh i love it i love it and theyre so important to the overall narrative and its just so nice to see openly gay rep that is as realistic and honest as them in a story like homestuck.

Being a teenager myself coming of age stories are the stories i relate to and find captivating the most right now and i dont think ive seen another piece of media go about its teen characters the way homestuck did. Its got problems on the handling of said characters but i dont think ive read anything else as raw and honest about personal issues teens face growing up and how they affect relationships (of all kinds!) and dirkjake are a big part of that for me!

I dont really like majority of fanon interpretations of dirkjake i wont lie (alot of.. flanderisation and blatant mischaracterisation) i dont really keep track of fandom stuff or ship popularity i just like enjoying what i enjoy and drawing things and talking about it with friends haha

And i have not read the epilogues either! i know the gist of the events in each timeline and i read a couple chapters but that was like years ago at this point and i dont think i will ever attempt to read them or homestuck^2. Some of the ideas that were present couldve been interesting but i honestly have no interest in going anywhere near it from what ive read about it. It sounds like a total shitshow and its not required to enjoy homestuck proper anyway so ¯_(ツ)_/¯

But!! if youd like to hear more about dirkjake in canon id totally reccomend tomatograter's other posts on them!!! his analysis was the thing that made me Really interested homestuck and hehe im grateful because now im here. This post has alot more of his meta commentary about them and theyre all really interesting reads :D