#web serial novels

[derinthescarletpescatarian]

hi derin! i’ve been following you for a little while, and also bemoaning the nature of publishing fiction (indie or trad) for a little bit longer than that, and i only just realized today that…of course web serials are a thing i can also do!

i really love the idea of publishing serially (though i’m not totally sure i CAN, i’d like to try), so while i add this to my list of potential paths, do you have any advice for getting started? building an audience? marketing? figuring out if writing/publishing this way will work for you to begin with?

i know that’s a lot of questions, and you don’t have to answer all of them! i’m throwing spaghetti at a wall out here. i hope you have a good day though, and thanks in advance!

Getting started in web serial writing

Web serial writing has the lowest barrier of entry of any major method of publishing your story. You can literally just start. There are two steps:

start writing your story

decide how/where you want to publish it

The writing part, I assume you have handled. The important thing to note here is that you gotta see the project through. Start and don't stop until you're done. For publishing, you have a few options:

1. Publish on a website designed for web serial novels

There are a few of these around, they're usually free to publish on (although most offer a paid account to give you ad space or boost you int he algorithm or whatever), and your best choice generally depends on which one happens to gravitate to a niche that best suits your kind of work. The big names in this industry are Royal Road and Scribblehub, which, last I checked up on them (about a year ago) tended towards isekai and light erotica respectively. (You absolutely can publish outside these niches on these sites, it's just much harder to get traction.) Publishing somewhere like this comes with multiple advantages. Firstly, there's a writing community right there to talk to; there's usually a forum or something where people gather to talk about reading or writing on the site. Second, the site itself is designed specifically to publish web serials, and will come with a good layout and hit trackers and 'where you left off' buttons for the reader and all that; generally all you have to do is copy-paste the text of a chapter into the page and the site will do everything else for you. Third, there's an audience sitting right there, browsing the 'latest arrivals' or 'most popular' page of the site; if you can get high in the algorithm, you have to do little if any marketing.

The downsides of such places usually come down to the same things as the advantages. Such sites are a flooded market. Your story absolutely will drown in a sea of other stories, a great many of them terrible, and most of them with the advantage of catering to the site's niche. Gaining an audience there is often a matter of trying to game an algorithm, and the community can be... variable. Some of these places are nice but most of them are a bunch of authors trying to tear down everyone around them to make their own work look better by comparison int he hopes of poaching audiences for their story instead. If you go this route, I'd recommend shopping around for a site that fits you personality and writing style (or just posting on many sites at once; you can also do that).

These places also tend to get targeted by scrapers who will steal your story and sell it as an ebook, which is very annoying.

2. publish on another site

Plenty of people publish web serials here on Tumblr. I do not know why. This site is TERRIBLY set up for that. It makes tracking stories and updates a pain in the arse (people end up having to *manually tag every reader whenever they post an update*), building and maintaining archives are annoying, community building is surprisingly difficult for a social media site, and it's just generally far more work for both writer and reader than it needs to be. You often do have a ready-made audience, though.

This does tend to work better on other sites. Reddit has multiple communities for reading and writing various types of fiction; publishing on these is a bit more work than somewhere like Royal Road, but not very much, and many of these communities are very active. There aren't as many forums around as there used to be, but you might be able to find fiction hosting forums, if that's what you prefer. And of course, many writers who simply want to write and don't mind not being paid choose to write on AO3.

These sites are a good middle ground compromise for people who want a ready-made community and don't mind putting in a bit of extra work.

3. make your own site

This is what I did. You can make a website for free, giving people a hub to find you and all your work, designed however you like. You can also pay for a website if you want it to be a little bit nicer. This option is the most work, but gives you the most control and leaves you free of having to worry about any algorithm.

The obvious downside of this is that there's no community there. If you host your work on your own website, you need to bring people to it. You need to build an audience on your own. This is not an easy thing to do.

Building an audience (general advice)

Here is some general advice about building an audience:

1. Consistency. Consistency. Consistency.

If you want people to read your writing, the best piece of advice I can possibly give you is have an update schedule and update on time, always. If you need to take a break, give people as much warning as possible and tell them exactly when you will be back, and come back then. Do not take unnecessary breaks because you don't feel like writing. (Do take breaks if you get carpal tunnel or need time off for a major life event or something -- your health is more important than the story.) If you're taking a lot of breaks to avoid burnout, you're doing it wrong -- you need to rework your whole schedule from the start and slow down updates to make these breaks unnecessary. Two chapters a month with no breaks is a billion times better than four chapters a month with frequent burnout breaks.

Consistency. Consistency. Consistency.

A reliable schedule is the #1 factor in audience retention. If readers need to randomly check in or wait for notifications from you to check if there's an update, guess what? Most of them won't! They'll read something else. You want your audience to be able to anticipate each release and fit it in their own schedule. I cannot overstate the importance of this.

2. If you can, try to make your story good.

We writers would love to live in a world where this is the most important thing, but it actually isn't. Plenty of people out there are perfectly happy to read hot garbage. How do I define 'hot garbage'? It doesn't matter. Think of what you would consider to be just a terrible, no-effort, pointless garbage story that the world would be better off without. Someone is out there writing that right now, making US$2,500/month on Patreon.

It is, however, a real advantage if you can make your story good. At the very least, it should be worth your audience's time. Preferably, it should also be worth their money, and make them enthusiastic enough to try to get their friends into it. Managing this is massively advantageous.

3. Accept that you're not going to get a big audience for a really long time. Write consistently and update on schedule every time anyway.

It took me over a year to get my second patron. For the first year, I updated Curse Words every single week, on schedule, for over a year, and had maybe... four readers. One of them was a regular commenter. One of them was my first patron. There was no one else.

My audience has grown pretty rapidly, for this industry.

You're not gonna start publishing chapters for a big, vibrant community. You're just not. And you have to keep going anyway. These days, I have a pretty good readership, and those couple of loyal readers (who I appreciate beyond words) have grown into a much larger community, who hang out and debate theories with each other and liveblog and drag in new readers and make fanart. My discord has over 550 members, with volunteer moderators and regular fan artists and its own little in-jokes and games and readers who make a point of welcoming newcomers and helping them navigate the discord, all with very little input from me. I start crying when I think about these people, who do the bulk of my social and marketing work for me just because they want to help, and my patrons who, after writing for over 4.5 years, have recently helped me pass an important threshold -- my web serial (via patreon) now pays my mortgage repayments. I can't live off my writing alone, but boy is that a massive fucking step.

You're not gonna have that when you start. You're gonna have a couple of friends. And that's it. Maybe for a year. Maybe less, if you're good at marketing and lucky. Maybe longer.

You have to update on schedule, every time, anyway.

Building an audience (more specific advice)

"Yeah, that's great, Derin, but where can I find my fucking audience?" Well, if you publish on a web serial site, then the audience is there and you jsut need to grab their affention using the tools and social norms offered to you by the site. I utterly failed at this and cannot help you there. You can still use these other tips to bring in readers from off-site.

1. Paid ads

I've never paid for ads so I can't offer advice on how to do it. I've Blazed a couple of posts on Tumblr; they weren't helpful. This is, however, an option for you.

2. Actually tell people that your story exists and where they can find it.

I used to have a lot of trouble with this. I didn't want to bother people on Tumblr and soforth by telling them about my personal project. Unfortunately you kind of have to just get over that. Now I figure that if people don't want TTOU spam, they can just unfollow me. If you're like me and want to just politely keep your story to yourself... don't. You're shooting yourself in the foot doing that.

You need to mention your story. Link your story in your bio on whatever social media sites you use. Put it in your banner on forums. Make posts and memes about it. Eventually, if you're lucky, extremely valuable readers will start to talk about your story and meme and fanart it for you, but first, you need to let them know it exists.

It will always feel weird to do this. Just accept that people can unfollow you if they want, and do it anyway.

3. Leverage existing audiences and communities

Before I started doing this web serial thing, I used to write a lot of fanfic. The original audience that trickled in for Curse Words comes from AO3, where I was doing a full series rationalist rewrite of Animorphs. They knew how I wrote and wanted more of it. Nowadays, I still occasionally pull in readers through this route. Most of my new readers these days come from a different community -- people who follow me on Tumblr. Occasionally I bring in people who don't follow me because we'll be talking about how one of my stories relates to something different, and fans of that thing might decide they want to check my stories out.

Your first readers will come from communities that you're already in and that are already interested in something similar to what you're doing (people reading my fanfic on AO3 were already there for my writing, for instance). Keep these people in mind when you start out.

One additional critical source of existing communities is your readers themselves. A huge number of my readers are people I've never been in any group with -- they were pulled in by their friends, relatives, or community members who were reading my stories and wanted them to read them too. This is an absolutely invaluable source of 'advertising' and it is critically important to look after these people. enthusiastic readers, word-of-mouth advertisers, and fan artists are the people who will bring in those outside your immediate bubble.

4. Your "where to find me" hub

If you're publishing on your own website, you can simply link everything else to your homepage, and put all relevant links there. For example, I can link people to derinstories.com , which links out to all my stories, social media I want people to find me on (you don't have to link all your social media), patreon, discord, et cetera. If you don't have your own website, you're going to have to create a hub like this in the bios of every site where you garner audiences from. This is the main advantage of publishing on your own website.

Monetisation

There are a few different kinds of monetisation for web serials, but most of them boil down to 'use a web serial format to market your ebook', which to be honest I find pretty shady. These authors will start a web serial, put in enough to hook an audience for free, and then stop posting and release an ebook, with the intention of making readers pay for the ending. Now, to be clear, I am absolutely not against publishing and selling your web serial -- I'm doing exactly that, with Curse Words. I am against intentionally and knowingly setting up the start of a web serial as a 'demo' without telling your audience that that is what you are doing, soliciting Patreon money for it, and then later yanking it away unfinished and demanding money for the ending.

Monetisation of these sorts of stories is really just monetisation for normal indie publishing with the web serial acting as an ad, and I have no advice for how to do that successfully.

Your options of monetisation for a web serial as a web serial are a bit more limited. They essentially come down to merchandise (including ebooks or print books) or ongoing support (patreon, ko-fi, etc.) Of these, the only one I have experience with is the patreon model.

This model of monetisation involves setting up an account with a regular-donation site such as patreon, providing the base story for free, and providing bonuses to patrons. You can offer all kinds of bonuses for patrons. Many patrons don't actually care what the bonus is, they're donating to support you so that you can keep writing the story, but they still like to receive something. But some patrons do donate specifically for the bonuses, so it's worth choosing them with care.

The most common and most effective bonus for web serials is advance chapters -- if people are giving you money, give them the chapters early. You can also offer various bonus materials, merchandise, or voting rights on decisions you need to make in the future. 'Get your character put in the story' is a popular high-tier reward. If you're looking for reward ideas, you can see the ones I use on my patreon.

Patreon used to offer the ability to set donation goals, where you could offer something when you were making a certain amount total or had a certain number of subscribers. They recently removed this feature because Patreon hates me personally and doesn't want me to be happy, so you kind of have to advertise it yourself now if you want to use these goals. I release chapters of unrelated stories at donation goals, and I found this to be far more effective than I thought it would be.

The important factor for this kind of monetisation is that it's ongoing. The main advantage of this is that it makes your income far more regular and predictable than normal indie publishing -- your pledges will go up or down over a month, but not by nearly as much as book sales can. The main thing to keep in mind is that it's not a one-time sale, which means that however you organise things, you want to make sure that donating keeps on being worth it, month after month. Offering bonuses that aren't just one-time bonuses, but things that the patron can experience every month, helps here. So does making sure that you have a good community where patrons can hang out with other patrons. (Offering advance chapters does both of these things -- the patron can stay ahead in the story and discuss stuff with other patrons that non-patrons haven't seen. I've found that a lot of my patrons enjoy reading an emotionally devastating chapter ahead of time, discussing it, and then all gathering a week or two later to watch the unsuspecting non-patrons experience it for the first time.)

Whatever method you use for monetisation, rule #1 is (in the words of Moist Von Lipwig): always make it easy for people to give you money. The process of finding out how to give you money should be easy, as should the process of actually doing it. And, most importantly, the spender should feel like it's worth it to give you money. This is a big part of making it easy to give you money. Make your story worth it, make your bonuses worth it, make sure that they're happy to be part of your community and that they enjoy reading and supporting you. And remember that support comes in many forms -- the fan artist, the word-of-mouth enthuser, the person who makes your social hub a great place to be, the patron, all of these people are vital components in the life support system that keeps your story going. And you're going to have to find them, give them a story, and build them a community, word by word and brick by brick.

It's a long process.

Good luck.

.

[elcuervoborracho]

you could grind meat on those

[oinonsana]

A WORLD SHORN OF LIGHT. 

A KNIGHT TORN FROM POWER AND MEMORY. 

Walk. Uncover the truth of your death. Reattain your Enlightenment. Cultivate Benevolent Violence. Master the Blade. Master the Mantra. Bring the world to heel. Shake Heaven's Pillars. Find out who did this to you. Choose the right side of the blade when you do. NO OTHER WAY. KILL THEM OR KILL THEM.

LET THY WILL BE DONE. 

UNTIL ALL BEINGS ARE FREE.

Giant cats turned into apartment complexes, ghost horse steeds that tire not, walking giant mechanical armors turned into public transportation, charnel wizards summoning the long-dead, witches wielding the Pureflame of Creation, the Machine God beginning its slick advance into forever progress... the Age of Furor is upon us. The Latter Day of the Law.

Upon the peak of their vengeance, will they choose the right blade? The Termagant Buddha watches closely.

THE KNIGHT VAGRANT is an utter progression fantasy web novel in the universe of HINGSAJAGRA, a world wrought from Esoteric Buddhism and Monsoon Asia. Monsoon Asia Disco Elysium Xianxia. 32 Chapters, 102k+ and counting. Arc 2, ADAMANTINE SWORD, is chunky and done.

WHAT TO EXPECT

꩜ Immersive Fantasy universe that can be aptly described as Monsoon Asia Esotericist Disco Elysium Xianxia. The Utter Islands is a borderless Sword and Gun Fantasy Setting.

🌪️ Androgynous Amnesiac Weak to Strong Martyr Versatile MC (learning both Martial Arts and Magick) who uses multiple means of Cultivation (Meditation, Alchemy, Sword, Magick, Dual, and more), with a personality not unlike Goku from Dragon Ball. Trans Enby MC (both and neither male/female, 10th mark of a Buddha)

✊ Ruthless, Bloody, Brutal Skull On Stone Martial Arts

🔥 Esoteric Cultivation Systems inspired by IRL esoteric systems. All of them feuding and trying to out-cultivate each other.

‼️ Content Warnings for the following: Violence, Body Horror, Horror, Sexual Content (Optional!), Bigotry, Warfare, Class Struggle, Revolution, Betrayals, Strong Language

If any of this got you interested please consider checking it out over on Royal Road!

Cover by: @alexconnolly!

[kimpining]

Did you know that right now you could be reading over a million words of trans lesbian communist sci-fi?

Unjust Depths is a webnovel about communists struggling for the sake of a better world, through mech combat and romance and sparking waves of liberation in the depths of the sea. And there's even an epub now!

It's my favorite story, and its dedication to portraying the clashing ideologies and ideals of such a large ocean-spanning cast of memorable characters inspires me every day. The vast majority of its cast is trans and gay women striving and fighting for a better world that has a place for them. The willingness of the story to jump between perspectives and understandings of the world and to manage it so gracefully and effortlessly is incredible to read.

And at the heart of it, the story is funny, romantic, sensual, just capable of encompassing so many different dimensions of the characters within and using all of those elements together with ease to shape the work into something I've been turning over in my head for years. It's got romantic cannibalism, muslim catgirls, horrors from beneath the hadal zone, toxic old women yuri, and gertrude lichtenberg. It's really good. I think everyone should read it.

[valentinedagger]

this is an official plea to all amateur webfiction authors on tumblr to stop putting entire pieces (chapters, short stories, etc) in tags like "#web serial" and "#writeblr" without readmores.

i promise. you will get so much more engagement if you just put your writing under a readmore. most people are probably blocking you to avoid scrolling through your stuff in the tags, not because you're a bad writer or they wouldn't want to read your work, but because people are scrolling through those tags to find things like art, announcements, shitposts, polls, writing advice--basically anything but entire pieces of fiction that take multiple minutes to scroll past.

tumblr is a shaky place to host fiction natively to begin with--i'd really recommend slapping together a quick wordpress or neocities template, frankly, or at the very least using an aggregation website like ao3, just because the tumblr format is so inaccessible to readers and hosting your work on tumblr natively is actively working against you building an audience--but if you go with that, please don't shoot yourself in the foot by spamming tags! again, even continuing to post your work in the tags while putting most of it under a readmore will massively improve your engagement.

[victoriadallonfan]

Webnovel Rec: Pale Lights by ErracticErrata

Thanks to the prodding of a friend, I decided to read Pale Lights, written by the same author of Practical Guide to Evil (which I have not read), and let me say this:

I binged Pale Lights in a week and a half, and I don't regret it. I absolutely love one of the MC's almost as much as I love Victoria Dallon from Worm/Ward (and if you can't tell by the username, that means a lot from me), and the story itself is just very enjoyable on every level.

I have some mild to minor complaints about some potential unintended implications, but other than that, I recommend the book.

[fireandslate]

THIS HALLOWEEN AT BLANK SLATE:

The nights are getting longer. The colors of the trees have changed. Summer's growth has given way to harvest, and the nights threaten frost.

In the lost kingdom of Frydain, the harvest has come in, and most folk are busy enough just trying to survive the winter. The Church rules with an iron fist, but the gospel they preach is one of obedience. The pious have nothing to fear.

For those who have been labeled heretics, that struggle for survival will be a bit more hands-on.

I write Blank Slate. It's four years old and updated every Sunday. It's about all of the above, and more. It's about swords, spirituality, and sapphic rebellion. It's about ecology, ecstasy, and the nature of evil. It's about revenge, religious trauma, and resistance.

It's about fire.

Come take a look at fireandslate.com!

[rainfrazier]

maggie moment

[personalmoshiakh]

hey, so— i’ve been ~officially writing a web serial since 2021 (unofficially, since at least 2014). Updates are currently very irregular, but i’m definitely still working on it!

✨🧿 THE BITTER DROP 🧿✨

modern fantasy romance about gay/trans Eastern Bloc Jews, set in a secondary world counterpart of early Soviet communes

The lounge is nearly empty tonight; all the action is downstairs at the grinding workshop — in the basement discotheque; you if I’m to have any hope of pulling, that’s where I ought to go but … ekh, I’m foggy tonight, between the psychosis and the laudanum for the pain what likes to haunt nefilim and the horse pills they made me take at the Mamka — nu okay, I skipped tonight’s dose so I can drink but like, neuroleptics don’t let go that quick — and as the brainfog settles on my thoughts, it turns to hoarfrost and my will seizes up like a rusty hinge.

Lev/Lyubov Morgenshtern, a queeny bigender flamer who’d once been one of the Pale’s youngest-ever ordained rabbonim, has just returned to the Talons Ghetto sovyet — an autonomous workers-and-peasants commune of the kind that directly preceded the Soviet Union (and indeed the thing that the USSR named itself after).

Lev is fresh off a stint on a psych ward that’d followed a far longer stint living in the tzarist-held half of Svet Dmitrin with a bougie respectability-obsessed ex-boyfriend — he’s got nowhere to sleep, no assurance her old friends, Red Guard and civilian both, would want to see them and the only workable plan she’s got is to find someone willing and soft-hearted to take him home for the night …

… and what luck if their rescuer, a medical necromancer by the name of Anzu Menelikov (Nyura to friends and lovers) is a beautiful trans flamer from a prominent rabbinical family! who better to welcome Lyubov home than a fellow hothouse flower and dedicated scholar? and does it matter if Nyura did anything the White Guard might still bear a grudge about? after all, most of the old Ghetto walls are still safely intact, and it’s not like Reb Doktor Menelikov personally set the Winter Palace on fire, right?

i’d say if you liked the Baru Cormorant series, Michael Chabon’s The Yiddish Policemen’s Union and Gentlemen of the Road, Fallen London and its associated games, China Miéville’s oeuvre, and Disco Elysium, this’d probably be your thing!

content warnings

(under the cut)

reclaimed homophobic slurs

the narrator has a history of psychiatric institutionalisation

homophobia, transphobia, transmisogyny and antisemitism are environmental hazards in the setting, though by far not the focus

[distortedsense]

art//\\for THE DAY MY DREAM DIED

[sablejak]

Available internationally at: www.neovel.io

[elcuervoborracho]

Parian and Foil in Stardew Vallley, for Polar Potato!

[oinonsana]

got a new update up on my slick bladepunk dharmacore progression fantasy web serial.

THE KNIGHT VAGRANT is like if Dragonball had Maritime Asian aesthetics and overtly Buddhist themes.

maritime asia? think the Maritime Silk Road/Nirvana Route: from parts of South Arabia to India to SEAsia to South and East China to Japan to Korea,, the whole shebang of buddhism's extent. keep in mind its only really inspired by maritime asia: it's still a progression fantasy at its core. eventual god killing will ensue, but a god killing guided by enlightened compassion.

imagine if breath of the wild was built ground up from southeast asian aesthetics, ethics, and traditions. xianxia by way of southeast asian hindu-buddhist-animist esotery instead of only daoism

writing progression fantasy (think shonen anime, growing in power is the point) feels like home to me.

blurbs and shit ya'll:

[helenaheissner]

LDRFT ebook is now available!!!

[valentinedagger]

if i were to host a tumblr community for webfiction authors, is that something anyone else would benefit from?

my initial thought is that it would be nice to have somewhere to network and socialize away from fan interaction--you know, somewhere to swap platform tips, talk about audience building, share writing advice, etc. personally i'd appreciate a space to talk about the web dev aspect and connect with other people who are navigating hosting their own writing on their own site. it would also be great to have a space for new serial authors to network with authors who've been in the scene for a while already--i know i've been struggling to find my footing for a while due to a lack of spaces for authors to connect and learn from each other.

my only thing is, i wouldn't want to gatekeep based on the contents of someone's writing. i dislike the idea of a space that has sentiments like "your prose isn't good enough to sit with us" or "your writing is too dark/immoral/triggering/etc to sit with us." the point wouldn't be to advertise or share your writing itself, but to connect with other authors. i would probably consider the contents of someone's writing irrelevant, and only moderate based on how they conduct themselves as a real person--for the measure that i even want to moderate, which i really don't for the most part, because i think a group of dedicated authors can conduct themselves with some modicum of decorum and kindness to others without me telling them exactly how to interact, and i really do not want to mediate interpersonal drama under any circumstances.

the other problem is, i don't see a way to run this community other than it being invite-only, but i think that's a fairly small problem in the grand scheme of things. i believe tumblr is rolling out the ability for multiple moderators to send invites, so it would not have to fall entirely on me.

even with those limitations, i'd still consider it a pretty good resource in the long run. consider this an interest check: if you're an author of prose webfiction, especially serials, would you want to join something like this?

[artbyblastweave]

I prompt you to elaborate on the idea of deliberately making something in a story boring, for I an always interested in your analysis.

In The Boys (Comic version, which I have complicated but more-positive-than-most feelings about) Garth Ennis very deliberately wrote most of the superhuman combat scenes as short, brutal affairs in which whoever was more powerful or better-equipped would just slaughter the other side in a matter of seconds; if the sides were more evenly matched it was then a matter of who swung first. To my memory, there were only a handful of fights blocked like fights instead of like curbstomps. This was in service to Ennis's artistic vision; violence as a swift, brutal thing, only glamourous in the sense of black-comedy dismemberments or the grim satisfaction of being alive when the other guy isn't, and with the majority of all conflicts playing out through via prep-work and intelligence-gathering done in advance of the first punch being thrown.

It was an aggressive refutation of how superhero fights go in more straightforward superhero fiction, with clever tricks, drawn-out dramatic brawls, violence as a palatable form of spectacle, something marketable after-the-fact. A lot of the fights the titular team got involved in consisted basically of jumping distracted supes; one of Homelander's jobs was to just unceremoniously decapitate any earnest upstart supervillain and then have the marketing team at Vought write a comic portraying the fight as something with genre-typical stakes. To this day, I feel like there was a level of honesty about violence in this portrayal. In real life, it's not fun!

But! It did introduce some problems. Namely, a series in which almost every single fight is something Nasty, Brutish and Short created, for me, a form of doublethink about how seriously we should even take the Vought capes as threats. A series in which every fight is deliberately uninteresting (if you aren't entertained by curbstomps) is a series in which every fight is deliberately uninteresting, and from there your enjoyment of the series rides or dies on how interesting you find the non-fight political intrigue, character dynamics, and so forth. The version of Garth Ennis who isn't writing capes is, in my opinion, pretty damn good at that other stuff, so I inched through.

The show patched the majority of my difficulties. It retained the broad thesis that cape fights would largely be curbstomps, and the other broad thesis that capes would largely be useless or counterproductive at their supposed role, but combined this with a number of actual fight scenes. It made Butchers team significantly less powerful, with a significantly greater focus on the sneaky bastardry necessary to flip assets and find weaknesses. It made killing any given supe much, much more of an endeavor, something genuinely very difficult and impressive, and it made every given supe death much more of a plot point or a character beat than it would have been in the comic. The supes being less interesting than typical for their genre, that was preserved- but the situations involving supes that we, the audience, are privy to? All very interesting still!

Now on the other side of the spectrum, you've got Worm, and you've got Jack Slash-as-an-examination-of-Joker. "Your philosophy is ill-considered and fake deep, and you aren't funny" is actually a fairly common clapback against The Joker within officially published DC comics properties, but it butts up against the fact that he's taken pretty seriously as a threat regardless of that fact! Jack Slash is an attempt to reconcile that, to figure out how someone as LOlrandom as Joker could last longer than three minutes as a serious contender, and the answer is "subtle secondary powers that puff up his win rate, in a way that his self-absorption prevents him from recognizing as anything but his own innate talent." He's blatantly shallow. Everyone talking to him is palpably rolling their eyes within the text, but he's got the brute-force necessary to undercut anyone trying to one-up him (Theo's interlude, Tattletale in the parking garage.) It's called out multiple times that's it's mysterious that he's doing so well when he's so mediocre. The candidate he picks for the 9 is a dud. He can't come up with anything more interesting for Cherish than having her do all the other tests over a second time. His big comeback is just Slaughterhouse 9! But More of them! Fuck Yeah!

But! Despite the text being aware of how shallow he is and how thin his ideas are, all of his ideas keep working. It doesn't matter that it's edgelord bullshit- it's edgelord bullshit that everyone else is forced to take seriously and respond to, which is where the actually-great character work in the S9 arc happens. And at this point I think there are basically two camps within the audience. Camp one consists of people who, despite Jacks clear shallowness, nonetheless are entertained and engrossed by the batshit combat scenarios he masterminds, even if he shouldn't be able to mastermind them. I am a counselor at Camp One. Camp Two consists of people who call bullshit on the ability for such a shallow guy to mastermind all that crap and bend everyone to his will, who don't really find anything redemptive in the eventual reveal that it was powers-enabled because they still had to sit through the implausible bullshit. This is a position I have no choice but to respect because it's the position of my cousin, who I adore and want to remain on good terms with at family gatherings. The things we do in service of family, amiright