#really miss all the people interacting with my posts

[piratecaptainscaptainpirates]

The lovely discussion around this post this morning has put the topic on my mind, and I do think it bears repeating - there is no way to understand Ed's character if you're not engaging with him as a brown man.

It's one of the most baffling arguments I've ever seen, really, and it shocks me every time it pops up again - this idea that because the real-life Blackbeard was white, that matters in OFMD, and that Taika Waititi's race has no impact on how Ed's character is written, performed, and interacts with in-world logic. This is an incoherent take, I think, not only because OFMD plays fast-and-loose with real-world accuracy but because Ed is clearly written with his race in mind.

And I cannot stress enough - there is no way to have a "race-blind" read of any story, and it's qwhite interesting that this keeps coming up about Ed. Ed is played by a Jewish-Māori actor, and this matters. You literally cannot understand his character if you don't engage with his race. Consider:

consistent racialized dehumanization - when antagonistic characters call Ed a donkey, a wild dog, a low-born dirtbag, it's with the effect of making him out to be less than human because he is a brown man. It's intentional, and it's something every non-white fan watching this show will catch immediately.

the racialized element of the Blackbeard caricatures. In the books, he's made out to look like a "savage" caricature, uncivilized and wild, using the trappings of "civilization" (such as guns) to upset the "civilized" order. It's textbook for how indigenous people have been caricaturized for centuries. The Blackbeard wanted poster is even less subtle, taking obvious inspiration from antisemitic trops including grotesque facial features, exagerrated noses, and prominant eye bags. You cannot understand how the mask of Blackbeard hurts Ed unless you also understand how it reinforces racialized expectations of savagery.

The racial element in how Ed feels excluded from "high society" even once he's rich. When his mama told him "we're not that kind of people," she wasn't just telling him that he is poor, she was telling him that he is a brown boy and trying to step above his lot in life could get him killed. At the party in s1e5, it is impossible to understand what happened without consdering that Ed is the only brown guest in the room. It does not make sense if you don't understand that Ed was being turned into an exoticized party trick because he is indigenous.

Ricky assumes that Ed owes his success to Izzy - not because Izzy is especially good at being a pirate, we're shown over and again he's not, but because Ricky is assuming that a brown man cannot be successful by his own merits and there must be a white man pulling the strings. If you just blindly agree with Ricky, you're missing the point.

Ed's struggle is not just with toxic masculinity, it's also with how he interacts with the world as a Jewish-Māori man. Expectations of violence and uncleanliness and underplaying Ed's successes are essential in-world factors that Ed has to deal with as he tries to figure out who he wants to be and how to live authentically, and you miss all of it if you don't care that he's not white.

[simpxxstan]

simpxxstan's 2024 wrapped!!

hello and welcome >ᴗ< it's been, truly, a most rewarding year for me. not an easy one, but it's pushed me to work harder than i have ever before and i've learnt so much this year. i also turned 21 this year, which was a life milestone for me hehe, so 2024 is a year i will not forget.

thank you for making it to 2025 with me! i have no words to express my gratitude for you, so here's my small attempt at entertaining you with a few words to recap the chaos of 2024, so let's gooo :)

but this would be incomplete if i couldn't write a few love letters ...

@cxffecoupx (ris, my darling. i really, truly love you. please just stop bullying me i am just a girl.)

@tusswrites (tuss, here's another resolution i make for you: join networks and talk more on discord!)

@hazz-a-bear (literally the cutest!! esa, my shy little huihui, my very first moot ^^)

and some mutuals who i want to be interact much more with (it's on me, i'm intimidated by accounts i ardently love as a fangirl): @ylangelegy @daisymbin @miabebe @writingmeraki @wonustars @wonupatootie @ddalgi-tokki and @pochaccoups !!

and a few more love letters to the creators i admire the most on this platform. i've never made a recs list or a list of gratitude, and i KNOW i am 100% sure i'm missing out several people here. i follow too many accounts, all of whom i love, so i am sorry if i couldn't mention you here, but know i love you and your work very very much :(( i have tried to include all the fics that i have enjoyed the most this year! (dear creators, idk if you want to be tagged by a completely random account T_T do lmk and i will remove it if you like!)

royally screwed by @husbandhoshi

penance, deal maker, good and bad, sage and stardust by @smileysuh

somebody by @onlymingyus

34.6037° S, 58.3816° W by @the-boy-meets-evil

ocean view by @junkissed

statistically speaking by @gyuswhore

endpoint by @highvern

the other woman, unveiling hearts: the law of attraction by @idyllic-ghost

think i need someone older by @gyuhao5

too many beds, accidentally kidnapping a mafia leader by @miabebe

blindsided! wonwoo, jihoon x poetry account!reader , what's wrong with secretary kim! hoshi, seokmin x pitching instructor, not for sale mingyu, data science major! jeonghan by @xinganhao

the entire masterlist of @hoshifighting (i cannot choose)

same, the entire masterlist of @monamipencil (too many favs)

and also some of my favourite gif-creating accounts (i will forever admire people who can make art): @jeonsupershy, @jeonghanic, @scouped and @hoshingi

thank you for the tag ris! i don't want to tag any more people lol but if anyone wants to do the wrapped (even though its late), please do! i've loved seeing everyone's wrapped posts, they are just so inspiring!!

[samueldays]

To quote @morlock-holmes who blocked me so I can't reblog his post, imagine if you bought a pocket calculator at the store in 1980, and then in 1981 Texas Instruments sent you a letter saying, "The terms of use for our calculator have changed, in order to use the calculator you agree to waive any right to a jury trial or class action suit against Texas Instruments or any of its parents or subsidiaries. Continued use of the calculator constituted a binding agreement to these terms. If you do not agree you must immediately stop all use of your pocket calculator. No refund will be provided."

Seriously, writing that out really made it strike me even more how utterly abusive the modern age is to consumers.

The EULA, or End User License Agreement is a binding contract which one party may unilaterally change at any time for any reason and in any way they choose; the counterparty may not negotiate or change the terms of the contract and their only remedy in the case of changes that they don't like is to withdraw entirely from the contract.

Such contracts govern all use of software, which, since software governs the majority of our lives, mean that they now govern the majority of our lives.

Want to order a pizza? Better send the legal contract with the pizza company to the lawyer you keep on retainer and after looking over the documents he'll advise you on the legal ramifications of the pizza transaction.

Oh, you don't keep a lawyer on hand to advise you about ordering pizza or playing video games?

Well, then you can't complain if you don't like something buried in page 20 of the contract you signed with the pizza delivery company.

One of the massively dehumanizing things bureacracy does is demand something that is in practice impossible, like, "Keep a lawyer on retainer to scrutinize the terms of every pizza delivery contract, video rental, major appliance, and video game you interact with." and then condescendingly tell you,

"Well, if you don't do something as simple as that, whatever happens next is *your fault* and blaming someone else shows a weakness in your character."

One of the confounding problems if you want to argue with people who have some kind of luddite leanings is that, well, new technology feels nowadays like an imposition from hostile forces who know that they have you over the barrel because, uh, it is that thing. It is deliberately designed to be that thing.

I like having a cell phone. I hate waiving my right to a jury or to participate in a class action lawsuit. I would pay more, as a consumer, for a phone contract that did not have a binding arbitration clause. I couldn't find one.

So I decided that owning a phone was the lesser of two evils, and that will now be treated as a free choice which I have no right to complain about.

After all, if I wanted the right to join a class action suit I could simply forgo phone service and conduct all communications by the post.

And since I am allowed to choose whether I wish to have legal rights or a telephone, I am not allowed to complain about missing one or the other. After all, *I agreed* to give one of those things up :) :) :) :)

I think this move towards mass abuse of consumers really is one of the more underrated factors in, say, modern American politics.

[wukyma]

yeeop hi, it’s me, the loser who’s writing fanfic for your ghost antinous au! i’ve got some vague and ideas and a decent amount of words done but i saw one of your posts saying you’re writing a document for the au?

i’m thinking i’ll be waiting for that before i make any other big writing decisions, i’m very excited for it :D

Ahhh sorry for the confusion, that was for another thing :'D

Regardless, I do have some ideas for ghost Antinous if you're interested!

(sorry for mentioning but u said u were interested too so @bb-bugspot)

Yappery under the cut 👇

You know that Hermes was also a guide for the dead? One of his "jobs" was bringing souls of mortals to the underworld – the 108 suitors as well, apparently, and whether they were buried appropriately or not doesn't really matter here

What happens? A certain ghosty someone (Antinous) spends the whole day trying to strangle both Odysseus and Telemachus (spoiler: he can't), missing Hermes' arrival to Ithaca like a loser ☆ﾟ⁠.⁠*⁠･⁠｡ﾟ

Hermes bringing a hoard of souls to the underworld: let's see... One, two, three, four... ten......... nah I'm too lazy to do that, bye idiots *flies away*

Now we have Antinous, stuck in the mortal plane where no one can see him, having to watch the happy and thriving family, annoyed, jealous, and alone. Like he deserves tbh

And since I was leaning into comedy in the beginning, Telemachus starting to hear (and later even see; idk maybe Hermes' heritage activated or smth) him is a source of all kinds of moments where he has to act like ✨ everything is fine ✨ while there's an angry dude screaming in his ear "PAY ATTENTION TO ME"

If we sprinkle it with sad vibes then Antinous is pestering Telemachus for two reasons:

he hates him and has nothing better to do anyway

it's the closest thing to human interaction he has now lol

Basically talking to (read: pissing off) Telemachus is the only entertainment, and as time passes he just becomes something of a voice of conscience but diametrically opposed, and by that I mean:

"Who does this prick think he is?! Kick his ass Tele KICK HIS ASS"

"Wow, loser (Peisistratus probably idk) actually likes you, what a moron. You too btw"

Probably the first thing Telemachus sees in the morning too,, poor boy; maybe Antinous even tries to trip him up from time to time (they can't touch each other but small things like these work), invades his personal space, swipes off random objects from their designated surfaces, talks shit during family dinners (Telemachus actually thinks some of it is funny but he won't say that out loud, nuh uh) Penelope and Odysseus are a bit concerned about the strange expressions he makes XD

That dynamic goes on until the moment Antinous says a particularly foul joke and Telemachus slaps him (not really hoping for anything since every time he tried his hand just went through); the hit lands, both are like wtf just happened??? That puts an end to random chaos because (1) Telemachus is older now and will/can beat the shit out of him (2) Antinous just doesn't find the same satisfaction in annoying the prince like before, for some reason

So they just....... come to accept the situation and stick together like the weirdest pair of mismatched socks. END

(one more crumb of comedy material: Antinous now drops random objects on people's heads when they disrespect Telemachus or some similar thing)

That's it! There's one important thing I wanna say tho,, what I wrote is just my vision, if you had something else in mind and it doesn't align with this don't worry too much!! I want to know your ideas as well, and honestly, there wasn't a lot of thought put in cooking up an actual plot on my side; write whatever you feel like writing, I'm already happy those sketches inspired somebody X)

(And! Guys!! A bit of disclaimer: it's not like I'm sticking fingers in ears and going lalalalalala when it comes to Antinous' canon jerk behavior, or justify him – this whole au retains ✨funsies rights✨, don't take it too seriously please)

[plaidos]

Didn't want to be that one follower who sucks the wind out of the room with a big addition, so sending this for you to answer or ignore at your own discretion.

Visavis that body slider post, I kind of just feel like we can't and will never be able to depend on AAA games to represent us accurately, or really any minority experience for that matter. These games are all fairly archetypical power fantasy heroes quests or whatever, and especially if they incorporate full character customization, they necessarily will shave off granularity, especially in the name of budget feasibility.

Maybe they could be convinced that transfems are a large enough market to hire a VA for us, and learn the dos and donts of body/gender character creation by rote, but the story will still be roughly the same. They won't add a hundred, maybe thousand, little instances of microaggression, degendering, kneejerk suspicion; completely rewrite the fabric of how every other character in the game interacts with us, because then they'd have to do that for every other conceivable identity.

I'm not saying this is fair, or justified, or that they should be let off the hook for it, but I just unfortunately don't see it ever changing for these types of games. A far more feasible ask, in my opinion, would be to demand that games if anything stop making the character a blank canvas for the audience to craft an effigy of themselves, and instead force them to make narratives that are explicitly transfeminine alongside being power fantasy heroes quests; to ask the majority cis audience to step into our shoes for once, in a way that can't be cordoned off to the side as the overwhelming majority of the audience plays as a character that doesn't force them to challenge their preconceptions of the world.

i agree somewhat, but i’m not necessarily asking for literally every line of dialogue to be restructured for every element of every character — but this is Dragon Age we’re talking about; it prides itself on writing separate dialogues for different character traits, and it literally follows through on doing that with transness as a trait too — that’s actually one of the cooler parts of Veilguard. the problem is that when we come to meet the non-binary character, none of their story makes any kind of sense. theyre closeted and anxious about telling their mom, but… there doesn’t seem to be any transphobia in this world, so why would that be a factor? there’s this great big Very Special Episode feeling cutscene about this character being accidentally misgendered and how all the cis characters should punish themselves for it. but if there’s no transphobia, that’s just a genuine mistake, like i don’t see people forcing themselves to do push-ups when they accidentally refer to their married friend as “miss”, or if you accidentally refer to a cis person who changed their name by their old name — it’s just a “oh my bad, sorry” moment before moving on — and worse yet, this conversation forces your character to be a cis person at the sidelines when it’s a perfect example of just One perfect place you could be inserting different dialogue for a trans character.

i’m not asking for massive vast differences between trans and cis characters, obviously these types of RPGs have to have some element of mushy in-the-middle-ness to be able to have such widely customisable characters. but there’s a mid ground between “literally realistic depiction of being microaggressed by every cis person you meet & totally separate dialogue trees and quests and storylines” and “my trans character is assumed to be cis in the writing of cutscenes interacting with major trans characters about them being trans”. and we’re at the latter right now.

you’re right — we’re not a marketable demographic. that’s not why these things are being added: that’s literally my point, the trans content in videogames is largely aimed at cis people feeling good and progressive for its surface level inclusion. like, “nobody cares enough to represent us because we won’t give them enough money” is part of what i’m complaining about? 😭

[voyter]

voyter 2024 wrapped ! ⋆✴︎ . ݁₊ ⊹

heh i dont usually indulge in this kind of stuff because a bitch love to stay mysterious .. but not interacting with anyone on this app is something im trying to leave in 2024 😅😅😅 got tagged by the peoples princess miss @lovieku to do this and i thought it was super cutsie <3 she gave me an opportunity to finally break out of my shell 💗💗💗

MOST POPULAR + LATEST FIC OF 2024

.⁺⊹ NNN (NO NUT NOVEMBER) | 2,453 notes | 12.10

LONGEST FIC OF 2024

.⁺⊹ DEVOTION | 2,104 notes | 11.13

PERSONAL FAV OF 2024

.⁺⊹ MATCHPOINT | 315 notes | 10.24

TOP STATS OF 2024

࣪𓏲ּ ࣪𖤐 total notes. 7,637

࣪𓏲ּ ࣪𖤐 total posts. 40/50 (10 reblogs)

࣪𓏲ּ ࣪𖤐 total words written. 39,809

࣪𓏲ּ ࣪𖤐 top muse. mr seven days a week

FIC RECS OF 2024

𖦹 ☼ ⋆｡ HANDS ON ME by @lovieku

𖦹 ☼ ⋆｡ HABITS (STAY HIGH) by @girlygguk

𖦹 ☼ ⋆｡ HOT TO GO! by @hannieehaee

𖦹 ☼ ⋆｡ BURNING HOUR by @jungqkook

𖦹 ☼ ⋆｡ ACQUAINTANCES! by @2hightocare

𖦹 ☼ ⋆｡ WILL IT FIT? by @jeonsweetpea

𖦹 ☼ ⋆｡ UNGODLY HOUR by @explicit-tae

TOP 10 TRACKS OF 2024

1. everyday by ariana grande ft. future

2. best mistake by ariana grande ft. big sean

3. seven by jungkook ft. latto

4. borderline by ariana grande ft. missy elliot

5. safety net by ariana grande ft. ty dolla $ign

6. everytime by ariana grande

7. selfish waltz by ateez

8. her by majid jordan

9. underwater by red velvet

10. cola by lana del rey

GOALS FOR 2025

— write faster omfg

— interact with more people on here ^_^

— complete all my planned fics

— make more moots !! <3

— procrastinate .. less .. ???

thank you for the lovely tag, @lovieku my lovie *besos* !! ohh now this is really going to show my lack of moots heh .. @twosixteenn (tumblr misses you my baby) @jeonxo ur turns (only if u want ofc hehe) and literally anyone else who wants to join in on this (i know you want toooooo).

although ive only been here for three months, youve all made my 2024 so wonderful <3 heres to 2025 and more my babies !!

[the-real-google]

List 5 things that make you happy, then put this in the askbox for the last 10 people who liked or reblogged something from you! Get to know your mutuals, followers and all the wonderful people on here!!! :D

Oh wow...you maybe be wondering, my dear op, didn't I send this January 13th, 2024?

Yes. Yes you did.

If I remember correctly you were my first ask or at least the first one out of character which was so exciting to me I forgot to respond to it. Hey, at least I'm doing it now?

Today is January 2nd, 2025. One year ago, I thought it would be really funny to make this blog to make fun of @totally-bing , who in turn created their blog to make fun of the late Firefox (@electronicmail ). It used to just be me and Bing against the world and a couple older gimmicks like us, and now look at what we accidentally created. An entire gimmickverse!

For years, I always had this dream (that I slowly deemed more and more unobtainable) to gain some sort of internet stardom. To have an effect on people in a meaningful way. Now, look at us! There are hundreds of people who created blogs and found a community because being a gimmick blog sounded like fun. There are thousands of people who saw our posts and thought they were funny enough to keep coming back.

I've had so so much fun building this community with you all. To my most faithful followers who've been around since the early days, I recognize your names and pfps. I smile when I see you interact with me. You mean the world to me.

@totally-bing My dearly detested. Thank you for joining me in my quest to make fun of search engines. I'm still better than you but all our silly inside jokes and lore make me so happy!!

@important-quest1on-anon ... my dear dear Gandy, Ganthony, Gabraham, Gandrew, Gabe. Hi. :] You've made such a big impact on me. My personal fanartist??? I literally died when you sent me the first art you made. I was so so honored and I'm so glad we can be forever friends. I mean, just look at the :] I made. That's your fault 🫵. That's how I do smiley faces now and it's because you've affected me so deeply. You're an incredible friend. I can't believe we've been friends for a year?? You were there when I was feeling like crap and lonely, were an amazing support to me, helped me learn how to do a relationship (today is also my 9 month anniversary with my partner btw!!) and how to be a better person. ilysm! /plat 💜

To everyone else, my digital family and fans, thanks for sticking with me for a year. It's been a blast and I'm so excited for 2025.

(Bonus round! A few other people I wanted to name specifically that meant so much to me when I was getting started!)

@bingle-official okay I admit it. You're my kid. I admit you into the family. @duothelingo hey son @the-one-and-only-duckduckgo hi :) @mcgeese (rip my dear historian) @tim-hortans-official (I learned about Tim Hortans because of you!) @youtube kids I know you deleted your blog and now I can't remember your user for the life of me but hi :]) @the-real-ecosia you were the first blog that sided with me instead of bing???? Incredible for my self confidence. @fluffy-b33z heyyy @bingus if you see this you're down bad @realsafari hi bestie @thecluelessdoctor incredible fan from the beginning!! @actually-amazon (rip) @ANYONE. WHO MADE FANART OR FANFICS. YOU'RE MY FAVORITE PERSON EVER!!!! @a million billion other people I have a crappy memory so I know I'm missing very important people and I'm sorry if I didn't name you I love you all!!

Happy 2025. Maybe Bing and Optimus Prime will have another affair this year? We can only hope.

[tyrantisterror]

Some last minute additions to the Q&A section:

My only complaint about the write-in parts of ASWaM is that I wish more people participated with it. I can understand why they didn't - this project actually gave me a lot of insight on how an audience interacts with a post.

Like, for a quick tangent - almost every ASWaM post would get somewhere between 30 and 45 votes, with a few outliers here and there. Each one would also get, like, maybe ten notes for the most part. That means there were a lot of people who voted that otherwise did not engage with the posts whatsoever, not even to throw it a like. I state this merely as an observation, not a complaint - it shows that the desire to participate is a lot higher when people can do it quickly and then put it out of mind entirely. I think that's interesting.

Butyeah, I would have liked to have more input there. As I said, I like doing interactive stories, and I like seeing what people come up with. The contributions I did get for the write-in posts were all superb - they really helped give me a sense of who you guys thought Sailor was, and how you were flavoring the choices they made on their journey, which in turn made it easier to slowly make Sailor more proactive without feeling like I was forcing the audience into playing a character against their will.

Also, the bad pickup lines... good lord those were funny.

There were no particularly dramatic changes to the plan based on reader input - if only because the plan was always very loose to begin with. The readers affected the narrative in more subtle ways.

For example, early on a few readers talked about how they wished Sailor had been less easily forgiving of Calibani's attempt to eat them, and lamented that they were competing with the monsterfuckers in my audience. I ended up flavoring South's directions with that - that there was one part of the compass whose self preservation drive just really made them want to see Calibani get gone. It wasn't a BIG change - South was always going to present very selfish/self-centered choices - but it was a subtle bit of reader input nudging things in a different direction. And, uh, probably contributed to South almost never winning a vote.

I wouldn't say there were any bad choices the audience made - even when something went wrong (like us using the harpoon on the dolphin only for it to miss and end up sinking into the ocean, never to be recovered) it ended up making for a better story. If I put on my "writer who values story structure" hat, I could say that there were several times we prioritized talking to Calibani and making sure she was emotionally ok over, like, advancing the plot or doing things that could make Sailor more proactive, which, in that "everything in a story must have narrative utility" sense could be considered a flaw. But, like, I also think it ended up painting a very interesting portrait of who Sailor is - as the story went along, Sailor became more and more emotionally intelligent, more kind and compassionate, more focused on reaching other people even when the people in question were big scary monsters, and that made for a very compelling protagonist to me.

Like, a part of me could fume and vent that, say, the Dr. Neptune chapter ended up avoiding SEVERAL opportunities for important exposition, or that we never did more with that Spindle briefcase, all things that would have provided important foreshadowing for the climax. But what the audience traded those for was a deeper relationship with Calibani, and a deeper emotional awareness in general, and that proved pretty important in the end too.

My favorite chapter to write was, uh... the Mermaid Femdom chapter. BUT NOT FOR THE REASONS YOU THINK! I liked throwing us the curveball of Sailor losing the compass, and having Calibani go on her own, and showing a window into what life like for social species in the Sea of Monsters, and writing a mean girl mermaid who thinks she's an expert on humans when she doesn't actually know jack shit about them, and Bob. We love Bob. Calibani got to go apeshit and finally kiss her Sailor and confess her love and it was very nice, very fun to write.

Calibani was my favorite character to write, though Bob and Dr. Neptune were close seconds.

And the encounters with Lord Ironteeth and the Crocodisle were the most fun to draw, although they were also the most challenging (well, them and any time I had to draw that sea station, good lord). Although I also clearly had fun literally every time I drew Calibani.

At Sea Without a Map Post-Script

After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!

Part 1: Never Stop Blowing Up

The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.

But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.

Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.

Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.

So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:

It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.

It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.

It's gotta be SIMPLE, episodic even. Not complex plotting required.

I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.

(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)

Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...

Part 2: It Was Always About Calibani

Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:

A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.

This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.

I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"

...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."

And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.

There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.

But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.

I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.

Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.

The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"

One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.

I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.

(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)

Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.

Part 3: CYOA

Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.

But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!

Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.

Part 4: Offbeat Melody

Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.

Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?

Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.

Part 5: Monster by Monster

With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:

Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.

I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.

I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.

Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.

The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.

Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.

Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.

But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.

So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.

Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.

Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.

With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?

The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.

When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.

I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.

The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.

The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.

The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.

(*when I say "weird" I mean it in a complimentary and affectionate sense)

Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.

And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.

Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.

Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.

I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.

Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.

The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.

I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...

Part 6: Themes

I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.

But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.

Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.

ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."

When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).

But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.

This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.

I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.

Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.

For those curious, the possible Sailor origins are:

Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.

A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)

A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.

The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.

This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.

Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.

Part 7: Q&A

Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.

When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.

I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).

Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.

On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.

I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.

Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.

Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.

Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?

Well, I think doubt would have remained.

I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.

I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.

I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.

Thank you!

The primary inspirations were:

The Odyssey and Epic: the Musical

The voyage of St. Brendan

The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.

The Island of Dr. Moreau

The Boy and the Heron

Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)

The Life of Pi

Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)

I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.

On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!

But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.

I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."

Especially if there's a cute chubby sea monster girl who loves you.

Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.

This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.

Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:

Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.

Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.

Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.

All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.

Part 8: Our Girl

I just think she's neat!

[muscariii]

Made these two things since I had a little bit of time. To be honest I don't really like how the first one turned out :( I wanted it to look better. Rasha was made really quickly and I basically just wanted to draw her even if it's low effort. I miss her.

I'm currently really overworked since I've got a lot of assignments to do at art school. Sadly I don't have much time to draw morrowind stuff and yeah... :(

I've been thinking about what to do with the comic since it will definitely take a while until I get the next part done.

I wanted to make a poll with a few ideas I had for it but would you guys even want to vote in it?

[pizzainator]

I watched Jacks stream oh my gosh...

I thought I could handle a Dsmp stream in 2024 but nope. just- that felt SO much like just a stream that would happen in like 2021. the wandering around falling into random creeper holes, chat telling jack to get philza to help him, and to find michael, the mobs interrupting and how unplanned it all was. unscripted lore my beloved forever and ever.

the way that it's like in tommy and jacks conversation- they're talking about things in character that also relates to (presumably) their feelings in real life. just gosh...

when jack and tommy said their goodbyes and jack looked back at technos house to see the sun rising- like its so perfect in a way that the incidental roleplay always was. Like in the way I know I'm reading into it but it still works and it feels like real life when something happens and you find yourself in that moment and life looks almost like a movie- everything in it's proper place for the scene- but it's all just coincidence. the sun didn't rise because a writer wrote that it would. the sun just rises and falls and the conversation just happens to end at that exact moment.

idk just- I really felt it. It captured the feeling of peak dreamsmp that I've missed so much.

I don't even have a problem with nuke ending personally I think it's perfectly fine as an ending. How I've always seen it is: Everyones been hurt by everyone and violence begets violence so the great final act is nukes that will kill everyone that have all ready been launched so it can't be taken back. Then in the prison tommy sees the early parts of the server through Dreams pov and sees the good that was there at the start and how much that has been corrupted since and he wants that simplicity again (he and dream were even friends at one point) before everything went terrible for everyone. Dream turns his back on his plan that he's been building up to for so long cause what he really wants is the same thing as tommy. for things to be simple like at the start. but it's too late- its too far gone. the nukes have already been launched there's no going back. just the hope that maybe in another world things could've been different.

(also the added context of nuke ending being an elaborate character/relationship/map reset to setup a season 2 that never happened.)

So there's my nuke ending defense lol. I know it wasn't very popular with a vast amount of people and that's okay too.

I think ending something like dsmp was never gonna be easy or satisfy everybody, with how many individual povs there are and storylines. I always expected there to be things left unfinished. (unfinished symphony ;) Even if that's pretty unsatisfying for us viewers. (there's a particular stream I really wish had happened with foolish, dream, and eret)

idk there's a post I always remember when thinking about the ending that was like: "Maybe they couldn't write a happier ending at that time in their lives." (super paraphrasing) obviously talking about techno's passing. it's a bit assumptive but the CC's have talked publicly about how much that has affected them (of course it did). With something like that I imagine giving your minecraft server/roleplay character a happy ending is the last thing on your mind.

Todays stream felt like grief and nostalgia and complicated feelings for a time that has passed but still left it's marks on you:

“are you happier?” “I'm getting there”

like, that just says it all.

[yourlocalsewerdragon]

revisiting this site every now and then to reminisce in how much it shaped me as a person and defined me as a literal child

[sweetpapercroissant]

i don’t get the appeal of an incest ship if you’re only ever going to focus on the good romantic feelings and not the icky negative ones. the resentment the feeling of being trapped shackled wanting out and away from the person who knows so much too much about you since before you even knew to not allow it but at the same time you can’t imagine living in a world without them being away is like tearing a limb a piece of your soul you will never again be complete without them. no one else will ever understand you the way they do no one else will ever get so deep under your skin and you may hate it but you hate the thought of them not being there even more you can’t stand to see anyone else get to a part of them you didn’t and even worse when they get it before you. you push and you push and you push but when they let go it’s like you’re free falling and it doesn’t matter how far away you run you will never be far enough away because you carry them inside you everywhere you go. you tell yourself you want nothing more than to get away but they’re the only home you will ever have and you won’t ever let anyone get that close you’re already moulded to only fit in perfectly with them and you didn’t have a choice but this is who you are. there’s nothing you could do to make them let you go but there’s nothing you could do to make them let you go. you want to be so close to them you want to merge your bodies into one you hate how crowded you feel when they’re in the same room like they’re sucking in all the air and there isn’t any left for you and you want to get away so you can just breathe but you don’t even want to breathe in the air that hasn’t passed through their lungs first you hate that you feel this way you wish you could claw it out of your veins but then who would you be without it without them you want so much and it’s so ugly and you’re ashamed of how raw that need is how you want every part the good the bad the human you wish none of this had ever happened you feel dirty you never even had a chance to find something else be something else but then you look over and you love them so much so much and when it comes down to it nothing else was ever going to be enough for you anyway.

[fruixtii]

ok you can all talk to me about the update now

[oxymoronicdumbass]

i will call myself autistic and people will think i'm just using it as a silly, chronically online, tiktok-diagnosed-me term, and then they'll spend a little bit more time with me and they're like oh

[s-ephiroth]

not to start anything mean intended because i'm not that kind of person, but

i can't for the life of me understand people who claim to be sephiroth fans/have sephiroth based ships and go on and slap a capitalized "proship dni" somewhere in their bios/profiles

never understood this and never will, (for reasons i shall elaborate below) though i may get the potential reasons for it and just... it absolutely baffles me how misused the term proship is

that word literally means "in favor of shipping", that's what the "pro" part of the word is for. it doesn't mean you have to necessarily ship every ship that exists ever (that would be 1. insane and 2. not very feasible), just that you understand people will have different ships, you respect that others' preferences exist and mind your lane

it is basic fandom etiquette, it's literally old school "your kink is not my kink and that's ok". it's blocking folks with ships you dislike (notp) instead of trying to regulate what people do with narrative tools (characters) in a fictional space

sometimes other people are eating shrimp and you're allergic to shrimp. it doesn't mean the other people are immoral for eating shrimp

some people use proship to mean "problematic ship" (aka ships with dark thematics that wouldn't be ok irl) when 1. it doesn't mean that, and 2. you can dislike a thing without misusing a word

no, someone who's proshipper won't force you to ship their ship you may dislike, if you're wondering. that's not what the word implies at all

enter sephiroth

oh, you know him. sephiroth who took part in a genocide when young. sephiroth who took part in a war and very likely killed people. sephiroth who got betrayed by humanity so much that he chooses to torch down a small village and choose to become cosmic horror instead and haunt a twink

this is not a wholesome character!

like, i do believe that sephiroth has the potential to be cute/do good/work well as a slice of life protagonist if you frame him just right, but by canon definition, where he goes, someone dies

he's not fully good and not fully evil, he's a morally grey character reacting to the only life he knows and having multiple instances of terrible decisions. he's a victim as much as he's propagating evil

he's a very complex character and loving his character is understanding that not all that does or that happens to him is ideal. and that's ok, his very birth/conception alone is full of dark/taboo themes

and see, here's what i don't get: people who use "proship dni" in their bios, aside from the obvious performative flavor to that, (it's the internet! a sign won't stop people who are particularly mean!!) presumably don't want to interact with one or more of the following:

- people who ship anything in general (if going by the literal definition of the word)

- people who ship anything with dark/"problematic" thematics (by going by the misconception of the word meaning "problematic ship")

- people with a different ship that would be a notp or people who aren't into yumeshipping (oc/self insert x canon) (i'm not gonna get into my horror stories from twitter about this one but it exists, i was attacked once for trying to run a sc event)

if it's for the first reason, fair, but why only list one side of the discourse instead of just putting you're not into shipping? it feels like trying to bait people into a fight

the second is the one that baffles me the most. any ship you put sephiroth in has potential to have dark thematics, because sephiroth, as a shipping component, brings all these dark themes into it. unless you're redoing his whole life from scratch, he'll still have the history of having killed people, having fought a war, having been experimented on from pre-birth, etc. and if you have to redo this character's whole life to avoid dealing with his thematics entirely... do you even like him at all? are people who enjoy dark thematics forbidden from engaging with potentially wholesome thematics as well?

and the third is just hypocritical pettiness, really. you're not morally superior for shipping sephiroth with yourself or your oc or a different character that you prefer over some other character. sephiroth is still sephiroth, regardless of who he's with. he'll still do sephiroth things, whether positive or negative. you can dislike other ships without being morally performative about things. you can have notps!! you can dislike a ship for hitting you with the wrong vibes or because you like that other ship better

but in the end it all just boils down to it having the same vibes as antis using ao3: you're making use of the most proship thing out there is and saying proshippers shouldn't interact with you

i don't get it

[fortes-fortuna-iogurtum]

very very tired of all the many many things :')