#like i KNOW you have to write copy a certain way for reasons of advertising and presenting broad appeal or whatever

[puppetmastery]

i hate that the tor publishing ad for exordia describes it in the lamest possible way. you are doing it a disservice!!! anna sinjari is not just a "refugee and disaffected office worker" she's a survivor of a genocide who now believes some part of her is fundamentally evil. she's traumatized and a "bad victim" and is perpetually alienated from those around her. anna and ssrin's story isn't merely the universe "shipping them together". it's more than that. it's anna finally finding someone who understands, and that someone being a giant alien murder snake, and being inescapably dragged into a nightmare by that meeting. and liking it. it's a big, thick, dense book about finding a physics-defying, mind-reading spaceship in the middle of kurdistan and multiple governments sending a bunch of guys to find out how to contain and exploit it. including the biggest and worst government of them all, an empire of ontologically evil (as decided by the creators of the universe itself!) snake aliens who have mastered imperialism so thoroughly that they can manipulate the actual metaphysical narrative of other species in order to exploit them. it's about imperialism and feminism and race and math and the military-industrial complex and bush/obama-era foreign policy and the right to self-determination and the psychological effects of violent trauma and how a species made narratively irredeemable would realistically respond to having no chance at heaven. and how fucking cool fighter jets are. and all but like 4 of the important characters are girls and most of them are doing gay shit in between fighting for their lives. exordia is fucking excellent and you're going to respect her!!!!!

[bunbun-mochi]

Regarding reposting artwork and fanfictions: Here's some information I learned throughout my uh living day(?). I used to be ignorant, but I learned a few things that might help (or not).

"Why are artists putting such large watermarks on their artwork? Won't that ruin their art piece?" - The reason is that a handful of people stole their art and cropped their watermarks. Yes, it could "ruin" their artwork, but it's better than it being stolen or used on online stores like Etsy.

"Why do fanfic writers put in some of their work, 'Do not repost'?" I thought it happened in artwork." - Both art and writing take time and effort. I will not argue which needed "more work". But please know that both writing and drawing take a considerable amount of time and effort to create masterpieces. Similar to art, some people would steal fanfic works and consider that they had written them. Some even go as far as publishing that work as a book and used themselves as the author for the stolen work.

"I found a fan art on Pinterest, but I don't know the artist. What do I do?" - How I would do it is to look into the comments and similar artwork to try to find the artists. My last resort is posting that artwork and ask who the artist is. I make it very clear that this artwork isn't from me. (Artists, if you know a better way, please comment.) If this is too much work, then don't repost. Artists took their time to do their work, I'm sure taking 10 minutes to find them isn't a big "time waste."

"I found an artwork/fanfic I want to share in a certain platform. What should I do?" - First, find the artist/writer. Ask them. Hello, I love your artwork/fanfic. Would you mind if I posted them on [this social media]? If they say yes, credit them. Even if there is a watermark on the fan art, still credit them. Bonus point if you have a link that directs people to them. If they say no, respect it.

"I know this fanfic writer, and I love their work. I'm scared to post any writing because what if my story is similar to theirs?" - I also have my share of favorite fanfic writers. Their work influences how I write. There is a difference between influence and plagiarism. If you take their work word by word, or mostly word for word, but just change some of the wording just enough, that is plagiarizing. If you use a different writer's style, that's not plagiarizing. That's being influenced. You're using their style of writing, not copying most of their work.

However, if you're those kinds of people who comment like:

"I'm doing those artists/writers a favor by sharing their work on different platforms."

"Those artists/writers should pay me for free advertisement!"

"Why gatekeep those arts/fanfics?"

Just know that I am judging you. Harshly.

I really need to stop procrastinating. Final exams are coming up...

[keytoyourhearts]

Review of Steel Crow Saga by Paul Krueger (2019)

DISCLAIMER:

               I was unaware of the allegations against this author before reading this novel and writing this review.  My review is honest, but I do not wish to support this author now or in the future.  I urge those who may want to pick this one up to do so second-hand (where you may find my copy).

SYNOPSIS:

Steel Crow Saga follows four main characters, paired into duos, shortly following three successful rebellions that freed three countries from the oppression of the Iron Throne of Tomoda.  The first pair, Sargeant Tala and Iron Prince Jimuro, are trying to return said prince to the Iron Throne to be crowned.  Unfortunately, their partnership is rife with conflict, as Tala’s family was killed following a conflict with the Tomodanese.  She also has a shade, an animal which is soul bonded to the wielder.  The Tomodanese believe this practice to be slavery. The second pair, Lee Yeon-Ji and Princess Shang Xuilan, are working together to capture the Iron Prince to turn him over to Xuilan’s father so she can be named heir to the Shang throne.  Lee is a thief who comes along after the very verbose Xuilan saves her from prison and promises her a shade.

See my full review and rating below the cut!

RATING: 2/5 STARS

MY THOUGHTS:

This novel was an easy read, but it was overall, just fine.  It really did not bring anything new to the table; being advertised as “anime” and something inherently derivative (ie. Pokémon meets The Last Airbender) did not do it any favors despite its interesting premise and story.  Simply put, this was written for a specific type of reader, and I am not that reader.

TAGS: fantasy, young adult, romance, magic, Asian-inspired

CW: racism, colonialism, murder, war, graphic depictions of death and violence (including but not limited to: disembowelment, loss of limbs, decapitation), PTSD, suicidal behavior

RECOMMENDATION: I would recommend this novel for those looking for an easy introduction to the written fantasy genre who enjoy anime, manga, or JRPGs.

THE GOOD:

Overall, this story was fun, simply put.  The author made use of parallels fairly well and often, and I found some of the repetition to be artistic while carefully toeing the line of being overdone without crossing it.  I could not get over the fact that the occupiers became the occupied and then acted like victims lol.  The twist in the midpoint of the book was totally unexpected and surprised me, which was refreshing!

I found the magic system to be compelling, being soul-based.  It was almost like the people of each nation’s soul spoke a different language (metal, animal, people, etc.).  I only wish this was explored more in depth.

THE BAD:

This book is best described as “anime-inspired,” and I mean heavily anime-inspired.  At one point, Jimuro’s glasses flash as if to convey an emotion.  No other reason.  I do not know what emotion; I do not watch anime.  What did this mean??  Also, the author used the “return” command a la Pokémon too often.  It is one thing to be inspired by a franchise, it is another to directly rip off certain phrases.

Honestly, most of the characters were terrible and unlikable, Lee being the worst offender.  She was rude and crude for seemingly no reason and would never let a moment go by without saying something awful and cringey (No, I would not enjoy if a male character delivered these lines either).  Jimuro is literally shocked by everything.  Literally everything.  Xuilan was always touted as so smart but was unintelligent regarding big picture issues.  She probably could not find her way out of a paper bag without Lee’s help, I have no idea how she got this far.

The relationships were a little ridiculous and half-baked.  One couple seemed to fall in love almost immediately, and the other never really paid off in the end despite hints being dropped throughout the story.

This one is just a personal gripe, but I hate when fantasy books involve a good amount of travel and various regions/countries but don’t include a map.  You could include three different pages with the title, but not a map?  I was lost throughout this entire book.

[SPOILER] Finally, the ending.  It was completely lackluster.  I found the man with the purple cloak to be an interesting villain, but his final showdown felt so inconsequential and like nothing we had not seen before.  Every fight scene with him came off the same, so much so that despite supposedly having thousands of shades, only the same few are ever mentioned or called on.

[moniquill]

Gonna copy/paste some choice tags from the dumpster fire without attribution (this is not about telling these individuals that they're wrong it's about combatting THE MINDSET)

#whenever i post a fic i have to remind myself that if anyone finds anything sexual that's their problem

Good that you are aware that this is a line of thought that you should not pursue! Kinda weird that you need to remind yourself of this but hey whatever helps you get over it!

#The number of times I have wanted to create certain pieces of media but refrain from it because I know freaks will find a way 2 sexualise it

NOT HEALTHY! You are not impacted by others sexualising your work, and you need to work on your basic attitude and perception if you think it's cool to call other people 'freaks'

#Some things shouldn't be sexualized publicly

What counts as 'public' in this instance? Other people's blogs/communities??

#this.#this makes me so mad#ive seen this literally ruin some friends' creativity and ruin the things they like that ARENT EVEN SEXUAL#i also tend to worry about how these kinds of people will interpret my work but i shouldnt HAVE to think about that#ugh#misc

Fun fact: You DON'T have to think about it! Neither do your friends! Their anxiety is what ruined their creativity - the call is coming from inside the house; that is the thing to be addressed and worked on! Not the thoughts and feelings of OTHER PEOPLE.

#THIS OMG#IT'S SO. KRIFFING ANNOYING AND HARD#especially as a whump writer.#i dont WANT PEOPLE REACTING THAT WAY WITH WHAT I WRITE#but at this point I've kinda given up trying?? Im kind of just doing whatever I want because I KNOW im not doing it like that#im done being responsible for people's dirty minds tbh

When you release a creative work for consumption by an audience, you don't get any kind of say in how they react. It doesn't matter that you don't want people reacting 'that way'. If you cannot accept this, you should not publish works at all.

YOU WERE NEVER RESPONSIBLE FOR OTHER PEOPLE'S MINDS. It's kind of fucked up that you're judging them as 'dirty', unpack that shit.

#THANK YOU THIS IS THE WORST#do you know how hard it is to write something like torture or 'whump' in general without the youtube comments section invading your mind#don't even get me started when it comes to writing certain kinds of magic#and you then have to be like 'is this so prevalent that it would be naive of me to ignore it?#or is it really just the niche corner of Internet freakdom that I think it is?'#speaking also as someone who was frequently teased as a kid for saying things I thought were innocent but were common innuendos#writing

If the youtube comment section is invading your mind, that is strictly a you problem. If it's invading your actual work (in the comments section) that's what the block button is for. You are putting far too much effort into thinking about this.

#I want to have all these kinds of dynamic relationships#there's one I want to develop to have a certain tenor to it#but I know it will become a ship#I'm doing it anyways#but it hurts knowing that there will be people who will read it and ship the characters#when the characters don't actually have any romantic attachment#I know this isn't just about relationships#but it's the thing about this mindset that bothers me most

It is not healthy or normal to be hurt by ideas that you think that other people might be having. That is disordered thinking and you should address it. Other people shipping your characters does not, in fact, harm you.

#I think the big thing is#you don't have to advertise if it's sexual to you#if that one weird thing does it for you#fine!#Just don't tell me

This is actually entirely reasonable! You don't have to subject yourself to reader/viewer reactions that make you uncomfortable! If people are harassing you, block them!

#honestly real#there is such a huge difference between ‘sex is normal and okay’ and ‘you should sexualize everything and everyone’#crazy how people have no capacity to respect ppl’s boundaries

I'm putting the word Boundaries on the high shelf until genZ and gen Alpha learn that they do not refer to the behavior of OTHER PEOPLE.

via https://theartoflivingconsciously.com/set-boundaries/:

Setting boundaries is about knowing what boundaries you want to establish and enforcing them by taking action within yourself. It’s not taking action to control someone else.

A boundary is not “You aren’t allowed to do ______,” it is “If you do _______, I will _______.”

It’s not “don’t yell at me,” “don’t call me before work hours,” or “stop commenting on my weight.”

A boundary is:

“If you yell at me, I will leave the room or hang up the phone.”

“If you call me before 9 am, I will let the call go to voicemail and call you back during work hours.”

“If you keep commenting on my weight, I will stop visiting.”

A boundary is an action YOU take. It’s not forcing someone to act or not to act a certain way, because that’s impossible.

#when people make things inherently not sexual sexual#eye twitch

THIS IS WHAT FETISH IS. THIS IS WHAT KINK IS.

Literally the only thing that is inherently sexual are the genitals of an aroused human being (and arguably orifices) - your own or a partner's. Everything else is kink/fetish. Yes, even tits. Even other anatomical parts. Everything that you find arousing. You are not different or special for only being aroused by shit that the culture you live in deems 'normal'.

I think the biggest shame about people becoming way too comfortable sexualizing everything is that it limits creative freedom. now you have to worry about someone's obscure fetish just in case you write something and you have freaks online like 👀 ayooOOO like shut up man. if you're finding sexual undertones in mundane things, you don't 'see the world differently', you have a mental disorder.

No one should have to carefully scoot around something because the internet has made it ok to see everything through a sexual lens

[ozma914]

Book Selling Report For 2023, or: Why I Cry

An interesting thing about the publishing industry is that it takes great pains to make sure an author never knows how many books he's selling.

Meanwhile, at certain points in the process, that's the only thing authors want to know.

Actually, the traditional publishers I've worked with have been good about giving me sales reports--every three or six months. But it can be hard to read their reports, in the same way it can be hard for the janitor at a college to understand a blackboard full of physics equations. Well, maybe they can sometimes. A better example would be someone giving me the full schematics on how to wire an electrical system into a house, then expecting me to actually do it.

"Gee, he seemed smart enough to manage. I'm gonna miss him."

When it comes to places that sell your work, such as Barnes and Noble or the elephant in the room, Amazon ... good luck. Most of my books are independently published, so there is no publisher trying to keep track of my sales. You'd think the bookselling websites would do that, but ... well, you'd think more people would read, too.

Maybe I could sell them like donuts. "I'll take a white one, and a blue one, and ...."

I'm telling you all this to explain why, while I've come up with an estimate of my 2023 sales, I have no idea how accurate it is.

Fairly accurate. I think. Within reason.

So, in 2023 we sold 624 books. I think. 482 were e-books, and 142 were print copies. (In 2022 I actually sold a hardcover copy of Images of America: Albion and Noble County. I mention that because, before then, I didn't think you even could buy hardcover copies of our books.)

Our 2022 total was 539 sales, so we're up by 85 books. It's a good number, considering we haven't done an author appearance since the beginning of Covid. Now that I've actually had Covid, I'm not thrilled about going out into crowds in the immediate future, either.

Our best sellers:

151 copies of Coming Attractions.

145 copies of Hoosier Hysterical: How the West Became the Midwest Without Moving At All.

104 copies of Storm Chaser (which was re-released with some fanfare early in the year).

51 copies of The No-Campfire Girls.

The other books were, shall we say, not great sellers. All sold at least a few copies except for Slightly Off the Mark: The Unpublished Columns, which has the disadvantages of having been out for several years, and of being a humor book by someone who isn't already famous.

"Dude, these are stale."

Still, good money, right?

Well ...

I also experimented with advertising all last year. Online ads did indeed increase our sales, but they didn't lead to a profit. For every dollar in gross sales we made, I spent about two dollars. ("I" because Emily wasn't involved in that pile of commercial misfortune.)

But wait--there's more. Depending on how they were published and where they were bought, our profit was between 60% and 6% of each book sold. The 60% ones were the books Emily slaved and sweated over.

Do that math, and for every dollar we made, I spent five dollars in advertising and promotion.

This is fine for a hobby. I could collect toy trains, or fix up antiques, or bend my elbow at the bar every night, for a similar amount of money. It is not, however, what anyone would call a sustainable business model. It's more like trying to sell your product by screaming out the brand name as you leap off a cliff.

"Losing the house is no big deal, I can write in the car."

So, I have two goals when it comes to selling books in 2024. One is to sell a thousand copies of our various books in the space of one year. There are a couple of years when I may have done that, but I'm too lazy to go back and do more math--I'd rather think of it as a new obtainable goal.

My second goal is to do that while making more money than we spend. I don't know ... maybe my goal should be to sell the same number as last year, but without taking a loss. Many authors manage to do this.

Not many manage to make a living at it, but if I wanted an easy job I'd be a physics professor.

Amazon:  https://www.amazon.com/-/e/B0058CL6OO

Barnes & Noble:  https://www.barnesandnoble.com/s/"Mark R Hunter"

Goodreads:  https://www.goodreads.com/author/show/4898846.Mark_R_Hunter

Blog: https://markrhunter.blogspot.com/

Website: http://www.markrhunter.com/

Instagram: https://www.instagram.com/ozma914/

Facebook: https://www.facebook.com/MarkRHunter914

Linkedin: https://www.linkedin.com/in/markrhunter/

Twitter: https://twitter.com/MarkRHunter

Youtube: https://www.youtube.com/@MarkRHunter

Substack:  https://substack.com/@markrhunter

Tumblr:  https://www.tumblr.com/ozma914

Remember: Every time you buy a book, an author can buy a cup of coffee to keep him awake while he's writing his next book

[thepriceofbeingaroseisloneliness]

“It felt like ‘Let's go as far as we can go’. Maybe this was the biggest chance we would ever get. That was the kind of things I talked with the members. At that moment, we prepared ourselves for the worst.”

Notes before reading: This is from Kaoru’s first book “Dokugen” released on October 2015 in which his articles from “Ongaku to hito” magazine were compiled, but also an exclusive interview about his life was included. I already posted the first part of this interview (Pages 62-75 if you own the book) so for Kaoru’s birthday, I wanted to share the second part of the interview (Pages 130-143). In the first part, the interview covered his childhood to his first steps in the music scene and bands. This part covers from CHARM’s  disbandment to Dir en grey’s  and solo activities. ---- -Is CHARM a band that was formed by classmates? K: Well, there was one classmate and me, the rest were older. If I remember correctly, they were 3 years older? Even though they were the best guitar players among the members, as I wanted to play guitar myself,I told them one of them “play the bass” (laughs). That person and the other guitarist are siblings Originally, the brother and me were good friends so it was him who told me to form a band. It was like “There is no point in keeping (the band) at local level, I want to do a band that will be a stepping stone for the time being”, “If we don’t go out, we won’t make personal connections”. -“Let's get out of Hyogo” K: That's right. Anyway, the purpose of starting this band was to "get out". There was a live house in the local area, and there were some bands that released CDs from amateurs to indies, but the bands that were popular in the local area at that time were bands that wore long-sleeve T-shirts, slim denim pants and rubber soles shoes. There were many people like that in the local studio. There weren’t many bands like us….with long dyed hair…..That’s why I the person who worked part-time at the rental CD shop was super metal and I thought “There are real bandman in this city!”. There weren’t people like that. -You couldn’t make connections with people like you. K: That's right. I rarely meet people like that in my hometown. In order to sell/promote myself, I have to go out first. That's how the band started. -What do you think  that was the best thing you did when you were in the band at that time? K: Doing my best?......what could be? (laughs) Maybe I don't have a feeling of "doing my best", or I don't think I was conscious of "doing my best" for the band. Besides playing the guitar and arranging the songs, I did several things such as miscellaneous work and making flyers but I didn’t do it with the consciousness of "doing my best", I did it anyway. -It was only for fun. K: I think so. It felt like I was making song while playing around, the members also were relaxed. Someone would go home and listen to some CD and say “let’s do something like that”, others would be reading magazines or watching tv next to them. Everyone gathered after work,from 8pm to 11pm, so it was like using that time to be together having fun. -In the series you wrote for “Ongaku to hito”,  you mentioned that you were doing various part-time jobs at this time. K: I was. Sometimes I worked hard/plentifully, and sometimes I only worked for 15 minutes a day -What is a 15-minute job a day? .K: A part-time job that was just going to a pet store when it was closing and put the bird cages or the hamster basket in front of the store, inside the store. The hourly wage was about 1500 yen, but it only took 15 minutes. On the contrary, I also worked part-time for 12 hours. I had a lot of  jobs, I don’t know if I was skilful or I was good at dealing with things but I looked like a competent guy. After a while, my salary went up and my position went up. -Did you want to become a full-time employee?   K: That wasn’t the case. After all, I was doing it while thinking, “I’m in this place now, but I’m a man who won’t end up in a place like this”.  I think I had a strong consciousness like “I’m working in this now for the band”. However, my parents told me every day, “What are you doing?” (laughs). -What did you answer to that? K: “No, it’s ok”. I didn't borrow money from my parents, so I didn't bother them. -Around this time, there was The Great Hanshin Earthquake. I'm sure you were at your part-time job when the earthquake happened. K: That's right. It happened when I was working part-time at a glass factory. It was shaking around, but that always happened when a crane truck passed so I was like “is that it?”. I thought it was different from other times. When I thought about going home, the train stopped, and the ground was also cracked. On the contrary, it was like being in a scene that didn’t seem to be a real.  However, the inside of my house was messed up, but it was okay. The impact of the earthquake affected many places. Many people quit bands because of that. It was just around the time I started playing at a live houses, so I was able to get acquainted not only with the locals but also with a wide range of people, so I thought “this is terrible”. -What was a thing that you could do for the first time with CHARM? K: I think it was a demo tape. I made it for the first time, so I was happy.  A few years ago, I found it at my parent’s home, I brought it here and listened to it….  Surprisingly, the song wasn’t bad. The lyrics were horrible though (laughs). -But CHARM's activities ended in a little over a year. K: Well, weren’t we playing for a year?  I think that maybe there was a difference in the degree of enthusiasm between the other members and me. It was like there was a wall built between me and the other members. They would talk about giving up and I was like “should we?”. However, after disbanding, the other members except me formed a band together, so I was like “Oh, so it was my fault”. Whether the demo tape sold 3000 copies, or the live movements increased, I didn't have money anyway. The more I moved, the less money I had, so I was worried. It was like “Can I do this?”. -What did you do next after the disbandment was decided? K:  I was thinking about going to various live shows and look for members, when I was thinking about doing something like that, KISAKI suddenly called me. He told me “Can you join us as the guitarist is leaving?”. -It was La: Sadie's, a band formed by KISAKI. K: He wasn’t a proper acquaintance, I just greeted him at a live house somewhere so, I should say that he kind of got suddenly in touch with me? -Why was that? K: At that time, there was the word “soft visual kei”. The thing is, there weren’t bands that looked flashy/showy and cool like that. There weren’t many guys that wearing a suit and looking stylish were heavy/ extreme. That’s why, I heard that there weren’t many people who looked flashy like me. -That’s why he had his eyes on you. K: Maybe. I hadn’t seen a live show of them, but there were La:Sadie’s posters on every live house at that time. Also, even though he didn’t see our live performance over there, he just saw the flyer and contacted me (laughs). -So, for now, you went to see them playing live. K: It's the day after (CHARM) disbanded. I didn’t know how they sounded like, but when I watched them performing live, it was the type (of band) I really liked. There was no reason to turn down the offer and in a selfish way I thought “In order to join this band, the previous disband had to happen”.  And I decided to join them. -When it comes to members, you can say that this band was the predecessor band of DIR EN GREY, but what was your impression of them at that time? K: It's still the same, but (my first impression was) they weren’t that good at socializing (laughs). At first it was an exploration. It was like “What should I do when I enter the studio?”. But when I went it, it was like “Eh….is it like this?”. I mean, the song writing was the same as in my previous band but there weren’t many parts to arrange.  If you could make a song to some extent, it would end there. I remember there weren’t many exchanges between us like, “I want to make this rhythm here” or “Let’s take a break”.  It was done exactly what the composer has done in the studio. Well, it wasn’t interesting. -Then, you came up with various ideas. K: That's right. Even at CHARM, I was just arranging rather than writing songs. - After joining under the name of KAORU, the band's recognition has even more. K: About two months after I joined, we first appeared on the monochrome page of "SHOXX". Everyone was happy at that time. Until then, even if the band name was listed in “Pia” and appeared in live house’s information places, it was like "Oh, we appeared in a national magazine!" (Laughs). From there, we advertised ourselves to sell our name, and we did various things. -How was the planning and mobilization (people who came to the concerts) of live performances compared to the previous band? K: When I was invited (to join the band,), it was a band that had already mobilized more than 100 people, so it's completely different. I remember being so excited to be able to play  in front of a lot of people, it was like “This is it!”. I finally got the feeling that I was on the start line. -Did you feel like you could make it as a professional? K: That wasn't the case. After all, no matter if 3000 tapes were sold or the people attending the lives increased, I didn't have the money anyway. Of course, there was some profit, but there was more money being spent. So, my anxiety/insecurity may had been bit.  Like  "Can I do it in these conditions?". -You were still working part-time as usual? K: Of course. Because when I joined, I was like “As we are going on a tour now, how much should I prepare for many days”. There were many talks about money. It was a band only could play  a certain number of lives . I think we played lives about one-third of the year. Even so, I feel hopeless as I didn’t make money working and writing songs. I couldn't afford to think about the future at all. It's the same for the other members, and  I felt like "I wonder if this will end someday." There were many people who said "I might not be able to play for a while”. - By the way, how did you feel as a guitarist at that time? In terms of style and playing. K: It was just like playing with a heavy sound and shaking your head (laughs). The guitar solo….it's about playing a little phrase. I'm not very interested in it now or in the past. -Are you not interested in guitar solo? K: No, I like listening to them. But I don't really want to play them myself…..it’s like, when a solo is being played I don’t feel like “Hey, I want to copy this!”…. More than that, I like when the high-volume sounds get muted (laughs). The feeling is better when I’m playing the riff like *makes the beat sounds* -I'd like to ask you about bands you liked besides X at that time. Around that time, you started listening to NIN INCH NAILS and other overseas bands. K: That's right. I also liked The Smashing Pumpkins and I went to see their live performances. Around that time, I started listening more to foreign bands than Japanese bands. From Japan, I usually listened to LADIES ROOM and Extasy Records bands (Japanese label formed in April 1986 by Yoshiki). -Was COLOR among these bands (You listened to)? K: COLOR is also included. Once around that time, I got invited  by a roadie of a band that was in Free-will but I thought “Free-will is scary” (laughs). I've heard rumours about TOMMY (DYNAMITE TOMMY / COLOR vocalist, founder of Free-will, DIR EN GREY’s label). He is a senpai originally from my hometown. I've never met him there, but I heard a lot about him (laughs). Later, I got to know about COLOR, and I knew that was TOMMY in the band. - And La: Sadie ’s would be over in less than a year. K: That's right. I talked with each member like "What should we do next?" When we realized, it was like the four of us like “Do you want to do a band the four of us together?”. “The feeling of "let's go as far as we can go" Maybe this was the biggest chance we would have. That was the kind of thing I talked with the members. At that moment, we prepared ourselves for the worst.” -Was it like “going with the flow”? K: We weren’t friends like everyone would go drinking together or so, it’s a relationship more like neither too close to nor too distant since that time. There were invitations from other people (bands) to join them, but at that time there wasn’t a band like us, fierce and distant. I think it was a bit like “Let’s do it together” because there wasn’t any other place. There was no other band that I wanted to play music together. From our point of view, there were some questions like “Should the band be more intense/fierce?” and also, that it must be a visually interesting band. - From there, DIR EN GREY started. K: I think we talked about how me wanted to make a band more expansive than La:Sadie’s. But the fierce part was more extreme. Perhaps it was because I was thinking of becoming a band that no one had ever seen, and that made me feel like "we are  definitely doing it!" -Was TOMMY involved since the beginning? K: TOMMY will appear later. But it seems that he has his eyes on us since La:Sadie’s.  At that time, TOMMY was already in charge of bands and took care of them but at that time the chance didn’t come out. But when we were going to disband….. I was told this later but it seems that TOMMY said “I’m going to get a hold of every band that these five people do (laughs)” -By the way, how was your first encounter with TOMMY? K: The person who took care of us at that time said, "TOMMY wants to meet you." "What’s that? Did we do something wrong?" (Laughs).  That’s why I was nervously waiting at TOMMY’s apartment. Speaking of him, I had this image of him wearing a floral coat, a gauze shirt, leather pants  and long boots, and when he came out wearing leather pants and long boots I was like “Wow! It’s true!” (laughs) -That's scary (laughs). K: So when I told him “Thank you so much for inviting me”,  he told me “Keep doing your best”….I was like “Eh?”. I just met him for a while, I didn’t understand at all why did he invite me. He just told me “Take care on your way home”. After that, I came out of Tokyo, and when I started a band here, I already wrote about it in the “Ongaku to hito” series but, it was decided that we recorded immediately. -At a mobile home? K: We made the songs there. We recorded and played lives in Tokyo. Then, we had more and more chances to talk and discuss with TOMMY about the details of the live performances. The next moment, it was decided that we enter  Free-will. -The situation changed since that moment. K: That's right. Under these circumstances I could concentrate on playing in a band and from that time on, producers gradually started to do their part…..Talking about a major debut become something more solid, so we were getting to go  as far as we could. For the next lives, it's was like going up the stairs, step by step. Until then, I was just rushing with the flow, but I started thinking about variations of the songs, the venues for the lives became bigger, so we thought about stage development….. I started to write songs considering the singles, like “let’s make a song like this”. - At that time, did you have any dreams or goals that you all shared as a band? K: (A goal/dream) shared with the members .. .. maybe there wasn’t anything concrete. We were trying our best to keep up with the situation. I personally wanted to make an album. -Something like “We’ll play at Budokan!”? K: I don't think there was. Of course, I thought it would be great if I could play there, but more than that, the members were excited about things like "What about the PV of the next song?" . -You talked about playing a live at Budokan before your debut, but was there anything that you feel couldn’t keep up with because of how fast  things were going? K: I was worried. It was like “Is it ok,can we do this?”, But when DIR started I prepared myself for the worst, it was like “let’s go as far as we can go”. After all, when we were told to come to Tokyo after the band started, I was thinking, “Let’s do this without rushing”. La: Sadie's was just hectic, “Shouldn’t it be better to solidify the base here before going to Tokyo?”, “But maybe this is the biggest chance we are going to have?”, that was what we talked about. “If we don’t go to Tokyo this time, there might not be another chance anymore”. I talked with the members if we should prepare ourselves for any circumstance  and accept it or not. And we decided to do it. -Like, don't miss your biggest chance. K: Yes. Also, at that, we weren’t competing against other bands, as there was almost no relationship or interaction with other bands. There was this feeling that everything that wasn’t us was an enemy. It might feel like “We are not going to lose to any other guys, we are going ahead”. - So, the band made their major debut, but in less than a year you were back indie. How did you feel at this time? K: TOMMY suggested to do what we could do from that moment on. To be honest, at first I couldn’t keep up with that idea. I was like “Why did we come this far?”. -It’s natural to feel like that. K: So TOMMY asked me, "Would you like to do a band where an old man, president of the record company,  tell you to make a song like this?". So when I said “No, I don’t want to do that”, he said “Then, to do what we want to do, let’s protect ourselves”. That’s why while I said “That’s right” I was wondering if we could do this alone. But if we had done it as a major, the band might not have been like it is now. Maybe it would be more commercial, a band that didn’t make songs as a main thing.  That’s why  at that time I was grateful to TOMMY and I don't think he was wrong. - It was  hard to get into the  several hardships  of doing a band from that moment, wasn’t it? K: That's right. It's still the case now, but to tell the truth, I didn’t really have the consciousness of playing music. The feeling of "doing a band" was stronger than the sound. Even if things were hard, it felt like "We are a band". At some point, I wonder if we were chasing a longing/aspiration somewhere. But from that moment on, I think I started thinking, "Let's make a band where we can express ourselves, something that only we can do." -Was the band activity difficult after that? K: It was hard (laughs). From that time on, it was really hard to write songs, I couldn’t make songs anyway.  As I always say, I’m not the type of person that can immediately shape the sound that comes out. I’ll play what I’ve made while thinking “Is this really good?”.  If my guitar skills were better, it might had been possible to shape it in a cool way, but it wasn’t the case. It seems that you can't compete with your own guitar. That’s why I couldn’t intertwined everything, the rhythm, riffs, and melody in a cool way. -In other words, you have to make a song while imagining the whole result. K: But isn’t that the most uncertain part?  Don’t you do it without knowing what each member is going to play? Perhaps, the biggest thing is that I'm not confident in myself. It’s like I came to this point only with heavy work (laughs) - Well then, you've made many albums with that. K: Right? (laughs) But….. I think I can only make it that way. -What was the first album that made you think "I was able to do it!" K: After all…..it's "MACABRE" (released in 2000). I felt like "I made it!" Before this one, "GAUZE" (released in 1999) contained 5 singles, so I had a strong sense of filling the gaps, but "MACABRE" has a strong sense of creating one album. Also, from that point on, not only the songs but also the consciousness of the sounds changed. The sound became very hard. -Have you ever thought about leaving the band? K:…….. Yes. Yes, there are always moments like that. But it’s  not like "let's quit" but more like "want to escape". Even now, I often feel like giving up while writing songs, I feel like "I can't do it anymore". -Still, what keeps you in the band is…. K: It’s a strange way to say it, but it’s like while I’m thinking about that, there is a part of me saying, “Will you do it?”. There is another me. This one always says "Please do your best!" and the other is like "Yes, I'll do it" (laughs). In other words, everything is up to you. Another self inspires the part of  me who is about to give up. It's like that. -What do you think about bands that have disbanded? K: I think it's a waste. It’s like “Why are you quitting?”. I haven't quit, so I don't know how I would feel about quitting.So, if I quit the band, it would really end there. “Let’s do a comeback”, but after all, it’s over. So, no matter how hard I think it is, I don't want to say, "It’s over".  Because it’s like "If you say it's over, it's all over". -Now, I asked you to look back on your half-life as a bandman so far. What about the future? K: That's right.  It’s like…. There are times I think it's not interesting anymore. It’s not interesting so I’m like "I think I can explore more" and things like that, but I get back on the rails before I knew it.  It’s like “If you don’t do it with all your heart, in the end it’s going to be a band that is just active”. The more you continue, the more troubles you will have. Constantly I'm thinking about what if we can’t go ahead, but we also value our own personality, that's why you just can't do the same thing.  -I feel like you are always looking for something. K: I always think about "something more". I get worried because it doesn't come out though. But the fact that the band can still do it, it’s is there. If I think “Well, someday”,  I think I’d be lost. -At this point, the members are making moves with solo activities. K: After all, there are things they can’t do with DIR EN GREY, so I think they are doing it elsewhere. So, when I think about it, in my case, there's nothing I can't do with DIR EN GREY. After all,  even if it is just once, before I die I have to try to make my own album, but what I want to do now can be done with DIR EN GREY. Of course, I also want to know my limits and possibilities, so I'd like to try making a work by myself someday. It's a personal goal. -You could say that this book is the first result of your solo work. K: Yes. It’s a strange way of saying it, but it feels good the first thing I put out by myself was a  book. It’s like really relaxing…..you can do it without putting too much effort.  Of course, this is the first time I've made a book, so I wonder if I should just put what I want to do into it. If this were a about making one album, I would think about various things like "I'm doing this song with DIR, I'm sorry". I don't have that kind of annoyance, and I can do what I want to do within myself. Also,  (expressing myself) in words like this……it's a bit exaggerated to say it in this way, but I think I had a lot of things I wanted to convey in words. I also realized that.

[singlecrow]

Let's start with "regulation". That term includes, but is slightly broader than, legislation. I would call it the situation that arises where either a legislature or other public body imposes rules on an industry that it can enforce, either by imposing penalties for noncompliance or severely disincentivising noncompliance.

In the UK and in other Commonwealth nations, there are certain things a legislature cannot do because they are unconstitutional, and similar things that a public authority can't do because they're irrational. ("Irrationality"= - basically unconstitutionality writ small.) One of these things is to act counter to the rule of law.

But let's say I don't know any of that and I make a law that says you can't make advertising that shames people, or tries to make you buy the advertised product out of guilt. I can try and do that.

But what do I write? What does that mean? Don't use that mooncup because you're killing the planet? Okay, not that. How about, don't use that mooncup because climate change gets worse when you do? Is that shaming, or is it less extreme than "kills the planet" so it's ok? What if half the focus group feels guilt-tripped by the wording and the other doesn't? Does it have to be serious, about the climate? What about, don't eat that you'll make your mother sad? Is it worse if it's your dead mother?

What about advertising for children? Should that subject to different standards because they understand guilt and shame in a simpler way? What about other languages and their conventions? What if I advertise in the UK in English, Welsh and Gaelic, and the same translated slogan reads like a guilt-trip in one but not the others? Do I have to change that one or does the existence of the other two mean the law should be construed differently in my case? How do I know, when I sit down to prepare my advertising copy, what I'm allowed to say and do? Who gets to set the standard about a thing like "shame" or "guilt" and is it consistent with democratic norms to do so? Advertising can be banned for advertising specific products like sugar and cigarettes, and it can be banned for being untrue, but we know what both of those things mean in and of themselves. We don't have to undertake a separate assessment.

And the thing is: it doesn't matter how important your objective is. If it isn't possible to say easily, simply, clearly what it is that is prohibited, than you can't impose a penalty for noncompliance. If you're a public authority doing that, you're being irrational; if you're a legislature, you're being unconstitutional. (There are, of course, many exceptions, but those are known to the law; i.e. have substantial history of specific jurisprudence around them.) Because this is what they normally call the rule of law - that it should be publicly understood and apply to all people in the same way. If we start regulating things that can't be objectively determined, we fall away from that.

That's the reason not to make regulations like this; mostly, that you can't. And the reason this is good for us all is because it flows directly from living in a democratic polity, where there can be no arbitrary or unfettered use of power. That sort of thing happens small as well as big, and everything big starts small.

Look, the list of things I would want regulated in advertising is very long, and this doesn't even get near the top, but I do think you shouldn't be allowed to shame people into buying your product

Doubly so if it's a necessity, not a luxury

Like, "our moon cups create less waste than other menstrual products" is fine, but fucking "look at the number of tampons and pads that end up in landfill, isn't it terrible? don't you want to stop killing the earth with your period?" has no place in a paid advert

Like, if you're an activist blogger who wants to use that kind of language for free, fine. I'll think you're a twat, but fine. But a fucking company should not be paying money to shame people into buying their product...

[jurakan]

I started a new job this week! May I have a celebratory fun fact?

Hm. Alright how about this:

Isaac Newton! 17th century scientist, worked out tons of science on gravity and physics (yay!), also often considered to be the one who invented calculus (boo!). He studied and/or made massive leaps forward in physics, astronomy, invention, language, heat, economics, chemistry, mathematics--there is a reason he's considered the guy who ushered in the Enlightenment and the Age of Reason.

Today You Learned: the dude was also crazy into alchemy.

[Wikipedia has an article titled "Isaac Newton's occult studies" but it seems to me that perhaps 'occult' is too strong a word, especially since a lot of that stuff seemed to be an extension of his devout Christian beliefs. But YMMV on that.]

Basically, like the alchemists and natural philosophers of yore, Newton saw nature as a puzzle to be solved, a mystery that could be understood by the learned alchemists. You have to understand: contrary to what you were probably taught on the subject, alchemy actually paved the way for a lot of modern science, and back in the day different kinds of knowledge were all viewed as being connected. So Isaac probably looked at alchemy and saw what was then-modern science as just an extension of that knowledge, more advanced understanding of what alchemists were already hitting upon. Now I don't know that the man ever tried to make the Philosopher's Stone or anything, but he most definitely read up on the subject, along with other alchemical ideas and concepts.

Newton took a LOT of notes on this stuff, and even included alchemical drawings and imagery in his books. He copied down quotes from alchemists into his own writings.

This wasn't exactly widely known in his own day. Alchemists were starting to widely be seen as sketchy, the sorts of who swindle monarchs for money while pulling fast tricks. This attitude wasn't completely new, by the way--Leonardo da Vinci rants about how alchemists are swindlers and liars too (in a quote that Dan Brown tries to claim is about the Catholic Church because he's a fool). But it had become LAW in England that certain alchemical practices were now illegal, so while Newton didn't actually break the law, he probably didn't think it wise to advertise this stuff.

Also, apparently he was considered a weirdo? He didn't hang out with a lot of people and those that knew him thought he was strange. Newton had at least one recorded breakdown, had a horrible temper, and kept to himself a lot. He doesn't seem like a bad guy but not the sort who had a lot of close friends, and if he did he probably wouldn't share this stuff with him.

After buying some of his stuff at an auction and finding all this weird stuff, famous English economist John Maynard Keyes said: “Newton was not the first of the age of reason; he was the last of the magicians.”

Newton's interest in alchemy is also the basis of the Age of Unreason book series by Gregory Keyes, in which instead of physics and mathematics, it's Newton's alchemical pursuits that yield fruit and the world undergoes a revolution rather than a pure scientific one.

[saizoswifey]

Hello, I hope you're doing well, wifey. I have a question that's been bothering me if you don't mind answering! What's your take on the practice of taking commissions for fanfiction? I've seen people get aggressive enough to threaten to report any fanfic writers who advertise/take commissions. And while I'm aware it goes against the ToS for many companies (but then so does creating fanwork under copyright law smh) I also feel like it's a very slippery slope, seeing how the majority of our fanartists widely rely on fanart commissions alone to support themselves and I feel singling out and judging fanfic authors with far more derision is very hypocritical.

I would really like to hear your thoughts on this, if you do decide to answer. Thank you!

Hello, anon! I am doing well, hope you are too! 

First of all, people get weirdly aggressive when they see fanfic writers opening commissions and I can not, for the life of me, reason as to why this is. Other than the fact that they think writing is a ‘lesser’ craft (compared to digital/traditional art in fandom). Which is bullshit. 

And if you are someone who subscribes for an artist's patreon, has ever paid for an art icon of your favorite character, likes and reblogs fan art etc etc and you attack a writer for opening up commissions you should really take a good look in the mirror. 

I not only think it's acceptable for a writer to take commissions, I actually encourage it. For a few reasons. 

You deserve to be paid for your hard work. Writing is difficult and takes a lot of time. Time you could be spending doing other things. If you are at a point where you’re taking requests often and rearranging your day, losing sleep, in order to fulfill them--it’s time to get paid for your work. 

Taking commissions will make your writing better. If you plan on taking your writing into the professional field at any point, commission work will help you see what it’s like to work with deadlines and crunches as well as taking someone else’s concepts and creating something with it. Even if you don’t plan to move into the professional field, these are all still great skills to have. It can also shed light on areas you’re weak in so you can work on them. Whether that’s certain tropes or genres, or whether your time management needs work. Commissions will help show you things you didn’t even know about your own writing. 

All fanworks are technically against copyright, yes. But fanfiction for the most part does have a safety blanket of ‘fair use’ which allows us to create works with characters as long as it’s transformative and not using any direct quotes from source material etc. The reason why so many people are still creating fanworks is that most of these companies really don’t give a shit. These big statements are an umbrella to cover their ass. They don’t care about someone writing fanfic commissions here and there. They don’t care about someone doing 12 $5 art icons of the characters for some followers. 

What they DO care about is someone making thousands selling a line of sweaters with the characters, or someone plagiarizing the work and putting it out as their own, or selling a book that’s a word for word a copy of the game/media. Stuff like that. They know they can’t stop every single person from creating, and I don’t think they want to. What they want to protect themselves against are people abusing the system.

Here is a take you can read originally here that I really think will help people understand what I mean:

“Think of it like this: You're having a wedding and you hire a band. You pay them to turn up and play your favorite songs because it's YOUR wedding and you want to hear the songs YOU love.

That band isn't breaking the law by playing covers. Nobody's going to refuse to go and see Ed Sheeran because you can just individually pay a cover artist to play Ed Sheeran songs instead.

And it's the same thing with individual commissions for fanfic. Intellectual property laws are there to stop plagiarists from co-opting the income streams of original content creators. For this to have any kind of impact on that creator, it needs to be widespread and easily distributed. Getting paid to write a fanfic for someone else's personal enjoyment doesn't impact the original author's income stream in the slightest.”

If you are hesitant in any way that a particular game or company may not allow you to do a commission, email them. I’ve done it and most of the time they say they don’t care, esp if it is a person-to-person exchange for PERSONAL use and you’re not ripping off the media and trying to sell an ebook out of it or something. Or they may say sure that’s fine as long as the profits are under X$ amount. 

[iwanthermidnightz]

What Swift is doing might seem more like an attempt to win her longstanding battle against Braun than a calculated business move. But according to several industry veterans who spoke with VICE, if Swift pulls this off, she stands to make an unthinkable amount of money—and decimate the value of her old recordings in the process.

You'd think Swift's contract with Big Machine might prevent her from re-recording her old music, but she can legally do so for two reasons, according to Dina LaPolt, an entertainment attorney who represents Steven Tyler, 21 Savage, and several other high-profile artists. Firstly, while Shamrock Capital owns the master rights to Swift's first six albums—or in other words, the sound recordings on those albums—Swift owns the publishing rights. (Because she wrote her own songs, she retains the rights to the lyrics, melodies, and compositions that comprise them, and she doesn't have to ask permission from or pay anyone to use them how she sees fit.) Secondly, the "re-recording restriction" in her contract with Big Machine—a standard part of any record deal, which long prohibited her from recording new versions of the songs she released through the label—has reportedly expired. When Swift releases new versions of her old songs, she'll own both their master rights and their publishing rights, earning every penny they bring in and securing unilateral control over how they're used.

She's almost inevitably going to yield that power to license her music to advertising agencies and film and TV studios, according to Guillermo Page, a former record label executive who's worked for BMG, EMI, Sony, and Universal, and who now teaches in the University of Miami's music business program. To license (or "synchronize") a song, you need permission from the record company who owns it and the songwriter who wrote it. Swift has always said no to licensing offers on the grounds that they would profit Braun—but now that she's cut him out of the equation, she can strike those deals herself, and take home 100 percent of the profits they reap.

"She has all the leverage, and all the control," Page said. "Even if the current owners of the old catalog want to do some type of deal for synchronization, without her approval as a songwriter, they wouldn't be able to do it. By recording the masters herself, it opens the door for her to do those deals directly."

In all likelihood, Swift's collaboration with Match.com, which used her re-recorded version of "Love Story" in its latest ad campaign, wasn't a one-off; it was the first of countless licensing deals Swift is going to make with her re-recorded music. According to LaPolt, Swift will easily be able to convince companies to come to her when they want to license her masters instead of paying Shamrock Capital for them.

"I have some clients who have re-recorded their big hits," LaPolt said. "We have management companies that are very, very savvy in this area, and they went out to all the music supervisors at all the film and TV companies. These companies all know to come to the management company and license the re-records, because it'll be a lot cheaper, and the artist wants that."

Ad agencies and film studios interested in Swift's music will want to use her as a one-stop shop: By going to her directly, they can secure a license to both the publishing and master rights to her music in one fell swoop, as opposed to licensing the publishing rights from Swift and the master rights from Shamrock. Additionally, according to Tonya Butler, a former label executive and the current chair of Berklee's music business program, Swift will probably cut her licensees a deal.

"If she knows how much the record companies are charging, she's going to undercut them at every opportunity," Butler said. "Record companies are notoriously much more expensive than the publisher would be. It's much easier—and cheaper—to license from one party that controls both sides."

Butler raised the possibility that Shamrock may try to turn the tables on Swift: Instead of allowing her to undercut them, they could opt to license her songs at cost, making it cheaper to acquire them from the private equity firm. But because Swift controls her publishing rights, she could ostensibly revoke a company's clearance to use her music if they try to work with Shamrock. In the battle over synchronization, Swift seems guaranteed to come out on top. But Butler cautioned that Shamrock may already have a strategy in place for that.

"Just because we don't know what's up their sleeve doesn't mean that there's nothing there," Butler said. "We've known that she's wanted to re-record since 2019. [If you're Shamrock Capital], you don't spend that kind of money without having some kind of plan."

Swift stands to rake in hundreds of thousands (if not millions) of dollars through licensing deals—but when it comes to streaming revenues, Shamrock may have the upper hand. When the average listener wants to hear a Taylor Swift song, they'll generally opt for the old version as opposed to the new, especially if Swift's re-recordings sound significantly different than her original masters, according to Page. (It's worth noting that Swift recently said her re-recorded music will contain "plenty of surprises.")

"One of the things that you will find when artists re-record their songs is that they want to change certain things," Page said. "When they do that, they don't realize that they are changing a masterpiece—they're changing a song that is already known in a certain way. The moment you change it, it's not the same song. And that is a risk that she's taking."

Even if Swift tries to replicate her old recordings note for note, she might not be able to do so flawlessly, Page said. She was 16 when her self-titled debut came out; at 30, her voice doesn't sound the same as it did back then. Additionally, producers have changed the way they record music, and the technology they use has evolved.

"She can try to drive consumption by letting her fans know that the new versions are there, but that will be applicable for only the most hardcore fans," Page said. "The reality is that she will be competing against herself on all of those platforms. And it will be very difficult, because the other songs are already out there, sitting in thousands and thousands of playlists, on all the different platforms and services."

There's a chance that Swift could try to either sweet-talk or strong-arm DSPs like Spotify and Apple Music into prioritizing her re-recorded music on their platforms. Imagine, for instance, that Swift wants Spotify to remove the original master recording of one of her songs from a popular playlist, and replace it with her re-recorded version. She could threaten to withhold her new recordings from Spotify altogether—along with all of her future releases—if they don't oblige. But according to Butler, a streaming service like Spotify would probably balk at that.

"I cannot see Spotify switching out those songs," Butler said. "Shamrock could sue. If I have a license with you and we both agree that for however many years, you are going to distribute my music on your platform, and then somebody else comes along and you replace my music with theirs, then you have breached your agreement with me. That would be a huge mess."

Assuming DSPs like Spotify stay out of the fray, the odds are that most listeners will continue to stream Swift's original recordings instead of her new ones. Then again, her fanbase is fiercely loyal; there's a chance her re-recordings wind up dwarfing the old versions. Ultimately, it doesn't really matter: Because she's still entitled to royalty payments on her old recordings, Swift makes money either way. She can't lose.

Considering how foolproof, how lucrative, and how simple Swift's ploy to own her masters seems to be, you have to wonder if other artists might mimic it. So many musicians have spoken out about being infuriated that they don't own their masters, and have fought—almost always unsuccessfully—to reclaim them. If all it takes to win that fight is getting back in the studio and making new versions of their old songs, why can't every artist do it?

The answer, in short: because they're not Taylor Swift.

"You have to have what Taylor Swift has, which is an enormous audience and an enormous brand," Butler said. "It's working for her because she's got all the pieces of the puzzle. If you don't have that social media voice, if you don't have that brand, if you don't have her money, if you don't have all of the things that she has, it may not work for you."

Butler said she has no doubt that other artists will try to follow in Swift's footsteps, only for many to find something standing in the way. If they didn't write their own songs—or even if they wrote part, but not all of them—they won't have the legal right to re-record them. If they're not wealthy enough, they won't be able to cover the high cost of recording, especially not in a way that produces a carbon copy of their old music. If they haven't cultivated a rabidly devoted fanbase, they won't be able to convince people to stream their re-recordings instead of the original versions. Still, Butler said, many artists are going to try to replicate what Swift is doing—and record labels know it.

"The first thing that's going to happen is label contracts are going to change," Butler said. "They're going to try to set it up to where this cannot happen to this extent."

The way major labels would do that, according to LaPolt, is by making re-recording restrictions more stringent. As it stands, an artist is typically prohibited from re-recording music they make for a label for three to seven years after it's released. Going forward, labels could try to bump up the term of that restriction to 20 or 30 years, if not extend it in perpetuity. It's almost a given that they'll try, LaPolt said.

"Every time there is an amazing thing that an artist does to get out of their deal, or get their IP back, [record companies] come up with some dastardly, ugly thing to make sure that doesn't happen again," LaPolt said. "I can tell you right now, we would fight tooth and nail against that."

In some ways, what Swift is doing seems like a turning point for the music industry, one that could inspire an untold number of artists to take control of their master rights and irrevocably reshape the way record contracts are written. It's possible that we'll look back on this moment as a major landmark. What's more likely, however, is that it will prove to be nothing more than yet another shrewd move by a pop star who's risen to the top of her field by making so many of them, creating opportunities for herself that almost none of her peers are wealthy, successful, or cunning enough to secure.

"Is this a watershed, where everybody starts doing it—no way," Butler said. "I don't think that the majority of artists will be able to pull it off to the extent that Taylor Swift has. Is this a unicorn? No. But it's a horse with, like, five legs."

[robustcornhusk]

okay no, now i get to complain about the overall book.

i get the sense that each chapter was written separately from the others; the most egregious being the chapter Non-Dairy Dairy, which was literally a previously-published article with a few paragraphs added... but also like.

Why, though, has [Lappé's] Diet for a Small Planet been updated and re-released for its fifth, tenth, twentieth and now fiftieth anniversary editions instead of Dick Gregory's Natural Diet for Folks Who Eat? Why has the concept of "white veganism" had such a strong cultural hold?

[the cover for the new fiftieth anniversary edition of Natural Diet for Folks Who Eat is a really nice piece of design, imo. to be clear the author knows about the fiftieth anniversary edition of the book, too, just it's sorta besides the main point of the quote]

and then, at the very end:

The future is possible, as has been imagined by the hippies at The Farm, by Frances Lappé, by punks and anarchists, by vegans and vegetarians, by fighters for food justice.

what, did you forget? you were arguing that it was an influential book in its own right, and you forgot about it?

i went to take a look at Natural Diet for Folks Who Eat and, well.

maybe the nutritional claims made aren't going to hold up to modern knowledge.

---

weirdly, the author's own blog has much better writing (re structure, having a point, etc) than their book, at least in the handful of posts i looked at. i also understand that they have/had a podcast, and i would speculate that the process/prep/editing/etc for that could have influenced their writing style in a way that's fine for shorter pieces and fucking sucks for longer pieces, but i haven't listened and don't plan to.

[tangent: cynically, i wonder if the reason that more podcasts don't have transcripts is that they just look fucking awful in transcripts. in the ones i've read, there's a lot of superfluous-in-writing language, phatic bits, etc.]

they do have a post about beans. for whatever reason they didn't stick it in the book as well. it reads a little too much like an advertisement for a certain brand.

For big food personalities, using beans from companies like Rancho Gordo is a mark of pride that is loudly proclaimed in a way meat or other foodstuff origins are not [...] One company that’s trying to make beans cool but not too cool is Primary Beans. [...] Because while smaller-batch beans have become cool in culinary circles as a rarefied product, that’s not the demographic Sykes [the fonder] wants to appeal to: She just wants dried beans of high quality to be more accessible to anyone looking to bring new beans into their diet, and has some standard guidelines for sourcing. (At $7 to $11 per pound, depending on the bean, they of course are still fielding complaints [)...]

... so the same price as rancho gordo and similar. it comes across to me as credulous, like they're just believing the marketing.

My pantry is packed with nice Primary Beans (because they sent me some; they don’t yet ship to Puerto Rico)

so it was paid (in product).

---

from a review of the book in the atlantic:

One of the pleasures of reading this book is that it prompts us to think about nature’s variety and abundance, and about how that abundance can show up on our plates.

did i miss a chapter or something? is my copy of the book 25 pages shorter where the author actually talks about some good fucking food?

---

re lionfish, i wanted to link to the wikipedia page for perverse incentives.

okay, fine, i'm reading No Meat Required.

What is compelling about making the default decision? Nothing, at least not to me. [...]

i worry that the blurb is going to be accurate to the spirit of the book but at least it's short!

[helenarlett-rex]

Time for an annoyed author to make a little rant...

So I have a certain client who keeps commissioning me to write stories for them. A lot of the stories are not what I would normally write. This client has a highly specific fetish and I’m not very good at it. Not saying it’s a bad fetish or anything, just that it’s outside my realm of experience so I don’t know what I’m actually doing. (I was literally born without the ability to experience the particular thing theses stories center around. Picture asking a blind man to describe color... That’s not what’s going on here because I’m obviously not blind, but it’s a fair analogy of what I’m being asked to do.) But I value anyone who is willing to hire me and pays me well, and the client is a very nice and understanding person, so I don’t want to say anything bad about them. But there is one thing that kind of bugs me. And it’s the fact that this client wants the stories I write for them to remain private. That’s fine and all. They are paying for the work so they are entitled to have it kept private if that is what they want. But they are literally the only person I’ve written for who ask for this. Everyone else I’ve written commissions for love having their stories posted on my eka’s gallery. And that’s really great for my advertising too. Because then other people can read it and be like, wow, I can get a story like this commissioned? And it brings in more business for me. Just like when you see artwork from someone and you like how it looks so then you want to commission that person to make artwork for you as well. But with written story commissions I feel like having the ability to publicly post those stories is even more important than it is with artwork. Because, yeah, they can read any of my non-commission stories and see what my work is like, but with the commissions it also allows others to see my ability to write from instructions instead of just writing whatever I want to write. It shows my ability to work with characters that aren’t my own and stories and situations that aren’t my usual style. (I don’t know... Maybe that is the same with art, but either way I feel like it’s still important for people to see that.)

Still... the client comes first so if they don’t want that work shown to anyone, then I won’t do it. But it’s still annoying, especially when 90% of my commissions tend to come from that one client. Every time I make a post saying, hey, commissions are open, I generally only end up with like, one commission (if I’m lucky) that I can actually post publicly and the rest of the slots all end up going to that one person who wants them private. I’m really worried about the kind of image that is giving other perspective buyers. There are all these people on this website I use who follow me, so they all see it every time I make a post about commissions being open, and then they will maybe see one commission following that at most. Sometimes they don’t see any commissions follow such posts. And I’m really worried about how that must look... Do people see that and start to think that the reason I don’t post any commissions after opening up commissions is because no one will commission me? Do they start to think that maybe no one will commission me because I’m not good at working with commissions? Everyone seems to love my work, but maybe they see my lack of posted commissions and think that I’m no good at finishing stories that I’m not personally interested in writing. Or maybe I’m a pain in the ass to work with and so no one who had commissioned me in the past will ever commission me again... Meanwhile I’m sitting over here like, I really am taking in a lot of commissions, I promise... It’s just that every time I open up for them this one person buys up all the slots right away and won’t let me show anything I write for them...

This is really annoying. Especially when I work really hard to produce quality work for this person even when I’m having to write about something I can’t physically experience myself. Like, seriously... The rest of y’all have five senses. I was only born with four. But I’ve still been able to take the one I don’t have and turn it into something (that I’m told at least is) sexy. That feels like quite an accomplishment to me and wouldn’t it be great if I could share that so other potential buyers could see what I can do? Instead I have a whole folder full of stories that I’ve spent days and weeks crafting that no one will ever see outside of that one person.

And you know what I’ve noticed... I’ve noticed that every time I open up commissions I get less and less inquiries about it. I never have to worry about not being able to make money because that one person is always there to buy up any untaken slots, but less people in general ask about commissioning me. I’ve reached the point where I never have to turn anyone down because all the slots are full. And that seems like a bad thing... That tells me the lack of proven work from commissions really is starting to have a negative affect other people’s opinion when it comes to hiring me. I mean, I’m grateful for this client always being there to pay me for personal stories every time I’m in need of some quick cash... But what if one day that happens and for whatever reason that client isn’t there anymore? What if I’m in a bind and I open up commissions to help pay for some immediate expense and no one is willing to hire me because, “Every time she opens up commissions she never gets any. Her work is really good so if people won’t hire her there must be some kind of serious problem with working with her.”

I just delivered a commission to this client yesterday and it was one I was extra proud of. The client asked for a female character to interact with his OC in the story and gave me no details about what he wanted for the character other than the species. So I was left to create a character all on my own. And I really liked this character I created. I also really liked a certain scenario that I wrote with the character. I’m sitting there thinking, Oh god... I may be Ace but this is fucking hot... I liked it so much that I was like, I’ve got to find a way to post this.

So I asked my client if I could post it if I swapped his character out for a different character and changed the ending and a lot of other things (Because the ending I originally wrote that had me so turned on ended up being something my client didn’t want and I had to write something else.) So basically I wanted to write a totally different story, the story I actually wanted to write, about this character I created, which would have been very different from the one I delivered to the client. I asked him if he would be okay with that, since I would end up copying and pasting the text from that one scene to make it... And he says he guesses he’s okay with that, but I would also have to change the species of the girl in the story because, and I quote, “Peeps will know it's me. I've com'd that exact scenario recently like 12x”

First of all, I’m like, what...? You’ve commissioned 12 different people for twelve different versions of the same story...? Wow, umm... okay... Whatever floats your boat... But then it dawns on me that I’m wanting to write a story about a character I created and own, and just used in your commission because you didn’t give me any details for the female part, and you’re telling me I have to change her species if I want to write it... First of all... this is my character... You just borrowed her... and secondly... nothing about the scenario I wrote and want to share even works if she is a different species...

So honestly, I’m understandably upset... First I’m losing business in the long run because this client won’t allow me to share their commissions... something literally everyone else does... And now I’m being told that I can’t even used my own character in a particular scenario because I’ve already used it once for them. As far as I know, no one can own a scenario... a situation... That would be like Bozo the Clown telling the Three Stooges they can’t hit anyone in the face with a pie because he owns that. Or me telling everyone they have to get around in wheelchairs now because I wrote about a character walking so I own walking now and I’m not willing to share it. It doesn’t work like that... And to tell me that I can’t use my own character in said scenario... This client has requested other characters of mine in stories as well... Next am I going to be told I can’t use Molly the Mouse in any more of my Miss Smalls stories because they have requested her in two of their commissions before?

I’m wondering if I should just change my commission policies and refuse to offer private stories anymore. But at the same time, I do kind of rely on the money I make from this client a bit more than I would like to, and I’m worried that if I stop offering that, and he stops commissioning me, that I won’t be able to get by on commissions anymore. Like the damage is already done... I just don’t know what to do...

[docholligay]

SM rewrite: any of haruka's first times meeting the inners

EPisode 92! 1960 words, I hope you enjoy, I AM HAVING FUN TODAY

“He’s SO HOT, Mina.” 

Usagi was off on yet another one of her larks, talking about some guy she’d seen at the arcade. She’d thought, at first, that she was talking about Motoki, who Mina took to be her current obsession who was not Mamoru of the moment, but maybe that had been several moments ago. It was hard to tell with Usagi. 

People always took her and Usagi to be alike, and if that gave Mina the benefit of being underestimated, that was fine with her. And it was true, that they both liked attractive people, in a way, but Mina was more of a freelancer, moving from this flower to that like a brilliant butterfly with no particular link to any one person, while Usagi fell in love with every man she ever met. 

That too. Usagi was still under the impression that she was straight, and the delusion might yet follow her all the way to the wedding altar. That, in particular, was none of Mina’s business, who had realized since the age of 12 that attractive was attractive in her eyes, which became the fact that a bedroom was a bedroom, as she got older, and what it might say on someone’s driver’s license or facebook held little notice for her when it was time to go home. 

Dating, on the other hand--well, she wasn’t bold enough to tell Usagi to never date a man, if she had other options, not while she was still enamored of Mamoru, but she certainly thought it hard enough. Mina had learned that lesson quickly. Men were like riding a roller coaster, exhilarating and fun, for a quick ride, but eventually you just get sick. 

Usagi had not yet learned this, and it was in this that Minako allowed her to keep your youthful naivete. She had time yet to learn. 

“His name is HARUKA,” she swung her bag around, “I heard the cashier say it. Isn’t that dreamy?” 

Mina chuckled, “It’s one of the most popular names in Japan, Usagi. I go to school with like, 4 Harukas.” 

“Well, it seems different on him!” She gave a little scowl and a stomp of her foot, but then smiled brightly and whipped around, “Come to the arcade with me and see him!” She narrowed her eyes playfully, “We can compete to see who he’ll fall in love with.” 

This was the point at which Rei would have chimed in that Usaig had a boyfriend, if she had denied to leave off from her shrine duties and hang out with them after school, but she hadn’t, and Mina didn’t see why something like a boyfriend should get in the way of a good time. 

“Amazing. I hope you like losing.” Mina cackled as she swanned toward The Crown. She hadn’t been in a while, not for any particular reason, other than she was doing a bunch of back work for a hostess club, which she hoped would hire her as a hostess the absolute second she turned 18. Unfortunately, they were too above-board to hire her for anything at the front right now. It was less than a year. She’d live. 

Usagi rushed into the Crown, ever with the perfect idea of how to act casual, and gazed immediately over to the racing game in the corner, hand under her chin as she leaned against an old copy of Pacman. 

“There he is!!!” she stage whispered, hissing as she grabbed Mina’s hand. 

She sighed and turned to tell Usagi that he was going to hear them, but he didn’t look over even at all, and Mina’s brow twitched as she noticed it. His hearing must not be anything to write home about. He was wearing a blazer over the top of a sweater, over the top of a collared shirt, which seemed a bit like overkill to Mina, but hey, maybe he was cold. 

MIna walked over to him, Usagi half-tiptoeing behind in a way that Haruka would find either cute or incredibly unsettling, and based on that, Mina would change her strategy. It was all a sort of chess game, flirting and seduction, and with men maybe it wasn’t even chess. Checkers, or something.

“Hi!” Usagi popped up, “Good afternoon! We saw that you were playing alone here, and were wondering, you know!” 

Mina looped her arm across the back of the car seat, and leaned against it. “Care for a friendly game?” 

Haruka ruffled his hair, and looked up at her, and Mina nearly burst out laughing. She hadn’t noticed, with the bulkiness of the blazer and other entrappings, and she hadn’t looked hard enough when she’d been standing with Usagi, but looking now, there was no mistake. Haruka wasn’t a man at all. Oh, she was tall, and gangly, and even given the sweater probably fairly flat-chested, but there was the unmistakable fullness of her lip, the softness of her brow, the way she looked at Usagi and Mina. Mina was a bit of an expert, in these matters. 

She looked over to Usagi. No reason not to let this play out. Why not, she’d earned some fun. Maybe Usagi would have a moment of realization--Mina doubted she’d ever seen a butch lesbian outside of Takarazuka, and those women were made up to the high heavens, more drag than the genuine article. 

So she smiled. 

“Just a race or two.” 

Usagi started to stammer, and step in front of her, but Mina dodged it effortlessly. Why have one bit of fun, when she could have two? Besides, Usagi may have been wrong about Haruka being a boy, but she wasn’t wrong about a certain quality of rough handsomeness that she carried, that sort of young, gentlemanly way, with a touch of insecurity, that Mina sometimes found very winning about the younger butch set. She could have a worse time. 

“Sure,” Haruka smiled, and nodded, then added, “I always like to play with a pretty girl.” 

Her voice was deep, but not overly so, and Mina found the feminine lilt at the end of her sentences quite charming. She rather liked butches, when it came down to it. They had a habit of picking up the charming parts of masculinity while letting the rest rot where it belonged. 

MIna slid in next to her. She smelled good, like sandalwood and maybe a touch of motor oil, which Mina wouldn’t have thought would be charming. Usagi was salivating as they put their coins into the slot, but she stood and watched Mina. She’d played this game plenty of times, and beaten Usagi at it nearly every time, save when Motoki accidentally spilled a drink on her in the middle of a race. This wouldn’t be too hard, but she would be careful not to humiliate Haruka, and maybe even let her win in the last stretch--

She looked over to the map. Haruka was already out in front, her car on full manual and effortlessly gliding through it, swinging the wheel and tapping on the brake and gas at perfect intervals. 

Minako, for a moment, became just a little enraged. She hadn’t even wanted to win before this moment, but for her to be beaten so easily, by whatever putz of a nerd was too old to be hanging out in an arcade but clearly WAS hanging out in an arcade, on an afternoon, and didn’t she have a job or college or something to go to? 

She slammed down on the gas, trying desperately to catch up, to make a better showin, but Haruka just kept going and going, hitting checkpoints without a second thought, not even the slightest amount of wrinkle to her forehead. 

Besides all that, Usagi was laughing and clapping her hands like the damn fool she was. 

Mina tried to weave around the fake traffic in her way, but ended up broadsiding a bus full of fake schoolchildren, and she imagined their fake screams echoing her own as the Game Over flashed across the screen. She quite forgot her seduction, in the moment, as she slapped the middle of the steering wheel and laid her head down on it. 

“I can’t believe I lost that bad!” 

Haruka chuckled, “No, you actually did pretty good.” 

Mina straightened up, smoothed her hair, and tried to regain herself. 

“Sorry, it’s just,” she giggled, “I get so competitive. The uh….heat of the moment, you know what I mean?” 

Haruka looked at her with a slightly confused sideways grin. “Sure.” 

“Oh but I am sorry, Haruka, mother was forever at lunch, sometimes I swear she asks for things only to see the human limit of what a waiter will bear before smoke begins to run from his ears. It was never my intention to keep you waiting.” 

“Oh, that’s okay.” 

Mina saw Game Over flash across the screen a second time as Haruka looked at the woman who had just entered. 

She was unquestionably beautiful, with a delicately rounded face that suggested a touch of foreignness at the eyes, eyes in green or blue but also somehow both, shifting a bit as the tides. Her hair was elegantly curled to her shoulders, and her carriage was straight and practiced, a show dog out for the afternoon with all the regular mutts. She wore a finely tailored blouse of silk with a demurely pleated skirt, round toe leather on that fit her perfectly on her feet, a bag at her side that was the sort of designer you wore if you were too polished for garishness of advertising that you wore designer. The whole of her felt wrong in the crown, like placing Italian marble in a kid’s playplace, and she smelled of rose and jasmine. 

But none of that was what stopped Mina in her tracks, no, wealth and polish was not enough to frighten her off. It was the look Haruka gave her, that wide-eyed gaze like a tourist standing in front of some great masterwork, and the softness with which she had responded. Mina didn’t know if they were together, or if they weren’t but she knew one thing for sure: 

Haruka was desperately smitten. She could have competed with Usagi for stupid in love, at that point. She and Usagi were getting nowhere with this one. 

Haruka rose to her feet, taking her bag and tossing it over her shoulder in one motion. MIchiru turned to leave the arcade, and Haruka gave a nod back to Usagi. 

“Hey, uh, you with the buns,” She smiled and tossed her hair, “We should play next time.” 

Usagi’s eyes damn near became hearts, but Mina just gave a half-hearted wave and a nod. There were fights you could win, and fights you couldn’t win, and Minako Aino didn’t ever throw effort straight into a fire. She had more of a sense of self-preservation than that. 

Haruka turned to walk next to her companion, who gave her the smallest closed-mouth smile. 

“Well, aren’t we making friends so quickly today?” 

Haruka chuckled. “You jealous or something?” She looked at the woman with what Mina noted was a mix of hope and fear. 

“Oh, terribly.” she answered. This woman knew exactly what Mina knew.

Haruka shook her head, unable to keep up the ruse. “They’re high school girls,” she shrugged, “ They seem like such little kids. But they’re cute, right?” 

“As kittens.” Noted the elegant woman, as they breezed out the door. 

There was a pause for a moment as even Motoki stood beside them to watch them leave, the perfume still hanging in the air as if the entire place were surrounded by petals. Usagi put her hands on her hips. 

“Is it just me, or were they both ridiculously good-looking?”

[lesbeet]

how have you learned more about prose? i’ve mostly written poetry but i’m falling into prose poetry, creative nonfiction, and fiction a lot more now

another anon sent this:

“hey! i know this is a pretty big question so no pressure to respond ofc but ive been trying to get better at editing, especially with nanowrimo this year, and seeing you talk about it with LE's book, i was just wondering if you had any tips for strengthening your editing? thanks either way”

so i’m just gonna answer them together if that’s cool!

-

i have several books i’m gonna recommend first, and if you can access them i would absolutely suggest starting there:

first is the anatomy of story by john truby (here’s a pdf copy, but i would recommend a hard copy if possible, mostly for formatting reasons). this is much less about writing prose and much more about....well, the anatomy of a story. i’m not exaggerating when i say this book completely revolutionized the way i look at storytelling and macro-level story organization. i’ve always been able to hold my own when it came to making a sentence sound nice, but for a long time i had very little concept of story mechanics from a writer’s perspective, rather than from a reader’s perspective—you need both to write a good story. i could honestly wax poetic about this book all day so i’ll move on for now, but for real if you want more info just ask bc i’d love to discuss it further

next is the first five pages: a writer’s guide to staying out of the rejection pile by noah lukeman. unfortunately i don’t have a digital copy to link, but i’m pretty sure i found this one at half-price books for a very reasonable price. i would say i knew about half of what this book had to offer prior to reading, but what i learned from the rest has been incredibly helpful with my prose writing ever since. some of it was just that it was my first exposure to seeing someone explicitly write out certain concepts (for example, there’s a whole bit on adverbs that goes far beyond stephen king’s useless “i believe the road to hell is paved with adverbs” quote that doesn’t actually explain WHY they’re largely ineffective, and i’ve cut down my use of them dramatically since then. not here obviously slkfjksjsd but in my actual writing that i go back and edit), but i read through it again sometime early on during quarantine and i still highly recommend it. there are some fantastic examples he uses to demonstrate his points, and there are also writing/editing exercises at the end of each chapter that are pretty great

the last book i’ll recommend is self-editing for fiction writers: how to edit yourself into print by renni brown and dave king (again i don’t have a digital copy but i either read it through my library or through scribd, bc i remember reading it on my phone and screenshotting a whole bunch of stuff). i think i actually wrote some posts a while back when i was reading this one; i’ve only read it once so i don’t know it as well as the first two books i recommended, but i remember being impressed with it because it touched on concepts that i really hadn’t seen elsewhere, even after spending hours upon hours combing through writing advice blogs/websites that mostly recycled the same handful of truisms. if i’m remembering correctly, this one also has some great exercises to try out

-

as far as prose writing, i think the most helpful tip i can give you (aside from “use every word you read as a learning experience”) is to remember that above all, writing is communication. every single word you use or omit carries its own denotations and connotations, and context is everything. analyze and over-analyze both your own work and the work of others until you find that you're able to recognize and understand why certain things were written the way they were written (particularly for something like a novel or even an advertisement, where the words have been heavily edited, rather than like. an email or something). what was the writer attempting to communicate or achieve? were they successful? what worked effectively? what didn't, and how might it have been changed to make it more effective? most importantly, how do you know these things? (in other words, it's not enough to be able to identify what needs changing, or even what the/a solution would be. you need to know WHY it needs changing, and why those possible changes make it more effective. i try to do this for my clients when editing; i've found that explaining my suggestions/changes results in far less pushback than when they think i just changed it bc i didn't like how it sounded originally or something lol). knowing the intention of a piece of writing is also crucial--sometimes a sentence that works perfectly in one context would be nonsensical in another.

but in addition to analyzing for effectiveness, analyze for taste! make note of certain writers or books or sentences or lines of poetry that stand out to you, either because you hate them or because you love them (the latter is more useful imo). you'll probably start to see patterns. try to figure out what it is about that prose that you find so compelling. is it vivid imagery? unique uses of figurative language? starkness and clarity? (those are some of mine; your own preferences may vary.) chances are that once you've begun to develop your own unique voice as a writer, these qualities that you admire will show up, with your own personal flavor, in your writing. likewise, once you can identify exactly what it is in someone else's writing that doesn't work for you, the better you'll be able to avoid it in your own writing.

above all, practice. practice active reading, practice analyzing, practice writing, practice analyzing your own writing.

-

ik some of that is vague advice, but it seemed like you were asking how to learn, rather than for specific tips. i can share some of those too if you'd like, just shoot me another ask :)

most of what's here is applicable to both asks, about editing and about prose writing in particular. structure is a whole separate beast (but is definitely relevant to learning how to be a better editor) but i'd be happy to discuss that further as well.

i really hope this is helpful! i'm always always open to answer more questions :)

[takonei]

Beta AU - Main story, Chapter 6, Investigation (Part 3)

Note of the author: jfc this investigation is long. But that’s to expect from chapter 6. Also: Updated the warning list. Please check before reading.

Also I apologize for the terrible formatting at a certain point in the chapter. Tumblr is a bitch. If it really bothers you, I suggest reading on AO3.

Chapter 6: My killing game, our killing game

...

Miu and Shuichi stared at each other.

"So... What is even left to investigate in this room?" Shuichi looked around.

The wall with Motherkuma was covered, Kokichi and Kirumi were taking care of the computer, and all that was left was, well, a kitchen. A simple trashcan, a fridge, and several cupboards.

Miu shrugged. "Well, I would hate myself if some clues were hidden in this section and we ignored them because we said 'who would hide major clues in the fridge?', if you know what I mean."

She started making her way there. Shuichi blinked, a bit confused by her statement. Who would even hide evidence in a fridge?!

But perhaps she was right. He could try to look up in those strange places.

He opened a cupboard to see packs of coffee and different types of food: Almonds, dry nuts, and other non-sugary snacks. Whoever owned this place clearly didn't have a sweet tooth.

"Why the hell are there hard drugs in the fridge??"

Shuichi immediately turned around to see Miu holding what looked like a blister of tablets. "What do you mean 'hard drugs'?!"

She looked just as confused. "I don't know, there are dozens of them in the fridge, that's the last thing I expected to see here."

He approached the fridge to see what she was talking about. And true to her words, dozens of blisters were placed there. He could only stare wide-eyed at the questionable sight.

Miu sighed. "I am seriously wondering what the hell is going on in the mastermind's head."

"For now let's just... Put it back where it was." Shuichi said.

Obtained truth bullet! Drugs in the fridge

He closed the fridge, then turned back to his friend.

Miu shook her head. "Anyway, let's just- let's just investigate somewhere else!"

It was clear she was asking herself as many questions as him.

Why would the mastermind need drugs…?

Shuichi eyed the trashcan on the side. It was ridiculous, but judging by what they found in the fridge, he wouldn't be surprised if something important was in there.

He lifted and shook the bin to empty it on the ground. And just as he thought, two items fell off. It was... a book and a USB key?

The book was heavy and old-looking, although that aspect looked like it was done on purpose. It didn't have anything written on the cover nor on the back, but instead, he could feel his eyes staring at the odd and mysterious decorations on the front. If anything, it looked like a dark magic grimoire.

He opened it and saw the title on the first page.

"'Necronomicon'...?"

Shuichi flipped through the pages. He felt his heart skip a beat when he saw a resurrection ritual being mentioned, but his hopes were cut short when he noticed that all the pages had tacky doodles of Monokuma everywhere. It was very hard to take this book seriously, and it probably didn't have any real value. No wonder it was thrown in a trashcan.

But where did it come from? That was another mystery...

He set the book down and took the USB key. Black and white with Monokuma's signature eye on it. But on a closer look, it didn't seem to be a USB key. Perhaps another storage system that didn't fit a normal computer.

Whatever these were for, they had a reason to be here. And he would have to find it.

Obtained truth bullet! Book and key

He took them both to show them to Miu. Perhaps she will know more about their uses than him.

"Hey... Did you find anything yet?" he asked.

The blonde woman closed the cupboard she was searching in. "Nope. What are these?" she pointed at the two objects.

He handed the book to her.

"I found them in the trashcan. It looks like Monokuma wrote the book, but... I don't really get it. What is it even for?"

Miu inspected the cover and back of the book. She opened it and looked at the inside cover.

"... I've seen this pattern before. I don't know where, but I've seen it."

Shuichi raised an eyebrow and his friend showed him.

However, it was a simple abstract mix of black and dark grey hues. There wasn't anything concrete, just monochrome splashes.

"Are you sure that's not just... a random pattern?"

"Hey! Don't doubt my-

She abruptly stopped herself. Shuichi felt guilty seeing her fierce expression deteriorate into sorrow. "Nevermind... Maybe I'm hallucinating as you say."

Miu gave back the book. "As for the key, I don't have a clue. Never seen anything like that before."

He glanced away. It wasn't his intention to make her doubt her abilities as an artist, but he did. But before he could apologize, she walked away to the next cupboard to inspect, clearly wanting this conversation to end.

… Perhaps he should do the same.

After putting the book and the key on the table next to the sink, the blue-eyed teen opened the next cupboard.

But just as he tried to reach inside, something heavy fell from the top of the shelf directly on his head. He heard the object hitting the ground as he rubbed the spot.

Of course, he would get karma for that with Kokichi a few meters away from him.

But what had hit him?

He looked on the ground to see a... hacking gun?

Shuichi inspected it. It was remarkably similar to the ones Ryoma had created, if not the same. But this one was painted differently and had started accumulating dust. It was black and white, and the symbol on the side was Monokuma's red eye instead of Ryoma's sigil.

With the dust, it looked like it was created before the actual hacking guns, but Ryoma hadn't built this one for sure.

Upon turning it on, his eyes widened as he looked at the number of shots left in the gun.

49.

It had been used once before, but... By whom?

Obtained truth bullet! Hacking gun

Shuichi set the gun on the table and sighed.

None of these ‘clues’ led to anything other than more questions. It was frustrating.

He turned to Miu, perhaps she would-

...

She was staring at a document with an unreadable expression on her face.

"Miu...?"

Her eyes shot up to his, and he instantly felt a chill down his spine.

She was filled with pure terror.

She swallowed and walked up to him, clenching the paper tightly.

"Shuichi, what the hell is this?!"

The blonde shoved the paper in his face.

He stumbled on his feet and took the paper, confused.

...

What...

What the hell was this?!

"Saihara... family contract...?"

Miu was silent as he was reading, the dread slowly settling on his face.

It was a contract between his family and an organization known as ‘Team Danganronpa’ to finance and advertise a killing game with himself as the ‘protagonist’.

"Did you or did you not sign that shit?!"

Her voice became louder, and his heart started racing in his chest.

"I-I don't remember any of this! I've never seen this paper in my life!!"

"Then whose signature is at the bottom?!"

...

He froze.

His gaze drifted right next to the scarlet red stamp that had the form of Monokuma's eye, on the three signatures written in dark blue ink.

Respectively his father, his mother... and himself.

He felt his throat tighten at the sight of his own handwriting.

Shuichi Saihara.

His hands were trembling as he kept staring at the paper.

Shuichi Saihara.

It was the truth, wasn't it?

His family was responsible for the killing game.

He was responsible for the killing game.

…

Everything became white noise. He could feel his senses leaving him.

All he could see was his own handwriting. Blue stains from a past he could not remember, taunting him endlessly. All he could hear were muffled voices clashing together, drowned in a constant dissonant ringing that didn’t want to stop. All he could feel between his fingers was the paper stained with his own mistakes, now wet with the warm, fat tears he didn't even feel falling.

...

What...

What had he done?

What kind of monster was he?!

The noise became louder and louder, until...

Shuichi felt the paper being taken from his hands, and everything instantly became clearer in his mind.

He raised his head to look at Kokichi and Kirumi, who had joined them supposedly because of the ruckus. The latter was reading the paper with an unreadable expression.

Her intense green eyes suddenly met his. The cold wave was another hit to the chest.

There was a long silence in the room.

"This is your signature, isn't it?"

Unable to mutter a word, he closed his eyes, breaking the painful eye contact. "... It is."

For some reason, he couldn't feel her judgmental gaze on him. What was she thinking about?

They had all the reasons to hate him, and he deserved it. He agreed to make them suffer, to let them die and decay miserably, away from their loved ones.

Rantaro's words kept playing in his head.

He may not remember it, but the evidence was here. He did sign this. He agreed to let them rot.

And he doesn't even remember it.

"I'm... I'm sorry I... I don’t…"

The three pairs of eyes were surely locked on him, but the words never came out of their mouths.

...

"Kirumi... What do you think of all of this?"

He couldn't bear looking at her.

"... Something about this contract doesn’t sit right with me."

Shuichi felt his heart skip a bit.

"I do not know what, though.” She brushed the paper with her fingers.

“I do not think this is the original but rather a copy. However, correct me if I’m wrong, Miu…” Kirumi gave the paper to the other girl. “… But the writing does give me the impression that this was not edited in any way.”

“I don't have any reason to think that this contract was faked, but... It's too easy."

He heard Kokichi shifting his feet to turn to her. "What do you mean?"

"Miu, you find this in a cupboard of all places." she said. "Not a safe, not in a drawer, but a cupboard anyone could open, in the middle of glasses and plates. Why would a contract that important be here, and not in a secured place, or at least a real drawer?"

Shuichi lifted his head.

"From what I remember, I have spent countless hours in mansions either stealing important documents, taking care of evidence that could expose me as the culprit, and sometimes placing fake evidence to incriminate another maid or worker."

"And never have I ever found a document that important in a cupboard nor have I ever placed fake evidence here."

Miu seemed to ponder for a moment. "And... What do you think that means?"

She sighed. "To me, there are no logical explanations. The mastermind is just making a fool out of us."

The blonde's eyes widened. "You're the one who said this thing couldn't have been faked! It has to come from somewhere!"

"It's… exactly like the Sanzu garden."

The three turned to Kokichi.

"Kiyo... He had made his plan because the mastermind knew Tsumugi's attitude was suspicious to him! They manipulated the academy for days to separate us! Maybe they're doing the same here to throw us off!"

Shuichi's eyes widened. "You... You think so? But-

"You might be right. That's the most plausible theory in my eyes." Kirumi interrupted him.

"With the proof that our memories could have been altered, I decided to only trust the memories we made in this killing game, and nothing else."

"And perhaps you guys should do too."

"So you think... Shuichi doesn't have anything to do with the creation of the killing game?" Miu hesitantly asked.

...

Silence.

"Maybe, maybe not. Because our memories may have been altered doesn't ultimately prove his innocence. This contract looks real, after all." she said.

"But Kokichi is right. Letting our emotions get the best of us would be our greatest mistake, and that's exactly what the mastermind wants right now."

His other two friends nodded in understanding.

... But for some reason, he couldn't bring himself to feel relieved by her words.

After all, he might be more of a monster than he remembers.

And that terrified him.

Obtained truth bullet! Saihara family contract

Shuichi still had trouble looking at any of his friends.

"Should we... go back to the computer?" Kokichi broke the silence.

"Of course."

Miu, Kokichi, and Kirumi started walking towards the engine. But Shuichi still had a word to say.

"Kirumi..." he muttered.

She stopped in her tracks.

"Why did you defend me?"

The young woman said nothing, then side-eyed him.

“First of all, learn when it is appropriate to start conflicts between us.”

He winced at the remark.

"I don't know what you did before we all met. I don't know why you supposedly agreed to finance this killing game.”

“You could even be faking your emotions and try to create unnecessary conflicts to make sure we don’t find enough hints to end this killing game for all I know."

"You may have signed this contract, but I could be worse than you in every way imaginable, rotten to the core and deserving hell more than anyone else on this wretched planet. I remember being a mercenary, I might as well be the devil."

"To blame you for everything that happened to me, knowing there is a possibility that I am a monster viler and more vicious than you could ever be... would make me a hypocrite."

Shuichi pondered to himself, eyes low.

"Kirumi! You coming?" Miu's voice took them out of their thoughts.

"I'm here."

The sound of her heels resonated in his ears. He followed them, and his eyes landed on the computer screen.

The long-haired girl started typing again. "I don't know what I can do at this point. As I said, I'm not an expert hack-

Kirumi was interrupted by a sudden explosion that blew up the door that was right next to them, scattering debris and... burned books?

He had forgotten about the door leading to the library. And standing there, a cannon pointed at the room, was Monoshi.

"SECRET-ENTRANCE-UNLOCKED: LIBRARY. NO-SECRET-ENTRANCES-REMAINING."

The modified bear left as suddenly as he came, leaving a gaping hole replacing the sealed door between the two rooms.

"Guys! Look!"

Shuichi suddenly turned to Miu.

"We finally got access to the computer!"

Kirumi raised an eyebrow, clearly confused. "How...? I didn't even enter anything."

Shuichi hummed. "Maybe... Karma did the job?"

"Whatever happened, it worked. We shouldn't waste time wondering about that right now." Miu scanned the screen with her eyes.

There were several applications and files, it was hard to choose what to click first.

"Look, there's a file called 'flashback light list', maybe we should start with that?" Shuichi suggested.

Miu clicked on the file.

Sixteen files, all named with... Two letters.

"Okay... What are we choosing first?" the blue-eyed teen asked.

"The first, duh."

The blonde clicked on the file named "AY".

Anterior_AY.cmr Chapter_2_AY.cmr Chapter_3_AY.cmr Chapter_4_AY.cmr Chapter_5_AY.cmr Character_AY.ccr Motive_05_AY.ccr Motive_05_END_AY.cmr Talent_AY.cpr

Miu frowned. "... I have several questions."

"The ‘character’ file matches what we saw in the flashback lights guide." Kirumi noted.

"But what about the 'chapter' ones?" Shuichi asked.

Kokichi blinked. "I don't even know what I'm looking at."

He couldn’t deny things were very confusing, whether they knew what was in the guide or not.

"Maybe we should check the others...?" the other boy suggested.

Miu went back and clicked on the second file: "GG". It was the exact same list, with the 'AY' replaced by 'GG' except...

The 'Motive_05' files were missing.

"Could you go back for a second, Miu?" Kirumi frowned.

The girl did as told.

The other stared at the screen for a moment. "... Those are our initials. Each of those files is about us."

Shuichi's eyes widened. But just as she said, he noticed the file named 'SS'. And indeed, the list was about them.

AY, GG, HY, KA, KM, KT, KO, KS, MH, MI, RA, RH, SS, TC, TI and TS.

Miu immediately clicked on her file. It had all the same files as the others, without the 'Motive_05' ones.

"What the hell...?" she muttered.

They checked each of the files to spot the differences.

Angie had the 'Motive_05_AY.ccr' and the 'Motive_05_END_AY.cmr' files.

Ryoma had 'Motive_05_RH.ccr' and 'Motive_05_END_HR.cmr'.

Tsumugi had 'Motive_05_TS.cmr' and 'Motive_05_END_TS.cmr'.

However...

Kokichi was missing the 'Talent' file.

Shuichi was missing the 'Character' file.

Kirumi was missing the 'Anterior' file.

And Tatsuya was missing those exact three files.

Shuichi swallowed. Should he be happy that he didn't have a 'character' file? Should he be mad? Worried?

He didn't know.

All those files were the same for everyone, except the initials at the end of each of them, unique to each participant.

But Kirumi, Kokichi and Tatsuya... Why were they missing files?

Especially Tatsuya. He would understand if he was a robot like they all thought until tonight, but Tatsuya was a human just like them before being transferred into K1-B0.

...

When were those flashback lights even created?

Obtained truth bullet! Flashback light list

Miu turned to the others- those with the missing files.

"I don't get it... I know I should be mad that I have those flashback light files but what about you guys? Why are you missing some of those files?"

Shuichi nervously looked away. "I wish I knew..."

Kokichi was still staring at the screen. "I think we skipped a file..."

Miu froze. "I-I don't know what you're talking about?"

She was clearly lying.

Shuichi scanned the screen, until...

"... It's Rantaro's file, isn't it?"

Her shoulders dropped, her hands clenching into fists.

"I... I don't know what it's gonna be and I'm scared."

Kirumi crossed her arms. "Unfortunately, he could be like us, missing a file. We have to know if there is a difference.”

She swallowed and clicked.

And indeed, his file was different. But not in the way they expected.

Anterior_RA.cmr Chapter_2_RA.cmr Chapter_3_RA.cmr Chapter_4_RA.cmr Chapter_5_RA.cmr Character_RA.ccr EmergencyTherapyRantaro.ccr Talent_RA.cpr

Shuichi's eyes widened.

What the hell was this new file?!

Miu jumped from her seat. "Emergency therapy...?"

She didn't think and immediately clicked on the odd file to open it. But...

... An error message popped up, indicating that the file was corrupted and thus impossible to recover.

They stared at it, defeated. They didn't even do anything, but it still felt like they failed at keeping one person safe.

Seeing a file named 'Emergency Therapy' exclusively for Rantaro corrupted and beyond repair gave him a sick feeling in his stomach.

If there was one file that they had needed, it was this one. And yet, it was completely ruined.

This message reeked irony, and Shuichi hated it.

Obtained truth bullet! Corrupted file

Miu slammed her hands on the table. "Why?! This isn't fucking fair! Why is this file even here if it's just to stand there and taunt us?!"

...

No response.

Indeed, why did this file even exist? Why would the mastermind even create this?

The more they searched through this room, the less he understood their intentions. It was getting harder and harder to look at the hints and clues that were ‘offered’ to them.

But was there really something to understand?

The mastermind was a monster. Someone who would make them suffer for their own amusement no matter what. But...

'The 'mastermind' is only a pawn in the greater scheme that this killing game is.'

If they were merely a pawn, then how disgusting were the people above them...?

... This was terrifying to think about.

Kirumi leaned forward and closed the error window. At least they wouldn't have to look at it anymore.

The girl next to her stared at the file's name. She seemed to ponder to herself.

"Hey, is it me or..." she trailed off. "... Nevermind."

She closed the tab. No one wanted to see those files anymore- this grotesque mockery of their despair.

Shuichi couldn't find the courage to look at the screen anymore.

Kokichi broke the silence. "Was this icon here before?"

He pointed at a logo that looked like Monokuma's eye. Titled 'FLIBD - SRD subjects'.

Kirumi frowned. "No... It definitely wasn't there."

Miu got the message and clicked on it.

What appeared before them looked like an information sheet. A picture of a young girl their age, and some data about her.

She had incredibly beautiful traits, the bright blue eyes of a doll, and voluminous blond hair attached in two pigtails. She wore a thin black necklace that contrasted a lot with her fair skin.

But something caught his attention. His heart skipped a beat when his eyes landed on the hairpins.

Two Monokuma heads, one fully white on the left and one fully black on the right.

"W-Who the hell is she?!"

"She's wearing Monokuma like a fucking trophy. Whoever she is, I already don't trust her." Miu hissed.

Only an ally of Monokuma would wear such a gross accessory.

"Her name is Junko Enoshima, according to the info on the profile." Kirumi noted.

Junko Enoshima...

He has never heard this name before in his life.

At least, from what he remembers.

Was she part of those behind the killing game as a whole?

Obtained truth bullet! Junko Enoshima

They decided to look into the written details about her.

Junko Enoshima - #01-006 Ultimate analytical prowess - Type primary: O Type secondary: M Intensity: A- High Beginning: / Conflict status: Tame Keyword: Despair Status: Dead - 6M - 1/26

"Wait, she's dead?" Miu raised an eyebrow.

"Apparently so." Kirumi said. "Although I do not know what the '6M' means."

Shuichi neither. But what did those 'types' even mean? And all the other info given here?

"Wait, look at the keyword!" Kokichi said. "Isn't Monokuma always babbling about despair?"

"So you do think she has some kind of relationship with Monokuma, right?" Shuichi asked.

"She has Monokuma hairpins, so there's no questioning that." Miu turned to her friends. "She does give me the impression that she’s like… The creator or something."

The creator of Monokuma...?

"But she's dead! Does that mean the mastermind was her, but she was actually dead all along?" Shuichi exclaimed.

"I don't think the mastermind is dead. Someone has to take care of Monokuma and the killing game somehow." Kirumi pondered. "Though I don't deny she must have a connection with him."

Shuichi stared at the screen. "Wait, there's a '1/26' at the bottom of the screen... Are there other people like her?"

Miu span around to face the screen. "That's what we'll find out."

She tapped the right arrow on the keyboard, and another information sheet appeared. But the person on the screen looked... Completely unrelated.

It was a boy this time. His face gave Shuichi chills. He looked like he was a ghost. Messy hair white as snow with weak scarlet ends, and skin almost as pale as a corpse. His grey eyes looked empty, devoid of life. He seemed to be wearing a green hoodie, but he could only guess. However...

... He did not wear a single accessory related to Monokuma.

Nagito Komaeda - #02-028 Ultimate lucky student - Type primary: O Type secondary: / Intensity: A- High Beginning: / Conflict status: Tame Keyword: Hope Status: Dead - 5V/S – Terminated - 2/26

"Dead too?!" Miu yelled. "Are all of these people dead?!"

"This one indicates 'terminated'. That was not on the first one." Kirumi pointed out.

Whatever that meant, it was not a good sign.

"But look... The keyword..." Kokichi said.

Hope.

The exact opposite of Junko Enoshima.

"Do they or do they not work for Monokuma?" Miu raised an eyebrow. "It's confusing as hell."

"I don't think we were right when we assumed this was a list of those who worked for the game." Kirumi explained. "This is something else. The icon said 'subjects' with two acronyms. But if we don't know what the acronyms mean, we are not going to get far."

Subjects...?

It sounded like an experiment. This was... worrying, to say the least.

"So what? Do we look at the other info sheets to see what is actually going on?" Miu suggested.

"We can only try."

And so, they did. Each of those info sheets contained the same kind of info, although the parameters changed.

There didn't seem to be a pattern in the talents- they were at random, from art, to knowledge, and sometimes even murder related. Ultimate vocalist, assassin, poet, anthropologist, psychiatrist… How many ultimate students even existed in the world?

The ‘types’ changed letters. Some had both primary and secondary filled, some had only the primary.

The intensity part was generally either low or moderate. Sometimes it was marked as 'high', but only on rare occasions. The letter 'A' also seemed to have turned to an 'N' around the 5th person.

But he also noticed that for some, unlike the two first, the 'beginning' part was filled. Sometimes it was a person's death, a day, a random event, and sometimes... A trial? They did wonder if other ultimates had been in a killing game just like them.

The fact that they were probably not the first victims made Shuichi want to puke.

They then noted that the 'beginning' part was only filled for those with the letter N in the ‘intensity’ part.

The 'conflict status' part was completely random, with no apparent pattern. This was probably the part he understood the less.

On the keyword part was often noted notions or concepts, but he had seen a name or two on these info sheets.

As the status...

All dead.

Not a single one was noted 'alive'. One or two had the 'terminated' note, but all of them were dead, for some reason or another.

It was painful to look at, even though none of them recognized any of the people in the pictures, or even the names.

On the 25th info sheet, Miu clicked on the keyboard to see the last person, and...

It was like time had stopped.

They recognized this face all too well.

Messy green hair, an intense emerald gaze powerful enough to petrify someone, and young, slightly feminine traits on a male teenager they had all known as...

"R-Rantaro...?" Miu muttered, her voice shaking.

This was him. There was no doubt about it. But... Why...?

Rantaro Amami - #53-844 Ultimate medic - Type primary: T Type secondary: P Intensity: N- High Beginning: Tsumugi Shirogane's death ~ Ch4 trial ~ Night 16 Conflict status: Very aggressive Keyword: Save Status: Dead - 5E - 26/26

"W-What does Rantaro have to do with these people?!" Kokichi exclaimed with his feeble voice.

Kirumi approached the screen and narrowed her eyes at the picture that was in front of them. "As much as I hate to say this, we will probably get a better understanding of this list with him there."

Unfortunately, she was right.

However, something immediately bugged him. "Hey, is it me or are those '53' everywhere? This is the third time in a row I've seen the number written.”

Kokichi turned to him. "Wasn't it also written on Keebo's plans?"

Shuichi's eyes widened. "It was! I don't get what it means, though."

"Can we talk about like, everything else?" Miu frowned with a mix of both confusion and annoyance.

Perhaps it was nervousness that made him focus on the less important details. Whatever the reason, he hated it. The rest of the information was much more primordial to their investigation and understanding of the situation, after all.

"'Tsumugi's death’, ‘Ch4 trial’, and a certain night…“ Shuichi muttered to himself, low enough so he wouldn’t be heard by anyone.

He did have an idea of what had happened during that time, but… He didn’t have the courage to say it out loud.

Kirumi was reading the info sheet. She seemed to be focused on trying to get a clue out of this.

“Did you… figure out anything?”

She only narrowed her eyes. “I do have a theory, but it lacks evidence, so I suggest you take what I say with a grain of salt.”

“I do believe this has something to do with his mental state.”

Bingo.

“What do you mean?” Miu raised an eyebrow. “I mean… We all figured out something wasn’t right, but… What does this have to do with that?” she gestured to the info sheet.

Kirumi seemed to be choosing her words, then sighed.

“It’s after Tsumugi’s death that he… started acting strange, to put it lightly. And as much as I tried to talk to him about it during the last few days, it was useless.”

Shuichi felt his heart sting as those moments started invading his mind again. The fourth trial was a nightmare. Four hours of figuring out who had orchestrated Tsumugi’s execution, and a quarter of it was spent deciding if it was Rantaro’s most trusted friend or the beloved therapist who was the culprit.

And the fifth trial… He didn’t even want to think about it.

“Hold on, you knew he was in this state and you didn’t say anything?” Miu frowned.

… He didn’t like where this was going.

“Look, some things happened that you probably don’t want to know. This group was already fragile to begin with. To tell you the truth would have been like smashing an already collapsing vase with a baseball bat.”

“And you just left him alone thinking telling us would have made things worse than they already were?!” she yelled.

“I severely fucked up, I know that already!! Don’t you think I realized by now?!” Kirumi’s voice was growing louder, filled with rage.

Her eyes, bright green, and a glare as powerful as…

Shuichi instinctively took a step back.

“Why didn’t you tell us?!” the other girl stood up. “What did you have to gain by doing your little thing alone on your side?!”

“Miu-“ he approached her.

“Shut it! It’s between me and her!”

“No! I’m just as much at fault for this if not more!”

She stopped. Everyone turned to him.

Oh no.

“You… What?”

He turned away. “I… I knew about this as much as Kirumi. I’m the one who told her in the first place. I tried to investigate with her but… We were never successful. He always turned us away.”

Kirumi looked at him, silently.

“And what’s your excuse? Why did you decide to hide all of this from m- from us?”

He could tell Miu was mad. But her anger was not his biggest concern.

Why was this moment still intact in his mind, replaying itself over and over again?

The cold blade against his throat, steady and ready to slice through it like a vulgar piece of meat.

A gaze… His gaze…

“I-I don’t wanna talk about it.”

“Please.”

He felt his voice cracking at the last word. He probably looked miserable, which was something that happened way too often for his liking.

There was a long, uncomfortable silence. He couldn’t blame Miu for wanting to know, but that was not something he wanted to even think about right now.

Kirumi sighed. “Look, Miu. I know we messed up. You have every right to be mad. But this-“ she vaguely gestured at the group. “-is exactly what I wanted to avoid at a time like this. If you want, you can take a small break while we continue to investigate.”

She shook her head. “No, it’s fine. It’s just… a lot to take in. All of this.”

While he knew she could not even begin to understand how he felt back there, to learn that two of your friends hid such important things about the person you cared about the most…

Miu rubbed her eyes. “I’m fine. Let’s just- let’s just keep going. Sorry for the outburst.”

Kirumi put a hand on her shoulder. “Listen. I might have been too harsh and I’m sorry. When I say take a break, I mean it.”

She lowered her gaze. “… Alright, I’ll- I’ll be right back.”

Miu walked to the back of the room. She needed time for herself, and Shuichi respected that.

Kokichi glanced at them both. He looked like he wanted to ask about what had happened but didn’t dare to.

“It’s… It’s complicated.” Shuichi muttered.

“I wasn’t going to ask… I’m just wondering if you at least talked about it properly to someone.” He replied. “When I talked to Miu, I felt a bit more… refreshed, I don’t know how to explain it.”

Shuichi weakly smiled. “Thanks. I talked a bit to Kirumi about this already, but it- it’s still not something I want to share. At least not now.”

The white-haired boy turned to the picture of Rantaro. “Save…”

An obsession he developed, to the point of ending his own life in some twisted plan.

“I don’t think I will ever understand him…” the boy muttered.

Shuichi swallowed. “Maybe we could have been true friends… If only we met differently, then things would have been better.”

Kirumi had her eyes on him. “… That’s nothing but a distant dream, now.”

She looked at Miu, then back at the computer, deciding to close the haunting file.

They would have to figure out what it all meant, but right now they were drained. Whenever Rantaro was mentioned, things did not end up well.

Obtained truth bullet! Subject list

Shuichi glanced at the ground for a moment. He was the one to start the meaningless investigation, despite himself.

He thought it had been completely useless in the end, since Rantaro ended up achieving his wretched goals, but perhaps... Not all of it was for nothing. There was still more to this, and this list was the proof.

Miu came back to them. “Alright, we done with this file?”

It was obvious she was still shaken.

Kokichi hummed. “We… figured we could go onto something else.”

She went back to the chair and thought for a moment. "… What are we checking next?"

Shuichi approached her to look at what could be useful, pushing his thoughts to the back of his head. "Hey, doesn't this look like a chat device?" he pointed at an icon. "Maybe the mastermind was talking to an ally, or someone they're working with."

The girl cracked her fingers. "Let's see what this bitch was up to."

After clicking the icon, one single conversation appeared on the screen.

"We might need to read all of this, maybe try to scroll up to see where it starts?" Shuichi suggested.

And so she did. Unfortunately, they didn't seem very talkative, and they did not know when those conversations really happened.

But now, they could read actual conversations from the mastermind and their accomplices, and that was more than enough.

Or superiors, if Rantaro was right.

=====

                                                     I request an alternate motive. This is urgent. <

> Which one?

                                                                                                        Number 05. <

> Understood. Please give me the details in a voice call.

                                      (Voice call lasted 19 min 47 sec)

=====

"Alternate motive...?" Kokichi tilted his head. "We were supposed to have another motive at some point?"

Shuichi slammed his hands on the table. "Wait! Motive 05! It's the flashback lights file!"

"The flashback lights for Ryoma, Angie, and Tsumugi only." Kirumi noted.

Miu frowned. "Wait, if this is about the despair disease, why didn’t Kokichi have a file? You had the disease, right?"

He stiffened. "Y-yes? I had the disease!!"

And yet... Nothing was proving it. Neither the files, nor the attitude back then.

"That's... odd, don't you think?" Shuichi raised an eyebrow. "Kokichi did not change attitude and did not have his memories of that period erased..."

The young boy looked panicked, to say the least. "I don't know! But I... I had the disease, Monokuma said it and I know I had it..." he trailed off.

The three looked at each other. After what had just happened with the contract and the file, preying on it would only make things worse.

Instead, Rantaro's words ringed in his head.

'No existing disease infects people that differently.'

And he was right. This was no disease, but instead flashback lights. Which made a lot more sense than whatever explanation the bears came up with.

... And with how much Angie changed because of 'the disease', he started wondering what the flashback lights were truly capable of.

Pure terror, and nothing else. he thought to himself.

Miu scrolled down to look at the next conversation.

=====

The next motive will be an alternate one as well. This is an important demand.<

> I expected that. Which one?

                                                                                                        Number 13. <

> Are you sure? This is not an easy motive to handle.

                                      Yes. I believe it is the best way to continue the game. <

> Understood. Shall we make a voice call for the details?

                                                                                                                    Yes. <

                                    (Voice call lasted 1h 49 min 04 sec)

=====

"Wait, the Sanzu garden was not planned from the start either?" Shuichi raised an eyebrow.

"Forget about that, look at the voice call!" Miu exclaimed. "Two hours of babbling about how to make us suffer?!"

"No, Shuichi is right." Kirumi frowned. "The motive was planned after the despair disease to an extent. This means that the mastermind somehow managed to put all of that into place in a few days at most."

He didn't think about that. "That's... how?!"

"Shuichi, I think at this point we should stop asking 'how is this possible' and more 'what is going on’. This entire bullshit sounds like science fiction, but here we are." Miu sighed.

And she was right, unfortunately. He didn't expect science to be able to transfer a human soul into a robotic body nor to be able to mess with memories in such a way, but he had to accept that this was real.

"Still... They planned and prepared all of this way too quickly..." Kokichi muttered.

If the mastermind worked alone, that would have been impossible. But as Rantaro said, they don't know how many people are behind the scenes.

It was terrifying.

They kept scrolling to see what happened after that.

=====

> This trial was a wonderful success. You have made an excellent job handling this motive.

> Rare are those who can make it work correctly.

                                                                                                         Thank you. <

> However, we will once again need you to keep an eye on someone for tonight. You might already know who I'm talking about.

                                                                                 Yes, I do. And understood. <

=====

"Wonderful success my ass." Miu hissed. "As long as we get hurt, they’re happy. Fucking bastards."

"I think we should talk about the 'Rare are those who can make it work correctly.'" Kirumi noted. "Did other people have to do this in the past?"

That was more of a rhetorical question. This conversation was just blatant proof that...

... This was not the first killing game. And enough of them had the Sanzu garden as a motive for this to be said. How many had to be trapped in those chambers, or were hurt by the countless traps placed to terrorize them?

It was sickening.

"Um... Why are they talking about 'keeping an eye on someone' though?" Kokichi asked. "And 'once again'? Did the mastermind already have to do that?"

"It does seem normal that they are tasked to keep an eye on us, but that message seems to hold more importance." Kirumi said.

But for what, though...? What is so important that the mastermind needed to be reminded to do that?

Whatever the reason, he already hated it.

He glanced at the screen and saw that Miu had scrolled down a bit.

=====

                                                                                We need to talk. Right now. <

> What is it about?

                                                                                         Don't feign ignorance. <

> We are already working on this. You do not need to intervene.

                                                                                                        Understood. <

=====

"What the hell?" Miu raised an eyebrow. "What happened?"

It was odd to see the mastermind be mad at whoever their colleague was. Whatever they did must not have pleased them.

But was it a good or a bad sign?

"It must have happened after the fourth trial, but not on the same day as the other conversation." Kirumi pondered. "Although I doubt this has anything to do with the fifth trial."

He nodded. Judging by how they talked, the chances were low.

But unfortunately, there wasn't much they could deduce from this conversation.

Miu scrolled down and they realized this would be the last conversation the mastermind and their accomplice had.

======

> This entire trial was a full-blown disaster. How did you mess up that badly?

> Do you realize we might have executed Mr. Amami for nothing? We don't even know if he was indeed guilty.

                             I didn't ask for him to be executed, as far as I know. You did. <

 Also, don't act like you didn't want him to die. I do have a part of responsibility <                                                 in this, but do not put 100% of the blame on me.

       There are things and people I simply cannot control, you should know that.<

> You do know executing someone without concrete proof of the crime is not something we can do out of the blue.

> Someone like you shouldn't be in this position. You knew him better than everyone else and there is no excuse for your failure.

  Once again, you are also to blame. I warned you about him. I specifically told <         you he was a force to be reckoned with, someone to never underestimate. 

                                                       Why do you think I chose him of all people? <

> You could have made the job easier for yourself and for us, and you didn't.

     What is done is done. This game will come to an end very soon, and I have <                                                 no choice but to take another route for the finale.

> You know we cannot afford to end the killing game like this.

         It is too late for that. We underestimated him, and we must pay the price. <

 I'll let you handle the preparations. You might need to hurry up, though. I have <                                              a feeling he prepared more than we first expected.

> Understood.

======

The four of them stared at the screen with wide eyes.

Shuichi had his eyes locked on one single sentence.

'I didn't ask for him to be executed.'

Rantaro...

"Rantaro was supposed to live?!" he yelled.

"Hold the fuck up! If the mastermind didn't want him dead, then why was he executed?!" Miu turned back, panicked.

Shuichi paused, then glanced at her. "W-

"He was right."

He suddenly turned to Kirumi.

"Rantaro mentioned Monokuma possibly getting new orders during the trial, when he suddenly turned against him and gave us a very explicit reason to vote for him."

"So that wasn't the mastermind?!" Kokichi exclaimed.

Then... The mastermind was actually not in total control of the trial...?

What on earth had happened back there?!

"So they fucked up, the mastermind wanted to let him go but whoever the fuck was actually behind the scenes wanted him dead?!"

This was almost exactly what Rantaro had predicted.

His foresight was one of the greatest qualities he had, to their dismay.

But...

"Who are we even calling the mastermind if they don't even have full power over the game?!"

"A pawn." Kirumi bluntly said. "The 'mastermind' has a certain amount of power, but they’re at the lowest level of the hierarchy."

He swallowed. "Still... The fact that the one we considered our greatest enemy for so long might be nothing next to whoever was behind them..."

A graveyard silence settled among them.

He couldn't even bring himself to fear the mastermind anymore.

Rantaro had told them. He had told them that there were more people behind this horror, but... He never imagined anything like that.

"But... Look at this..." Kokichi pointed at the screen. "The other person says they can't kill us out of the blue... Are they still bound by the rules? I thought the mastermind was doing this game for them?"

"Then there must be more layers to this." Kirumi crossed her arms. She raised a finger, pointing at nothing in particular, then raised it up as she talked. "The 'mastermind' is at the bottom, then it's the second layer- this person, whatever their role is, and finally someone else at the top, who has given them the instructions and is only watching."

"That's my understanding of the situation."

Shuichi pondered. This looked like a decent explanation.

But still, whoever is at the top...

... What kind of power did they even possess for multiple killing games to be organized?

Miu stared at the screen, still reading the messages. "The mastermind knows Rantaro more than anyone else... What does that mean? Do they know us as well?"

"That does seem logical. They have 'chosen’ Rantaro, whatever that means, so they probably ‘chose’ us as well. Though I don't know how they could know us enough to the point of creating the Sanzu Garden." Kirumi said.

"That doesn't surprise me at this point, to be honest. What I'm worried about is the last message the mastermind sent. They seemed to know Rantaro had prepared something, so Monoshi must have not been that much of a surprise for them."

If they knew something was going to happen, then... Why didn't they do anything? Was it because the game was already supposed to end?

Was the game successfully ended by Rantaro, or was it already supposed to end, making his sacrifice utterly useless?

"Does that mean they knew we were going to end up in this room?" Kokichi asked.

That... was actually a good question. They didn't seem to have tried to hide major clues like the flashback light guide and the computer, but at the same time, the contract with his family was here. And they were actually able to go past the computer security.

"Maybe... I wouldn't be surprised if they did, but here we are, looking at their conversation with their boss, so who knows." Miu sighed.

Obtained truth bullet! Conversation with the mastermind

The group stopped talking for a moment. They needed to process this. Not just this part of the conversation, but the rest of the investigation. From Tatsuya Idabashi and his corpse, Keebo, the contract with his own family, the subject list to this...

What did he get himself into?!

Kirumi let her shoulders drop. "We should go back to investigating the academy while we still can. I think we’ve seen enough from this computer."

Shuichi turned to her. "Wait, there might still be info on this…"

As much as he hated it, he knew he was right. This computer was a gold mine, despite all the nuggets being coated in poison.

Miu pondered. "But she's right on one thing. We’ve all been on this computer for a while instead of the usual two-by-two. We should get back to that strategy."

Just as she finished her sentence, the sound of another explosion from the outside was heard.

"I... I think I'll stay here…" Shuichi nervously said.

"Fine. I'll go outside." Kirumi took a step back. "I'll try to investigate alone."

"I might also need some time to process all of this bullshit or I think I'll have an aneurysm." She muttered to herself, although Shuichi did hear her.

The sound of her heels faded away as she passed through the destroyed entrance in the library.

Miu crossed her arms, gaze to the ground. "I'll go to the surface too. Can I leave you two with the computer?" she asked.

"C-Count on us."

Shuichi muttered this unconsciously, but he didn't even know if he was ready to see more.

Miu gave him a weak smile and walked away, leaving him with Kokichi.

Once she was out of sight, Shuichi sighed, putting his face in his hands. “What are we even doing…?”

Kokichi put a hand on his shoulder to comfort him.

It was impossible to keep calm.

“I’m sorry, I- I just don’t know what to think anymore…” he mumbled.

The other boy let his hand drop. “It’s fine… I know this is dumb coming from me, but… Please talk if you need to.”

He paused.

“I just… I feel guilty about Rantaro. I should have said something to Miu… I know I shouldn’t have stayed silent but h- he…”

His throat tightened.

“I don’t know what happened to you exactly, but… He did something bad to you, didn’t he?”

His silence provided him the answer.

“I can’t blame you for reacting the way you did… I know I shouldn’t talk behind people’s backs, but I know Miu is biased, and I can’t blame her either.”

“What I’m trying to say is, you shouldn’t feel bad about keeping it a secret. Maybe things would have gone differently if you talked about your worry, but… You are not the one who is responsible for his death.”

Shuichi stayed silent, a bit surprised by his words.

“Kokichi…”

“If anyone is at fault, it’s whoever organized the killing game, right? So the only thing we can do is to stop them.”

He felt a smile form on his lips, despite the tears threatening to fall at any moment.

“… Thank you.”

“No problem, that’s the least I can do now.”

Shuichi glanced back at the conversation.

"Do you think we should try communicating with them?" he asked. "I don't even know what we'll get out of it, but we could try."

Kokichi frowned. "It feels weird talking to the people who did all of this to us... But we don't have anything to lose, right?"

"I don't think so..."

Shuichi approached the keyboard and took a deep breath.

==

         I managed to get back to the room. What's the next step of the plan? <

==

"Wait... Aren't they watching us with the cameras?" Kokichi asked. "Don't they know it's us?"

Shit.

Shuichi slowly turned to him. "W-What do we do now?"

They stared at the screen for what felt like an eternity.

"I don't think they'll answer..." Shuichi mumbled.

He reduced the window size to look at what was available on the computer. Unfortunately, there weren't many icons, but one stood out to him.

"Mastermind rules...?"

He clicked on the icon. It looked like a set of rules they had to follow.

Overall, nothing was alarming or too out of place. Check the room and give updates as often as possible, always keep an eye on the participants, interact as little as possible with the environment not to disturb the game...

... But then, his eyes landed on one specific rule.

#10. Prevent suicides

There is always a possibility a participant will try to end their life at some point in the game, and at a time it is not welcome (i.e.: less than 24 hours after a trial, a participant's death -unless chapter 3- or at any moment the death will be too obvious for a proper trial to be done). In that case, make sure the participant stays alive for the sake of the game by whatever means necessary. Keep an eye on them until the situation is suitable enough for them to do so, or if they simply don't want to commit the act anymore.

Shuichi's eyes widened.

"That's... That's what we're worth to them?" Kokichi's voice was shaking.

The blue-eyed teen swallowed, taking a step back. "This… This is..."

…

If he had truly wished to end it all... The mastermind themselves would have come to his rescue, for the sole purpose of continuing the game...?

How was he supposed to feel about this?!

Obtained truth bullet! Mastermind's rules

He instinctively closed the window.

Thankfully, there wasn't much they could search in this computer anymore, aside from one icon Kokichi pointed out.

"Hey, look at this, maybe... Maybe this is about the cameras?"

Shuichi clicked on it, and to their surprise, all the screens lit up, showing different cameras around the academy. But the cameras looked like they were... flying? They were at the very least not attached to a wall, the ground, or a ceiling, and they were moving.

He spotted Kaito's exisal and Monoshi still hardly fighting against the other bears, Miu running around the main building and Kirumi walking towards the dorms' building.

Another screen showed their faces, staring at the camera. And yet, there was nothing in their field of vision aside from the screen of the computer.

Very disturbing, to say the least.

On the main laptop was a gigantic list of... 'nanokumas'?

There seemed to be hundreds of them, each marked as active, aside from a small portion of them, marked as destroyed.

Were they the cameras? Cameras small enough not to be noticed by anyone?

Rantaro was right on many more guesses than he thought.

Obtained truth bullet! Nanokumas

Since there wasn't much to see here, he closed the window.

"So... What do we do now?" Kokichi asked before glancing at the table. “Hm?”

Shuichi turned to him. “What is it?”

“Kirumi and I found a key next to the computer, that she guessed was a master key, something that could unlock all rooms. But it’s gone now, she might have taken it.”

A very useful item that he despised the existence of.

He looked at the entrance in the library. "There is nothing left to check in this room, so we might as well get out. I hate this place."

His friend nodded. "Yeah…”

And so they did. Once they were out, they decided to split up to check places they might have missed.

There was one place Shuichi needed to go to.

He glanced at the dorms building where Kirumi had supposedly gone to.

He needed to get there. He ran as fast as he could to avoid any possible damage.

Shuichi immediately closed the door behind him, and the ruckus outside became less loud. But the silence of the dorms was not that much more reassuring.

His eyes drifted to the different rooms, now all empty, as their owners were either dead or investigating. However...

... He noticed one door was slightly opened.

Rantaro's.

He swallowed and approached the room.

...

...

After what felt like an eternity, he found the courage to quietly open the door.

He felt himself gag right after stepping into his room.

There was a strange mix of unpleasant smells- nothing like Tatsuya's lab, though. A mix of sweat, chemicals and medicine drowned in a sea of heavy enclosed air. The room itself was incredibly messy and disorganized. He noticed a needle on the bedside table with a bottle of liquid medicine, a half-emptied bottle of water, and pills.

The bed was not even made. The pillow was thrown away and the blanket had fallen on the floor next to the bed.

His eyes glanced towards the wardrobe. It was supposed to have a mirror, but... The shattered shiny pieces of aluminum on the ground told enough for him to understand what had happened.

Looking at this scene made his heart ache. Everything he had seen in the mastermind's room had been messed up, but...

Seeing the madness in the most intimate place they had for themselves was something else. It felt like he wasn't entering a simple room, but rather getting a glimpse of the fragmented mind of his former friend. The one who laid down his life for them- for their safety and out of spite.

His head turned to the bathroom, and that's when he noticed the other person in the room- who hadn't noticed him yet.

Kirumi was staring in front of her, an unreadable expression on her face.

She placed a hand on the mirror, gently brushing it with her long, thin fingers.

After swallowing, he stepped forward.

Kirumi suddenly turned around, just noticing him.

"... It's you."

Shuichi looked down for a moment. "Sorry if I surprised you."

Her shoulders dropped as she turned back to her reflection. "It's fine."

It’s only then that he noticed the state of the mirror, which had been out of his sight until now.

Shattered.

Three strikes that left crackles all over the piece of furniture. The mirror was barely keeping it together. One move too brutal and everything would fall apart, breaking into a million more pieces. Their reflections were distorted by the splits, one of the strikes ironically placed around Shuichi's head.

He could only stare, a hand clenching his heart and his mind drowning in never-ending dread.

(BGM)

They stared at themselves, not even daring to look at the other’s reflection, in a silence that he would have enjoyed at any other moment, but right now, he couldn’t describe it as anything other than suffocating.

His eyes drifted to the glass shards in the sink and the opened tubes of painkillers. The unpleasant smell was stronger, it was impossible to ignore it.

"..."

"Kirumi..."

She glanced at his reflection. "Yes?"

"Can we even stop them?"

She stayed silent for a moment, looking at herself.

"I don't know."

"The mastermind and their allies are powerful, and they seem to have total control over us."

"I would be lying if I said I truly believed everyone would get a happy ending."

Shuichi looked down.

"What even is a happy ending? One where we at least survive? Do we escape the academy? Will we able to go home?"

"What's... What's your happy ending, Kirumi?"

Her eyes widened a bit. Was she… caught off guard?

"..."

"... My happy ending, huh?"

She narrowed her eyes.

"It’s not like I can choose my destiny. The moment this game started, the possibilities for my future narrowed down to very few thin lines.”

“I do not care what happens to me in the end. I know my purpose was to stay alive at all costs, but… There’s no point believing in that anymore.”

“Perhaps I will die, perhaps I will live, and it doesn’t matter. What I truly wish for is to stay true to my morals.”

She paused.

“I know this might sound nonsensical, but I despise cruelty. I’ve seen many flaunting its greatness, but I always believed those people were the weakest humans to ever live.”

“Being cruel is admitting you are unable to suppress a mere urge, that you are nothing but an animal.”

“A simple proof of inhumanity.”

Her eyes hadn’t moved from her own reflection.

“I don’t want to die as a beast, a slave taking orders without second thought, nor as a killer.”

“My happy ending… is to die as Kirumi Tojo.”

…

Shuichi looked down.

“And you?”

His eyes darted up.

“What is yours?”

He looked back at himself.

... What was his happy ending?

"You don't have to answer me. All that matters is that you know what you want and what you believe in."

"Believe me, it takes a lot of mental strength to bring yourself to question all of this, but once you do, it's a new path that opens to you."

"One that you won't regret, even if things may not go exactly as you wanted."

She walked out of the bathroom.

"This killing game changed us all. It's our job to gather the misery and despair we felt for so long and throw it back in the faces of the wretched monsters who ruined our lives."

The sound of her heels faded away.

He stared at where she was standing for a minute before turning to the mirror again.

He wished to say his happy ending is one where they all escape and go home, but…

That was dream out of his reach, and he had to accept it.

Perhaps they would never stop those behind the scenes. Perhaps they would never find peace.

Perhaps they were all going to die.

But…

He couldn’t wallow in what-if’s.

He was going to fight until the end, for those who died, and those by his side.

He may never achieve a true happy ending, but to die trying to get it would be better than to let everyone’s sacrifices be in vain.

And he had just the right idea for a way to end this game.

After sharing one last glance with his shattered reflection, he left Rantaro's room.

He opened the door of the dorms building to see the long-haired woman standing there.

Kaito's exisal was down, surrounded by the four others.

The mecha opened to reveal their friend coughing. He lifted his head to look at them both. He was...

Defeated.

"Kaito!!"

Miu's voice echoed in the courtyard as she sprinted with Kokichi towards them.

"Puhuhu! My, my! You put up quite a fight! I'm impressed!"

Monokuma's laughter ringed in their ears.

"Unfortunately for you, it looks like your little temper tantrum is over!"

Kaito tried to get himself out of the exisal but was struggling to do so with only one functioning leg. Miu ran up to help him, putting his arm around her shoulders.

"So... How was your little period of free time without your beloved headmaster? Did you have fun running around? Going into my super-ultra-mega private rooms?"

"Fuck you." Kaito spat.

"I will take that as a yes!~" the robot laughed. "Now, now. Since this unwanted chaos is finally over, shall we-

"I demand a trial!!"

Everyone turned to the source of the voice.

Shuichi had taken a step forward. That might be the dumbest idea ever, but if this game had to end, it had to be like this.

He stared at the bear in the eyes.

“I want one last trial to end all of this.”

Kaito looked at him with eyes that screamed ‘what are you doing?’. But… That was the only way.

“Rantaro said it himself, this game is over. We have seen what was behind the scenes and we will not partake in this madness anymore!"

He pointed a finger at him. "This is your trial! Your trial as the culprit of everyone's murders in this killing game! And if you don’t want to accept this reason…”

“… Then think of this trial as the one for Keebo’s murderer, since you lied about Kaito being the culprit of the case.”

...

Monokuma looked surprised, although it was hard to read his mechanical face.

"Puhuhu... You do have some guts! Can’t say the same about my sweet monokubs… and myself, but that’s not the point.”

His glare did not falter.

“Very well! I accept the deal!”

"Everyone, please gather at the shrine of judgment!"

The bear and his cubs jumped away to their destination.

Once alone, everyone turned to him.

"Shuichi... Do you really think this is a good idea?"

He wanted to say he wasn't sure, but now wasn't the time to doubt.

"This is our only choice if we want to end the game. I don’t think Monokuma would have accepted to do anything else."

Kirumi crossed her arms. “Monokuma has already accepted the deal. I can’t say I had better ideas, though.”

Kokichi nodded in agreement.

Shuichi looked at his friends with a weak smile. "Let's end this, everyone."

Miu put a hand on his shoulder. "Then let's go. Together."

"You guys are going to have to sum up the situation for me, because I have zero clue how your investigation went." Kaito sighed.

The four others glanced at each other. He was lucky not to have seen the horrors of the mastermind’s room, but they would have to tell him at some point.

"We'll... We'll do that in due time, don't worry." Miu mumbled.

Kaito sensed her worry and put a hand on her shoulder. "Hey, I know you guys did well. We'll talk about it during the trial, alright?"

She nodded. "Yeah. Thanks."

They arrived at the shrine, which had been slightly damaged by the exisals. The elevator opened, and the five survivors stepped in.

This was it.

The final trial where everything would end.

He could feel his heart racing in his chest as they got closer and closer to the courtroom.

He glanced at each of his friends, the ones who were still alive with him.

Kokichi, who, despite the hardships he went through before and during the game, gathered the strength to surpass them all, with the help of the kind hearts of the group.

Kaito, who, despite his disability as well as the false accusations thrown against him during the third trial, was someone one could count on, a great friend who wouldn’t let you down.

Miu, who, despite her willingness to kill for her cherished son at the beginning of the game, turned her sorrow into determination to end the game and to fight against their captor, and used her compassion to help whoever needed her.

Kirumi, who, despite her title, was one of his greatest allies, helped him through the hardest times, as well as the rest of them with a great strength, intelligence, as well as the double-edged sword that her condition is.

Friends that he would never, ever forget.

…

The elevator ride was even longer than last time- were they in yet another room?

His question was quickly answered when the door opened.

The courtroom did not even look like one anymore. The decoration was as futuristic looking as the podiums, with bright neon colors vibrating in the dark. And yet, the room was illuminated well enough for them to be able to see each other clearly.

They went to their podiums. And now, eleven of them were occupied by portraits stained by pink crosses.

They looked at each other, all uncertain about the outcome.

But they had to do this.

This killing game was going to end, right here and there, at last.

[deliciousscaloppine]

Hot Takes Galore: A brief overview of fandom backlashes that influenced fanfiction writing traditions as I have personally experienced them:

In today’s segment I am going to talk about copyright infringement.

First let me preface this by saying I have only ever been in 3 fandoms, starting from 2008 and I have never been terribly active - like this blog has been the most active I’ve ever been in any fandom ever. I am not going to talk about particular fandom dramas because I am pretty clueless about that. What I am going to talk about is that friction between “reality” and online spaces that brought about changes that are still in effect today in the way fanfiction is written and perceived.

In 2008 as I was entering, nearly every piece of fanfiction had a disclaimer about the author not owning the characters, which were the property of Corporate Entity X, or Author Y, and also not profiting from the work in any shape or form. At the time getting money from writing fanfiction was a gigantic taboo, and almost no one did it, or advertised that they did. 

But as I understand through convention culture printed writing did circulate in exchange for money (zines), and at least in Japan one could sell doujinshis (self-published stories and comics, often within the framework of another work) in certain events. Although this was largely considered “illegal” under copyright laws, and artists could be persecuted or blacklisted from entering the industry if discovered. That’s also why fanartists often to this day may screen where and when their work is viewed, and move to take down reposts, or call others to protest if artworks are circulated without permission outside of the artist’s page.

Older fandom people also hated authors that moved against fanfiction, a big case being Anne Rice, the vampire lady everyone - including me - copies when writing about vampires. And now I am going to talk a little about that.

Usually, writers, just sit somewhere cosy and write, and often they have no idea, absolutely no idea, on how to manage their writing properties - usually a lawyer does that, and lawyers want A Lot Of Money (A brief brush with justice and lawyers over a civil dispute I won, cost me 1000 euros out of nowhere, in a single day, and no I couldn’t avoid it because I was the accused one, so I had to appear with some representation). 

So sometimes, quite often, it’s a lawyer that activates a writer or other artist to move against “smaller” copyright infringements, in order to make bank. And if one suffers such a case, they should make it as apparent as possible to the other party that they have no money, and the pressure will go away immediately. But even MORE OFTEN a small copyright infringement, may lead to a sequence of bigger ones, and ultimately the de facto loss of rights from one’s writing properties, and of course revenue. 

And for a lot of published authors, they just don’t know for how long they can publish things - publishing houses that have them signed can close, book sales can drop, tastes change, personal problems, and anything else may mean that they could find themselves without a source of income at any point in the future, while they are aging and becoming more and more irrelevant. 

A very famous case currently, is that of Alan Dean Foster, the writer who has done some novelizations for movies like Star Wars and Alien, and is no longer receiving revenue from that - while his wife is hospitalized and their family needs the income - because Disney absorbed the company that had signed the contract with him, and chose to not honor the previous contract. To make them pay he will have to go into a huge legal battle with a corporate giant, which he cannot afford. But they still absorb income from these novelizations.

But how does fanfiction tie into that, and Anne Rice’s case (which if memory serves right, also went through a series of personal problems, including her husband’s death during that time). 

So for a lot of writers, fanfiction may be that tiny breach that may threaten their rights in the future from tresspases of distribution networks. Meaning, people write vampire fanfiction based on Anne Rice’s work? What if another publishing house used the template of her works (historical settings, bleeding orifices, religious themes, homosexuality and sexual trauma etc) and produced a royalty free series of such works with a team of professional writers that do not own the work - who often have less rights, like not owning the characters, or the storylines, participating in a very small scale, so their payment goes down etc)

And in this way EVERYONE SUFFERS. Big Name Published Author fades into obscurity and goes into poverty and payroll writers are horrifically abused.  

A lot of hobbyists, and hobbyist writers whose sole dream is to be published in some shape or form, do not really care, and do not concern themselves with the legal aspect of creation, or the technical skill that it takes to produce writing on a consistent basis, which can only happen if you’ve got your basic needs covered. So they might see this type of backlash as inherently privileged. 

But it’s not really a privilege, there has been a global recession in basic working rights for everyone, and lovers of fiction don’t have to condone, of course, attacks against them, but they need to put that kind of backlash in perspective. Someone did write the content you enjoy, THEY ARE NOT DEAD YET, and may have opinions on how it should be managed, especially when it pertains to their livelihood. 

It’s a delicate balance that we all must keep in order to keep corporate regulations out of it.

For instance with the recent danmei explosion The Untamed brought forth, Ao3 was banned in China. Now a lot of you might know that this was caused by some real person fic involving the actor Xiao Zhan, which led to a whole other level of drama. But make no mistake this was a political act to protect the interests of the domestic publishing industry as it prepares to do an international opening that will bring in several billions from foreign markets.

Because Ao3 has been expanding as a platform globally it brings about changes, and in many cases steals readers away from traditional publishing, so it becomes unacceptable economically for a bunch of hobbyists to influence tastes, market mores, and create sensationalism around certain properties out of literally the blue. This is not a good thing for a lot of corporate thinking, they set the product and we are supposed to buy it. We are not supposed to go, it would look greater with a bunch of anal, and then put forth a million words altering the character of the intellectual property.

Why you ask? Again, because another publishing industry might choose to imitate the style of danmei fanfics and produce works that hijack readership, or lead to breach of contracts, making an unsafe environment for workers in this industry (Xiao Zhan’s case.)

Nowadays I see more and more fanfic authors coming out of their shell to ask money for writing in the form of donations, patronage and commissions, as fandom involvement is also becoming vastly monetized. The market of conventions coming into social media platforms. A strange more exists still in which while “legally wrong”, as long as money is not asked on the publishing platform (Ao3), it may not count as copyright infringement. But fanfic authors, may still be treated with hostility for this, for not “deserving” to profit from someone else’s properties, or even worse for “stealing” readership. 

For instance a recent argument I have seen from lgbtq authors, is that they remain unsupported by fandom spaces, who often proclaim themselves as lgbtq or lgbtq friendly (something that is not true), but at the same time they are not looking for published lgbtq stories, or authors, or even treat these with open hostility, or a lot of bias.

Fandom is not comprised from “readers” in the traditional sense, definitely not friends of literature, and it’s free, no one really has to pay anything to read a published fanfic.  So it’s a pretty loose demographic with no set characteristics, and no interest in investing time and money in something for long. It’s an online social activity and not a readers’ movement, highly influenced by peer pressure and branding. It’s basically a gigantic group of people who don’t really do anything for no one, and may develop a parasitic connection to intellectual properties (I am sorry peers, it’s the truth). 

And it’s perhaps the biggest counterculture scene at the moment in the developed world. To this day it treats even its own authors with tremendous suspicion, disregard and dismissal, meaning that even if someone can get some money and recognition locally through writing fanfic they are on thin fucking ice at all times for all the reasons but mostly attracting unnecessary attention to themselves and subsequently the scene.  A pattern that we will see is endemic to all forms of fandom backlashes.

So to this day in contrast with fanart, fan writers may not be compensated for their troubles, but may also be ousted from their domestic professional spaces for writing fanfic that may infringe on their intellectual property. 

The thing is, for me, that fandom culture can become incredibly supportive of corporate practices that harm actual people (writers, they are people too) but when they realize that the same corporate practices may be used against them, it’s too late to realize that it’s not a lottery of who wins by crying more, and by the time that happens, a corporation or industry who has used them to do its dark bidding, can stop catering to them  because ultimately they have become again irrelevant once a well defined demographic of  readers and viewers has been secured.

So if you are going to do counterculture, at least do it right. Be respectful of the writers/authors of the content you consume and mindful of their troubles, do not generate public strife that brings in political regulation in favor of corporate interests. Become interested in writing culture, support your fanfic authors with lasting engagement in their work, even if it escapes the narrow confines of a certain fandom. It’s simple. Eat, live, pray, fuck, or something.