#not me writing an essay about them in 2024

[kepnerandavery]

Every single day I think more and more about how the Grey's Anatomy writers fortuitously wrote one of the most poetic relationships to ever exist. And it's a travesty that they don't seem to understand that despite the unchanged popularity of this ship.

They are two completely contrasting characters with the same brand of edgy just in different fonts, and they match each other's energies like no one does. And what I love the most about them is how it's their flaws, not their strengths, that drive their dynamic.

She's fire and he's air. At first glance, that seems like a recipe for disaster. But it isn't when they are both shielded by each other. She ignites his spirits, and he uplifts her. Without her, he's a calm, cool breeze. But with her, he's an ever-changing current with power and warmth. Without him, she's a fiery spark subdued by the world, but with him, she becomes an intense flame ablaze with passion. And when this current and fire get out of control, guess what has the ability to contain and ground them by drawing back their catalyst? Each other!!!

April makes Jackson passionate and forces him to dream bigger. It may be mistaken for impulsivity, but she just stops him from taking the safe roads in life and forces him to live life fully on his terms. On the other hand, Jackson grounds her and provides a safe place for her to truly be herself. He's the only person who ever does that for her. Not man. Person! Not even her family provides that space for her. And that is why she becomes independent and sure of herself with his influence.

Some people justify hating them by saying they would be happier with other people. Don't even get me started! Those two would be miserable with other people. April is so spirited that she would be instantly desolate with anyone other than Jackson because she needs someone who can keep up with her and feed into her positivity. Jackson seems so calm on the outside, but in reality, he is often so turbulent that he would be completely bored with anyone else cause he needs someone who can keep him on his toes and anchor him at the same time.

The only reason that they fell apart after losing Samuel was because that grief made them forget that they couldn't be truly happy without the balance they provided each other. April ran towards something passionately without Jackson, and lost her stability and fire, and Jackson wanted to drift away from her and live calmly, but ended up becoming morbid and dispirited without her. You can literally feel how drained and colourless they become without each other.

Their relationship isn't supposed to make perfect sense because the unpredictability of life influence it, but their dynamic certainly does. And that is why those two keep going back to each other. Sure, they would be fine by themselves. But they're at their best with each other. So basically, they mirror each other, and make up for each other's limitations so they could be the happiest version of themselves. They are each other's spark and tether all at once. And that is why Shonda Rhimes will probably never create a more dynamic ship.

[prettieinpink]

HABITS TO IMPLEMENT BEFORE THE END OF THE YEAR ᡣ𐭩ྀིྀི₊ ⊹

DAILY AFFIRMATIONS

You can choose whatever time you’d like to say positive and affirmative statements to yourself. When saying affirmations, use the first person and present tense. E.g I am healthy, I take care of myself, and I am strong academically. 

Affirmations are so helpful because our brains struggle to tell the difference between imagination and reality. So, when we visualise ourselves doing something that's not actually happening, it stimulates the brain areas as if we were actually experiencing it.

So, repetitive affirmations will encourage your brain to treat it as fact. While this only works to an extent, it does help with self-sabotaging thought actions and thought patterns. 

EATING MINDFULLY

Eating mindfully is the practice of when consuming anything, you put your full focus on that meal. There are no devices that may distract you, you’re eating slowly and paying close attention to how different meals make your body feel. 

To eat mindfully, focus on the time it takes for you to finish your food. Is it enough time for your body to give signals about your meal? To chew thoroughly? Another thing is to turn off and eliminate any distractions. Such as being on any devices or multitasking. 

Eating too quickly means that your body may not have enough time to tell you that it's full. When you eat mindfully, it's easier for your body to register when it's full. Furthermore, it's easier to distinguish between true hunger and non-hunger triggers for eating. 

CREATIVE OUTLETS

For a lot of us, 2024 was a stressful year. We’re constantly hustling and not letting ourselves process what's happening in and around us. Having a creative outlet helps us to release and detach from those emotions. It allows us to experience that feeling, but leave it all behind in the end. 

Some examples are painting, clay artwork, creative writing, designing, sewing, crocheting and music. There’s a lot more you could do, but ultimately you have to do what's best for yourself. 

LEARNING SOMETHING NEW EVERYDAY

At least one thing each day: aim to learn something completely new to you. Other than the fact that you are learning something new, it allows for your curiosity to grow and expand outside of your typical education institution. With curiosity, comes with the skill of being able to explore complications and come up with solutions. 

There are many ways you can learn, but I think the best way is by coming up with your questions in an area you’re unfamiliar with and then looking for an answer to your question. 

My favourite way has to be watching video essays. Doesn’t always have to be social commentary, but anything that seems interesting enough for me. 

COMPLIEMENT-A-DAY

I love receiving compliments from strangers. It leaves the widest smile on my face and I swear I feel so much lighter like I’m floating around. However, I never think to give a compliment to someone else who I don’t know. So, whenever you see the cutest outfit or the perfect lip combo, make sure to say it!

For those who may be shy in those kinds of interactions, practice saying it in your head. You don’t have to say it out loud to them, but thinking positively of other people will reflect on how you think about yourself. 

That is it for this post, thank you for reading until the end ♥︎ Until next time, take care of yourself ᡣ𐭩ྀིྀི₊ ⊹

[mostlysignssomeportents]

Kickstarting a new Martin Hench novel about the dawn of enshittification

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2025/01/07/weird-pcs/#a-mormon-bishop-an-orthodox-rabbi-and-a-catholic-priest-walk-into-a-personal-computing-revolution

Picks and Shovels is a new, standalone technothriller starring Marty Hench, my two-fisted, hard-fighting, tech-scam-busting forensic accountant. You can pre-order it on my latest Kickstarter, which features a brilliant audiobook read by @wilwheaton:

http://martinhench.com

This is the third Hench novel, following on from the nationally bestselling The Bezzle (2024) and Red Team Blues (2023). I wrote Red Team Blues with a funny conceit: what if I wrote the final volume of a beloved, long-running series, without writing the rest of the series? Turns out, the answer is: "Your editor will buy a whole bunch more books in the series!"

My solution to this happy conundrum? Write the Hench books out of chronological order. After all, Marty Hench is a financial hacker who's been in Silicon Valley since the days of the first PCs, so he's been there for all the weird scams tech bros have dreamed up since Jobs and Woz were laboring in their garage over the Apple I. He's the Zelig of high-tech fraud! Look hard at any computing-related scandal and you'll find Marty Hench in the picture, quietly and competently unraveling the scheme, dodging lawsuits and bullets with equal aplomb.

Which brings me to Picks and Shovels. In this volume, we travel back to Marty's first job, in the 1980s – the weird and heroic era of the PC. Marty ended up in the Bay Area after he flunked out of an MIT computer science degree (he was too busy programming computers to do his classwork), and earning his CPA at a community college.

Silicon Valley in the early eighties was wild: Reaganomics stalked the land, the AIDS crisis was in full swing, the Dead Kennedys played every weekend, and man were the PCs ever weird. This was before the industry crystalized into Mac vs PC, back when no one knew what they were supposed to look like, who was supposed to use them, and what they were for.

Marty's first job is working for one of the weirder companies: Fidelity Computing. They sound like a joke: a computer company run by a Mormon bishop, a Catholic priest and an orthodox rabbi. But the joke's on their customers, because Fidelity Computing is a scam: a pyramid sales cult that exploits religious affinities to sell junk PCs that are designed to lock customers in and squeeze them for every dime. A Fidelity printer only works with Fidelity printer paper (they've gimmicked the sprockets on the tractor-feed). A Fidelity floppy drive only accepts Fidelity floppies (every disk is sold with a single, scratched-out sector and the drives check for an error on that sector every time they run).

Marty figures out he's working for the bad guys when they ask him to destroy Computing Freedom, a scrappy rival startup founded by three women who've escaped from Fidelity Computing's cult: a queer orthodox woman who's been kicked out of her family; a radical nun who's thrown in with the Liberation Theology movement in opposing America's Dirty Wars; and a Mormon woman who's quit the church in disgust at its opposition to the Equal Rights Amendment. The women of Computing Freedom have a (ahem) holy mission: to free every Fidelity customer from the prison they were lured into.

Marty may be young and inexperienced, but he can spot a rebel alliance from a light year away and he knows what side he wants to be on. He joins the women in their mission, and we're deep into a computing war that quickly turns into a shooting war. Turns out the Reverend Sirs of Fidelity Computer aren't just scammers – they're mobbed up, and willing to turn to lethal violence to defend their racket.

This is a rollicking crime thriller, a science fiction novel about the dawn of the computing revolution. It's an archaeological expedition to uncover the fossil record of the first emergence of enshittification, a phenomenon that was born with the PC and its evil twin, the Reagan Revolution.

The book comes out on Feb 15 in hardcover and ebook from Macmillan (US/Canada) and Bloomsbury (UK), but neither publisher is doing the audiobook. That's my department.

Why? Well, I love audiobooks, and I especially love the audiobooks for this series, because they're read by the incredible Wil Wheaton, hands down my favorite audiobook narrator. But that's not why I retain my audiobook rights and produce my own audiobooks. I do that because Amazon's Audible service refuses to carry any of my audiobooks.

Here's how that works: Audible is a division of Amazon, and they've illegally obtained a monopoly over the audiobook market, controlling more than 90% of audiobook sales in many genres. That means that if your book isn't for sale on Audible, it might as well not exist.

But Amazon won't let you sell your books on Audible unless you let them wrap those books in "digital rights management," a kind of encryption that locks them to Audible's authorized players. Under Section 1201 of the Digital Millennium Copyright Act, it's a felony punishable with a 5-year sentence and a $500k fine to supply you with a tool to remove an audiobook from Audible and play it on a rival app. That applies even if the person who gives you the tool is the creator of the book!

You read that right: if I make an audiobook and then give you the tools to move it out of Amazon's walled garden, I could go to prison for five years! That's a stiffer sentence than you'd face if you were to just pirate the audiobook. It's a harsher penalty than you'd get for shoplifting the book on CD from a truck-stop. It's more draconian than the penalty for hijacking the truck that delivers the CDs!

Amazon knows that every time you buy an audiobook from Audible, you increase the cost you'll have to pay if you switch to a competitor. They use that fact to give readers a worse deal (last year they tried out ads in audiobooks!). But the people who really suffer under this arrangement are the writers, whom Amazon abuses with abandon, knowing they can't afford to leave the service because their readers are locked into it. That's why Amazon felt they could get away with stealing $100 million from indie audiobook creators (and yup, they got away with it):

https://www.audiblegate.com/about

Which is why none of my books can be sold with DRM. And that means that Audible won't carry any of them.

For more than a decade, I've been making my own audiobooks, in partnership with the wonderful studio Skyboat Media and their brilliant director, Gabrielle de Cuir:

https://skyboatmedia.com/

I pay fantastic narrators a fair wage for their work, then I pay John Taylor Williams, the engineer who masters my podcasts, to edit the books and compose bed music for the intro and outro. Then I sell the books at every store in the world – except Audible and Apple, who both have mandatory DRM. Because fuck DRM.

Paying everyone a fair wage is expensive. It's worth it: the books are great. But even though my books are sold at many stores online, being frozen out of Audible means that the sales barely register.

That's why I do these Kickstarter campaigns, to pre-sell thousands of audiobooks in advance of the release. I've done six of these now, and each one was a huge success, inspiring others to strike out on their own, sometimes with spectacular results:

https://www.usatoday.com/story/entertainment/books/2022/04/01/brandon-sanderson-kickstarter-41-million-new-books/7243531001/

Today, I've launched the Kickstarter for Picks and Shovels. I'm selling the audiobook and ebook in DRM-form, without any "terms of service" or "license agreement." That means they're just like a print book: you buy them, you own them. You can read them on any equipment you choose to. You can sell them, give them away, or lend them to friends. Rather than making you submit to 20,000 words of insulting legalese, all I ask of you is that you don't violate copyright law. I trust you!

Speaking of print books: I'm also pre-selling the hardcover of Picks and Shovels and the paperbacks of The Bezzle and Red Team Blues, the other two Marty Hench books. I'll even sign and personalize them for you!

http://martinhench.com

I'm also offering five chances to commission your own Marty Hench story – pick your favorite high-tech finance scam from the past 40 years of tech history, and I'll have Marty bust it in a custom short story. Once the story is published, I'll make sure you get credit. Check out these two cool Little Brother stories my previous Kickstarter backers commissioned:

Spill

https://reactormag.com/spill-cory-doctorow/

Vigilant

https://reactormag.com/vigilant-cory-doctorow/

I'm heading out on tour this winter and spring with the book. I'll be in LA, San Francisco, San Diego, Burbank, Bloomington, Chicago, Richmond VA, Toronto, NYC, Boston, Austin, DC, Baltimore, Seattle, and other dates still added. I've got an incredible roster of conversation partners lined up, too: John Hodgman, Charlie Jane Anders, Dan Savage, Ken Liu, Peter Sagal, Wil Wheaton, and others.

I hope you'll check out this book, and come out to see me on tour and say hi. Before I go, I want to leave you with some words of advance praise for Picks and Shovels:

I hugely enjoyed Picks and Shovels. Cory Doctorow’s reconstruction of the age is note perfect: the detail, the atmosphere, ethos, flavour and smell of the age is perfectly conveyed. I love Marty and Art and all the main characters. The hope and the thrill that marks the opening section. The superb way he tells the story of the rise of Silicon Valley (to use the lazy metonym), inserting the stories of Shockley, IBM vs US Government, the rise of MS – all without turning journalistic or preachy.

The seeds of enshittification are all there… even in the sunlight of that time the shadows are lengthening. AIDS of course, and the coming scum tide of VCs. In Orwellian terms, the pigs are already rising up on two feet and starting to wear trousers. All that hope, all those ideals…

I love too the thesis that San Francisco always has failed and always will fail her suitors.

Despite cultural entropy, enshittification, corruption, greed and all the betrayals there’s a core of hope and honour in the story too.

-Stephen Fry

Cory Doctorow writes as few authors do, with tech world savvy and real world moral clarity. A true storyteller for our times.

-John Scalzi

A crackling, page-turning tumble into an unexpected underworld of queer coders, Mission burritos, and hacker nuns. You will fall in love with the righteous underdogs of Computing Freedom—and feel right at home in the holy place Doctorow has built for them far from Silicon Valley’s grabby, greedy hands."

-Claire Evans, editor of Motherboard Future, author of Broad Band: The Untold Story of the Women Who Made the Internet.

"Wonderful…evokes the hacker spirit of the early personal computer era—and shows how the battle for software freedom is eternal."

-Steven Levy, author of Hackers: Heroes of the Computer Revolution and Facebook: The Inside Story.

What could be better than a Martin Hench thriller set in 1980s San Francisco that mixes punk rock romance with Lotus spreadsheets, dot matrix printers and religious orders? You'll eat this up – I sure did.

-Tim Wu, Special Assistant to the President for Technology and Competition Policy, author of The Master Switch: The Rise and Fall of Information Empires

Captures the look and feel of the PC era. Cory Doctorow draws a portrait of a Silicon Valley and San Francisco before the tech bros showed up — a startup world driven as much by open source ideals as venture capital gold.

-John Markoff, Pulitzer-winning tech columnist for the New York Times and author of What the Doormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry

You won't put this book down – it's too much fun. I was there when it all began. Doctorow's characters and their story are real.

-Dan'l Lewin, CEO and President of the Computer History Museum

[mimpinightmare]

VERY HEAVYILY ON WHAT HAPPENED TO JOMO-

(I'm still waiting for that next season, MoonBug. /HJ & Half Delusional-)

never ask a man his salary. never ask a woman her age. never ask a supa strikas fan about:

early season dingaan (i still shiver to this day)

early season el matador (yeah this one's also REAL bad)

LITERALLY ANYTHING AND EVERYTHING FROM S1-2

why klaus is still not a starter... sigh its tiring out here

fc nakama. bc we'll be here all day

where the banger minor characters went!!!!!

the show's timeline. seriously i thought cognito was a new team but as rookie season goes... it's apparently NOT??

how old any of them are

WTF HAPPENED TO JOMO (MOONBUG IM LOOKING AT YOU!!!)

speaking of which. never ask me how tf invincible united got away w hiring an actor to play shakes' supposedly dead dad. that HAS to be a federal offense

sp*ke d*ws*n

s7 finale "game over"

the youtube thumbnails

which voice actor voices who exactly

how the fuck these guys keep falling for inyo's trap

dooma's debut

the show's obsession w feet

the characters' casual clothes... yikes

shakes/skarra. you don't wanna open that can of worms

HOW THESE GUYS ARE STILL ALIVE

what the show is about. DON'T EVER ASK ME THIS. I DO NOT KNOW

[bluebeads-art]

2024 September 23rd

Okay so. I kept seeing drawings of Siffrin in iconic Sonic the Hedgehog poses for some godforsaken reason? And like, I was a HUGE Sonic nerd as a teenager. Absolutely obsessed. You can't do this to me. As soon as I thought, "Isabeau would fit Knuckles' poses," and "Mirabelle can be Amy Rose!" it was all over. I had to join the funny art trend.

I'd already seen drawings of the really iconic Sonic Adventure poses, so I decided to go with Sonic Advance 3 poses instead. They might not be as recognizable, but as someone who loved SA3, they're iconic to me. And I'm the artist here, the only people who matter are me and my inner child LMAO.

Pose references and more rambling under the cut

^ Character select pixel art from Sonic Advance 3.

I wanted to just go with the flow for this drawing and not worry about style or anatomy as much. No thoughts, head empty, only vibes. It turned into a really fun abomination of my casual art style, ISaT style, and decade-old Sonic-drawing muscle memory. I miss Siffrin's cloak fuzzies though, but Sonic art styles are just so smooth and clean and I couldn't find a way to get them to mesh well.

Time taken was 20 hours and 10 minutes, because I don't know how doodling works.

Isabeau took a fraction of the time Siffrin and especially Mira did. Amy's pose is not meant for human arms. I left behind a graveyard of failed hand poses. Meanwhile Siffrin was rough because of their friggin cloak making the pose hard to read, but I figured it out!

I'm still new to writing screen reader alt text, and I have no idea if I'm going overboard or not, lol. 291-word description essay GO!

[rirabeko]

Some of Baji's mischaracterization that gives me the ICK

It's 2024 and there are people out there who still can't understand Baji's character and mischaracterize him heavily, mostly because of the Bajifuyu ship.

DISCLAIMER: You can ship whoever you want. I'm just tired of seeing my favourite character constantly being mischaracterized because of toxic shippers. Also I'm not a shipper myself, I do not romanticize any of the relationships I mention below.

The biggest issue with Baji's character is the fact that Bajifuyu shippers (and sometimes just the fandom in general) constantly ignore Kazutora's role in Baji's life, meanwhile Kazutora made a huge impact on Baji's character. You can clearly see it not just in the anime or in the manga, but in the spin-off too.

Baji and Kazutora were that duo, they were a literal separated team within Toman. They met naturally, become friends instantly and spent most of their time together (many times without Toman). It's accepted by the fandom, that Kazutora's first real friend was Baji, but also Baji's first close friend was Kazutora.

Obviously Mikey and Baji were close as kids, but after Baji moved to a different place they weren't that close. I bet this is the reason why Baji didn't know about Shinichiro's bike shop, since when they met regularly Baji was a little kid and Shinichiro was a teenager without a bike shop. It also shows that Mikey and Baji aren't that close, they are more like childhood buddies than close friends.

I can talk about this for hours but now I only wrote it as a small disclaimer, before I get into my points, so let's go.

I am sick of it when:

they call Baji stupid (he literally outsmarted Kisaki, being smart not equals only book smart)

people headcanon him as a mean, aggressive, abusive bf (he is canonly no.1 best lover and he literally died because he has a heart of gold, let this bs go pls)

they can't understand the reason behind his suicide and make it a ship war (ICK)

people can't accept the fact Baji loves his friends differently, and not everyone is his bestie (it doesn't mean he does not love them, or prefers someone over the other but love can be different towards different people and it's absolutely normal!)

they make his character all about Bajifuyu (he is an individual, stop bringing up Chifuyu EVERYTIME when it comes to Baji. His character is much more than a guy in a dominant-submissive fanmade yaoi ship people like dragging him into!)

they make Chifuyu the good, perfect friend while constantly dragging Baji down and made him the bad guy in their relationship (I could write a whole essay just about this being a bullshit)

when they romanticize Bajifuyu (Baji canonly sees Chifuyu as a younger brother figure said by Baji's mom, but there are people out there who still believes unironically that they are in love... WHY?)

they ignore that Baji is very caring and affectionate not just towards Chifuyu, he is like this because these are his own personality traits. He behaves like this with everyone who's close to him. (Mikey, Kazutora, Ryuusei and just Toman in general)

people say Chifuyu was the only one who understood Baji's feelings and aims (the literal reason Baji died was because no one really understood his goals and behaviour, not even Chifuyu)

they romanticize Chifuyu's obsessiveness towards Baji (if Chifuyu was a girl, he would be cancelled for this behaviour immediately, but the double standard won again)

people make his death an opportunity to romanticize Bajifuyu (biggest ICK)

they say Baji is only distant with Chifuyu beacuse he is a tsundere (there are so many situations when Chifuyu truly annoys Baji, e.g. he said it many times that Chifuyu's infatuation really disturbs him and asked Chifuyu to stop)

Bajifuyu shippers ignore and hate Kazutora just because he disturbs their ship

they say Baji was a bad influence to Kazutora (Kazutora hung out with gangs even before he met Baji, he was already a part of the underworld. the reason Kazutora turned out that way was his abusive father and his horrible childhood in general. Baji literally saved him, and he could finally be himself around Baji without any judgement or harassment)

they ignore or even DENY Bajitora's bond because of Bajifuyu

they accept Bajifuyu, Kazufuyu or even the Bajitrio but HATE Bajitora (the biggest bullshit ever)

they can't recognise the fanservice of Bajifuyu and calls them canon because of the clear fanservice acts

people think Bajitora is one sided (more Baji sided) meanwhile Tora loves Baji more than his own life and shows it many times how much he loves Baji and how much Baji means to him

they accept that Chifuyu never changed his hairstyle after Baji made it for him (and obviously they romanticize it) but they are hating because Kazutora looked exactly like Baji in bad toman timeline

people ignore Bajitora and always forgets that they are very close to each other in every timeline. the new panels Wakui drew were also about Kazutora putting Chifuyu to his place after Chifuyu completly ignored Tora and disturbed his time with his best friend. (we all know Kazutora is very possessive with Baji for obvious reasons and does not tolerate being disrespected by someone)

The list could go on and on but these are the main problems I still see in this fandom when it comes to Baji's character.

I'm tired of seeing this amazingly well-written character turns into a boring, abusive, mean guy by the fandom who is only an abuser in a toxic fanmade yaoi ship.

SIDE NOTE:

To all the people who dislike him/call him mean and aggressive because he beat Chifuyu up:

This anime is based on a manga which takes place in the early 2000's gangster world in Japan. He is the captain of the 1st division, he is the leader, and his role is not just to be the strongest in the division but also to manage his team, bc this is also what a leader does. If someone is disrespectful, breaks the rules and shows a bad example to the others he has to punish them. In this world this is how things go. This won't make him a bad person, or an aggressive jerk. Baji can be very calm and collected when it comes to leading his division. He is a very good leader, who takes care of his teammates, so no surprise he is really loved by his division. 

Also when he beat Chifuyu up before joining Valhalla: he hated himself for doing that. But he had to, he had no other choice. And Chifuyu had every right to stand up against Baji and tell him he's not doing it. But since Chifuyu never questions Baji's decisions as the captain of the first division he agreed with this one too, and also because he wanted to help him. Chifuyu knew exactly what he was doing when he let Baji doing this to him, and he went along with it. Stop bringing this up everytime and use it against Baji.

[badscienceman]

I saw someone ask what "I hope this hurts" means beyond the obvious, and I started to respond only for it to turn into an essay... Because I don't feel like dumping something so long in some unsuspecting person's notifs, I'm just going to post it here instead.

I started writing this after playing the game, but ended up watching a playthrough because I couldn't remember exactly where "I hope this hurts" was repeated. I think I caught the only few times it was mentioned, but I wouldn't be surprised if I missed something, so feel free to correct me on that or anything else I might have gotten wrong.

Spoilers for the full game and CWs for everything you would expect from discussing Mouthwashing apply.

Edited 10/16/2024 for clarity and some minor issues with formatting. I added sections in hopes of making it more readable, as well as a few more screenshots that I hope will support my points better. *Indicates where I made potentially significant additions to my original analysis.

Part One: Jimmy

Jimmy is someone who has a delicate ego. This means that he's very concerned with how he's perceived by those around him. We see this in how he responds to Curly and the news of the company's closure, which he takes it as a personal attack in spite of it very clearly having nothing to do with him on a personal level.

For people like Jimmy, a threat to one's image (whether it's a matter of their perception of themselves or, maybe worse, the perception others have of them) brings intense emotional pain. Even though it's clear that Curly meant no personal offense, and likely saw more good in Jimmy than was actually there, Jimmy sees this as a great threat to his own image, and thus identity.

To be clear, it's not just that Jimmy thinks Curly is looking down on him. It's also that Jimmy needs his role in the company to maintain his image, and he needs to eventually become captain. This is his ultimate goal because the respect and control that someone like Curly has, in Jimmy's mind, is tied to the title he possesses. And Jimmy wants that. He wants respect, he wants to be listened to, he wants power over others. (This is also why Swansea's final speech is so important, in relation to the belief that if one just reaches this next goal, they might feel a little more human, a little more in control, a little more fulfilled, but as Swansea shows us, that's just not the case. And it's true for Jimmy, too. Jimmy isn't magically fulfilled by obtaining the title of captain.)

But in the beginning, Jimmy has yet to realize that just getting the role of captain won't magically make him a man who is respected, or even a man who is truly in control. He sees no opportunities for himself on earth. The only option is to stay in this company and become a little lord of his own ship... and suddenly that's ripped out from under him. He will never reach the goal he's been chasing for all of this time.

Anya telling him about her pregnancy is the final push he needs to go over the edge.

Part Two: Captain

Returning to the initial reveal that the company is shutting down for a second, I think it's important to keep in mind a few things:

1. The importance of the title of captain in Jimmy's mind.

2. How this extends to his perception of Curly, him being the current captain.

3. Jimmy's self-centeredness preventing him from understanding the feelings and perceptions of those around him.

When Curly says what he does, Jimmy immediately jumps to the conclusion that Curly sees himself as above everyone else (and most importantly, as above Jimmy), to the point of considering them "dirt." I don't think Jimmy is just projecting his greatest fear (being seen as lesser) onto Curly. I think he's projecting his own perceptions.

He's placed all of this importance on the title of captain, and thus Curly. The captain is above Jimmy. Jimmy is beneath him, is lesser. And we know how Jimmy treats those he sees as lesser (first Anya, and then the rest of the crew once he's captain, *manipulating Daisuke into putting his life at risk because Daisuke, who is just an intern after all, just isn't important to Jimmy being an example).

I think this is a fair reading because Jimmy does something similar with Swansea when he insists that Swansea is keeping the last cryostasis pod for himself. I understand some might say that this is just Jimmy's attempt to manipulate Daisuke and Jimmy doesn't actually believe it, which is a fair interpretation, but I sincerely think he believes what he's saying in this instance. And I think that because Jimmy sees selfishness as common sense. It's what he would do were he in Swansea's position, and what makes him giving the pod to Curly significant.

Part Three: Anya

So, Jimmy is already hurt and panicking. He sees his chance at power and thus fulfillment slipping away. And then Anya tells him that she's pregnant.

Anya, who he has shown time and time again that he thinks little of.

Anya, who he clearly sees as beneath him.

Any mention of the pregnancy, no matter how gently it was worded, would immediately feel like a threat to him on multiple levels. And not only that, but a threat from someone lesser than him. His image, his status, his control, his power—it's already slipping from his fingertips. *It's happening right then, in that moment. It's not just a potential future where he's held accountable in a real way (maybe if Anya involved authorities, or if Jimmy was legally responsible for supporting a child once they returned to earth). It's happening now, because his image is crumbling.

For this reason, I believe I hope this hurts to be directed at anyone and everyone that he sees as "threatening" him.

Anya and Curly have made him hurt. He wants to make them hurt.

He doesn't care about Daisuke and Swansea. If anything, he's so caught up in himself and this contorted vision of reality, I wouldn't be shocked if he convinced himself in the moment that they, too, were looking down on him for some reason. (See again, "I know what everyone is thinking. The way they look at me." Obviously this is said in the midst of his spiral, after the crash, but I wouldn't doubt the paranoia was there before that moment.)

He wants to make them hurt as they've hurt him. He may also want to make himself hurt in order to vent out his emotional pain. If not, death may simply be the easiest way to escape pain and the threat the future holds in his mind.

*Part Four: Without the Guilt

In addition to all of this, I think crashing the ship (making them hurt) is his vision of what Curly has done or is doing to him. This is how he "leave(s) the dirt behind."

To understand this, I'm going to include the birthday conversation and the conversation between Jimmy and Curly about crashing the ship.

Jimmy: ... So I guess you got what you wanted. Without the guilt. Curly: Jim... If I had known... Jimmy: I can go back to my, how'd you put it? "Struggle of a life?" Jimmy: Anya never got into medical school because she's... well, let's be real. Jimmy: And how many employment years Swansea got left in him? Jimmy: Daisuke will be fine, mommy and daddy have him covered. So there's that at least. Jimmy: But you. Headed for bigger and better, right? Curly: I'm just... I'm just working on my life being a place I don't have to fucking escape! That's what I was trying to tell you, nothing mor- Jimmy: We're the ones you're trying to escape! Leave the dirt behind now that your boots are clean! Curly: That's not what I meant. Jimmy: It is what you meant. Jimmy: You just couldn't frame it to yourself in a way that kept you as the hero. Jimmy: Abandon the crew but remain the model captain.

To me, this is one of the most important and revealing sections of the game. Jimmy is not only projecting onto Curly, he's telling us exactly what he's going to go on to do (or attempt to do) when he becomes captain.

In addition to this, we see his manipulation on full display as he twists Curly's words and won't allow him even a moment to truly speak beyond a few lines he manages to get in between Jimmy's ranting.

That's not to mention we see the beginning of yet another pattern in Jimmy's behavior: getting a person to admit their weakness, then using it against them and/or using it to hurt them (he does this with Daisuke, for example, when he hears Daisuke's fears/desire for approval and proceeds to use it to get Daisuke in the vent). Here, Curly speaks about feeling trapped. Jimmy will soon trap him in a crashed ship just as much as he traps him in his own body, which Jimmy will proceed to drug. But I'll return to that.

Curly: Jim. I can fix this. Jimmy: What do you think will happen when we get back? Hm? Curly: We can figure all of this out. You and me. Take care of it. Kills ninety nine percent. Jimmy: All I ever hear is how great of a leader you are. God, it's so annoying. Jimmy: But, now... What do you think will happen now when we get back? Curly: We'll fix this together. Jimmy: Everything you and I worked for in our lives. Accomplishments, changes. Jimmy: None of it will matter. Curly: You've gotten through difficult situations before. This time won't be any different. Work through it, one day at a time. Jimmy: It's not just me, is it? Jimmy: You were supposed to be the one who had everything under control. You said so yourself. Jimmy: The ship, this crew, everything that happened here... Jimmy: This was your responsibility, Captain. Jimmy: That is what you'll be hearing the rest of your life. Take responsibility. Jimmy: Or this can all be remembered as a tragedy. Jimmy: Despite what must have been the best efforts of its acclaimed captain. Jimmy: The Tulpar crew was never found. Jimmy: No one survived to tell the tale. Take responsibility. Jimmy: You're standing at the top. Jimmy: Feet in cement. Jimmy: I get it now. Right? Curly: ... Curly: ... Right.

This is an important moment, because aside from the scene in which Jimmy is approaching Curly while he's on fire, it's the only other time that I can recall the game separating from their perspectives to allow us to see them both, standing together.

We see a flash of Take care of it. Kills ninety nine percent. Jimmy begins to pull away. Another flash. He continues to draw back. Another. He turns towards the cockpit.

Jimmy sees through Curly. He sees Curly's worst where Curly sees only Jimmy's best, and he's more that willing to use that against Curly.

He sees a man who is not going to do what's hard. He sees a man who is going to try to "fix it" only in the most superficial sense. A man who confuses the appearance of cohesion and peace with the reality of it. Someone who sees the rocking of the boat as a manifestation of taking action against a wrong rather than the wrong itself.

In the end, it seems they're both ruled by appearances. And Jimmy will soon rip appearances in every sense from Curly's fingertips. He will make him hurt. He will get his revenge. He'll turn Curly into the villain, taking away his title, his respect, and his very face.

For daring to look down on him, Jimmy will turn Curly into dust.

But I think these words—I hope it hurts—come back to haunt him.

Part Five: The Eye as a Mirror

Like I said, I went back to try to find each time the phrase is used. There's the beginning, of course, but then there's the pregnancy sequence, for lack of a better name.

When the Polle monstrosity emerges from the giant uterus (?), we see these words:

In this sequence, we see a lot of different images and concepts connected: Anya's pregnancy and thus her sexual assault by Jimmy are tied to Polle and the company. The emergence of the Polle monster from the giant uterus (and the idea of the removal of the pregnancy) is tied to the mouthwash, as it's an act of "cleansing." This is all then tied to the phrase I hope this hurts.

Unless I missed something, these are the only two moments when the phrase is used: When Jimmy crashes the ship, and when he's experiencing this hallucination.

All clean! Really gets rid of that bad taste in your mouth, huh? Through wreckage! Through silence! Wash it away! All day fire fresh!

"Clean" is important immediately. "Leave the dirt behind you now that your boots are clean," Jimmy says. Because in this accusation is Jimmy's actual intentions himself. He wants to rise above others and clean himself from their filth. Now, he wants to clean himself of his sins.

I think "Really gets rid of that bad taste in your mouth" is mocking him. A direct challenge to the thought that he could ever truly be "cleaned," at least in the ways he's so desperately trying to go about it. *Not to mention how this connects to the mouthwash, as it might get that 99%, but there's always going to be 1% left.

"Through wreckage" obviously refers to the wrecking of the ship, but also of their lives. All by Jimmy. Though I wouldn't doubt in his mind it connects to the wreckage of consequences (ie. Anya's pregnancy resulting from Jimmy's actions).

"Through silence" I feel connects back to Jimmy's attempts to keep everything quiet, both literally and figuratively.

"Wash it away" also has a mocking edge, as if stressing the foolishness of Jimmy's attempts to treat these very serious events as if it's all just "dirt" he can wipe off.

Finally, we see "All day fire fresh!" This line stresses the connection to the mouthwash, of course. It also calls to mind the concept of cleansing by fire. Important considering Curly.

And after each, I hope it hurts. Jimmy's statement of pure, childish rage. His desperate desire to make others hurt as he hurts. To lash out, to get revenge. To have control until the very end.

This is also why Polle haunts him. Because he, as a man desperate for control, will always be under the thumb of the company even with that title of captain. That hurts him. And maybe the closest thing to ever recognizing the evil he's done to Anya is envisioning it as similar to the company's control, but even that feels like a mockery because he's so horrifically incapable of seeing her as a human being that she's been reduced to her womb. That's what he's really afraid of, in the end, and the fear feels like something else is in control. It makes the organ feel giant, larger than him, capable of hurting him.

When I was watching the playthrough, I thought that there was going to be four or five "I hope it hurts." I thought it would represent each person Jimmy hurts, or all of them, because he hurts himself too. When the sixth came, I thought so much for that theory. But then, I thought about it and there's the fetus. That makes six.

So, I hope this hurts means "I want to hurt you the way I've been hurt. The way you've hurt me." It's Jimmy saying that if his life has been wrecked, he'll wreck yours. It's Jimmy saying he'll shut you up. It's Jimmy saying he'll burn everything down if it means he can maintain control, or even just the illusion of it.

Part Six: Pain

But I think there's another side to this. Like some of the other lines I said feel are mocking him, I think I hope this hurts turns against Jimmy, especially here. And more than that, pain (and by extension, pain medication) plays a massive role in the game, after all. So I hope this hurts feels as if it haunts every moment where it's involved.

Jimmy says this the first time he gives Curly his pills. Pain is how we know we're still living.

The pills are clearly connected to death from the start. If "pain is how we know we're still living" then pain is connected to life and freedom from it is connected to death. That's saying nothing of Anya's use of the pills to kill herself. I think this connects back to the crash, as well. If life is pain, death is an escape from it.

I think it's also significant that the act of swallowing the pain pills is in and of itself painful.

The pills that are meant to take the pain away become a method of torturing Curly. It's a way to make him hurt, and to exert control over him. Even something that should take away his suffering is just an extension of it.

At one point, Jimmy says "Once these are out, we'll have nothing to keep him quiet." In this sense, the pain pills are meant to suppress, not to heal (Through silence!). They're supposed to shut Curly up and keep him from expressing his anguish in the only way he has left (the noises that disturb Jimmy's sleep).

Others have compared this, or Curly's state, to how Anya has been forced to bottle up her own suffering. Jimmy is keeping them both quiet, or at least attempting to. The ultimate form of keeping them quiet would be to, of course, kill them all.

The pills can also be seen as an attempt to hide or conceal the hurt that has been caused rather than to actually heal. In this way, they're like the mouthwash: something that's not really helping, just covering up an issue (and thus making it worse). And the mouthwash represents Jimmy's attempts to "fix" things. He doesn't actually want to make things right, because that would mean taking accountability. He wants to protect his own ego by "fixing" things in a mimicry of Curly "fixing" things in which he wants to create a sense of "rightness" without actually adressing what (or who) has been wronged. Jimmy can't stand to look at himself, because he would see that he really is constructed of his worst moments, or at least, that's what I suspect he would see.

Conclusion

Considering all of this, I hope this hurts can then become a mantra about living in spite of everything. I hope this hurts means "I hope I'm alive in the end. I hope we're all alive in the end." It could mean "I hope I'm allowed to hurt, because I am hurt, and the harm that's been done to me must be seen rather than suppressed and hidden." It could mean "You can't keep me quiet. You can't ignore or hide what you've done to me."

Maybe most of all, I think it means I hope you reap what you sow. When it's turned back on Jimmy, when it's almost mocking or haunting him, it becomes in part about his emotional weakness. About his inability to look at himself and his reality without experiencing the pain of humiliation. I don't think he ever experiences half of the pain he's inflicted on those around him. Still, he has to deal with the fact that his attempt to hurt others instead of facing himself has caused him more pain rather than taken it away as he'd hoped.

And I think that's why he suddenly decides to make Curly a "hero" instead of a "villain." There's a tipping point where he's pushed into a corner. The pain is too much. He hasn't confronted his own actions in any real way, but he's done enough that he can't stand to save himself anymore. It hurts too badly to live with what he's done. It sends him into another stage of fantasy/delusion. The only thing left to do is what he intended to from the start: kill himself to escape and damn Curly to a slow death. Because to go on living in spite of the pain would be the right thing to do, in a sense. To live in the hell of his own creation. To face what he's done. But instead, he'll entrust those heroics to Curly.

This feels barely coherent in the end, so I might come back in a few days and say wow what the fuck was I talking about? But hopefully there's something here that captures some truth. Again, please feel free to correct me if I'm misremembering anything or if I missed something.

[inthedayswhenlandswerefew]

Where Will All The Martyrs Go [Chapter 8: She's The Salt Of The Earth And She's Dangerous]

A/N: Be sure to vote in the poll pinned to the top of my blog AFTER you finish reading!!! 🥰

Series summary: In the midst of the zombie apocalypse, both you and Aemond (and your respective travel companions) find yourselves headed for the West Coast. It’s the 2024 version of the Oregon Trail, but with less dysentery and more undead antagonists. Watch out for snakes! 😉🐍

Series warnings: Language, sexual content (18+ readers only), violence, bodily injury, med school Aemond, character deaths, nature, drinking, smoking, drugs, Adventures With Aegon™️, pregnancy and childbirth, the U.S. Navy, road trip vibes, RIP Jace (again).

Series title is a lyric from: “Letterbomb” by Green Day.

Chapter title is a lyric from: “She's A Rebel” by Green Day.

Word count: 7.4k

💜 All my writing can be found HERE! 💜

Let me know if you’d like to be added to the taglist 🥰

“I’m sorry if I was a creep when we first met,” Aegon says. He’s been oddly philosophical since he was burned. “I hadn’t seen a hot single chick in a while, and I wanted to fuck you.”

Cregan siphoned just enough gas from a decrepit Chrysler Sebring in Merna to take the Tahoe two and a half hours west to Little Thunder Bay Campground on the shores of Lake McConaughy, a manmade reservoir and New Deal project from the 1930s. You glance over at Aegon dubiously, amused. “Do I count as hot?”

“Yeah, Chippendales, you’re hot. In like a…you live in a cabin and knit sweaters by a crackling fireplace kind of way.”

You smile. “So you got over that.”

“Oh no, I still want to fuck you. Now I just know you better, so I wouldn’t want to offend you by being obnoxious about it.”

“That’s sweet, I guess. I appreciate your discretion.”

“No problem. If you ever decide you want to take a ride on a less distinguished Targaryen brother, let me know.”

The two of you are fishing from a boat launch, dry splintering planks of wood, opaque rippling water, soft wind and bright sunshine from an aquamarine, cloudless sky. Cregan found the fishing poles in the abandoned RV you’ve moved into, a Winnebago Spirit with one of those stick figure family decals on the back window, Mom, Dad, four lovely children and a dog too, all of whom are perhaps alive but more likely dead and in any case nowhere to be found here in this tranquil corner of western Nebraska, 150 miles from the Wyoming border. Helaena digs worms from the earth, then Rhaena slices them into wriggling segments with a hunting knife and brings them to you and Aegon to be impaled on barbed hooks. Aemond, Rio, Daeron, Luke, and Cregan are swimming about twenty yards down the beach, soaked boxer shorts and nothing else, splashing each other and scrubbing the grime off their skin from a morning spent gathering wood for the firepit and the grill; Ice is paddling joyfully alongside them. Baela floats on her back and peers vacantly up into the vast blue nothingness. Aegon is not permitted in the water, as his leg is an open wound beneath his bandages. You ask him as you recast your fishing line: “Why are you like this?”

“Like what?”

You shrug, smirking guiltily. You thought it was obvious.

Aegon throws back his head and cackles, slow and lazy. “Oh, I get it. A loser.”

“I didn’t say loser.”

“You thought loser.”

“I implied loser.”

“It’s alright. I’ve been called worse things by people I admire much less.” He contemplates his answer as he gazes down into the water, sluggish stoned reverie. Aemond must be almost out of morphine by now. At last Aegon says: “I think the first thing I ever learned was that no matter how hard I tried, no one was ever going to love me. Not in a normal kind of way, Disney movie love, Christmas rom-com love. So I stopped trying. Mother wanted me to play piano, so I bombed the recital. Father wanted me to be a doctor or a lawyer, so I skipped class, went golfing and yachting, didn’t even bother to pay someone to write halfway decent essays for me. If they couldn’t love me unconditionally, I wasn’t interested in meeting their conditions.” Then he chuckles, the breeze combing through his hair, ninety degrees and only getting hotter. “I refused to work. All you’ve ever done is work. You must hate me.”

“No, I get it.” You reel in your line; a fish has stolen the worm from your hook, tiny clandestine nibbles. You impale a slimy new victim and recast. “No one wants to be used.”

“Yeah. Exactly. I wasn’t going to spend my life doing shit I didn’t want to do so my parents could brag about me to their insufferable friends and absolve themselves of their mistakes. Mother married a man who didn’t give a fuck about her, Father ignored us all. Me being a success story would have given them the impression they did something right. I couldn’t have that.”

So Aemond had to be the success story instead. You glance down the beach at where he is bursting through the water and slicking back his dripping hair from his face, showing Luke a bone he found in the muddy silt of Lake McConaughy, hopefully not human.

Aegon follows your eyeline. “Aemond went the other way, I guess. Always so pathetically desperate for their approval. Scrabbling for crumbs of it like a rat. That’s what the thing with Alys was all about, it’s the only explanation I have. Older woman, surrogate mother, comforting but chilly, fawning but forbidden, always keeping him at an arm’s length and rewarding his tricks with treats.” He smirks flirtatiously, then sees that he’s hurt you. “Oh, um, I mean…look, it wasn’t…it wasn’t a good thing, you know? He wasn’t happy. It was a seven-year-long psychotic episode, not a relationship.”

“You mentioned that Criston likes Aemond,” you say, pivoting. “The…what is he? A family friend, an assistant?”

“My mother’s personal security guard. And yeah, he cares about Aemond. He’s proud of him, he trust him, he thinks he’s more capable than any of the rest of us, and that’s probably true. It’s definitely true compared to me. But that doesn’t mean Criston always knows how to express it.”

You look out over the water, trying not to imagine Aemond touching Alys, this woman you hate without knowing her face. You wonder if he ever wishes you were more like her: older, clever, entrancing, masterful. “It must have been a strange way to grow up.”

“Cold,” Aegon says. “Hollow. Holidays, birthdays, vacations, everything. You go through the motions but something’s always missing. When you’re little, you think it’s your fault, and then eventually you realize that they’re going to be miserable whether you’re there or not. But you can get out if you’re willing to run far enough.” He scratches at his forearm, and your eyes catch fleetingly on the black ink of his tattoo: It’s not over ‘til you’re underground. You had told Rio something similar when you were stranded on that transmission tower in Catawissa, Pennsylvania. “This is fucked up, and I don’t mean that I don’t feel bad about what happened to Jace, and I get that millions of people have died agonizing deaths, and that all sucks, believe me, I know, but this…” He gestures vaguely, to the zombies and the desolation and the collapse of everything you’ve ever known. “It was kind of my Get Out Of Jail Free card. And in a weird way…sometimes I feel like I’ve been happier since the world ended than I ever was before.”

You smile. You know what he means. “Even if your leg gets infected and we have to saw it off without anesthesia like you’re a Civil War soldier?”

Aegon laughs and shakes his head, his hair flopping around. It’s almost long enough for him to have a man bun like Cregan’s if he wanted one “No, probably not. Also, what’s the Civil War?”

“Forget it.”

“No, now I want to know.”

“It’s kind of a long story.”

“Aemond said something interesting this morning while you were picking blackberries with our favorite Trump supporter,” Aegon tells you, salacious and sly, offering a tantalizing morsel he knows you’re powerless to refuse. He pauses and waits for you to admit it to yourself.

“Fine. Okay. What?”

“He said that when you and Cregan are standing next to each other, you look like you belong together.”

You groan, quite loudly. “I have zero interest in Cregan romantically. Literally zero. I don’t think he sees me that way either.”

Aegon shrugs. “The dating pool is awfully small nowadays, Banana Chip. Anyone who’s not a corpse or an immediate blood relative starts to look tasty.”

“So that’s why you like me.”

Aegon grins, teeth he shows often and easily, so unlike Aemond in every way. “No. I think I’d like you anywhere.” He tugs languidly on his fishing pole. “I want a new golf club.” He forgot his at the house in Broken Bow where Jace died.

“We’ll see.”

“I want new shoes too.” One of his Sperry Bahama sneakers was burned beyond repair and filled with shreds of his own singed flesh, scraps like soft bacon fused with the padding and insole. “And some polos.”

“I’m not a Big Lots.”

“Who the fuck shops at Big Lots?” Aegon’s fishing line jerks, and he yanks hard on the pole before reeling in his catch. Suspended at the end is a long green creature, yellowish spots and a villainous angular face. “That is one ugly bitch.”

“It’s a pike,” you say, and then when you grab it you observe that the misfortunate fish has the barb of the hook piercing not through its lip but one of its bulging, glassy eyes. “Oh my God!”

Aegon squeals, horrified. He offers no meaningful assistance. “That’s so gross, that’s so gross, what are we going to do?!”

“We have to, like, I don’t know, grab the back of the hook from inside its mouth and pull it out of the eyeball, I guess…?!”

“Yeah, awesome. Good luck with that.”

You reach tentatively into the pike’s gaping mouth. Its jaws snap shut, needlelike teeth stinging your wrist. “Ow!”

“Cregan!” Aegon bellows. “Cregan, help!”

Now the others are running to the boat launch to see what’s going on, Helaena and Rhaena from the shore, everyone else from the lake, Luke helping Baela wring the water from her sundress and Ice galloping alongside Cregan. He gets a look at the pike and guffaws, loud and rumbling.

“Poor little guy. That’s some bad luck he’s got.”

“Can you get the hook out?” you ask, eager to surrender the fish, which is still thrashing franticly and gnashing its teeth, mindless cold-blooded death throes.

“Of course I can.” Cregan plucks the pike from your grasp, shoves his massive hand into its mouth, and rips the hook out with one effortless maneuver. The pike is freed, but its eyeball remains speared on the hook. Then Cregan spies blood on your wrist. “You okay there, Miss Chips?”

“Oh yeah. I’m fine.”

“Freaking disgusting, man,” Aegon mutters; he and Rio are ogling the disembodied eyeball, complete with a frayed optic nerve like a tail, with identical, stunned revulsion.

You turn to smile up at Aemond, but he doesn’t notice you. He is staring at Cregan, his sole blue eye narrow and fixed and flat like still water.

~~~~~~~~~~

“The closest town is Ogallala,” Aegon says as he lays his map across the wooden picnic table. The rest of you are seated around him and picking flaky white meat from between the thin, fragile bones of the pike, which Cregan has gutted and cooked on the large metal grill that careless camping families once roasted marshmallows and hotdogs over. Helaena is at the edge of the table and writing in her spider notebook, elegant loops of cursive. Ice is lying on her belly and gnawing on a rabbit she killed for herself, its doomed black eyes gazing up at you.

“That has to be what, ten miles south?” Rio says apprehensively.

Aegon licks grease from his fingers. “Yup. A little more, probably.”

“What about Lemoyne?” Daeron says, pointing. “Or Keystone, or even Belmar? They’re all closer.”

“See how small the names are written?” Aegon tells him. “That means they’re not actual communities. They’re like a few stop signs and maybe a Dollar General and that’s it.”

“I love Dollar General,” Cregan says, nostalgic. “Man, do y’all remember Chicken in a Biskit? I used to park myself in front of the tv and eat boxes and boxes—”

“It has to be Ogallala,” Aemond insists. “We need pharmacies and grocery stores and cars to siphon gas from, we need a real town.”

Rhaena chews her lower lip anxiously. “The Tahoe is empty. We have maybe half a gallon left and that’s it. Just enough to get down to Ogallala if we’re lucky, but not back.”

“So we’ll drive until it dies and then we’ll walk. Cregan has a gas can in the back, if we find fuel we can bring some back to the Tahoe and continue from there.”

“Walk, huh?” Aegon says, looking down at his bandaged left leg, which he can’t put any weight on. He gets around by hopping, leaning against other people (oftentimes against their will), and being carried by Rio.

“Well, you’re not going,” Aemond tells him. “And Baela isn’t either.”

Baela, gazing blankly down at the map, says nothing. A brown striped snake darts through the grass only a few feet from the picnic table, moving swiftly towards the lake, and there are alarmed gasps and yelps.

“Northern water snake,” Helaena says, glancing up from her notebook. “Not venomous.”

“Good,” Rhaena replies with a shudder.

Luke says fearfully as he reads the map: “Aemond, last time we went into a town that big was Broken Bow, and…Jace…the farmhouse…”

Aemond slams his fists down on the table. “We have to, okay? We need food and water. We need bullets. I need more pain meds and bandages for Aegon, I need antiseptic and Neosporin, and Vaseline for when he’s healing, and supplies for when Baela goes into labor too, since I’ve had to use everything I had saved.”

“We need pads and tampons too,” Helaena says as she examines the black-ink inventory in her notebook. “And Advil, lip balm, bars of soap, hair ties, and socks and underwear. And that green jelly aloe vera stuff for Aegon’s sunburn.”

“Yeah, exactly,” Aemond agrees. “We need a lot of things. And we have to refuel so we can keep moving west.”

“We could stay here,” Baela says, so softly that at first you aren’t sure if you heard her right.

“What, Baela?” Rhaena asks gently.

“I want to stay here.” Baela is more resolute now. “I want to have the baby here.”

Nobody knows how to respond. Rio gives you a troubled glance. You nod in agreement, so subtly you doubt anyone else notices. Not an option.

Aemond is calm but unwavering. “Baela, I’m sorry, but that’s not possible.”

She pleads her case. “I like the Winnebago. I like the lake. I’m comfortable here, and we’re out in the middle of nowhere, and I…I think we could make this our home for a while, now that we’ve found someplace like this. Someplace quiet and safe.”

“We’re not safe here, Baela,” Aemond says. “It feels like we’re safe, but we’re not. We aren’t a big enough group to reliably be able to defend ourselves. We don’t have adequate supplies. We have a lake to our backs, sure, but the rest of the shoreline is open for anybody to walk right into, and our visibility is blocked by trees. No one has stumbled across us yet, but that doesn’t mean they won’t. And if they do we’re extremely vulnerable. But when we get to the west coast, we’ll be home.”

“I’m tired of running. I’m tired of being afraid.”

“I understand. I am too.”

“It’s different,” Baela says, abruptly fierce. “You don’t know what this feels like. None of you do. I’ve never given up and I’ve never asked to be taken care of, I’ve always been the strong one, but I’m so goddamn tired, and I want to have my baby here, and I…I…” Her large dark eyes are glistening, haunted. “Every time we’re driving I feel like I see him sitting next to me, or standing out in the middle of the road, and then I have to remember what happened all over again, and…I just…I don’t want to do this anymore.”

Rhaena takes Baela’s hands in her own, skims her thumbs across Baela’s knuckles; Luke rubs her back reassuringly. The rest of you can only offer silent, pitying looks. There are no easy answers, no fortuitous gold strikes, no shortcuts. The only way out is through.

“Whatever you guys decide, I’m leaving either way,” Rio says. “Sophie’s waiting for me in Oregon. I can’t just hang out in Nebraska forever. I’ll walk if I have to.”

“It’s over a thousand miles,” Aegon tells him.

“Doesn’t matter, man. I gotta do it.”

You add: “Obviously, I’d have to go with Rio.”

Both Aemond and Aegon appear startled. “We’ll be on the road again soon,” Aemond promises. “Tomorrow, if we can find gas in Ogallala.”

“I’m not going,” Baela whispers.

“We have to, Baela,” Rhaena implores. “It’ll be alright. We’ll take care of you, and the baby too when the time comes.”

Baela stands, strides to the Winnebago, disappears inside and slams the door behind her.

“She’ll be okay,” Rhaena tells the rest of you. “She’s…you know, she’s shaken up. She’s not thinking clearly. But she’ll realize this was the right decision. The only decision, really.”

“It’s best if we can get set up somewhere permanent before she goes into labor,” Aemond says, as if he’s defending himself. “Traveling with a baby…Baela recovering…it would be very dangerous for all of us.”

“Luke and I are thinking the same things, Aemond. We agree with you.”

He gives Rhaena an appreciative smile, very small but sincere. Then he turns to Daeron. “Baela and Aegon will have to wait here when I go south to Ogallala, since they can’t walk in the event the Tahoe runs out of gas. You’re going to stay behind to protect them.”

“Got it,” Daeron says soberly. All the bullets are gone; his compound bow, fed with arrows fashioned from sticks, is the best weapon you have left. Cregan has his axe, Rio still prefers to bash skulls with the butt of his Remington shotgun, everyone else must make do with hunting knives from that cellar back in Pennsylvania and kayak paddles found here at Lake McConaughy.

Aemond looks around the table. “I’ll need Rio, Cregan, and Luke.”

“And our beloved furball Blue Raspberry Icee,” Aegon says, smirking. “To sniff out any zombies.”

“Yes. Ice too.”

“What about me?” you say, staring incredulously at Aemond.

“Not you. You’re staying here in the RV.”

“If you and Rio are going, I’m going.”

“No, you’re not,” Aemond says. “You’re the best shot, and we all agree about that, but we’re fresh out of bullets. You therefore have no advantage tactically.”

“What’s Luke’s advantage?”

There are awkward chuckles. Aemond leaves the picnic table and gestures for you to follow him. “Can I talk to you for a minute?”

“Why?”

Aemond doesn’t answer; he keeps walking until he’s hidden amongst a small grove of Kentucky coffeetrees, oval emerald leaves and umber seed pods that hang from branches, reminding you of skate egg cases—what some people call mermaid’s purses—you once found washed up on the beach outside Djibouti City. Rio teases you: “Ohhh, you’re in troubleee…”

You swat him on the back of the head; his hair is getting long too, dark curls that flutter in the breeze that comes in off the lake, hot and humid, the infinite wildness of July. “If I’m not going, you have to swear that you’ll—”

“I got it, I got it,” Rio says, blasé and jolly. “I’ll look underneath things, I’ll look on top of things, I’ll look everywhere. Okay?”

Aegon kicks him with his good foot. “Get me a golf club.”

“I’m not a Dick’s!”

“Dicks?! Who brought up dicks, you sicko…?!”

You go after Aemond and meet him in the shade, an island of twilight in the omnipotent golden morning. He pushes you against one of the Kentucky coffeetrees—rough bark to your back, prodding you through your t-shirt—and nuzzles your throat as he presses his hips to yours, blissful clandestine surrender as your knees weaken and you gaze dizzily up into the canopy of leaves.

You sigh: “This is not an explanation. This is a distraction. A very enjoyable one, but a distraction nonetheless.”

“Daeron is good with a bow, but he’s young,” Aemond murmurs. “I need you to help him protect the others.”

“You’ve managed to make this sound like a promotion.”

“And,” Aemond continues. “When things get risky and chaotic, and I’m trying to make sure everyone is safe…I find you being around to be…distracting.”

“Rio doesn’t think I’m a distraction.”

He chuckles, avoidant. “That’s not an equivalent situation.”

“I get that Luke has binoculars, but I am also perfectly capable of using binoculars, and I could borrow his and he could stay here. I really don’t think he’d mind being benched, he’d probably prefer it—”

“I always ask you to stay near Rio, and you never do, and then I have to worry about you getting lost or bitten or imperiled in any one of a million other ways.”

“Because it’s not that simple! Rio gets it, I have to be able to improvise—”

Suddenly, Aemond pulls away and asks: “Do you trust me?”

You are bewildered. “What?”

“Because I could understand if you don’t.”

You search his scarred face; he has that look like he’s trying not to reveal too much of himself, to show that he’s nervous or vulnerable or afraid. You touch your palm to his ravaged cheek, your voice soft. “I trust you, Aemond.”

He seems relived. “Good. Then please stay here.”

“You’ll watch out for Rio?” you say threateningly.

“Of course.”

“And yourself too.”

He grins, those small secretive teeth he loves to hide. “That’s the plan.”

“And you’ll check under things and on top of things, and you’ll remember what I said about the racks? When you go into stores and you’re rummaging through—?”

Aemond kisses you, warm and slow and kind, the curve of his lips pleased and mischievous. “It’s flattering that you’re so concerned.”

“And don’t forget the pads and tampons.”

His scarred eyebrow rises half an inch. “Oh?”

“I’m already having pre-period cramps. I’ll need supplies in a few days.”

“You’ll have them. Don’t fear.” Then he studies you, concerned, his brow furrowing and his palm testing your cheek and forehead. “You feeling okay? You’re sure that’s all it is?”

“Oh yeah, totally. It’s very routine at this point, I’ve had a decade to get accustomed.”

“Alright. If there’s anything else you think of before we head out, I’ll add it to the list.” He takes your hand and examines the shallow scratches left on your wrist by the needlelike teeth of the pike. “Let me clean and wrap that up for you. I think I have just enough bandages left.”

“Your worst nightmare came true,” you joke. “I was bitten after all.”

Aemond doesn’t laugh, doesn’t even smile.

~~~~~~~~~~

It’s long after nightfall and you and Aegon are keeping watch just outside the Winnebago Spirit, slumped in folding camping chairs people once told their legends from: scary stories, workplace grievances, familial mythology. In the firepit, logs split and pop, and embers glow a bloody red. You’re waiting for the Tahoe to return and trying not to think about the possibility it might not.

“These suck,” Aegon says, garbled by a mouthful of Cheddar Whales, grimacing at the bright blue box. “Why do you and Rio eat these? They’re like…dodgy Goldfish.”

“Are you kidding?! They’re way better than Goldfish! Goldfish don’t taste like anything.”

“And Cheddar Whales taste like salty cardboard. The American Dream.” Aegon passes the box back to you. “They better come back with some SpaghettiOs or Rice-A-Roni or something. I can’t survive on Cregan’s overcooked fish.” He lights a Marlboro Gold cigarette by sticking it into the fire and takes a deep drag, looking up at the stars. Aemond gave him the last of the morphine before he left, and Aegon is floating on a feathery, narcotic cloud.

You say after at last working up the nerve: “So you’re a slut, right?”

He snickers, firelight dancing on his sunburned face. “Slut, loser, you’ve got me all figured out.”

“Sorry. I didn’t mean it like that.”

“Yeah, I guess I’m a slut. Why?”

“Have you ever had trouble…” Your hands flail around aimlessly; it’s so awkward to say out loud. “You know…getting it in?”

“No, not really. But I’m hung like a hamster.” He looks over at you, curious shimmering stoned blue eyes. “Technical difficulties, Chip And Dip? Not enough dipping going on?”

“Forget it. I shouldn’t have said anything.”

“You’re probably just nervous. Aemond’s a doctor, he’d be able to tell if you had something wonky down there, like those chicks who are born without a vagina. Or with two vaginas. Jesus Christ, can you imagine the possibilities? Why can’t I meet someone like that?”

You stare into the fire, discouraged. “I’m going to ruin everything.”

“I wouldn’t worry about that. Aemond will assume it’s his fault. He thinks everything is his fault.”

Through the darkness, you spot headlights bobbing as the Tahoe approaches on bumpy dirt roads. “Oh, thank God. They’re back.”

“About time. If Rio didn’t find me a new golf club, I’m going to drown him in the lake.”

“He could break you in half.”

“But he wouldn’t.”

“No.”

“Because he likes me too much.”

“Right.”

“Maybe you like me too,” Aegon says as he exhales smoke, his glazed eyes listing to you, his grin crooked and drowsy. “Just a little bit.”

You smile reluctantly. “I might.”

“Cool.” He beams up at the stars, and then says again: “Cool.”

As the massive SUV rolls to a halt, the headlights cascading over you and so bright they’re nearly blinding, you notice the red letters on the grill: GMC. “That’s not the Tahoe,” you say, panicked.

“What? Then who is it?”

“I don’t know.” You stand up, instinctively reaching for one of your M9s; but they’re both empty. All the guns are. Your hand drops to your side.

Aegon, unable to rise on his own, remains in his chair and grips the armrests tightly. He whispers: “Should we go inside…?!”

“They’ve already seen us. But they don’t know who’s in the RV.” Rhaena, Baela, Helaena. With a shiver like a bolt of cold lightning, you recall what Aemond said at the bowling alley back in Shenandoah, Ohio: I don’t want them to know we have women with us.

The GMC Yukon is still running when two men step out, the headlights disorientingly bright. They are both armed, you see immediately, pistols that you’d guess are Colts. Aegon’s hand juts out and closes around your forearm as the strangers approach. They are both young, maybe twenty, and wearing jeans, camo jackets, and baseball hats like they’re going hunting. They stand in the yellow-white glow of the headlights as they watch you.

“Hi,” you say congenially, forcing a smile.

The men glance at each other, then one greets you with a nod. “Howdy.”

“We’re set up here,” you say. “But it’s a big campground. You’re welcome to any of the other spots.”

The man who spoke earlier chuckles and scratches at his short beard. You steal a glimpse back at Aegon: his eyes are huge and horrified.

“It’s real quiet on the lake,” you continue. “We haven’t had any problems, and we’ve been here a few days. It’s a good place. We’re happy to share it. We don’t…” You deliberate what words to use. “We aren’t interested in making trouble. We just want to be left alone.”

The man replies: “I camped here every single summer growing up, learned to fish here, swam in the water with my cousins, brought my girlfriends here to fuck. And now you’re inviting me to stay? You’re not from here. I can tell by your accent. This is my backyard. You’re the one who should be asking for permission.”

Aegon is making a low, whimpering sound; his fingernails are digging into the defenseless, downy underside of your forearm. “We don’t have anything of value,” you say, your voice trembling.

“Uh huh.” The stranger’s gaze flicks to the Winnebago.

“We found it. There’s no gas, no keys. Two of the tires are flat. It’s just shelter.”

“Who else is in the RV?”

“No one.”

The second man is squinting at Aegon. “Is he a cripple?”

“He was burned. That’s why we’re resting here for a while, so he can heal.”

The first man points to the bandage on your wrist. “Did you try to kill yourself? My neighbor did that when her kid got eaten. Slit her veins open out in the middle of the street. Bad scene.”

“I got mauled by a fish,” you reply numbly.

He laughs, a slow, rolling, mocking sort of sound, not taking his eyes off you. Then they drop to the Beretta M9s you have holstered at your waist. “Are those loaded?”

“Yes.”

He signals to the nearest Kentucky coffeetree. “Prove it. Shoot that tree.” You stare at its trunk, stark in the headlights of the strangers’ SUV. Long seconds tick by, the only sound the idling of the engine and the crackling of the firepit. “You can’t,” the man says, grinning. “Because you’re out of bullets. But I’m not.”

He raises his pistol and fires, a thunderclap, a mechanical roar. A small circular wound appears in the tree. Aegon shrieks and tries to stand; he tumbles to the earth when the raw, weeping flesh beneath his bandages betrays him. The RV door flies open and Daeron is the first one out, clutching his compound bow but still blinking his way out of the dreams he was jolted from. He won’t be able to nock one of his makeshift arrows before they shoot him.

“What the hell’s going on—?!”

“Drop it!” the stranger shouts, and both he and his companion aim their pistols at Daeron. He freezes. Baela, Rhaena, and Helaena exit the RV and begin screaming, clinging to each other.

“Do what they ask,” you tell Daeron, trying to remain calm. With great hesitancy, he sets his bow on the earth and puts his empty palms in the air. There are hunting knives inside the RV, you think. Where did we store them? In a drawer, in a cabinet?

The men are now herding you all into the RV, jabbing the barrels of their pistols against your backs and bellies. “Let’s go, everybody in,” the first one says. The second man hooks an arm forcefully under one of Aegon’s and drags him through the threshold, Aegon yowling as his burned leg smacks against the doorframe. The second man forces Aegon and Daeron to kneel on the floor at the front of the RV near the driver’s seat; the other one arranges the women at gunpoint, instructing you to squeeze together to sit in a row on the floral couch. Helaena—farthest from you and closest to the kitchenette booth—is sobbing and covering her ears. Rhaena appears to be hyperventilating. Baela’s head is held high, her face furious and defiant.

Aemond, Rio, Cregan, please come back…

“Now this is interesting,” the first man is saying to his friend. He uses his pistol to indicate to each of you. “We’ve got G.I. Jane, this delicate little sweetheart, a pregnant lady, and Cinderella. Where should we begin…?”

You glance at Rhaena, catch her wide frenzied eyes, then look meaningfully at the drawers across the aisle near the kitchenette stove and sink. Knife? you mouth.

It takes her a moment to realize what you mean, then she inclines her head, an elusive nod. She remembers where they are, where they were stored once she cleaned them this afternoon in the lake water. That’s good; but in order for Rhaena to grab a large serrated hunting knife, the men will need to be distracted.

“There’s a bed in the back,” the second man is saying. “I can see it from here, down the hallway…”

Your gaze is darting around the Winnebago. Aegon is yelling something; the second man pistol-whips him, fortunately not hard enough to fracture his skull.

“Don’t worry,” the first man tells Aegon, background noise you try to ignore as you search for an opportunity. “You’ll get to watch…”

Helaena is trying to get your attention, staring at you with her wide, gleaming blue eyes. You furrow your brow at her, not understanding…and then you see the burlap strap she’s looped around her wrist. Her messenger bag must be in the kitchenette booth beside her. And as you watch, and only for a second, she arranges her fingers in the shape of a gun.

The Ruger, you realize, amazed, that tiny revolver she was always so repelled by. Helaena never used it, but she still has it. And it’s loaded.

Baela is arguing with the men, words you tune out. Helaena points to you, but you shake your head. There’s no way for her to get the Ruger to you without them seeing. You mouth to Helaena, your face severe: You have to do it. Then you look to the first man, presently waving his pistol in Baela’s face.

“I’d like to go first,” you say casually, and all the noise stops.

“No, no, no, I’ll do it,” Aegon tells the men. “You want a blowjob? You want to fuck me in the ass? I’m down. I’m not scared of no dick. I experimented in college.”

Both strangers burst into hysterical laughter. “That’s a mighty generous offer,” the second one says, swiping a tear from his eye. “But that’s not the team we’re on, is it, Wesley?”

The first man, Wesley, is smiling down at you. His gaze sweeps over your body, from your bare feet to your eyes, calm and level. “Why do you want to go first, darling?”

Shoot him, Helaena. Shoot him right now. “I’ve never done it before. I figure I should give it a try before it’s too late.”

Helaena whips the Ruger out of her burlap messenger bag and opens fire. She winces each time it goes off, and her aim is terrible; bullets pierce the ceiling and the walls, striking nowhere near Wesley or his accomplice, but their panicked ducking buys valuable seconds. Daeron and Aegon tackle the man closest to them and wrestle the pistol from his hands. Aegon presses the barrel to his skull, pulls the trigger, kills him instantly. Rhaena flies to one of the drawers and yanks out a hunting knife ten inches long. She buries it in Wesley’s throat, the blade disappearing until the hilt rests on his collarbone. When she rips it free, scarlet blood jets from his severed carotid artery, spraying you, soaking you. Blood is in your eyes and nostrils, hot coppery carnage; when you scream, you can taste it in your mouth.

People are reaching for you and telling you to calm down, that they’ll help you, but you can’t wait. You use your t-shirt to mop as much of the blood as you can from your face and bolt through the door of the RV, running towards the lake. You drop to your knees on the sand and splash yourself, cool moonlit rivulets that wash the blood away. You’re trembling, you’re crying, and when somebody grabs you by the arm you scream and strike out at them, clawing like an animal.

“It’s me,” Aemond says, and only then do you get a good look at him, blood and lake water beading on your eyelashes. He’s wiping blood off your face with his palms, he’s inspecting you for fresh wounds. “Don’t fight, it’s me, it’s me, whose blood is this, what happened—?!”

“You were right,” Baela says to Aemond from where she stands on the sand, a hand resting on her belly. Drifting from the RV are the voices of the others who have just returned: Rio, Cregan, Luke. “We’re not safe here.”

~~~~~~~~~~

The next night, rain falls as you lie entangled with Aemond in the attic bedroom of a ranch house in Red Desert, Wyoming, flashing lightning and flickering candles illuminating bare skin. You are kissing feverishly, your hands all over each other, and Aemond is pushing himself into you; or, rather, he is trying to. There is pain, and you can feel your body turning treasonous, rejecting him, shrinking away from him, fearing that you’ll never be able to satisfy him.

No, no no no…

His voice is hushed and gentle as his lips brush your ear. “Hey, you’re shaking, why are you shaking?”

“I’m okay, I’m fine, keep going.” And then, when he stops: “No, Aemond, don’t—”

“I’m not going to hurt you.”

“You have to. I’ll be okay, I promise.”

Instead, he lies down beside you and turns your face to his, fingerprints on the slope of your jaw. He asks again, more firmly: “Why are you shaking?”

All the walls and arches of you collapse, stones tumbling to crack against the earth. You are suddenly fighting tears. Your words come out in a whisper. “I want this to be real.”

He studies your face, distressed. “What are you talking about?”

“I don’t want to ruin it. I don’t want to lose you. I never thought I’d have something like this and now I’m so afraid of fucking it up.”

“I’m not going anywhere.”

“That’s what Jace thought.”

Aemond pulls you against his chest and holds you as you sink through him into dark, cold, watery dreams, and doesn’t make any more promises he can’t keep.

~~~~~~~~~~

“What time is it on the East Coast right now?” you ask Rio. It’s May and almost a hundred degrees every day in Djibouti City—arid, rainless, sun glare and dust that sting your eyes—so the Navy has you building at night when they won’t have to deal with quite so many Seabees dropping over from heatstroke. Outside the day is turning to a soft lavender dusk and your shift will begin soon. You are dressed—sand-colored t-shirt, camo pants, work boots—and toweling off your hair, still wet from the shower.

Rio is sprawled across the floor of your room, taking up almost all of it; housing at Camp Lemonnier consists of converted shipping containers, each outfitted with its own perpetually whirring air conditioning unit. He is reading Fifty Shades Of Grey. “Like seven hours behind here, so early afternoon, I guess.” Then he looks up at you, suspicious. “Why?”

“I should probably call.”

“Should you really?”

“I want to. I’ll feel guilty if I don’t.”

Rio shakes his head and returns his attention to his reading material. “I’m not going to tell you what to do.”

“You love telling me what to do.”

“I wish you loved listening.” He flips a page, puzzled. “Why the fuck does Sophie like this book so much…?”

You open Facebook Messenger on your phone and make a call. The wifi isn’t good for videos, but old-fashioned audio calls usually work okay. There is an answer on the fourth ring.

“Yeah?” she says, and you can hear the entire house when she turns on speakerphone: the squeaking of the recliner, the droning of a talk show, indistinct speech and chuckling from other people, glass—cups, bottles, baking dishes, ashtrays—clinking sharply.

“Hi, Mama! Happy Mother’s Day!”

“Aw, ain’t you sweet to call.” And you are testing her voice like water from a tap, icy cold, hot enough to scald. At the moment, Mama sounds perfectly lukewarm. “I didn’t count on hearing from you. I know how busy you are.”

That’s a landmine that you step gingerly around. “We definitely have a lot going on here, and there’s the time difference and everything…but I wanted to make sure to say hi, even if I can’t talk for long. What are you up to today?”

“Oh, nothing much.” You hear her smoking: breathe in, breathe out, a cunning sort of pause as she decides how to proceed. Of course there were no extravagant festivities planned. Nothing ever felt like a real holiday at home: Mama getting sloshed and burning the turkey on Thanksgiving, Christmas presents that had to be returned for grocery and gas money, fistfights and doors ripped off hinges on New Year’s Eve. You had decided years ago that Hallmark channel magic was pure fiction…but sometimes you get glimpses of it now. Thanksgiving dinner in some unceremonious chow hall with Rio and your other friends feels more like a holiday than anything else you’ve ever known. “You still in Africa?”

“It’s Djibouti, Mama, I told you. It’s on the Horn. Across the sea is Yemen and Saudi Arabia.”

“Why can’t they put y’all to work in your own goddamn country?”

“Well, we do that too sometimes.” You stall, listening to her smoking. Rio glances up at you from where he’s still reading on the floor. “They have some incredible beaches here. Yesterday morning we went down to the water and there were all these cute kids playing, and they only spoke French but Rio showed them how to play tic-tac-toe by drawing a board in the sand—”

“I like the beach,” she says, and you know you’ve made a mistake. “You remember that?”

Deflated now: “Yeah, Mama. I remember. Are the boys going to take you to Virginia Beach this summer?”

She scoffs. “We’ll see, but I doubt it. It’s expensive, girl.”

You sigh deeply. Rio was right. I shouldn’t have called. “We talked about this. I need to be saving up to get my own house one day, and my own car, and all those things I’ll need to have a life when I get out of the Navy—”

“And what about my house?!” Mama cries, damn near wails. “I’m gonna lose it! I can’t make the payments!”

You reply calmly: “Mama, that’s your house. That’s your business. And you’ve got more than one kid still living at home long after they’ve turned eighteen, so they need to be the people you’re asking to help, not me.”

“You’re gonna let your Mama be homeless? Is that what you called to tell me on Mother’s Day? What the hell kind of daughter are you?”

“I got out!” you shout into the phone, and Rio is scrambling off the floor to rush to you. “I’m learning things and I’m making money and I’m building schools and hospitals on the other side of the fucking planet, and you can’t be proud of me because you think it means you’ve failed, but the truth is that you could have gotten out too! All of you could have! But you didn’t, it was me, it was just me, and now you hate me for it!”

“You need to come home now,” Mama says. “You gotta take care of me, take care of your Mama. You only got one and she needs you, so you gotta heed me. That’s what’s right.”

“I am not going to spend the rest of my life watching you get wasted in that filthy house, and I’d work where, at the Dollar General? At Arby’s? And get knocked up by the first guy who shows any interest?”

“You’re giving me heart palpitations. I’m gonna have to go to the emergency room and it’s all your fault.”

Rio is whispering into your other ear, one of his massive palms resting on the back of your neck: “Just hang up. It’s not worth it. You can hang up, just hang up…”

“I want things to be normal,” you tell Mama, you plead, tears stinging in your eyes. “I’ve tried so hard to get along with everyone, and help you as much as I can, but no matter what I do it’s not enough, and you’re always mad at me, and you’re always fighting with me—”

“You’re damn right I’m fighting with you, because you’re a spiteful, selfish child.”

“Hang up,” Rio is murmuring. “Hang up, hang up, hang up…”

“Mama,” you say, your voice strangled. “I’m sorry. I have to go now.”

“When I’m homeless, you know you got no one but yourself to blame—”

You hit the red button to end the call, throw your phone down onto the bed, stare at the wall and swallow noisily, choking back sobs. You won’t let yourself cry. You’ve cried enough for them already. You have to keep moving forward. The only way out is through. “You were right,” you say to Rio at last, quiet and raspy. Your hands are trembling. “I shouldn’t have called.”

“Hey.” He grabs your face roughly, forces you to look at him with your miserable shimmering eyes, grins hugely. “I’m your mom now, bitch.”

You laugh as tears spill down your cheeks, let him bury you in one of his smothering bear hugs, cling to him like a life raft in a storm.

[thankskenpenders]

Happy new year, everyone! Welcome to 2024, the year that will mark the 10th anniversary of Thanks Ken Penders. I'd like to go over my plans for the blog for this year.

First of all: in the very near future, I'll have a post with my thoughts on Sonic Dream Team, and I'm sure I'll write one last Sonic Prime review once the final episodes drop on the 11th. I've also been sitting on an unfinished piece about the Sonic LEGO sets. I wanted this to be longer and more detailed piece that not only reviewed the sets but also went into the weird disconnect between homogenized image of Sonic the Brand and the actual fiction it's based off of, but it'll probably end up getting cut down a lot just so I can put something out. Let's just say I did a fun little thing with one of the sets.

Second: yes, I would like to return to regular TKP updates this year. As I've said many times, I wanted to do this in 2023, but I've been suffering from creative burnout after finishing SLARPG and have generally been unable to focus on any of my creative goals this past year. I'm hoping that this year will be better and I'll be able to get back into the swing of covering Archie Sonic issues. Even doing one issue every week or so would be vastly preferable to continuing the hiatus. I'm still only halfway done!! But aside from burnout, my other main hurdle is that I need to reread my own archive to refresh myself on all these things after nearly three years away. This will take some time.

The thing is, though, this year I'll have an extra incentive to go back through my previous writing and brush up on all things Archie Sonic. Because you see...

I've decided that I want to make a video essay about Penders. The comics, the copyright battle, The Lara-Su Chronicles, everything.

The why

I've thought about doing this before, but I never committed to the idea. I was too busy with gamedev, or I thought it'd end up being too long, or I figured that there were already enough videos on the subject, or I just lacked confidence in my ability to put together a video essay. So I told myself it wasn't meant to be, and let the multiple YouTubers who have cited me as a source on their own Penders videos fill that void.

Recently, though, a few things have happened that have convinced me it might be time. For one, YouTube video essays/media retrospectives/etc. are just getting longer and longer. When Quinton Reviews is out here doing 21 hours of videos on Sam & Cat, a subpar Nick sitcom that only lasted one season, I don't feel so crazy for wanting to make a video about several hundred comic books and two lawsuits that'd be at least an hour or two long lmao. Admittedly, I've also been self-conscious about doing a long video essay like this as a trans woman who has yet to do any vocal training. But these days I feel like I see a lot more transfem YouTubers who have done little to no vocal training, and that's given me more confidence on that front.

But the big one was Hbomberguy's recent plagiarism video. As I sat there watching it, I kept thinking about the time I found a CBR article that was just a crude 800 word summary of my two previous articles on Penders, published by a CBR writer who's put out over 4000 articles since 2019. If I've already been plagiarized before, and my writing is so frequently passed around as a go-to source on Archie Sonic drama, then I wouldn't be shocked if there were YouTubers out there straight up just plagiarizing me. I don't watch other peoples' videos on Archie Sonic, so I'd never know! So if people are just gonna paraphrase me when covering these topics anyway, why not take matters into my own hands and make what I would consider to be the definitive video on the subject? If hacks like James Somerton and iilluminaughtii can churn out these shitty video essays and people will still watch them, surely it can't be that impossible to make my own, right? (And also, uh, Hbomb literally told me I should make the video lol. If you're reading this, thanks for the encouragement.)

The what, how, and when

So here's the plan.

Part of this video essay will be an adaptation of my Medium article on the recurring themes of Ken's Archie Sonic run, with its content touched up and expanded upon. There were a few things I skimmed over in the article because I didn't want it to get too long, but again, people are out here watching ten hour videos about bad Nickelodeon sitcoms now. I can get away with elaborating a little more. I can add a few paragraphs talking about the Chaos Knuckles arc, or throw in a little more historical context I've discovered in the years since.

After covering the comics, the back half(-ish?) of the video will be dedicated to the copyright battles and their ensuing controversies, trying to give an accurate picture of what actually went down, the sheer scale of how bad Archie fucked up, and what our takeaways should be. This will have some similarities to my New York Magazine article on the subject, but I'll be rewriting it from scratch. I REALLY had to keep things short for that article because I was already way over the expected word count, and my tone was a little more straight-laced than normal because I was trying to keep things Professional. I can riff more and insert more of my own opinions this time, like I normally would.

I'll inevitably have to touch on some of Ken's Bad Tweets when discussing things that have happened after the lawsuits, but I don't want the video to just devolve into a list of times people got mad at him on Twitter, so I'm gonna try to keep that to a minimum in favor of focusing on his actual work. Things like the Scourge the Speed Demon incident and his continued statements on certain characters' copyright statuses probably warrant mentioning, though. And finally, assuming that the book really does come out this summer, I would like the grand finale of the video to be about those first couple chapters of The Lara-Su Chronicles.

I don't currently know when this video will get done, but it'll probably be in the back half of the year, especially with me waiting for the book to either drop or get delayed yet again. But I've actually already started writing a bit of the script, and will keep chipping away at it for a while.

So, uh, yeah, look forward to that? Wish me luck?

[museenkuss]

Marie Museenkuss Advent Calendar

For this advent season, I've prepared a selection of little treats - recipes, things to read or things to watch that I enjoy (or wrote) and am excited to share with you over the next few days. Each day, I'll 'open' another door to reveal the treat. I hope we can celebrate and have fun together!

[💎] To start, a cosy Christmas crime classic: Hercule Poirot's Christmas

[🦊] One of my all-time favourite fairy tales, Allerleirauh, can be read on this website! If you'd like to turn pages and see an illustration or two, you can also read it in the Green Fairy Book via archive.org, but beware - that version is censored!

[���] An all-time classic of a different kind, maybe just in time now that the New Year is slowly seeping in: Joan Didion's Essay "On Self Respect"

[💌] Feelings inspired to write? I’ve got some shimmering, cool, delicate december prompts ready for you!

[🗝️] In the spirit of the censored Allerleirauh: Read my thoughts on death, mutilation and the gruesome in fairy tales

[👢] On the morning of the sixth, German children will find little treats in their boots that Nikolaus left for them the night before. Let's use some of them (apples, marzipan(optional), nuts) to make a traditional German christmas treat - the Bratapfel. Rezept. Authentic English recipe.

[🏮] Let's take a virtual trip to the Tate and look at Sargent's Carnation, Lily, Lily, Rose in two short videos that focus on description and technique!

[✨] The nostalgic excitement of entering a theatre and watching the other guests before the show - Chanel's A/W 2024/25 Haute Couture Show blends Opera and High Fashion.

[☕️] Today (very appropriate for the temperature drop), we're learning how to make French hot chocolate: [written recipe] [video]

[🦢] Do you have an hour to spare? Enjoy this charming little volume on perfume from 1928, a love letter to fragrance filled with anecdotes from all over the world and illustrated by the wonderful George Barbier: The romance of perfume by Richard Le Gallienne

[🌹] A Renaissance princess and her baroque prince... Here's a magical performance of Sleeping Beauty by the Bolshoi Ballet

[12] 🎪

[🍰 ] With eleven days left, there's still more than enough time to make the Fortnum&Mason Christmas Cake in time for Christmas! [the official F&M christmas cookbook has a very similar recipe for a fruit cake, but without the soaking and with a layer of fondant on top. let me know if you'd be interested in that, I'll post a pic]

[💋] today, let’s read one of my favourite sensual poems for winter: Francis Jammes — Tu Seras Nu (You will be nude), translated by Kenneth Rexroth

[🖋] This sunday, let's write! Or, alternatively: Let's daydream! Here are some brand new prompts for inspiration.

[🎞️] In the spirit of daydreaming: You and I by Papooz, Weak for your Love by Thee Sacred Souls, Mystery by Raveena are three extremely different but visually stunning music videos to songs I absolutely adore. To start this week, take a little moment to watch and listen, dream and dance.

[🍷] Easy poached pears in red wine with vanilla - a gorgeous, ruby-coloured dessert. I've made (regular) poached pears before and they are just as easy as this title suggests. But I'm SO eager to try (and share <3) this variant!

[18] 🎠

[🐻] After a long, tiring day of Christmas shopping (or Christmas stress), let's relax with a whimsical film! Panna a netvor (Beauty And The Beast) from 1978 <3

[💫] Imagine a zine, except more whimsical and more complicated - today, we're learning how to make a Victorian Puzzle Purse! They're so pretty, perfect add-ons for a christmas gift - or adorable presents in their own right.

[🩰] I feel like Christmas is the time where we can truly reconnect to the magic of childhood. So today, let's put on our (imaginary) ballet slippers and do a little 5-min Nutcracker ballet choreo in our living room! Whether we're dancers or not honestly doesn't matter - nobody is watching us, this is all about enjoying the fantasy of a snow-sparkling night. We're playing pretend! And if you'd rather improvise to something more dramatic, I used to whirl around to Borodin's Polovtsian Dances.

[🕰️] During this cold, dark evening, I present to you one of my favourite poems, caught between romanticism and irony: Heine's Old Chimney Piece (in translation).

[🎟️] About a year ago, Joel Haver made a video looking back on 4 years of uploading weekly short films. It's one of my favourite videos, visually, in its tone and regarding its message, and I feel now that the year is coming to a close, it might be a really inspiring watch: it's been fun.

[🎄] I wish I could invite you all over to show you the illustrated edition of E.T.A. Hoffmann's Nutcracker that my parents gifted me in 2001. Instead, I offer you a very nice translation: Nutcracker and the King of Mice - and, if you're the audiobook type, I found a good translation with Tchaikovsky's music here. The story is haunting, delicate, glittering, unheimlich. It starts on Christmas Day and infuses the following days and nights with magic. It was such a joy to share this Advent Calendar with you and I hope that with this, I can share some of my Christmas festivities with you, too, since they're so entwined with this story (and since the first chapters also somewhat accurately depict how I celebrate Christmas, too - on the evening of the 24th, after decorating the tree). Lots and lots of Love, darlings! I hope you have a magical day, a magical evening, and a very Merry Christmas!

[csuitebitches]

2024 Planning

I started planning for 2024 today. I’ve learned a lot this year, made mistakes, had some successes and now it’s time to take all my learnings, good or bad, and go to the next level.

I prefer starting next year’s routine from 2023’s November and December so that by the time January rolls around, I’m settled into the routine. If there’s any revisions necessary, I can do them without starting my new year on the wrong foot.

I maintain my goals on mostly short and medium term basis. This includes daily, weekly and quarterly planning (I don’t do monthly because it doesn’t work for me).

This may seem complicated (actually, it looks more complicated than it is but it’s just what helps me) but let me show you how exactly I do things.

I keep two diaries. One for daily and weekly and one for quarterly. I have a habit tracker on my phone for my daily non-Negotiables (exercise, meditation, reading and language).

The quarterly diary is my big big diary. Every quarter, it lists out all the big plans, what i want to do and who i want to be. It’s all the messy thoughts I have, all my dreams, my weaknesses, my strengths, etc etc. The only “practical” part of the diary is that there is one general plan made at the end of my mad scribbling. It has the general idea, feedback I’ve received from other people and compilation of all the advice I’ve gotten from my mentors.

2. The daily - weekly diary breaks the plan into manageable bits. I write out the week’s plan (who do i need to meet, who do i need to follow up with, any major presentation coming up, any assignment, what am i reading this week) and write a one sentence daily update on it.

I can’t use a habit tracker for this because i’m not tracking meditation or exercise on here. I’m tracking my career goals, my ambitious goals, into smaller goals. A habit tracker wouldnt cut it because I would have to elaborate more on certain things.

For example:

“20-27th Nov: Weekly list

budget presentation on Monday

1 event to attend on Tuesday. Topic: XYZ

Reading: the inheritors

reach out to mentor, schedule a meeting

7 language essays and 7 videos

Monday, 20th Nov.

work presentation: complete.

Feedback received: i need to work on XYZ.

points they raised that didnt cross my mind: XYZ

follow ups required and if yes, with who: XYZ

reading: complete. Interesting point they brought up: XYZ

essay for the day: complete.

Video complete:

Tuesday, 21st Nov

mentor meeting scheduled

event went well. Met: A, B, C who work in XYZ companies. Follow up with them next week for coffee/ drinks.

essay: complete

video: complete”

Having two diaries helps me because i can find my bigger goals without having to go through the daily entry mess. I like having the two separate.

Nov ‘23 + Dec ‘23 + Q1 2024’s goals include:

Social (meeting new people, maintaining networks)

Intellectual (biographies, documentaries, industry reports)

Personal (soft skills, language studies)

Work (presentations, courses, conferences)

A major change I’ve making this year is actively working on every single weakness I have that I know is a potential strength. I’m ignoring weaknesses that I know are 100% weaknesses like coding because there’s just no way I can sit in front of a computer and learn all that, it’s absolutely not my cup of tea and does not make me happy.

I made a list of every single weakness i have and I’m embarrassed about and ashamed of. 2024 is the year of NO shame. I’m not letting my intrusive thoughts win.

Next to each weakness I wrote out a potential solution.

Ex: not picking up the language i’m studying as fast as i want to -> write 1 short essay and a 1-2 minute video of me talking about anything in that language every single day

I’m not allowing any unnecessary negative self doubt or self talk happen. Constructive criticism is one thing, being a bitch to yourself is another. I plan to learn a lot next year.

I’ve created a manageable exposure therapy plan for myself - I aim to meet 3 new people every month and follow up with 5 new connections every month, whether it’s over chat or irl.

I’ve made a list of business biographies I’m going to read. This year I reached my reading target earlier than anticipated which I’m very happy about. Next year I’m focusing on books that are solely about business, technology and psychology.

[infamous-if]

Dec ✮ 12 ✮ 2024 – update

Part of me hates doing these mostly because it's a whole lotta nothing and me just repeating everything I said the last update (lol) but I do like doing it because I like keeping people updated, even if it's a non-update. I may sound like a broken record (pun not intended) but I know a lot of people don't catch my updates every time so it's nice to just keep people informed yk yk

✮ — Part 2 + rewrite

Fun fact: I had written an entire essay about my excitement for the rewrite and chapter 3 and beyond but it got too long!

It boiled down to me wondering why I'm so excited for this rewrite and realizing it's because I feel comfortable enough to approach it with complete creative freedom. I wrote the first iteration of the demo with the constant worries swimming in my head like "I hope people understand what I'm trying to say here" and "I hope this situation is being read the way I intended for it to be read." And I think I sort of had those thoughts tenfold while writing Part 2. If you paid attention, you can probably see where I was trying to shut down certain discussions in the narrative lmao

Recently I had a tiny epiphany and reminded myself that it's not always about what I intend to write, but what is being understood by each reader. And yes this is basic writing 101 but let me have this moment of clarity okay. Embracing that means I can proceed with Infamous without holding back and sticking to my guns in regards to what I want for this story aka I'm just going to write what I write and like....not worry about the rest you feel (while of course integrating the common critiques and suggestions and improving on the things Infamous falls short in—I am not Shakespeare lmao)

ANYWAY my point is that I'm excited to fix up the demo !!! and just go back to it with complete confidence in myself and write whatever the heck feels right to me (and write the rest of the story lolol) and return with a better story than I have now for everyone!!

✮ — December will be for

planning what I'm going to improve and squeezing that in a reworked outline so it can flow much better narratively.

Outlining Chapter 3 and hopefully have the bare bones first draft drafted up which is mostly just be writing blocks of descriptions

I'm not sure I'll have anything substantial to justify looking for beta testers so soon yet but maybe!

work on my spice writing babey writing/reading spice makes me actually physically recoil but im determined to get better! which reminds me to finish the 6k follower gifts!

And also take a small breather because I am moving!

✮ — Patreon

I've already mentioned this on Patreon and a few times on here, but I do want to reiterate that Patreon content is coming out in bulk this month, in case anyone was wondering why I'm not posting as frequently. The content is still the same in terms of the quantity, it just won't be released every few days! thank you guys for being understanding of that <3

✮ —

My activity has is decreasing little by little due to my move but I do read every question and try to at least answer one question a day. I get quite a few mentions lately so I have to sort through those since I do get tagged in things, but I miss them due to my notifications. Usually I hope for the best and hope tracking the tag puts it on my dashboard <3 im not ignoring anyone!

That's all for now! Hope everyone has a happy December and Happy Holidays!

[noblecorgi]

2024: A Re-Entry to Fandom

I guess this is a thing? (Oh shit this brackets bit was written at the end and I appear to have emotionally vomited an essay. Sorry ‘bout that.)

In late 2023 I experienced a personal tragedy and retreated to where I had always found comfort: books.

I read a series that had been recommended to me before, but I hadn’t had time to read it - The Simon Snow Trilogy by @rainbowrowell and it awoke a dormant-but-never-forgotten love of fanfiction in me.

In my teens and early 20s I wrote a lot of fan fiction on the ol’ FF net, all of it of atrocious quality I’m certain, which is why I haven’t tried to rediscover that account.

Instead I found AO3, and restarted regularly writing for fun instead of for work or study/research.

I didn’t do any summation for 2023 because I think my first fic was posted on like 10 December 2023, but AO3 tells me I wrote 4 works, all SnowBaz, at a total of 55,154 words.

In 2024, I’ve published 5 works, at a total of 94,323 words.

What truly blows me away (and honestly makes me a bit teary) is the 1013 kudos, 100 subscribers (inc 15 subscribers to just me rather than a fic!), and 222 comment threads on my works. 🥹

So: my 2024 works.

Use your words, SnowBaz, Rated: E, 3,930 words

A smutty lil gift fic wherein Baz teaches Simon how to sext.

Splendid Morons, SnowBaz, Rated: E, 12,886 words

Published for Erotic Grope Fest, aka Baz’s birthday. A collaboration with @alexalexinii and a story written to enable their amazing art of Baz in lingerie.

Precious to me for not only getting to work with Alex, but also for being the beginning of my relationship with Becky @rbkzz, my incomparable beta who has become one of the dearest people in my life.

On The Rocks, SnowBaz, Rated: E, 74,592 words (WIP)

My opus, as it were. It originated from a fluffy cute prompt of “what if Baz and Lady Ruth were work besties?!” And I came along like “YEAH! But with trauma, exploration of love in mental illness, and alcoholism!”

I began posting it in March and it’s about 2/3 done now. But for Becky it would be both an absolute pile of horse poop, and an abandoned WIP. Instead it has a clear direction and she found motifs that I’d repeatedly used by accident in my drafts and built imagery, greater meaning, and also debated me ad nauseam on my preference for spelt over spelled.

Immune Response, @lumosinlove’s Cubs, Rated: G, 1,421 words

I was a big consumer of WolfStar in my teens and was recommended Lumosinlove’s Sweater Weather and, like many before me, fell in love with the story, the original characters, and ice hockey itself (much to the surprised glee of my Canadian spouse, who for a decade has tried in vain to get me on board. Little did he know the key was obviously gays.)

This is a lil’ slice of life sick fic examining how each of the Cubs responds to getting sick.

I have a lot more unpublished drabbles about these characters and some fics that are being cocreated so stay tuned for 2025?

Preliminary, my dear Basil, SnowBaz, Rated: T, 1,494 words

A gift fic for @martsonmars as part of the Carry On Discord’s Secret Snowflake Exchange.

Among their suggestions was “Sherlock AU, but not BBC Sherlock, 19th century Sherlock” and it hooked me with the idea that Baz would absolutely fancy himself as Sherlock. I actually sketched out a plot to SnowBazify 4 of the Holmes stories, so maybe 2025 will see them unearthed.

There is one other published fic I worked on this year, but as a beta rather than a writer for @swoopswrites @rsbigbang piece Class A which was super fun to do (and got me to watch a great series - The Gentlemen on Netflix) and Swoops has a fantastic mind so I’d encourage you to to check it out.

Finally, I have always been a writer rather than an artist, but I do enjoy drawing, and the need to upgrade my iPad for work arose and so I also tried my hand at drawing again for the first time since I was 17 or so.

In order from the first one to the most recent one, the lil scribbles I did this year:

Penelope Bunce, Wolfstar on a train, Baz with coffee, cuddly Cubs, FinnLo being adorable, iconic Moony with a cane, emo Sirius Black.

And THAT was 2024 (and 2023).

@artsyunderstudy @asocialpessimist @angelsfalling16 @whatevertheweather @edenalix @emjaydellyone @erzbethluna @emeryhall @run-for-chamo-miles @raenestee @rimeswithpurple @roomwithanopenfire @thehoneyedhufflepuff @theearlgreymage @thewholelemon @lonleyhumanbeing @letraspal @you-remind-me-of-the-babe @youarenevertooold @iamamythologicalcreature @ichooseyousnowbaz @ic3-que3n @ileadacharmedlife @onepintobean @palimpsessed @prettygoododds @philaet0s @pacey-bunce-loves-joey @sorenphelps @skee3000 @stitchy-queerista @fiend-for-culture @facewithoutheart @fruitcoops @girlwithcurls96 @hushed-chorus @hihimissamericanbi @cutestkilla @cosmicalart @confused-bi-queer @noopienoopiernoopiest @messofthejess @monbons

[mostlysignssomeportents]

Proud to be a blockhead

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/12/21/blockheads-r-us/#vocational-awe

This is my last Pluralistic post of the year, and rather than round up my most successful posts of the year, I figured I'd write a little about why it's impossible for me to do that, and why that is by design, and what that says about the arts, monopolies, and creative labor markets.

I started Pluralistic nearly five years ago, and from the outset, I was adamant that I wouldn't measure my success through quantitative measures. The canonical version of Pluralistic – the one that lives at pluralistic.net – has no metrics, no analytics, no logs, and no tracking. I don't know who visits the site. I don't know how many people visit the site. I don't know which posts are most popular, and which ones are the least popular. I can't know any of that.

The other versions of Pluralistic are less ascetic, but only because there's no way for me to turn off some metrics on those channels. The Mailman service that delivers the (tracker-free) email version of Pluralistic necessarily has a system for telling me how many subscribers I have, but I have never looked at that number, and have no intention of doing so. I have turned off notifications when someone signs up for the list, or resigns from it.

The commercial, surveillance-heavy channels for Pluralistic – Tumblr, Twitter – have a lot of metrics, but again, I don't consult them. Medium and Mastodon have some metrics, and again, I just pretend they don't exist.

What do I pay attention to? The qualitative impacts of my writing. Comments. Replies. Emails. Other bloggers who discuss it, or discussions on Metafilter, Slashdot, Reddit and Hacker News. That stuff matters to me a lot because I write for two reasons, which are, in order: to work out my own thinking, and; to influence other peoples' thinking.

Writing is a cognitive prosthesis for me. Working things out on the page helps me work things out in my life. And, of course, working things out on the page helps me work more things out on the page. Writing begets writing:

https://pluralistic.net/2021/05/09/the-memex-method/

Honestly, that is sufficient. Not in the sense that writing, without being read, would make me happy or fulfilled. Being read and being part of a community and a conversation matters a lot to me. But the very act of writing is so important to me that even if no one read me, I would still write.

This is a thing that writers aren't supposed to admit. As I wrote on this blog's fourth anniversary, the most laughably false statement about writing ever uttered is Samuel Johnson's notorious "No man but a blockhead ever wrote but for money":

https://pluralistic.net/2024/02/20/fore/#synthesis

Making art is not an "economically rational" activity. Neither is attempting to persuade other people to your point of view. These activities are not merely intrinsically satisfying, they are also necessary, at least for many of us. The long, stupid fight about copyright that started in the Napster era has rarely acknowledged this, nor has it grappled with the implications of it. On the one hand, you have copyright maximalists who say totally absurd things like, "If you don't pay for art, no one will make art, and art will disappear." This is one of those radioactively false statements whose falsity is so glaring that it can be seen from orbit.

But on the other hand, you know who knows this fact very well? The corporations that pay creative workers. Movie studios, record labels, publishers, games studios: they all know that they are in possession of a workforce that has to make art, and will continue to do so, paycheck or not, until someone pokes their eyes out or breaks their fingers. People make art because it matters to them, and this trait makes workers terribly exploitable. As Fobazi Ettarh writes in her seminal paper on "vocational awe," workers who care about their jobs are at a huge disadvantage in labor markets. Teachers, librarians, nurses, and yes, artists, are all motivated by a sense of mission that often trumps their own self-interest and well-being and their bosses know it:

https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/

One of the most important ideas in David Graeber's magisterial book Bullshit Jobs is that the ground state of labor is to do a job that you are proud of and that matters to you, but late-stage capitalist alienation has gotten so grotesque that some people will actually sneer at the idea that, say, teachers should be well compensated: "Why should you get a living wage – isn't the satisfaction of helping children payment enough?"

https://memex.craphound.com/2018/06/20/david-graebers-bullshit-jobs-why-does-the-economy-sustain-jobs-that-no-one-values/

These are the most salient facts of the copyright fight: creativity is a non-economic activity, and this makes creative workers extremely vulnerable to exploitation. People make art because they have to. As Marx was finishing Kapital, he was often stuck working from home, having pawned his trousers so he could keep writing. The fact that artists don't respond rationally to economic incentives doesn't mean they should starve to death. Art – like nursing, teaching and librarianship – is necessary for human thriving.

No, the implication of the economic irrationality of vocational awe is this: the only tool that can secure economic justice for workers who truly can't help but do their jobs is solidarity. Creative workers need to be in solidarity with one another, and with our audiences – and, often, with the other workers at the corporations who bring our work to market. We are all class allies locked in struggle with the owners of both the entertainment companies and the technology companies that sit between us and our audiences (this is the thesis of Rebecca Giblin's and my 2022 book Chokepoint Capitalism):

https://chokepointcapitalism.com/

The idea of artistic solidarity is an old and important one. Victor Hugo, creator of the first copyright treaty – the Berne Convention – wrote movingly about how the point of securing rights for creators wasn't to allow their biological children to exploit their work after their death, but rather, to ensure that the creative successors of artists could build on their forebears' accomplishments. Hugo – like any other artist who has a shred of honesty and has thought about the subject for more than ten seconds – knew that he was part of a creative community and tradition, one composed of readers and writers and critics and publishing workers, and that this was a community and a tradition worth fighting for and protecting.

One of the most important and memorable interviews Rebecca and I did for our book was with Liz Pelly, one of the sharpest critics of Spotify (our chapter about how Spotify steals from musicians is the only part of the audiobook available on Spotify itself – a "Spotify Exclusive"!):

https://open.spotify.com/show/7oLW9ANweI01CVbZUyH4Xg

Pelly has just published a major, important new book about Spotify's ripoffs, called Mood Machine:

https://www.simonandschuster.com/books/Mood-Machine/Liz-Pelly/9781668083505

A long article in Harper's unpacks one of the core mechanics at the heart of Spotify's systematic theft from creative workers: the use of "ghost artists," whose generic music is cheaper than real music, which is why Spotify crams it into their playlists:

https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/

The subject of Ghost Artists has long been shrouded in mystery and ardent – but highly selective – denials from Spotify itself. In her article – which features leaked internal chats from Spotify – Pelly gets to the heart of the matter. Ghost artists are musicians who are recruited by shadowy companies that offer flat fees for composing and performing inoffensive muzak that can fade into the background. This is wholesaled to Spotify, which crams it into wildly popular playlists of music that people put on while they're doing something else ("Deep Focus," "100% Lounge," "Bossa Nova Dinner," "Cocktail Jazz," "Deep Sleep," "Morning Stretch") and might therefore settle for an inferior product.

Spotify calls this "Perfect Fit Music" and it's the pink slime of music, an extruded, musiclike content that plugs a music-shaped hole in your life, without performing the communicative and aesthetic job that real music exists for.

After many dead-end leads with people involved in the musical pink slime industry, Pelly finally locates a musician who's willing to speak anonymously about his work (he asks for anonymity because he relies on the pittances he receives for making pink slime to survive). This jazz musician knows very little about where the music he's commissioned to produce ends up, which is by design. The musical pink slime industry, like all sleaze industries, is shrouded in the secrecy sought by bosses who know that they're running a racket they should be ashamed of.

The anonymous musician composes a stack of compositions on his couch, then goes into a studio for a series of one-take recordings. There's usually a rep from the PFC pink slime industry there, and the rep's feedback is always "play simpler." As the anonymous musician explains:

That’s definitely the thing: nothing that could be even remotely challenging or offensive, really. The goal, for sure, is to be as milquetoast as possible.

This source calls the arrangement "shameful." Another musician Pelly spoke to said "it felt unethical, like some kind of money-laundering scheme." The PFC companies say that these composers and performers are just making music, the way anyone might, and releasing it under pseudonyms in a way that "has been popular across mediums for decades." But Pelly's interview subjects told her that they don't consider their work to be art:

It feels like someone is giving you a prompt or a question, and you’re just answering it, whether it’s actually your conviction or not. Nobody I know would ever go into the studio and record music this way.

Artists who are recruited to make new pink slime are given reference links to existing pink slime and ordered to replicate it as closely as possible. The tracks produced this way that do the best are then fed to the next group of musicians to replicate, and so on. It's the musical equivalent of feeding slaughterhouse sweepings to the next generation of livestock, a version of the gag from Catch 22 where a patient in a body-cast has a catheter bag and an IV drip, and once a day a nurse comes and swaps them around.

Pelly reminds us that Spotify was supposed to be an answer to the painful question of the Napster era: how do we pay musicians for their labor? Spotify was sold as a way to bypass the "gatekeepers": the big three labels who own 70% of all recorded music, whose financial maltreatment of artists was seen as moral justification for file sharing ("Why buy the CD if the musician won't see any of the money from it?").

But the way that Spotify secured rights to all the popular music in the world was by handing over big equity stakes in its business to the Big Three labels, and giving them wildly preferential terms that made it impossible for independent musicians and labels to earn more than homeopathic fractions of a penny for each stream, even as Spotify became the one essential conduit for reaching an audience:

https://pluralistic.net/2021/03/16/wage-theft/#excessive-buyer-power

It turns out that getting fans to pay for music has no necessary connection to getting musicians paid. Vocational awe means that the fact that someone has induced a musician to make music doesn't mean that the musician is getting a fair share of what you pay for music. The same goes for every kind of art, and every field where vocational awe plays a role, from nursing to librarianship.

Chokepoint Capitalism tries very hard to grapple with this conundrum; the second half of the book is a series of detailed, shovel-ready policy prescriptions for labor, contract, and copyright reforms that will immediately and profoundly shift the share of income generated by creative labor from bosses to workers.

Which brings me back to this little publishing enterprise of mine, and the fact that I do it for free, and not only that, give it away under a Creative Commons Attribution license that allows you to share and republish it, for money, if you choose:

https://creativecommons.org/licenses/by/4.0/

I am lucky enough that I make a good living from my writing, but I'm also honest enough with myself to know just how much luck was involved with that fact, and insecure enough to live in a state of constant near-terror about what happens when my luck runs out. I came up in science fiction, and I vividly remember the writers I admired whose careers popped like soap-bubbles when Reagan deregulated the retail sector, precipitating a collapse in the grocery stores and pharmacies where "midlist" mass-market paperbacks were sold by the millions across the country:

https://pluralistic.net/2021/07/04/self-publishing/

These writers – the ones who are still alive – are living proof of the fact that you have to break our fingers to get us to stop writing. Some of them haven't had a mainstream publisher in decades, but they're still writing, and self-publishing, or publishing with small presses, and often they're doing the best work of their careers, and almost no one is seeing it, and they're still doing it.

Because we aren't engaged in economically rational activity. We're doing something essential – essential to us, first and foremost, and essential to the audiences and peers our work reaches and changes and challenges.

Pluralistic is, in part, a way for me too face the fear I wake up with every day, that some day, my luck will run out, as it has for nearly all the writers I've ever admired, and to reassure myself that the writing will go on doing what I need it to do for my psyche and my heart even if – when – my career regresses to the mean.

It's a way for me to reaffirm the solidaristic nature of artistic activity, the connection with other writers and other readers (because I am, of course, an avid, constant reader). Commercial fortunes change. Monopolies lay waste to whole sectors and swallow up the livelihoods of people who believe in what they do like a whale straining tons of plankton through its baleen. But solidarity endures. Solidarietatis longa, vita brevis.

Happy New Year folks. See you in 2025.

[renthony]

Official Commission Info Post

(Updated July 8, 2024. Copied over from my main website.)

Pay me to write about a topic of your choice!

Provide me with a topic related to my areas of interest, and I’ll share my expertise, opinions, and insights. My areas of interest/expertise include speculative fiction (sci-fi/fantasy), fiction writing, literature studies, television & film studies, media censorship, animation, and pop/fandom culture.

Note: You choose the topic, not the angle. You can’t pay me to write any amount on the topic, “why Ren’s favorite thing is actually bad,” or, “why Ren’s least-favorite politician is actually a superhero.” I reserve the right to refuse any commission for any reason, with money refunded where necessary. I retain full credit and ownership of my writing—meaning I don’t do homework and I don’t do ghostwriting.

Examples of my work can be found at this link. Further info below the cut.

Rates

$25 USD for 500 words.

Up to 3k words @ $0.05 USD per word.

Over 3k words @ $0.15 per word.

Over 5k words @ $0.20 per word.

Rates calculated using the IWW Freelance Journalists Union rate sheet. Writers of the world unite!

Payment processed via PayPal or Venmo. Final product will be emailed to you as a PDF, and cross-posted to my tumblr and Patreon page along with other platforms as I see fit.

Email me at renniequeer@gmail.com to commission today!

Turnaround Times

I’m disabled and have inconsistent energy levels, so turnaround times may vary depending on my health. At minimum, 500 word essays typically take me about a week, 3k takes about two weeks, and 5k papers take about a month. If there are any unexpected delays to my work, health-related or otherwise, I will email you with an updated turnaround estimate as needed.

À La Carte

Can’t think of a topic but still want to hire me? Here’s a list you can choose from!

General 500 Word Topics

500 words doesn’t give me much space, so these commissions are great for getting my basic thoughts and opinions on a topic. You can use the following list as simple prompts on their own, or as a springboard to come up with your own, more specific prompt.

Science Fiction

Fantasy

Worldbuilding

Self-Publishing

Animation

Tabletop Gaming

Cosplay and Costuming

Media Representation

Media Preservation

Media Piracy

Censorship

Purity Culture

Labor Rights in the Entertainment Industry

Queer Media History

Fandom

3k Essay Prompts:

These topics require a little more space to dig into, so I need at least 3,000 words to do them justice. You can also request any of the prompts from the 500 word prompt list for a more robust essay on the topic.

Always Watch the Background Actors: How Learning Stage Combat Improved My Moviegoing Experience

Animation and Musicals: Misunderstood Non-Genres

Draw from the Heart: Using Familiar Settings to Craft New Worlds

Worldbuilding: Avoiding the Planet of Hats Trope

Worldbuilding: Utilizing Elements of Culture

5k Research Paper Topics:

These are the big topics that will require research, citations, and several long weeks of work. I can write as much on the topic as you want, but it must be at least 5,000 words. You can also request any of the prompts from the 500 word or 3k word prompt lists for more robust essays on the topic.

Killing the Cat: Violence Against the Vulnerable as Sloppy Narrative Shorthand

It Wasn't a Damn Door: Why Jack Dawson Had to Die

Bury Your Gays on Solstheim: Queer Representation in the Elder Scrolls

Invisibility or the Freakshow: Intersex Representation on American Television

The Nuke in the Room: Political Allegory in Samurai Jack

Payment Installments & Discount Options

Times are rough for everyone. If you would like to hire me but can’t afford to pay all at once, please don’t hesitate to reach out to me about paying in installments! Details can be discussed on an individual basis.

For a 15% discount, you may also email me with proof that you have requested my short story, The Queen of Cups, at your local library! For a 25% discount, submit proof that you have requested both my short story, The Queen of Cups, and my wife’s novel, The Last Girl Scout.

[ma1dita]

omggg hope you had a great birthday!! do u mind writing a remus x reader who realize there’s smth more than friends between them, thank youuu

🐥🐥🐥🐥🐥

remus lupin x reader

a/n: gn!reader truly idk how this escaped me. me writing for my long lost husband in the year of our lord 2024?? this was so fun it felt like reuniting with an ex anyways fluff incoming

wc: don't... look at me... 1.3k

“So?”

“So what, Prongs?” Remus huffs, flipping through a textbook. Merlin knows why he even tries to study in the common room with the boys when all they do is badger him about nonsense.

“So are you and your little friend, well…more than friends? You two are attached at the hip, so where’d the little one run off to?” James teases, whacking his best mate with a throw pillow, “Get tired of you moaning and groaning about prefect duties?”

Well, that’s…you’re definitely not nonsense.

Remus blinks, brushing his hair away from his face and glaring at James before elbowing him straight in the gut. Tosser he is, acting like he knows anything about you or relationships in general when he’s been pining after Lily for years now.

You two are just friends.

Sirius lets out a loud laugh from his place at Remus’ feet. He’s leaning against the arm of the sofa, looking up at the sandy-haired boy with a cock-eyed grin, “If they were more than friends, Moony’s moaning and groaning would be appreciated and reciprocated, don’t you think?”

Peter snickers from the loveseat across the table. It doesn’t help with Remus’ mood, so he buries his head deeper into the boring History of Magic text, grumbling, “Don’t be crass. Just friends, is all. Don’t look too hard into it or you’ll melt what’s left of your brains.”

The three instigators look at each other, before looking back at their best friend. Just friends, he says. Sure, Remus’s the nicest guy around—a prefect even; the one that people count on to be the most morally sound out of all of them, the guy that people borrow notes from, politely laughs at jokes and makes people feel included in conversations. Sure, friends—they can believe that! Everyone wants to be Moony’s friend. But it’s the way they’ve seen him treat you that stands out.

Remus usually lags behind them now, breaking apart their formation in the halls (and yes, Sirius likes to be at the front of the diamond), pushing Peter up so he can wait for you after class. Also, anyone that could distract him from taking notes in Arithmancy is surely a force to be reckoned with (and a threat to Peter’s grades). He’s even gone as far as sidling up next to you during Potions and breaking their age-old rotation of picking partners since their first year (which left James with a botched Aging Potion, and Lily laughing at him as he limped out of class with graying hair and a hunchback).

So things were different nowadays, but one thing is for sure: Remus Lupin’s favorite game is being in denial.

“Maybe your friend knows about your furry little problem, Moons. Surely you really don’t think you’re gonna get any studying done with us?” James chuckles, before pushing his glasses up to clearly see the blush blossoming on Remus’s cheeks. Though it might also be anger, he couldn’t really tell—they’ve never seen him like this, ever; so blatantly obvious with how he feels about you even though he’d never admit it. It was quite refreshing to remember that Remus is still a normal teenage boy.

“You’re right, Prongs,” he huffs.

“I am?”

“I don’t know why I even bothered to try and study with you lot if all of you are too focused on me instead of studying!” Remus is shoving his books into his knapsack as the boys continue to rib at him to get him to stay. This essay isn’t going to write itself.

“Just playing, Moons!”

“Yeah mate, if you need an actual study date we know that’s not us, just hang around!”

Remus sighs as he’s looking at his friends' shit-eating grins as they go around him showing each other the map and pointing at something.

“What now?”

There’s a knock at the portrait, and the Fat Lady’s shrill voice could be heard from where they were sitting. Peter jumps up, sticking his face over the enchanted parchment as he giggles a bit like a schoolgirl, “It’s for you. Your friend’s outside.” They all cheer and laugh at Remus shaking his head, slinging his knapsack over his shoulder walking quickly away from them.

When he sees you chatting with the Fat Lady, it’s almost as if he’s in a stupor, studying every inch of your face until your eyes finally meet his and you grin and wave at him.

Just friends, he reminds himself.

“Hey Rem! Was gonna ask if you wanted to go to the library together?”

Your voice is a treat in itself, he thinks—the lilt and manner of it so sweet and rich it almost reminds him of his favorite chocolate.

Good thing he has a sweet tooth.

Walking down the hallway together your hand bumps into his several times in passing, fingers ghosting against each other as if they were dancing, too close and then too far. Friends can hold hands right? Remus’s heart flutters as he thinks of the possibility like solving an Arithmancy problem. He supposes the boys and him don’t necessarily hold hands, but he imagines holding yours would be way nicer.

Is he sweating?

His palms are sweaty, forget it, and you’re just friends! You’re telling him about your day like you both haven’t seen each other in years, but he even sat by you at lunch earlier, much to the rest of the Marauders’ surprise. Though Remus supposes you could even make Divination sound interesting—maybe even make him look in the stupid tea leaves to see if you’re in his future, furry little problem and all. He realizes he’s been staring a second too long, bumping into you lightly as you stop in front of the library.

“Haha, you okay? You’re quiet today, Rem. Something on your mind?”

A lot about you, apparently, thanks to his meddling friends.

Remus scratches the nape of his neck as he grimaces, cheeks reddening again and instead of a response, he opens the door for you and puts his finger to his mouth as if to say “Shhhh….” before Madam Pince starts a fit at either of you. That, or him actually having to say how he feels.

How he feels… Well…shit.

You make a beeline for an open table near the corner, tugging at his wrist like it’s not making his heart beat out of his chest and Remus tries to compose himself, but then you look at him with your pretty fluttering eyelashes and he knows he’s utterly fucked. Pulling out your chair for you, you squeeze his arm in thanks and scooch your chair closer to his.

“Rem?”

“Hmm?” he responds, a strangled noise crawling up his throat as he coughs slightly, his arm landing on the back of your chair before he panics then realizes he’d look like an arse for pulling away.

Not that he wants to.

“How did you know?”

His heart genuinely stops. There’s no way you’ve caught on that quickly—especially not with him just realizing how he feels about you, his friend that he wants to be more and there is nothing casual about what he wants to d—

“How’d you know I was at the common room? You walked out just as I was about to walk in, I thought it was kinda funny,” you giggle, brushing your hair behind your ear and he takes a deep breath.

You’re just friends. But he definitely wants to be more.

“The boys told me it was you,” Remus says, chewing on his lip, “Apparently they had a feeling.”

And now, so does he.

What’s worse is that Remus hates admitting when they’re right (which is rare enough in itself, he’ll never hear the end of it from their inflated egos).

What’s worst of all is that for the first time in his Hogwarts career, Remus Lupin ends up submitting an essay late.