#well technically its sequel

[lovesickeros]

☆ from gold, i am undone

{☆} characters tsaritsa {☆} notes cult au, yandere, drabble, gender neutral reader {☆} warnings blood, implied self harm, implied suicide attempts {☆} word count 0.9k

You weren't meant to be here.

You can feel it in the marrow of your bones– it weighs you down like heavy shackles, gold bleeding from your pores until it is all you know. The taste of ichor on your tongue, the warmth of its invasion beneath your skin, that gleam of gold that lingers in the color of your eyes like specks of dust.

You are changed, and you are whole.

But you are so unbearably broken.

A shattered piece of porcelain hastily put back together with gold to fill the cracks.

Decoration, in the end, for you are not fit to walk as "mortals" do. This gold had filled every empty crevice of your body, spilled the red into your frantic hands and made you bleed so it's callous gold could make room inside your body. It has taken from you many things, given many more, but you scratch and bite and tear until it drips onto the floor and even then it never leaves. It stains the floor no matter how hard you scrub– a permanent reminder of the sickening gold that molds you into something that used to look like you– that does look like you. Desecrated, yet so horribly divine.

All you see is a monster.

Something new, something old.

A hollowed out shell, wounds left to rot and fester until you suited the image of the Creator they bore upon statues and murals, the Creator worshiped in prayers spoken in hushed whispers and joyous chants praising your magnificence.

But what magnificence is there in detachment? What joy is there to be found in carving a God out of a human? They kneel like lambs before the shepherd, but the flock has made you– and you want to unmake them. Unweave the tapestry of their being stitch by stitch until it all falls apart and the world knows the cost of casting molten gold into the shape of a human, knows the price that has been left unpaid.

You want to take it from them. Watch them squabble and pray, blind sheep stepping into the wolf's open maw– to tear the seams of their being until the world is unwound by your heavy hands.

But you know it will not satisfy you.

Nothing does anymore.

You are no wolf. Only the shepherd who guides.

And with every drop of blood spilled, they ripped the humanity from your very bones until your body was the cast in which they made something anew– something gold, something horrific. A monster as much a God, a beast as much a man.

There is nothing left but absolute authority.

You try again and again to mend this act of desecration, to peel back the outer shell and rend the gold from your marrow– but your body cannot, will not, die. It mends itself back into place no matter how damaged, and all you feel is the uncomfortable tug of your body forcing itself to live. You cannot die, but were you ever truly alive at all?

Yet with every cycle, you know only one constant besides the thrum of golden ichor in your veins– cold.

Ice that burns, ice that spreads and festers and devours. Claws that pull you apart until the gold runs thick, teeth that burrow into your bones and rip it out from the source..eyes that witness the fall of a God with reverence– hungering, all consuming reverence.

You welcome it.

It is the first time you felt pain since you were cast into an image of a being you were not meant to be. The sting of cold upon your skin makes you shiver, your body tries to reject it, but you want to welcome it– for a brief moment that lasts only as long as it takes for you to blink, you see the glint of something familiar in the reflection of her empty eyes. Something achingly, horribly familiar– something human, all the more terrifying for it.

Even when Teyvat itself crumples like paper beneath the weight of her sins – of this desecration anew, this wretched heresy – you allow her hands to do it again. You grasp her hands in yours like chains, willing her to shackle you, willing her to pull you apart and make you whole again. To break you until the gold cannot put you back together again.

You long, each time, for those eyes like spears that lodge into your skin– burrow deep and sting deeper, making gold flow like water. You long for the biting tongue, the cutting words and those teeth like weapons– long to see the spite and anger and impure disgust aimed at the woman of silver who leads you down a hall that ends only in damnation. You follow each time like the lamb led astray by the wolf, but you do not wail in betrayal when she sinks her teeth into your throat and devours you whole.

For is it a sin if you welcome it? Has their God sinned, in the eyes of the flock, for welcoming such heresy with open arms? For allowing the wolf into their home?

Is it a sin to be broken beneath the only hands that have loved you?

Is it a sin to want to love, too, those hands and teeth stained in gold?

Then you shall be damned, you swear it. Damned, but gold no more.

For death is the closest you have ever felt to being human.

[sonknuxadow]

ive literally never met a single person who gives a shit about 1 2 switch why are they making another one. where's my tomodachi life sequel

[otogariado]

For some reason for the past few weeks because of your posts being tagged with Breaking Bad spoilers etc. and me just having very bad memory of the show I was convinced that there's been a Breaking Bad sequel show that released recently and everyone on my dash is talking about it except that it's just been you xd

KSHDK i'm so sorry for the confusion anon

[blueskittlesart]

did u not like totk?

i LOVED totk. i think it was well-written and did its job as a sequel to botw very well. HOWEVER. i do think it suffered slightly from the commercial success of botw. as i mentioned in my last post, nintendo does this. thing. when one of their games gets popular where every game after it has to be Exactly The Same so they can make all the money in the world via comparison marketing. (and this is a problem with the wider game industry in general but also a very observable pattern in loz specifically.) I know it's been a pretty long time since botw came out, but before (and immediately following) its release there was some pushback from longtime fans who worried that the open-world and lack of traditional dungeons meant that the game had strayed too far from the classic formula that makes a game a "zelda game." this is to say, botw was EXPERIMENTAL. and the devs had no idea if what they were doing was going to be successful or not. the open-world of botw wasn't a gimmick, and it wasn't the devs jumping on the open-world bandwagon. it was what CREATED that bandwagon. the open-world was a deliberate choice made specifically for botw because it reinforced the story that botw was designed to tell. the game is about exploring a desolate world, about making connections, and rebuilding both the broken kingdom and the player character's shattered sense of self by traveling and learning and building relationships. a large open-world map with only minor quest guidelines and lots of collectibles and side quests lends itself perfectly to this specific story, which is specifically about exploration and rebirth.

the problem is, botw was. almost TOO good. it was so good that every other game company on the planet started scrambling to build giant open-world maps into their next release, regardless of how much sense that actually made narratively. and because of that, when it came time to release a sequel to botw, the devs had a lot to think about. they had HUGE shoes to fill in terms of fan reception, but they were ALSO being asked to follow up one of the best-performing games of all time, commercially. totk needed to SELL as well as botw. And, likely because nintendo was worried about that potential commercial value, totk needed to keep people comfortable. I don't know for certain, but I definitely get the feeling playing totk that the devs were specifically told not to stray too far from what made botw marketable and successful--that being the open world and the versatility of gameplay. so in order to follow that up, they made... 2 more huge open maps, and new gimmick gameplay which was explicitly super-versatile.

do i think that the extra maps and ultrahand were BAD choices? no. however, i don't think they necessarily ADDED anything to the game as a narrative whole. one of my favorite things about botw was how everything seemed to be designed AROUND the narrative, with gameplay elements slotting neatly into the story thematically. totk just. didn't really have that, imo. there wasn't a huge narrative benefit to the gigantic, completely unpopulated depths and sky maps. ultrahand was cool, but within the context of the story it meant basically nothing. in some ways, i almost think totk could have benefitted from a much more linear approach to its storytelling, a la skyward sword, because there are a lot of story beats that have to be found in chronological order in order to have the right emotional impact, but because of the nonlinear open-world it kind of became a struggle to hit all the important story points in the right order. an easy example of this is the dragon's tears in comparison to the memories--the dragon tears have a very specific set order in which they happen, and finding them out of order can make the story you're seeing in them feel confusing and disjointed. the order in which they should be found is technically displayed on the temple wall, but most players aren't going to pick up on that or follow it--more likely, they're just going to explore the geoglyphs as they come across them organically, and therefore will likely witness the story in a completely disjointed way. compare this to the botw memories, which ALSO technically have a set order--the order in which they're displayed on the sheikah slate. however, because they're largely just small moments in time, and not one continuous story, finding them out of order has a lot less of an impact on how you as the player experience the narrative, and it's not hugely detrimental to your experience of the story if you find them naturally as you explore rather than explicitly seeking them out in order. If TOTK had been allowed to deviate from the botw formula a bit, i think we may have ended up with a more cohesive game in terms of narrative beats like that. as it is, i just think the game is torn slightly between wanting to be its own new game with new gameplay and needing to be botw, if that makes sense.

[felassan]

Article: 'Laid-Off Dragon Age Testers Will Picket BioWare'

Unionized ex-Keywords devs won the right to protest, against EA's wishes

Excerpt:

"Former quality assurance testers who worked on Dragon Age: Dreadwolf are preparing to picket outside Bioware’s Edmonton offices after being laid off earlier this year. Electronic Arts tried to block the protest but the developers prevailed in a ruling by the Alberta Labour Relations Board in Canada. BioWare laid off 50 employees in August, including some longtime developers whose tenure goes back to the beginning of the Dragon Age series. It also cut its contract with Keywords Studios, which was supplying quality assurance testers on in-development sequel Dragon Age: Dreadwolf. Those same testers had unionized just a year earlier. Last month, they were laid off from Keywords as well, with the outsourcing company blaming it on the loss of the BioWare contract. Now, as first reported by Game Developer, those former Dragon Age testers say they’re planning to picket outside BioWare’s office on November 7 around noon. They are demanding that Keywords reinstate them and continuing bargaining their first contract, calling the layoffs earlier this year a “union busting tactic.” But Keywords doesn’t have any offices in Alberta so they are going to BioWare instead. EA was apparently far from happy about the decision. The publisher tried to force the laid-off developers to take their protest elsewhere, noting that, as fully remote staff, they never technically worked inside BioWare’s Edmonton office. Instead, EA tried to convince the Alberta Labour Relations Board to make them picket outside their homes. The regulators were unmoved, ultimately siding with the workers. “We view this Labor Board ruling as a huge win for not just us, but remote workers everywhere in Canada,” former Keywords tester James Russwurm told Game Developer. “Workers can now go ‘oh, I can picket my employer’s offices downtown even though I didn’t work in the office.’” The ex-testers had been contracted to work at BioWare beginning during the pandemic, first on Mass Effect Legendary Edition and later on Dragon Age: Dreadwolf. When BioWare moved to force staff back into the office, the group successfully unionized to try and keep their remote status and improve pay. The Keywords developers were laid off before they could finish bargaining their first contract. EA said at the time that it had previously renewed its contract with Keywords and not doing so in September had nothing to do with the group unionizing. But the publisher has never made clear why it cut staff on a highly anticipated game like Dreadwolf that is still deep in development following several reported internal delays. EA and BioWare did not immediately respond to a request for comment."

[source] [the referenced Game Developer article] [more on the Keywords topic]

[whetstonefires]

Man sometimes I still think about Alfred's Bandit Anecdote in The Dark Knight (2008).

So, the most straightforward reading of this sequence seems to have been the one Nolan intended, because he is not actually a subtle filmmaker, and the further we got into the series the more heavily he committed to making Alfred a mouthpiece. Old man provides words of wisdom that frame the correct understanding of the situation; you can tell it's meant to be correct because subsequent Joker appearances reinforce its thesis statement.

Intended takeaway: some men (like the Joker) don't have rational motivations, they just 'want to watch the world burn,' and you have to account for that when trying to counter them. Chaos agents, basically unstoppable by reasonable means.

But the thing is. This is not a story that stands up to even mild interrogation. The number of assumptions Nolan wants us to swallow without blinking is kind of stunning.

First of all the obvious timeline questions that arise: the Anglo-Burmese Wars and periods between and leading up to them where this kind of white man's burden 'delivering jewels to local elites In The Burmese Jungle to sway them toward British interests, but getting waylaid by bandits' scenario makes any sense all, happened in the 19th century.

The Burmese resistance in the 1930s was centered on university student protests and that sort of thing; it was reasonably successful in moving Myanmar toward independence by increments, though who knows what would have happened without WWII. But it did not provide anyone with reasons to be hand-carrying huge gemstones through forests.

Even if we assume this was somehow a 20th century event, it has to have been before WWII unless we want to postulate a complete alt-history setting, and since The Dark Knight leans heavily into being a modern 21st century story with like, cell phone networking as a major plot point, this still makes Alfred old as balls. Born no later than 1920, and probably earlier.

But that's whatever; comics time. Batman Begins did some fun stuff (possibly in imitation of Batman (1980)) with making it ambiguous what decade it was supposed to be set in, though the sequels dropped that conceit. And anyway, people can be 90 years old.

So that's basically fine, although good god Wayne hire some more servants, this man should be fully retired already.

More problematic is the unfettered colonialism of it all, the confident proclamation that since this guy's motive wasn't profit, since he didn't keep the jewels, he had no motive. Because 'inconveniencing the Raj and weakening their control over the locality' isn't a Real Person Motive that a real person could have had. During or soon after failed wars to resist colonial subjugation.

Like. Come on??

The place where this story utterly shoots itself in the foot, though, is the clever bit at the end, where Bruce asks how Alfred's military unit solved the 'bandit stealing jewels he didn't even want' problem and Alfred's like: 'we burned the forest to the ground.'

Because this is so punchy! In screenwriting technical terms, it's quite well done. It's useless advice that loops the story back to its themes; obviously Batman can't burn Gotham down to get the Joker. Even in a Batman movie that doesn't like Batman very much, this is still obvious.

But at the same time this totally takes the legs out from under Alfred's words of wisdom about human nature. Because if that bandit 'wanted' to 'watch the world burn' then what his unit did wasn't so bad, right; he was basically asking for it. Burning a forest down with all the inevitable collateral damage and economic and ecological cost, all for the sake of horribly killing a group of people in the name of government revenues was totally okay guys!

It transforms the whole thing into a pretty obvious post facto rationalization of colonial violence. Which makes the Insights Into Human Nature bit real questionable!

But the movie gives absolutely no sign of having noticed this.

[just-aake]

Everlasting Devotion - Part IV

Pairing: princess!Natasha Romanoff x fem!reader

Summary: Sequel of Boundless Devotion Series. MedievalAU. With her coronation over, Natasha is now the queen of the Romanov Kingdom. However, the position comes with challenges from both old and new enemies as Natasha tries to maintain the peace while also navigating her relationship with you.

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

Warnings: light angst, violence

Words: 2,599

The clatter of horse hooves and the steady roll of wheels over the path fill the evening air, masking the conversation inside the carriage as it continues to your manor.

After you finish your brief explanation, Wanda holds up her hand and shakes her head in disbelief.

“So, just to be clear,” she begins, her voice filled with confusion. “Queen Natasha didn’t break up with you?” 

“No,” you reply in a quiet whisper. “I’ll explain more later, but regardless of what did or didn’t happen, that doesn’t give you two the right to do something like that back at the castle.”

Wanda huffs in disagreement, crossing her arms as she leans back in her seat and turns to stare out the carriage window.

Sighing at her response, you lean back in your seat as well. 

While you’re glad that Wanda is growing more comfortable with her powers, you also want her to understand the need for more caution when using them.

Sitting next to his sister, Pietro awkwardly glances between the two of you and attempts to lighten the mood. With a cheerful tone, he holds up a small basket, pulling back the cloth to reveal an assortment of pastries.

“Hey, I got you some treats from the bakery to welcome you home,” Pietro announces, offering the basket to you with a broad grin.

Before you can reach for them, Wanda’s hand darts out, slapping his hands away. Her eyes widen in alarm as she grabs the basket, quickly inspecting its contents.

“Pietro!” she exclaims, exasperated. “Were you even paying attention when you bought these?”

Pietro blinks, confused. “What? What’s wrong with them?” 

Wanda holds up one of the pastries, her finger pointing at the glistening red filling. 

“Y/N can’t eat these. They have raspberries in them. She’s allergic.”

Realization dawns on Pietro’s face, and he looks at you with wide, apologetic eyes. 

“I’m sorry! The baker’s daughter was flirting with me, and I guess I got a little distracted…” 

You give him a reassuring smile, waving off his concern. 

“It’s okay, Pietro. The thought is what counts.”

Pietro’s face brightens with relief, his smile returning full force. 

“Well, on the bright side, I did score a date with her next week.” 

Wanda immediately slaps his arm in reprimand, her glare sharp. 

“Really, Pietro? She just lost her relationship, and you’re bragging about yours?”

Pietro winces, rubbing the area where Wanda had hit him, and turns to you with another sheepish apology. 

“Sorry…”

You can’t help but chuckle at their familiar antics. However, the laughter feels a bit hollow when you remember that your relationship with Natasha is technically over for now. 

As you glance down sadly at your hands resting in your lap at the thought, Wanda’s warm hand suddenly covers yours, drawing your gaze back up to meet her concerned eyes.

“Are you really okay with this?” she asks gently.

“I’m fine, Wanda,” you reply, attempting to sound reassuring. “Why wouldn’t I be?”

Her expression softens with concern, her brow furrowing slightly. 

“Because you were happy.” 

“I still am,” you insist, looking between them reassuringly. “It’s going to be okay. This secret will not be any different from when we pretended to be together.”

Pietro shifts uncomfortably in his seat, his fingers fidgeting anxiously with the hem of his clothes. 

After a moment of hesitation, he blurts out, “Is that the only thing you wanted to tell us?” 

Before you can respond, Wanda’s sharp elbow digs into Pietro’s side, cutting him off with a yelp. She shoots him a warning glare before turning back to you with a more composed expression.

“What he means is… we’re here for you,” Wanda says, her tone softening. “Anything you need or want to talk about, we’re…here.”

Your eyes flicker to the stack of books beside you, the top one charred and blackened—a silent reminder of the other secret you’ve been keeping from them. 

It’s not that you don’t trust Wanda and Pietro; it’s just that you’re unsure if you have the courage to reveal the truth.

How can you tell them that you’re part of the family responsible for the tragedy that took their parents from them and destroyed their lives?

You shake your head lightly, forcing a small smile. 

“Thank you, both of you, but there’s nothing else.”

Wanda’s brow creases with concern, and she opens her mouth as if to say something more. But then she hesitates, biting back the words, and instead presses her lips into a thin line, offering you a small, understanding smile. 

“Okay,” she says quietly, though the look in her eyes tells you she’s not entirely convinced.

You turn your attention away, picking up one of the other books to silently signal that the discussion is over, pretending to read. The rest of the ride continues in relative silence, occasionally broken by light whistling from Pietro.

After a while, familiar landmarks come into view, and you realize you’re nearing your manor. Leaning forward, you peer out of the window, a mix of conflicting emotions rising at the sight of your home.

The last time you were here, you nearly lost your life. 

As the memory resurfaces, a sharp, jarring pain erupts in your mind, forcing you to clutch your head in agony. Everything around you suddenly falls into a numbing silence, and for a moment, you can’t even remember what you were thinking about.

Then, a piercing whistle slices through the disorienting quiet, immediately followed by Pietro’s urgent warning.

“Watch out!”

Before you can react, Pietro shoves you back against the seat, the force of his push nearly knocking the breath out of you.

An arrow thuds into the carriage wall, embedding itself in the exact spot where you had been just moments before.

“Whoa—steady! Steady!” the driver shouts, desperately trying to calm the horses as they rear back in terror, their hooves clattering against the cobblestones.

Another arrow slices through the air from the shadows of the trees, aimed directly at the carriage. 

But before it can strike, it suddenly halts mid-flight, surrounded by a crimson glow. 

The arrow hangs suspended for a second before it’s flung back into the shadows from where it came. 

Standing in front of you, Wanda’s hands are still raised, her fingers enveloped in that familiar red mist, and her eyes glowing with power from when she controlled the arrow’s trajectory. 

Her expression is one of fierce concentration, every muscle in her body taut with tension. 

Brushing away the subtle pain in the back of your mind, you scramble to the window, trying to catch a glimpse of the attackers hidden in the darkness of the trees. 

But the forest remains eerily silent, the shadows concealing any sign of movement. 

Then, out of the corner of your eye, you catch a glimpse of something. 

A yellow glow begins to pulse within the shadows, faint at first but quickly growing brighter and more intense. 

Your heart beats faster as a feeling of uneasiness hits you. You turn quickly to the other two.

“Get down!” you shout, grabbing Wanda and Pietro and pulling them to the carriage floor just as a volley of glowing shards erupts from the trees, streaking through the air like a swarm of deadly fireflies. 

The shards tear through the air, embedding themselves into the carriage with a series of loud cracks. You can feel the heat emanating from them as they pass overhead, singeing the edges of your cloak.

“What was that?!” Pietro exclaims, his voice tinged with shock. 

“I don’t know, but they’re not going to do it again,” Wanda says, determination lacing her words as she rises to her feet.

“Wanda, don’t—” you start to warn her, but it’s too late.

She’s already standing, her hands and eyes glowing with an intense red light. The power radiates from her, casting an eerie glow inside the carriage as she prepares to catch the next wave of attacks. 

Another barrage of shards shoots toward the carriage, moving faster than any arrow. 

But Wanda is ready. 

With a flick of her wrist, the shards freeze in midair, their yellow glow clashing against her crimson aura. The air hums with energy as she holds them suspended for a second when the sound of another whistle pierces through the air, followed by a new barrage of glowing shards, too many for Wanda to control.

She tries to catch them all, but her focus falters as the shards move rapidly, slipping past her defenses. 

Some of them manage to strike the driver, who lets out a pained cry as he falls from his seat. 

The horses, already on edge, rear up in panic, the sudden movement jolting the carriage violently.

“Wanda, get down!” you call her back to safety, reaching for her, but the chaos is already unfolding too quickly.

Now wild with fear, the horses break into a full gallop, dragging the carriage behind them. The sudden acceleration throws all of you off balance. 

Wanda struggles to maintain her concentration, but the erratic movement of the carriage makes it impossible. The red glow around her hands flickers, and with a sharp gasp, she loses control.

A surge of power lashes out uncontrollably, and you feel a sharp, searing pain as Wanda’s magic strikes you. 

The force of it slams you back into the carriage wall, the breath knocked out of your lungs. 

The carriage continues its wild, uncontrolled dash, the horses veering off the path and heading straight for the manor gates.

The carriage smashes into the gates with a deafening crash, the wood splintering under the force of the impact. The world spins as the carriage tips over, throwing all of you against the walls and ceiling before coming to a shuddering halt. 

In the aftermath, the silence is broken only by the distant whinny of the panicked horses, now free from the wreckage. 

The carriage lies on its side, broken and battered, the once-sturdy gates of the manor reduced to twisted debris.

As you struggle to regain your bearings, the sound of footsteps approaching cuts through the haze, and you realize the attacker is closing in.

Besides you, Pietro realizes this too and acts quickly. With all his strength, he slams the broken carriage door into the approaching figure, knocking them to the ground. 

You catch a glimpse of the attacker as they roll away from Pietro, their identity completely concealed by a hooded black outfit and mask.

Wanda emerges from the wreckage just as they stumble upright, her face twisted in fury. She seizes the shattered remnants of the iron gates with her powers.

With a flick of her wrist, she hurls the gates toward the attacker. 

They attempt to dodge, but they’re not quick enough. The heavy iron catches their arm, pinning it to the ground with a sickening crunch.

The attacker lets out a muffled cry of pain, struggling to free themselves, but they are trapped. 

With the attacker momentarily stalled, Pietro rushes to your side, his face pale with worry. 

“Y/N, are you okay? Can you move?” His voice trembles, but he tries to keep it steady.

You wince as you try to sit up, the pain from Wanda’s accidental strike still sharp in your side. 

“I’ll be fine,” you manage, though the words come out more strained than you’d like.

Hearing your voice, Wanda turns to you, her expression crumbling as she sees the pain etched on your face. The red glow fades from her eyes, replaced by a look of horror and guilt.

“I’m so sorry…I didn’t mean to—” she stammers, her voice breaking.

You reach out, placing a hand on hers to steady her. 

“I know, Wanda. It’s okay. I’m okay.”

Before you can reassure her further, the pinned attacker, still trapped beneath the iron gate, snarls in defiance, catching your attention. Despite the pain, they reach for something on their trapped hand—a small, glinting object atop their glove.

“Get down!” you warn, recognizing the danger. You pull the twins to cover, shielding them just as the object explodes in a blinding flash of light, turning the world around you white. 

When your vision clears, you look toward the broken gates, only to find the area empty—the attacker has escaped. 

A conflicting mix of relief and worry washes over you at the knowledge that you’re safe for now, but the threat is still somewhere out there.

You let out a deep sigh, wincing at the slight pain it causes, before quickly turning your attention to the twins.

“Are you two okay?” 

You gently hold their faces, examining them for injuries.

“Ow, ow, just some scratches,” Pietro insists, pulling his face away slightly. “I’m okay.”

Seeing that he’s telling the truth, you shift your focus to his sister. 

“Wanda?” 

Her hand trembles slightly as she grips your wrist, then gently pulls your touch away from her face.

“I’m fine,” she mutters softly, her head bowed in guilt.

A soft groan draws your attention to the walls of your manor, where you see the driver leaning heavily against the wall. 

“Pietro, can you check on him?” you ask.

After a brief, hesitant glance at his sister, Pietro nods and moves toward the driver.

You turn your attention back to Wanda, who now looks as small and uncertain as she did when you first met her—the younger of the orphaned twins brought into your home after losing everything.

“Hey, look at me,” you gently coax, guiding her eyes to meet yours with a reassuring gaze. “Wanda, you did a good job.” 

“But I—”

You quickly shake your head, cutting her off with a firm tone.

“No, you protected us all with your powers,” you remind her. “You did good. Do you understand me?” 

Wanda hesitates before nodding, though the uncertainty and doubt are still evident on her face. Realizing she’ll need more reassurance later, you decide to let it go for now.

“Alright, go see if Pietro needs any help,” you gently instruct, giving her something to focus on to distract her from her troubled thoughts.

As she moves away, you slowly rise to your feet, wincing at the lingering soreness in your body. Your gaze drifts to where the manor’s entrance gates once stood, now reduced to a twisted heap after the carriage crash.

And just when you thought all the repairs to the manor were complete. 

Adding that to your growing list of concerns, you head off to check on the others once more. As you pass by the fallen iron gates, something catches your eye—a faint glow from beneath the wreckage.

Upon closer inspection, you spot a metal glove, that must’ve been left behind by the attacker, trapped under the gate. The faint light comes from a stone embedded in the glove. 

Curious, you reach for the object, your hand hovering above the warm yellow glow and feeling the lingering heat of its use. The stone seems strangely familiar as if you’ve encountered it before. 

A dull ache suddenly blooms at the back of your mind, causing you to close your eyes briefly and press a hand to your temple.

A quick flash of memory flits through your mind—a voice, someone speaking, no, commanding you, but you can’t make out what they’re saying.

The headache subsides just as quickly as it came, and when you open your eyes again, the yellow glow of the stone flickers and fades away.  

You frown, staring at the stone in confusion, struggling to remember what had just crossed your mind. 

Why can’t you seem to recall what you were doing just now?

~~~~~~~ ⧗ ~~~~~~~

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

a/n: this was meant to be a part of the previous chapter but it ended up too long so I decided just to cut it and put this as its own short part. thanks again for reading!

Taglist : @midastouch013, @2silverchain, @dvrkhcld, @observeowl, @x-drowned-x, @fireandblood-3, @natsxwife, @leequifey, @blacklightsposts, @srt-sah, @scar-letwidow, @likefirenrain, @autorasexy, @natsbiggestfan1, @lex13cm, @iheartjohansson, @tofu9162, @nothanksbye07, @unexpected-character, @natashasilverfox, @acciowriting, @qtreesfanstuff, @mrsrushman

[mostlysignssomeportents]

My McLuhan lecture on enshittification

IT'S THE LAST DAY for the Kickstarter for the audiobook of The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

Last night, I gave the annual Marshall McLuhan lecture at the Transmediale festival in Berlin. The event was sold out and while there's a video that'll be posted soon, they couldn't get a streaming setup installed in the Canadian embassy, where the talk was held:

https://transmediale.de/en/2024/event/mcluhan-2024

The talk went of fabulously, and was followed by commentary from Frederike Kaltheuner (Human Rights Watch) and a discussion moderated by Helen Starr. While you'll have to wait a bit for the video, I thought that I'd post my talk notes from last night for the impatient among you.

I want to thank the festival and the embassy staff for their hard work on an excellent event. And now, on to the talk!

Last year, I coined the term 'enshittification,' to describe the way that platforms decay. That obscene little word did big numbers, it really hit the zeitgeist. I mean, the American Dialect Society made it their Word of the Year for 2023 (which, I suppose, means that now I'm definitely getting a poop emoji on my tombstone).

So what's enshittification and why did it catch fire? It's my theory explaining how the internet was colonized by platforms, and why all those platforms are degrading so quickly and thoroughly, and why it matters – and what we can do about it.

We're all living through the enshittocene, a great enshittening, in which the services that matter to us, that we rely on, are turning into giant piles of shit.

It's frustrating. It's demoralizing. It's even terrifying.

I think that the enshittification framework goes a long way to explaining it, moving us out of the mysterious realm of the 'great forces of history,' and into the material world of specific decisions made by named people – decisions we can reverse and people whose addresses and pitchfork sizes we can learn.

Enshittification names the problem and proposes a solution. It's not just a way to say 'things are getting worse' (though of course, it's fine with me if you want to use it that way. It's an English word. We don't have der Rat für Englisch Rechtschreibung. English is a free for all. Go nuts, meine Kerle).

But in case you want to use enshittification in a more precise, technical way, let's examine how enshittification works.

It's a three stage process: First, platforms are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.

Let's do a case study. What could be better than Facebook?

Facebook is a company that was founded to nonconsensually rate the fuckability of Harvard undergrads, and it only got worse after that.

When Facebook started off, it was only open to US college and high-school kids with .edu and k-12.us addresses. But in 2006, it opened up to the general public. It told them: “Yes, I know you’re all using Myspace. But Myspace is owned by Rupert Murdoch, an evil, crapulent senescent Australian billionaire, who spies on you with every hour that God sends.

“Sign up with Facebook and we will never spy on you. Come and tell us who matters to you in this world, and we will compose a personal feed consisting solely of what those people post for consumption by those who choose to follow them.”

That was stage one. Facebook had a surplus — its investors’ cash — and it allocated that surplus to its end-users. Those end-users proceeded to lock themselves into FB. FB — like most tech businesses — has network effects on its side. A product or service enjoys network effects when it improves as more people sign up to use it. You joined FB because your friends were there, and then others signed up because you were there.

But FB didn’t just have high network effects, it had high switching costs. Switching costs are everything you have to give up when you leave a product or service. In Facebook’s case, it was all the friends there that you followed and who followed you. In theory, you could have all just left for somewhere else; in practice, you were hamstrung by the collective action problem.

It’s hard to get lots of people to do the same thing at the same time. You and your six friends here are going to struggle to agree on where to get drinks after tonight's lecture. How were you and your 200 Facebook friends ever gonna agree on when it was time to leave Facebook, and where to go?

So FB’s end-users engaged in a mutual hostage-taking that kept them glued to the platform. Then FB exploited that hostage situation, withdrawing the surplus from end-users and allocating it to two groups of business customers: advertisers, and publishers.

To the advertisers, FB said, 'Remember when we told those rubes we wouldn’t spy on them? We lied. We spy on them from asshole to appetite. We will sell you access to that surveillance data in the form of fine-grained ad-targeting, and we will devote substantial engineering resources to thwarting ad-fraud. Your ads are dirt cheap to serve, and we’ll spare no expense to make sure that when you pay for an ad, a real human sees it.'

To the publishers, FB said, 'Remember when we told those rubes we would only show them the things they asked to see? We lied!Upload short excerpts from your website, append a link, and we will nonconsensually cram it into the eyeballs of users who never asked to see it. We are offering you a free traffic funnel that will drive millions of users to your website to monetize as you please, and those users will become stuck to you when they subscribe to your feed.' And so advertisers and publishers became stuck to the platform, too, dependent on those users.

The users held each other hostage, and those hostages took the publishers and advertisers hostage, too, so that everyone was locked in.

Which meant it was time for the third stage of enshittification: withdrawing surplus from everyone and handing it to Facebook’s shareholders.

For the users, that meant dialing down the share of content from accounts you followed to a homeopathic dose, and filling the resulting void with ads and pay-to-boost content from publishers.

For advertisers, that meant jacking up prices and drawing down anti-fraud enforcement, so advertisers paid much more for ads that were far less likely to be seen by a person.

For publishers, this meant algorithmically suppressing the reach of their posts unless they included an ever-larger share of their articles in the excerpt, until anything less than fulltext was likely to be be disqualified from being sent to your subscribers, let alone included in algorithmic suggestion feeds.

And then FB started to punish publishers for including a link back to their own sites, so they were corralled into posting fulltext feeds with no links, meaning they became commodity suppliers to Facebook, entirely dependent on the company both for reach and for monetization, via the increasingly crooked advertising service.

When any of these groups squawked, FB just repeated the lesson that every tech executive learned in the Darth Vader MBA: 'I have altered the deal. Pray I don’t alter it any further.'

Facebook now enters the most dangerous phase of enshittification. It wants to withdraw all available surplus, and leave just enough residual value in the service to keep end users stuck to each other, and business customers stuck to end users, without leaving anything extra on the table, so that every extractable penny is drawn out and returned to its shareholders.

But that’s a very brittle equilibrium, because the difference between “I hate this service but I can’t bring myself to quit it,” and “Jesus Christ, why did I wait so long to quit? Get me the hell out of here!” is razor thin

All it takes is one Cambridge Analytica scandal, one whistleblower, one livestreamed mass-shooting, and users bolt for the exits, and then FB discovers that network effects are a double-edged sword.

If users can’t leave because everyone else is staying, when when everyone starts to leave, there’s no reason not to go, too.

That’s terminal enshittification, the phase when a platform becomes a pile of shit. This phase is usually accompanied by panic, which tech bros euphemistically call 'pivoting.'

Which is how we get pivots like, 'In the future, all internet users will be transformed into legless, sexless, low-polygon, heavily surveilled cartoon characters in a virtual world called "metaverse," that we ripped off from a 25-year-old satirical cyberpunk novel.'

That's the procession of enshittification. If enshittification were a disease, we'd call that enshittification's "natural history." But that doesn't tell you how the enshittification works, nor why everything is enshittifying right now, and without those details, we can't know what to do about it.

What led to the enshittocene? What is it about this moment that led to the Great Enshittening? Was it the end of the Zero Interest Rate Policy? Was it a change in leadership at the tech giants? Is Mercury in retrograde?

None of the above.

The period of free fed money certainly led to tech companies having a lot of surplus to toss around. But Facebook started enshittifying long before ZIRP ended, so did Amazon, Microsoft and Google.

Some of the tech giants got new leaders. But Google's enshittification got worse when the founders came back to oversee the company's AI panic (excuse me, 'AI pivot').

And it can't be Mercury in retrograde, because I'm a cancer, and as everyone knows, cancers don't believe in astrology.

When a whole bunch of independent entities all change in the same way at once, that's a sign that the environment has changed, and that's what happened to tech.

Tech companies, like all companies, have conflicting imperatives. On the one hand, they want to make money. On the other hand, making money involves hiring and motivating competent staff, and making products that customers want to buy. The more value a company permits its employees and customers to carve off, the less value it can give to its shareholders.

The equilibrium in which companies produce things we like in honorable ways at a fair price is one in which charging more, worsening quality, and harming workers costs more than the company would make by playing dirty.

There are four forces that discipline companies, serving as constraints on their enshittificatory impulses.

First: competition. Companies that fear you will take your business elsewhere are cautious about worsening quality or raising prices.

Second: regulation. Companies that fear a regulator will fine them more than they expect to make from cheating, will cheat less.

These two forces affect all industries, but the next two are far more tech-specific.

Third: self-help. Computers are extremely flexible, and so are the digital products and services we make from them. The only computer we know how to make is the Turing-complete Von Neumann machine, a computer that can run every valid program.

That means that users can always avail themselves of programs that undo the anti-features that shift value from them to a company's shareholders. Think of a board-room table where someone says, 'I've calculated that making our ads 20% more invasive will net us 2% more revenue per user.'

In a digital world, someone else might well say 'Yes, but if we do that, 20% of our users will install ad-blockers, and our revenue from those users will drop to zero, forever.'

This means that digital companies are constrained by the fear that some enshittificatory maneuver will prompt their users to google, 'How do I disenshittify this?'

Fourth and finally: workers. Tech workers have very low union density, but that doesn't mean that tech workers don't have labor power. The historical "talent shortage" of the tech sector meant that workers enjoyed a lot of leverage over their bosses. Workers who disagreed with their bosses could quit and walk across the street and get another job – a better job.

They knew it, and their bosses knew it. Ironically, this made tech workers highly exploitable. Tech workers overwhelmingly saw themselves as founders in waiting, entrepreneurs who were temporarily drawing a salary, heroic figures of the tech mission.

That's why mottoes like Google's 'don't be evil' and Facebook's 'make the world more open and connected' mattered: they instilled a sense of mission in workers. It's what Fobazi Ettarh calls 'vocational awe, 'or Elon Musk calls being 'extremely hardcore.'

Tech workers had lots of bargaining power, but they didn't flex it when their bosses demanded that they sacrifice their health, their families, their sleep to meet arbitrary deadlines.

So long as their bosses transformed their workplaces into whimsical 'campuses,' with gyms, gourmet cafeterias, laundry service, massages and egg-freezing, workers could tell themselves that they were being pampered – rather than being made to work like government mules.

But for bosses, there's a downside to motivating your workers with appeals to a sense of mission, namely: your workers will feel a sense of mission. So when you ask them to enshittify the products they ruined their health to ship, workers will experience a sense of profound moral injury, respond with outrage, and threaten to quit.

Thus tech workers themselves were the final bulwark against enshittification,

The pre-enshittification era wasn't a time of better leadership. The executives weren't better. They were constrained. Their worst impulses were checked by competition, regulation, self-help and worker power.

So what happened?

One by one, each of these constraints was eroded until it dissolved, leaving the enshittificatory impulse unchecked, ushering in the enshittoscene.

It started with competition. From the Gilded Age until the Reagan years, the purpose of competition law was to promote competition. US antitrust law treated corporate power as dangerous and sought to blunt it. European antitrust laws were modeled on US ones, imported by the architects of the Marshall Plan.

But starting in the neoliberal era, competition authorities all over the world adopted a doctrine called 'consumer welfare,' which held that monopolies were evidence of quality. If everyone was shopping at the same store and buying the same product, that meant it was the best store, selling the best product – not that anyone was cheating.

And so all over the world, governments stopped enforcing their competition laws. They just ignored them as companies flouted them. Those companies merged with their major competitors, absorbed small companies before they could grow to be big threats. They held an orgy of consolidation that produced the most inbred industries imaginable, whole sectors grown so incestuous they developed Habsburg jaws, from eyeglasses to sea freight, glass bottles to payment processing, vitamin C to beer.

Most of our global economy is dominated by five or fewer global companies. If smaller companies refuse to sell themselves to these cartels, the giants have free rein to flout competition law further, with 'predatory pricing' that keeps an independent rival from gaining a foothold.

When Diapers.com refused Amazon's acquisition offer, Amazon lit $100m on fire, selling diapers way below cost for months, until diapers.com went bust, and Amazon bought them for pennies on the dollar, and shut them down.

Competition is a distant memory. As Tom Eastman says, the web has devolved into 'five giant websites filled with screenshots of text from the other four,' so these giant companies no longer fear losing our business.

Lily Tomlin used to do a character on the TV show Laugh In, an AT&T telephone operator who'd do commercials for the Bell system. Each one would end with her saying 'We don't care. We don't have to. We're the phone company.'

Today's giants are not constrained by competition.

They don't care. They don't have to. They're Google.

That's the first constraint gone, and as it slipped away, the second constraint – regulation – was also doomed.

When an industry consists of hundreds of small- and medium-sized enterprises, it is a mob, a rabble. Hundreds of companies can't agree on what to tell Parliament or Congress or the Commission. They can't even agree on how to cater a meeting where they'd discuss the matter.

But when a sector dwindles to a bare handful of dominant firms, it ceases to be a rabble and it becomes a cartel.

Five companies, or four, or three, or two, or just one company finds it easy to converge on a single message for their regulators, and without "wasteful competition" eroding their profits, they have plenty of cash to spread around.

Like Facebook, handing former UK deputy PM Nick Clegg millions every year to sleaze around Europe, telling his former colleagues that Facebook is the only thing standing between 'European Cyberspace' and the Chinese Communist Party.

Tech's regulatory capture allows it to flout the rules that constrain less concentrated sectors. They can pretend that violating labor, consumer and privacy laws is fine, because they violate them with an app.

This is why competition matters: it's not just because competition makes companies work harder and share value with customers and workers, it's because competition keeps companies from becoming too big to fail, and too big to jail.

Now, there's plenty of things we don't want improved through competition, like privacy invasions. After the EU passed its landmark privacy law, the GDPR, there was a mass-extinction event for small EU ad-tech companies. These companies disappeared en masse, and that's fine.

They were even more invasive and reckless than US-based Big Tech companies. After all, they had less to lose. We don't want competition in commercial surveillance. We don't want to produce increasing efficiency in violating our human rights.

But: Google and Facebook – who pretend they are called Alphabet and Meta – have been unscathed by European privacy law. That's not because they don't violate the GDPR (they do!). It's because they pretend they are headquartered in Ireland, one of the EU's most notorious corporate crime-havens.

And Ireland competes with the EU other crime havens – Malta, Luxembourg, Cyprus and sometimes the Netherlands – to see which country can offer the most hospitable environment for all sorts of crimes. Because the kind of company that can fly an Irish flag of convenience is mobile enough to change to a Maltese flag if the Irish start enforcing EU laws.

Which is how you get an Irish Data Protection Commission that processes fewer than 20 major cases per year, while Germany's data commissioner handles more than 500 major cases, even though Ireland is nominal home to the most privacy-invasive companies on the continent.

So Google and Facebook get to act as though they are immune to privacy law, because they violate the law with an app; just like Uber can violate labor law and claim it doesn't count because they do it with an app.

Uber's labor-pricing algorithm offers different drivers different payments for the same job, something Veena Dubal calls 'algorithmic wage discrimination.' If you're more selective about which jobs you'll take, Uber will pay you more for every ride.

But if you take those higher payouts and ditch whatever side-hustle let you cover your bills which being picky about your Uber drives, Uber will incrementally reduce the payment, toggling up and down as you grow more or less selective, playing you like a fish on a line until you eventually – inevitably – lose to the tireless pricing robot, and end up stuck with low wages and all your side-hustles gone.

Then there's Amazon, which violates consumer protection laws, but says it doesn't matter, because they do it with an app. Amazon makes $38b/year from its 'advertising' system. 'Advertising' in quotes because they're not selling ads, they're selling placements in search results.

The companies that spend the most on 'ads' go to the top, even if they're offering worse products at higher prices. If you click the first link in an Amazon search result, on average you will pay a 29% premium over the best price on the service. Click one of the first four items and you'll pay a 25% premium. On average you have to go seventeen items down to find the best deal on Amazon.

Any merchant that did this to you in a physical storefront would be fined into oblivion. But Amazon has captured its regulators, so it can violate your rights, and say, "it doesn't count, we did it with an app"

This is where that third constraint, self-help, would sure come in handy. If you don't want your privacy violated, you don't need to wait for the Irish privacy regulator to act, you can just install an ad-blocker.

More than half of all web users are blocking ads. But the web is an open platform, developed in the age when tech was hundreds of companies at each others' throats, unable to capture their regulators.

Today, the web is being devoured by apps, and apps are ripe for enshittification. Regulatory capture isn't just the ability to flout regulation, it's also the ability to co-opt regulation, to wield regulation against your adversaries.

Today's tech giants got big by exploiting self-help measures. When Facebook was telling Myspace users they needed to escape Rupert Murdoch’s evil crapulent Australian social media panopticon, it didn’t just say to those Myspacers, 'Screw your friends, come to Facebook and just hang out looking at the cool privacy policy until they get here'

It gave them a bot. You fed the bot your Myspace username and password, and it would login to Myspace and pretend to be you, and scrape everything waiting in your inbox, copying it to your FB inbox, and you could reply to it and it would autopilot your replies back to Myspace.

When Microsoft was choking off Apple's market oxygen by refusing to ship a functional version of Microsoft Office for the Mac – so that offices were throwing away their designers' Macs and giving them PCs with upgraded graphics cards and Windows versions of Photoshop and Illustrator – Steve Jobs didn't beg Bill Gates to update Mac Office.

He got his technologists to reverse-engineer Microsoft Office, and make a compatible suite, the iWork Suite, whose apps, Pages, Numbers and Keynote could perfectly read and write Microsoft's Word, Excel and Powerpoint files.

When Google entered the market, it sent its crawler to every web server on Earth, where it presented itself as a web-user: 'Hi! Hello! Do you have any web pages? Thanks! How about some more? How about more?'

But every pirate wants to be an admiral. When Facebook, Apple and Google were doing this adversarial interoperability, that was progress. If you try to do it to them, that's piracy.

Try to make an alternative client for Facebook and they'll say you violated US laws like the Digital Millennium Copyright Act and EU laws like Article 6 of the EUCD.

Try to make an Android program that can run iPhone apps and play back the data from Apple's media stores and they'd bomb you until the rubble bounced.

Try to scrape all of Google and they'll nuke you until you glowed.

Tech's regulatory capture is mind-boggling. Take that law I mentioned earlier, Section 1201 of the Digital Millennium Copyright Act or DMCA. Bill Clinton signed it in 1998, and the EU imported it as Article 6 of the EUCD in 2001

It is a blanket prohibition on removing any kind of encryption that restricts access to a copyrighted work – things like ripping DVDs or jailbreaking a phone – with penalties of a five-year prison sentence and a $500k fine for a first offense.

This law has been so broadened that it can be used to imprison creators for granting access to their own creations

Here's how that works: In 2008, Amazon bought Audible, an audiobook platform, in an anticompetitive acquisition. Today, Audible is a monopolist with more than 90% of the audiobook market. Audible requires that all creators on their platform sell with Amazon's "digital rights management," which locks it to Amazon's apps.

So say I write a book, then I read it into a mic, then I pay a director and an engineer thousands of dollars to turn that into an audiobook, and sell it to you on the monopoly platform, Audible, that controls more than 90% of the market.

If I later decide to leave Amazon and want to let you come with me to a rival platform, I am out of luck. If I supply you with a tool to remove Amazon's encryption from my audiobook, so you can play it in another app, I commit a felony, punishable by a 5-year sentence and a half-million-dollar fine, for a first offense.

That's a stiffer penalty than you would face if you simply pirated the audiobook from a torrent site. But it's also harsher than the punishment you'd get for shoplifting the audiobook on CD from a truck-stop. It's harsher than the sentence you'd get for hijacking the truck that delivered the CD.

So think of our ad-blockers again. 50% of web users are running ad-blockers. 0% of app users are running ad-blockers, because adding a blocker to an app requires that you first remove its encryption, and that's a felony (Jay Freeman calls this 'felony contempt of business-model').

So when someone in a board-room says, 'let's make our ads 20% more obnoxious and get a 2% revenue increase,' no one objects that this might prompt users to google, 'how do I block ads?' After all, the answer is, 'you can't.'

Indeed, it's more likely that someone in that board room will say, 'let's make our ads 100% more obnoxious and get a 10% revenue increase' (this is why every company wants you to install an app instead of using its website).

There's no reason that gig workers who are facing algorithmic wage discrimination couldn't install a counter-app that coordinated among all the Uber drivers to reject all jobs unless they reach a certain pay threshold.

No reason except felony contempt of business model, the threat that the toolsmiths who built that counter-app would go broke or land in prison, for violating DMCA 1201, the Computer Fraud and Abuse Act, trademark, copyright, patent, contract, trade secrecy, nondisclosure and noncompete, or in other words: 'IP law.'

'IP' is just a euphemism for 'a law that lets me reach beyond the walls of my company and control the conduct of my critics, competitors and customers.' And 'app' is just a euphemism for 'a web-page wrapped enough IP to make it a felony to mod it to protect the labor, consumer and privacy rights of its user.'

We don't care. We don't have to. We're the phone company.

But what about that fourth constraint: workers?

For decades, tech workers' high degrees of bargaining power and vocational awe put a ceiling on enshittification. Even after the tech sector shrank to a handful of giants. Even after they captured their regulators so they could violate our consumer, privacy and labor rights. Even after they created 'felony contempt of business model' and extinguished self-help for tech users. Tech was still constrained by their workers' sense of moral injury in the face of the imperative to enshittify.

Remember when tech workers dreamed of working for a big company for a few years, before striking out on their own to start their own company that would knock that tech giant over?

Then that dream shrank to: work for a giant for a few years, quit, do a fake startup, get acqui-hired by your old employer, as a complicated way of getting a bonus and a promotion.

Then the dream shrank further: work for a tech giant for your whole life, get free kombucha and massages on Wednesdays.

And now, the dream is over. All that’s left is: work for a tech giant until they fire your ass, like those 12,000 Googlers who got fired last year six months after a stock buyback that would have paid their salaries for the next 27 years.

Workers are no longer a check on their bosses' worst impulses

Today, the response to 'I refuse to make this product worse' is, 'turn in your badge and don't let the door hit you in the ass on the way out.'

I get that this is all a little depressing

OK, really depressing.

But hear me out! We've identified the disease. We've traced its natural history. We've identified its underlying mechanism. Now we can get to work on a cure.

There are four constraints that prevent enshittification: competition, regulation, self-help and labor.

To reverse enshittification and guard against its reemergence, we must restore and strengthen each of these.

On competition, it's actually looking pretty good. The EU, the UK, the US, Canada, Australia, Japan and China are all doing more on competition than they have in two generations. They're blocking mergers, unwinding existing ones, taking action on predatory pricing and other sleazy tactics.

Remember, in the US and Europe, we already have the laws to do this – we just stopped enforcing them in the Helmut Kohl era.

I've been fighting these fights with the Electronic Frontier Foundation for 22 years now, and I've never seen a more hopeful moment for sound, informed tech policy.

Now, the enshittifiers aren't taking this laying down. The business press can't stop talking about how stupid and old-fashioned all this stuff is. They call people like me 'hipster antitrust,' and they hate any regulator who actually does their job.

Take Lina Khan, the brilliant head of the US Federal Trade Commission, who has done more in three years on antitrust than the combined efforts of all her predecessors over the past 40 years. Rupert Murdoch's Wall Street Journal has run more than 80 editorials trashing Khan, insisting that she's an ineffectual ideologue who can't get anything done.

Sure, Rupert, that's why you ran 80 editorials about her.

Because she can't get anything done.

Even Canada is stepping up on competition. Canada! Land of the evil billionaire! From Ted Rogers, who owns the country's telecoms; to Galen Weston, who owns the country's grocery stores; to the Irvings, who basically own the entire province of New Brunswick.

Even Canada is doing something about this. Last autumn, Trudeau's government promised to update Canada's creaking competition law to finally ban 'abuse of dominance.'

I mean, wow. I guess when Galen Weston decided to engage in a criminal conspiracy to fix the price of bread – the most Les Miz-ass crime imaginable – it finally got someone's attention, eh?

Competition has a long way to go, but all over the world, competition law is seeing a massive revitalization. Ronald Reagan and Margaret Thatcher put antitrust law in a coma in the 80s – but it's awake, it's back, and it's pissed.

What about regulation? How will we get tech companies to stop doing that one weird trick of adding 'with an app' to their crimes and escaping enforcement?

Well, here in the EU, they're starting to figure it out. This year, the Digital Markets Act and the Digital Services Act went into effect, and they let people who get screwed by tech companies go straight to the federal European courts, bypassing the toothless watchdogs in Europe's notorious corporate crime havens like Ireland.

In America, they might finally get a digital privacy law. You people have no idea how backwards US privacy law is. The last time the US Congress enacted a broadly applicable privacy law was in 1988.

The Video Privacy Protection Act makes it a crime for video-store clerks to leak your video-rental history. It was passed after a right-wing judge who was up for the Supreme Court had his rentals published in a DC newspaper. The rentals weren't even all that embarrassing!

Sure, that judge, Robert Bork, wasn't confirmed for the Supreme Court, but that was because he was a virulently racist loudmouth and a crook who served as Nixon's Solicitor General.

But Congress got the idea that their video records might be next, freaked out, and passed the VPPA.

That was the last time Americans got a big, national privacy law. Nineteen. Eighty. Eight.

It's been a minute.

And the thing is, there's a lot of people who are angry about stuff that has some nexus with America's piss-poor privacy landscape. Worried that Facebook turned Grampy into a Qanon? That Insta made your teen anorexic? That TikTok is brainwashing millennials into quoting Osama Bin Laden?

Or that cops are rolling up the identities of everyone at a Black Lives Matter protest or the Jan 6 riots by getting location data from Google?

Or that Red State Attorneys General are tracking teen girls to out-of-state abortion clinics?

Or that Black people are being discriminated against by online lending or hiring platforms?

Or that someone is making AI deepfake porn of you?

Having a federal privacy law with a private right of action – which means that individuals can sue companies that violate their privacy – would go a long way to rectifying all of these problems. There's a big coalition for that kind of privacy law.

What about self-help? That's a lot farther away, alas.

The EU's DMA will force tech companies to open up their walled gardens for interoperation. You'll be able to use Whatsapp to message people on iMessage, or quit Facebook and move to Mastodon, but still send messages to the people left behind.

But if you want to reverse-engineer one of those Big Tech products and mod it to work for you, not them, the EU's got nothing for you.

This is an area ripe for improvement, and I think the US might be the first ones to open this up.

It's certainly on-brand for the EU to be forcing tech companies to do things a certain way, while the US simply takes away tech companies' abilities to prevent others from changing how their stuff works.

My big hope here is that Stein's Law will take hold: 'Anything that can't go on forever will eventually stop'

Letting companies decide how their customers must use their products is simply too tempting an invitation to mischief. HP has a whole building full of engineers thinking of new ways to lock your printer to its official ink cartridges, forcing you to spend $10,000/gallon on ink to print your boarding passes and shopping lists.

It's offensive. The only people who don't agree are the people running the monopolies in all the other industries, like the med-tech monopolists who are locking their insulin pumps to their glucose monitors, turning people with diabetes into walking inkjet printers.

Finally, there's labor. Here in Europe, there's much higher union density than in the US, which American tech barons are learning the hard way. There is nothing more satisfying in the daily news than the latest salvo by Nordic unions against that Tesla guy (Musk is the most Edison-ass Tesla guy imaginable).

But even in the USA, there's a massive surge in tech unions. Tech workers are realizing that they aren't founders in waiting. The days of free massages and facial piercings and getting to wear black tee shirts that say things your boss doesn't understand are coming to an end.

In Seattle, Amazon's tech workers walked out in sympathy with Amazon's warehouse workers, because they're all workers.

The only reason the tech workers aren't monitored by AI that notifies their managers if they visit the toilet during working hours is their rapidly dwindling bargaining power. The way things are going, Amazon programmers are going to be pissing in bottles next to their workstations (for a guy who built a penis-shaped rocket, Jeff Bezos really hates our kidneys).

We're seeing bold, muscular, global action on competition, regulation and labor, with self-help bringing up the rear. It's not a moment too soon, because the bad news is, enshittification is coming to every industry.

If it's got a networked computer in it, the people who made it can run the Darth Vader MBA playbook on it, changing the rules from moment to moment, violating your rights and then saying 'It's OK, we did it with an app.'

From Mercedes renting you your accelerator pedal by the month to Internet of Things dishwashers that lock you into proprietary dishsoap, enshittification is metastasizing into every corner of our lives.

Software doesn't eat the world, it enshittifies it

But there's a bright side to all this: if everyone is threatened by enshittification, then everyone has a stake in disenshittification.

Just as with privacy law in the US, the potential anti-enshittification coalition is massive, it's unstoppable.

The cynics among you might be skeptical that this will make a difference. After all, isn't "enshittification" the same as "capitalism"?

Well, no.

Look, I'm not going to cape for capitalism here. I'm hardly a true believer in markets as the most efficient allocators of resources and arbiters of policy – if there was ever any doubt, capitalism's total failure to grapple with the climate emergency surely erases it.

But the capitalism of 20 years ago made space for a wild and wooly internet, a space where people with disfavored views could find each other, offer mutual aid, and organize.

The capitalism of today has produced a global, digital ghost mall, filled with botshit, crapgadgets from companies with consonant-heavy brand-names, and cryptocurrency scams.

The internet isn't more important than the climate emergency, nor gender justice, racial justice, genocide, or inequality.

But the internet is the terrain we'll fight those fights on. Without a free, fair and open internet, the fight is lost before it's joined.

We can reverse the enshittification of the internet. We can halt the creeping enshittification of every digital device.

We can build a better, enshittification-resistant digital nervous system, one that is fit to coordinate the mass movements we will need to fight fascism, end genocide, and save our planet and our species.

Martin Luther King said 'It may be true that the law cannot make a man love me, but it can stop him from lynching me, and I think that's pretty important.'

And it may be true that the law can't force corporate sociopaths to conceive of you as a human being entitled to dignity and fair treatment, and not just an ambulatory wallet, a supply of gut-bacteria for the immortal colony organism that is a limited liability corporation.

But it can make that exec fear you enough to treat you fairly and afford you dignity, even if he doesn't think you deserve it.

And I think that's pretty important.

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

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle#ich-bin-ein-bratapfel/a>

Back the Kickstarter for the audiobook of The Bezzle here!

Image: Drahtlos (modified) https://commons.wikimedia.org/wiki/File:Motherboard_Intel_386.jpg

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

 -   

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CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0/deed.en

[featherandferns]

angel (fic)

jj maybank x fem!shy!kook!reader | technically the sequel for fascinating new thing, but can be read as a stand-alone too

content warning: pure filth, to be honest; sex (f and m self-pleasure; protected, p in v)

word count: 3k

blurb: jj knows there's something hidden beneath all the layers of quiet and meek; he just has to coax it out of you.

Nobody expected JJ Maybank to end-up having a thing for you, including JJ himself. He couldn’t explain how it happened, or when exactly, but it went from him being somewhat wary of you to completely desperate to have your gaze on him. It seemed that one day you just had him: hook, line and sinker. JJ had sort of accepted that he didn’t have a chance, especially with a certain ginger haired boy lingering in the background. He’d admire from afar and settle for friendship if that’s all you could offer him. But then you kissed him, and everything seemed to fall into place. JJ was allowed privy to your thoughts and the different facets of yourself: watching you song write and waking you from a nightmare and indulging in the late-night baking. He liked every part of it. Everything that was you.

Well, almost everything.

“You can’t seriously enjoy this crap?”

“Be quiet, please,” you mumble.

JJ rolls his eyes. He has one arm under his head, propping it up so he can see the screen of your laptop, and the other on your stomach, resting atop your tee shirt. He’s spooning you, cosy under the sheets of your bed.

It’s the second time he’s been in your bedroom. It’s a nice room; perfectly encapsulates you. Vinyl records and CDs and a million and one potted plants and succulents. Fairly lights draped above your bed and around a pinboard of pictures and keepsakes, shining a delicate golden hue on your belongings. An acoustic guitar rests against the wall by your bedroom door. It’s wide open right now. No need to have it shut; your parents aren’t home.

Looking back to the screen, JJ tries and fails to hold in a sigh.

“Can you be quiet, please?” you repeat.

“Who is that? The guy?”

“George the third.”

“The third? Is that the one that murdered all his wives?”

“JJ, I can’t hear it,” you complain quietly.

“Sorry,” he mumbles. He barely pays attention to the drama on the screen, too busy foraging through his brains for the history of English royals. “Is he though?”

You sigh, annoyed. “No. That’s Henry the Eighth. And he didn’t murder all of them. Just two.”

“Oh, well, that’s okay then,” JJ sarcastically replies.

For some reason, he feels as though you’ve rolled your eyes. He attempts to watch the show that you’ve become obsessed with lately. The characters don’t talk like normal people. Everything is so flowery and over-the-top that he hardly understands what they’re talking about. It’s boring and dull and overdramatic. He lets his mind wander.

“Baby?”

“JJ?”

“Just a quick question.”

“Yes?” you sigh, patience clearly dwindling.

“Is George the Third the one that got really fat?”

“No, that’s George the fourth,” you say.

“Which one’s George the third then?”

“George the third is the one that was ruler when America won its independence. I mean, do you listen to anything in history?” you chuckle. JJ feels the muscles in your belly tighten and loosen as you do.

“Sometimes,” he shrugs. “When it’s interesting. Like, I don’t get how all of this—”

“Shush! I can’t hear what they’re saying!” you snap.

JJ can’t help but snigger. He likes when you lose your temper with him; let the good-girl side of you slip for a moment to put him in his place.

He nuzzles his face into your hair. It smells like cedarwood and salt water. Maybe he’ll just have a nap. You’re not coming away from the show anytime soon – not until the episode’s done, anyway. JJ closes his eyes and vaguely tunes into the droning of dialogue. Lady this and sire that. He’s just about to properly drift off (maybe it’s been five minutes or so) when he’s woken by the feel of you pushing back against his groin. His hold tightens on your stomach and he reluctantly inches his body away slightly.

“Baby don’t do that,” he mumbles sleepily into your hair.

“Do what?” you reply, absentmindedly.

You’re still watching the Goddamn show. He’s not sure if you’re playing dumb or not.

Then, you do it again.

JJ inhales sharply. “Stop doing that.”

“Doing what?”

“Rubbing up on me like that,” he tells you, half-laughing. “S’not fair.”

“Sorry,” you mumble.

He opens his eyes and looks down at the laptop screen. The moment he makes out what’s happening in the show, it clicks. Oh.

Smirking, JJ can’t keep from taking the piss.

“You didn’t tell me that you’re into regency era porn.”

“Shut up,” you reply all too quickly.

“Is it like all royal era stuff or just Henry the third things?”

“George the third!”

“Tomata-tomato,” JJ mutters. Quiet. Then: “Does it have to be in a bathtub or…”

“JJ!” you whine, embarrassed. He laughs into your hair. “Stop it!”

“Alright, alright! I’m just messing around,” he sniggers.

You don’t reply, don’t even seem to be listening to him, with your eyes shamelessly fixated on the screen. JJ starts to watch too, half-curious as to what has you so entranced.

The lighting is dark. Who JJ has finally come to grasp as king George the third is fucking his wife in the bath. She’s riding him, grinding down on him, still in her dress. The music swells with sharp, dramatic violins. This time, when you push back reflexively against JJ, he doesn’t complain. Instead, he uses his hand that’s placed on your stomach to keep you there. He’s only half ashamed to admit that he’s turned on by the regency-era-sex-scene from your corny, cheesy TV show.

Half hard, he rubs against you, sighing into your hair as he does. You don’t shake him off. Instead, you push back against him.

And then, the scene stops. It’s daylight. Cutting to a scene in a conservatory.

JJ shifts his hand so it’s under your tee shirt, moving to stroke at the skin. He feels your stomach constrict underneath his touch, as if you’re holding your breath, and then relax. He places a kiss to your neck, then another, and begins to work on a hickey. You let out a shaking breath, eyes only half-focused on the show, now. One of your hands comes down to lay atop of his, though not in discouragement. JJ can’t help but rut against you again. In the haze of kissing at your throat, he finds himself wishing a silent prayer that you won’t pull away this time.

He doesn’t mind waiting. Really, he doesn’t. He’d probably wait forever for you (if he really had to). He knows how nervous you get; knows all of this is new to you. Understands. Doesn’t want you to feel pressured. But, God, JJ would be lying if he said that he didn’t want to fuck you. That he didn’t jack off almost every night to the thought of it. That seeing you, drenched head to toe, stood in nothing but a bikini after surfing didn’t have him shifting in his seat. That having you pressing up against him like you had been tonight didn’t make his mind shoot off to the darkest, dirtiest places. So, yes, he’ll stop if you ask, but he’s praying, borderline close to begging, that you don’t.

Your fingers loop into his hair, pulling him off your neck. He shifts enough back so you can turn your head, meeting his eyes. Your breathing heavier than usual, lips wet as if you’ve been licking at them. Your eyes are dancing over his face, back to his eyes, glancing at his lips. JJ’s hand on your stomach continues scratching softly at your skin. He gently rubs himself against you. Please.

“I’ve never done this before,” you whisper. There’s a tinge of nerves to your voice.

JJ nods. Swallows. “I know.”

“But…I want to,” you quietly say. A smile teasing at the corner of your lips as you nod. “If you do, that is.”

JJ leans down so his forehead bumps against yours. He exhales a chuckle against your lips. “It’s all I’ve been able to think about since the hammock.”

You giggle, perhaps a little stunned at the confession, and then your lips are on his.

JJ’s rolling onto his back, sighing into the kiss, pulling you atop of him. His hand that was under his head now reaches out to close the laptop, shoving it to the foot of the bed (hopefully where it won’t fall off). Then he’s kissing you with newfound hunger. Tongue slipping into your mouth lewdly, brushing against yours, swallowing your sighs and breaths. Whenever you break apart, it’s for less than a moment. Your hands have come up to cradle his face, fingers splayed across his cheek and jaw. One of his resides on your waist, squeezing at the skin, and his other has fallen onto your bare thigh; the pyjama shorts you’re wearing having ridden up.

When you lean back against him, rolling down on his crotch, JJ groans against your lips. The gasp you let out is small, startled, as you feel him, hard against you.

“We don’t have to,” JJ reminds you, though the id in him is crying out yes, we do. Please.

You shake your head, hands still on his face. “I want to.”

Thank fucking God.

As the two of begin to kiss again, JJ lets his hand creep up your stomach. His fingers gently trace up the soft skin. He feels the ripples of your breaths as he goes; they’re uneven. Bringing his hand up to your chest, cupping at the bare skin, you sigh against him. He begins to tenderly palm at your breast, running a finger back and forth over your nipple, grinning to himself as he feels it harden at his touch.

You’re grinding back on him now, making him uncomfortably hard under his boxers, sensitive as he rubs against the fabric. JJ opens his eyes to look up at you, your kiss naturally breaking as you begin to breath more and more heavy. Frowns as he sees you dig your teeth into your lower lip. He lifts his hand from off your thigh to bring his thumb to your lips, tugging it free.

“I wanna hear you,” JJ mumbles, tone only slightly demanding.

You open your eyes. They’re angel-like; innocent and shining under the fairy-light glow. Then, you do something that has him twitching, horny past the point of no return. You take his thumb into your mouth and suckle at his finger. JJ groans at the sight. Jesus Christ. Something in you seems to shine through and take control. You don��t say anything as you hold his hand in both of yours, guiding his thumb out your mouth only to begin sucking on his pointer finger. Your eyes slip shut as you do, as if you’re getting off on doing so, and you sigh out a quiet moan. JJ feels himself begin to smirk, taken aback somewhat. Okay…

Pulling his finger from out of your mouth tentatively, he lets his thumb pinch at your chin. The dampness of your spit streaks onto your skin, if only slightly. JJ suddenly knows what his new favourite thought of you is. Your chest is rising and falling, lips parted, cheeks warm as if there’s a part of you longing to be embarrassed. But you’re not. Not shying away from him, at least. JJ’s hands find the hem of your shirt and coax it over your head. As he goes, he guides you to lie down on your back – head at the foot of the bed – and crawls on top of you. One of your feet hesitantly rubs at the back of his calve. Then your fingers are tugging at the bottom of his top and he leans back to take it off. Easing back down to kiss at your chest, he can’t help but sigh against the sensitive skin.

“You’re so fucking beautiful.”

Your nails dig into the skin of his back. You don’t reply, but he feels as though you’re shaking your head. Glancing up, he frowns.

“You are,” he repeats.

“Can you not say things like that to me right now…” you mumble, retreating back into yourself.

JJ sighs, somewhat disappointed.

“Sorry,” you add. It makes JJ chuckle, his breath fanning against your chest.

“You don’t gotta be sorry, baby,” he replies, moving to kiss at one of your nipples. One of your hands creeps up to his face, fingers slipping into his hair. A small gasping exhale at the sensation. “Just wish you saw yourself the way I see you, sometimes.”

You’re sighing at the attention he’s giving your body. His hand comes up to grope at your neglected breast. More gasps, more breaths. You’re still so quiet. JJ knows it’s in there, could see it trying to break out when you were sucking on his fingers, he just has to coax it out of you.

Leaning back (a string of spit following), JJ sits back on his haunches and takes you in. Wonders what to do with you, as if you’re fully at his mercy. You’re looking at him, watching him. Laid out on your back, near bare and gorgeous, breathing heavy. You're half covering your chest, not used to being so exposed before someone.

Maybe he’ll just fuck you now. JJ's barely holding it together as it is. No, you’ll be too tight if he does. He has to remind himself that this is new to you. He wants it to be worth it. Wants it to be perfect. Not only that, but he also wants you to appreciate yourself and your body the way he does. Words clearly aren’t gonna cut it; you go squeamish at the faintest of compliments. But maybe…

JJ feels the shadow of a smirk grow on his face with an idea. Makes your lips twitch with a frown, as if confused where his mind might be. The he’s reaching for your spare hand that’s found purchase in the bed sheets. Taking it by the wrist, he guides it over your body, down to your shorts. Your eyes dart up from following it, meeting his eyes. Your lips move as if to say something, but you don’t. So quiet.

“I got an idea,” JJ tells you. He’s so hard it hurts, but he can’t pass up on this opportunity.

Your gaze doesn’t break apart from JJ’s as you let him guide your hand with his under the hem of your shorts. He manoeuvres your fingers easily (you pliant like a doll) and slides it through your folds. You’re soaking. The feel of it makes you gasp. Leaning down, using his other arm to prop himself above you, he guides your conjoined touch back and forth, skimming over your clit. The brief, fleeting touch makes you moan.

JJ smirks. There it is.

“Feel good, huh?” he breaths against your ear, teasingly. You don’t reply but he feels your hand gain more control, working to finger yourself. JJ chuckles. “Knew you were dirty underneath all the good-girl shit you put on.”

It seems that whatever strap was holding you together has snapped. Your honeyed voice is crying out, in moans and whines. Eyes shut, head tilted back, and JJ basks in the sight of you. He gradually lets his hand leave yours, slipping out of your shorts, and watches as you continue getting yourself off underneath your shorts. Chews on the inside of his cheek as he does, bucking against your leg desperately. He can’t help but pull himself out of his boxers, jacking off at the sight. At your sweet, hopeless sounds. Your spare hand is coming to his throat, pulling at his jaw, guiding his lips to yours in a lustful, messy kiss. You’re moaning into his mouth, gasping, voice high and desperate.

“Good girl,” JJ croons. It spurs you on. He’s smirking again, gasping through his own pleasure. Fuck. You’re perfect. How are you so Goddamn perfect?

“You close, baby? You gonna come?”

Your reply comes in a stammered, broken gasp. Yes.

JJ forces his hand from himself, quickly moving to grab at your wrist, pulling your fingers away. They’re drenched. You whine at the loss of contact, so close to the edge it seems, and he chuckles darkly against your jawline.

“Not yet,” he simply says.

As JJ moves to take off your shorts, shucking off his boxers in this process, he catches a glimpse of your hand moving back up your body. His eyes flick up just in time to see you slip your used fingers into your mouth, sucking them clean. Fuck. How JJ doesn’t come on the spot is beyond him. You open your eyes, catching his gaze, and meekly pull them from your mouth. Before you can form the inevitable apology you’re bound to give, JJ’s darting down to capture your mouth in a kiss. Then, he’s climbing atop of you, rubbing at your entrance. Has the both of you gasping against one another.

“Wait,” you mumble, pulling back. “We need a condom.”

“Shit, yeah,” JJ pants. He’d forgotten about that. You point vaguely to your bedside table.

“There should be one in there. Somewhere.”

JJ chuckles slightly and nods, leaning back to riffle through. He can’t help but notice the vibrator, making a mental note of that for another day. Finding one, he’s coming back to you, sliding it on, desperate to be inside of you.

Pressing his forehead against yours, he keeps his eyes on you.

“Tell me if you need me to stop, okay?”

“I will,” you quietly reply, a hand coming up to cup at his jaw.

JJ nods and begins to slide in. His eyes reflexively shut; he can’t help it. It feels fucking amazing. Sex with feelings is better than any kegger hook-up he’s ever had.

But you’re tight, too tight, and it’s like your body is trying to push him out. Opening his eyes, he looks down to see your face twisted in pain, lips pursed and eyes squeezed shut.

“Hey, hey,” he mumbles, thumbing at your cheek. You force your eyes open, gazing up at him. “You gotta relax, alright? Just breath out for me.”

You take a moment then do as he asks. He feels your body soften. Nudging a bit further in, you actively try not to go tight again.

“It’s just me,” he reminds you. “You’re doing so good, alright?”

To keep you lax, he rubs gently at your clit. Eventually, your body opens up to him. Once JJ’s eased all the way in, you’re squeezing him like a vice.

“You can move, JayJ,” you say, almost anxious that he isn’t.

JJ laughs a little. He won’t last a second if he moves right now. Closing his eyes, composing himself, he replies, “I really can’t. Gimme a second.”

Soon enough, the two of you sink into a rhythm. JJ places a hand one side of your head, another on your hip, angling you up slightly. Your back begins to arch and you’re moaning again, and JJ decides that it’s the best sound he’s ever heard. Prettier than when you sing. The sounds echoing off the bedroom walls are filthy enough to make Satan himself blush.

"Fuck baby. Feel so fucking good."

Groaning against your shoulder, moaning into your ear, JJ feels his resolve begin to break. He’s close. The way your body is reacting to him has him thinking you are too. His hand leaves your hip to rub at your clit. Quick, firm circles. You start to gasp, high pitched and euphoric, and JJ know he can’t last much longer. It’s too good.

The moment you finish, JJ lets go. The two of you come almost together, riding it out, clinging to each other as if you’ll float away if not. JJ eventually let’s himself collapse on top of you, breathing shallow and frantic. You’re still clenching around him, body dealing with the aftershocks.

JJ’s not sure how he’s supposed to go about the rest of his life knowing what it’s like to have you in bed. How he’s meant to get anything done with the memory of how you sound, gasping out his name. The picture stained in his mind of you sucking your fingers clean.

He presses a kiss to your damp neck, then another and another until he somehow finds your mouth. You sigh as you kiss him back, a hand coming to cradle at his face yet again. He pulls back, opens his eyes into yours, and you give him the sweetest smile he’s ever seen. Bashful and blissed out and beautiful.

“I love you,” you tell him, still a little breathless.

JJ smiles back. Heart stammers.

You wanted him. You picked him.

Kissing you once more, tender and fleeting, JJ sighs. “I love you too.”

[kyri45]

The Forgotten Island, AKA The Kingdom of Stars

A ISAT and Sky:Cotl Mix list of headcanons for a possible sequel of the main game.

MAP HERE!

Basic Information and Assumptions from the game:

From what we know, The Country is a rocky, forest, and mountain-filled island, close enough to be seen from Bambouche. Because of the cold climate, I’ll assume that it's located more northern than anything else in the ISAT world. Let’s also assume that it’s a highly humid country (it’s an island, so). Therefore, for a society built principally on the study of stars, I will further assume that the mountains there are high enough to well surpass the level of the clouds.

Another post also pointed out how the Country closest reference would be Iceland, which I couldn’t agree more ( even though I don’t think it would be THAT cold, I think the cold is more from the altitude than the position on the globe itself)

My personal take:

If even children are aware from a very young age of the physics and rules of the cosmos, then it’s safe to assume that these things not only are being taught in schools but are also present in their everyday lives in their homes. Just like the Change god is present in the form of statues and figurines around every house of Dormont, we could imagine that every house of The Country could have had its own observatory floor.

For an entire town, or city, or even country, to be able to see the stars perfectly at night, they would need to have their buildings more elevated than wide, so that the upper floors aren’t so affected by street lights pollutions or other form of illuminations for the roads.

As for the materials, we can drop down to at least:

Wood, from probably evergreen trees such as birch or even pine and spruce?

Basalt, from the (most likely) volcanic beach. It has also wonderful heat-keeping properties so It wouldn’t be strange to assume they use it in their buildings as well. The dark color also reflects less light during the night and would increase the star's visibility.

Other grey stones or concrete, from which they build at least the base of their tower-based architecture to be able to sustain multiple floors.

While an island such as The Country should technically be poor in metal, the presence of volcanic terrain and geysers should, on the positive side, mean that there is the presence of gold! So yes, shiny gold decorations for observatories or other star-related rooms are realistically allowed :)

I will take as a reference from the world of Sky 3 main realms for this AU:

Isle of Dawn: can be used as a reference for the surroundings part of the kingdom, using the same rocky and sandy morphology. Sky also has many boats scattered around the kingdoms, and since the Country mostly based its economy on trade and fishing was its main source of protein, I’ll take those as a reference as well.

Valley of Triumph: for its peaks, mountains, and climate. Also maybe for their transportation methods and house architecture from the Village of Dreams

Vault of Knowledge: the Vault itself is just one big building that could be well used as a like the main capitol center building for archive, research, and study of Wish Craft and stars. The architecture itself can also be used as an inspiration for other buildings such as libraries and schools.

I'll be updating this thread with possible more personal designs and sketch about the architecture!

Let me know if you finds errors in what I wrote or personal suggestions!

[joe-spookyy]

something i find intriguing about re-animator (1985) and its sequel bride of re-animator (1990) is how truly similar they are to frankenstein (1931) and bride of frankenstein (1934), SPECIFICALLY in regards to their queercoding. the original re-animator stories were of course, according to lovecraft, written as a parody to mary shelley’s frankenstein. however in the cases of both films and their sequels, they differ significantly from the original source material. interestingly, though, it seems they have a lot in common with each other. sound interesting? read on.

obviously, there are base level similarities in the original frankenstein movie and original re-animator movie. both feature a classic mad scientist figure with the goal to conquer death. and both films end with the supposed death of their mad scientists, along with their creations. but where the real similarities, as well as the heavier queercoding comes in, is with bride of frankenstein, and of course, bride of re-animator.

so, to draw the comparisons and explain the queercoding, we first have to establish the characters, and who they tie to in the other film. first, we look at the classic queercoded mad scientist. in the first movie, herbert west is mirrored by henry frankenstein. however, in bride of frankenstein, the character that more lines up with his character archetype and plot line is dr. septimus praetorius. for those unfamiliar with the character, dr praetorius seeks out henry frankenstein, a former student of his, hoping for his assistance in creating life. although the relationship between dan cain and herbert west is not that of a teacher/student arrangement, we still see herbert seeking out dan’s help in building the bride. and of course, both west and praetorius are often read as queer. with west as praetorius, dan cain falls in as henry frankenstein. both are reluctant to return to the whole re-animating dead bodies business, clinging onto the life of “normalcy” they think they can have, and pushing back against the other man who is trying to draw them back in. dan and henry are both less often read as queer, but if you step back, it’s very easy to see.

now, we can look at the plot and how it influences a queer reading of the characters. aside from the similarities in name, there’s a lot in common in the two movies. early in the bride of frankenstein, praetorius tries to draw henry in with some of his own miniature creations - several small homunculi. this actually sort of mirrors the scene we all know and love from bride of reanimator, where herbert brings the finger/eyeball puppy to life. there’s a little more queercoding in the scene from re-animator. herbert reads almost like a proud father, showing the critter to dan, and it’s then followed by dan telling herbert that he’s “moving out”, coming across as almost a breakup/i’m leaving you moment, which is met with extreme dismay.

of course, in both cases, these small demonstrations aren’t quite enough to sway henry and dan to the cause. praetorius starts by promising henry his original creation, the creature, as long as henry helps him craft a bride, but ends up having to step things up and uses henry’s fiancée, elizabeth, as bait to convince him. sound a bit familiar? in bride of re-animator, herbert convinces dan to join in again on the reanimation with promises that he can return his dead fiancée meg to him. again, this scene plays out significantly more homoerotically, with herbert producing meg’s heart and offering it to dan. yeah. herbert offered dan his heart. and it works. dan’s sold. now, you’re probably thinking, what’s so homoerotic about joining forces with a man just to get your girl back? well. listen. it’s more, in this case on the part of herbert and praetorius. there’s something very homoerotic in using love to entice a man into creating life with you. and yes, technically it is heterosexuality being taken advantage of here. but there’s still a bit of seduction that’s happening. if herbert and praetorius can’t draw the others in the way they’d like to, they know they can take advantage of the emotions on dan and henry’s end.

additionally, we know west and praetorius are queercoded from more than just this specific scenario. it comes through simply in the way the actors portray them, their lines, and their actions. praetorius was intended that way, despite the movie being produced in an era where the hays code was enforced. actor ernest theisger was allegedly told by director james whale, an out gay man, to play the character as an “over the top caricature of a bitchy and aging homosexual.” which. is kind of hilarious. and herbert west is. well. where do i even begin. actor jeffrey combs chose to play him in a Way, and there are nods to herbert’s lack of interest in women throughout both films (to me beyond reanimator does not exist), most overtly shown when one of his coworkers asks herbert if a recently female deceased patient was attractive, and is met with the single most effective “are you fucking stupid” stare i have ever seen. this, in my opinion is clearer than if he would have just declared then and there that he was a homosexual. but i digress. he also shows nothing but disdain and frankly, a little jealousy, towards dan’s girlfriends, slinking away to sulk in the basement and reanimate some random limbs, or, in the first movie, pushing meg out of the frame and physically coming between her and dan in the shot, symbolic of how he promptly pushes her out of dan’s life entirely.

but what about dan and henry? as far as we’ve discussed, they don’t seem to be reciprocating any of herbert or praetorius’s advances. BUT when it comes time to create the titular brides, both dan and henry seem to finally give in to the temptations. of course, there’s the inherent homoeroticism of creating life with another man. and of course, dan choosing to stick with herbert despite what he’s been put through doesn’t make a lot of sense if you don’t consider there might be more than friendship involved there. but what really matters is how they both lean into it towards the end of their respective films, throwing away their chance at a “normal” heterosexual life with elizabeth (in henry’s case) or francesca (in dan’s) to stick with their own queercoded little mad scientists and continue the work. the moment where each of them finally gives in is clear. henry’s comes when the first heart they attempt to put in the bride is not worthy, and he makes an Active choice and asks for another heart. dan’s is in the final seconds before re-animating their bride, when he makes an Active choice, taking the syringe from herbert and asking that he himself be the one to start the process. both men finally go from passively following their counterparts, in dan’s case rather like a dog to its master, to finally making that active choice and turning to the other side. and the other side, represented by west and praetorius and blasphemy and evil science, can also be a symbol of that queerness. they really step into and embrace creating life with that other man, despite the perfectly fine and normal life that they Could have with their fiancées. it can sort of be read as an allegory for homosexuality alongside bisexuality - praetorius and herbert both only have the scientific way of creating life, and no chance at societal “normalcy”, if we read them both as gay. and they bring henry and dan into their queerness, who can be read as bisexual: they have the opportunity to pursue a societally “normal” life. but they also have the opportunity to do the very opposite.

and finally, in true bury your gays fashion, dan and francesca, as well as henry and elizabeth, escape unharmed, while herbert and praetorius along with their creations, are left to die as the building collapses. the creature leaves us with the haunting line “we belong dead”, referring to himself, his bride, AND praetorius. they’re all, in their own ways, a part of a world they don’t belong to. and the same goes for herbert and his creations. in both movies, heterosexuality triumphs, since that’s what we’re supposed to see as “good” and “normal”, fitting in with our good and normal protagonists who both make the last minute choice to save their girls and escape, abandoning the other men to die. despite being queercoded, the idea of being queer cannot be endorsed by the narrative, and so the story must end this way. even in 1975’s incredibly queer film The Rocky Horror Picture Show, which is another frankenstein esque story, the queer creator frank n furter and his creation rocky both die, while janet and brad, a “straight” couple, manage to survive. it’s an interesting take on the idea of being doomed by the narrative that seems to appear in a lot of frankenstein adaptations.

anyways. sorry for yapping so hard but bride of frankenstein and bride of reanimator are so similar to each other that they end up queercoded in very similar ways and follow the same pattern as many frankenstein adaptations. yeah.

[byrdffv]

The kirby fanfiction rec list for people on the r/kirby discord server because i mentioned i wanted to make one and people said i should

(technically a repost from a google doc i made to share there but i figured tumblr might appreciate it too)

Alright kirbros, let’s get into it.

These are in no particular order; you should give all of these fics a read IMO.

First up, let’s get the easy ones out of the way,

Kirby on the flipside by ProminenceFlare is the most popular Kirby fanfiction on ao3. Ok technichally that spot is taken by some dumb MHA fanfic that doesn't even have a single Kirby character in it but thats not the point; KotFs is THE Kirby fanfic. Theres plenty of game/anime crossovers out there but this one takes the cake. Its 300 thousand words long for christs sake, and it’s a GREAT 300 thousand words. If you haven't read KotFs, you haven't read much Kirby fanfiction i imagine. It does not disappoint. Theres also a sequel fic in the works although currently it’s on a break, but it is also just as good as the original.

Second of all is actually a series, Heart and soul by post_it_notes7. This is another game/anime crossover but in an interesting twist. The premise is that Meta Knight, long before the events of Krbay, sought to fight galacta knight in order to become stronger and hopefully defeat nightmare. He does this, and galacta is resealed. Now in the present, nightmare has been defeated by Kirby, and all is good and well, right? NOPE, galacta knight has escaped his seal and is out to reclaim his title as the strongest warrior in the galaxy. Its technichally NOT a metagala fic, it instead focuses more on a friendship between the two. Im not really a shipping person so i actually really enjoy this, their personalities clash well and they get plenty of banter. The full series combined as of now just barely beats Kirby on the flipside (not counting KotFs's sequel, Kirby's dream trials) at 310 thousand words.

Okay, chances are if youre into Kirby fanfiction you’ve already read those two, however a series you may not have seen is PinkestMenace's Planet of Possibilities, Special Treats and Rest (haha get it it spells popstar).

Now I would suggest reading most of these, but if you don’t want to read all of them theres a few key ones that are my favourites.

Control halt delete goes into meta knight’s role in Kirby planet robobot, it’s a fun, somewhat angsty fic recounting the uh, ‘modifications’ star dream and Susie put him through. Its good.

Let the games begin! Is another good one, its quite short, but a fun read.

Do Starry Knights Dream of Eternal Sleep? is a much more angsty fic, focusing on that old “meta knight is a creation of nightmare” headcanon from the anime fandom. It is a very good fic but I will warn you its got some more harsh content in it including some self-harm/loathing-adjacent moments, and as with all fanfiction I recommend reading the tags before reading. If you are comfortable with that though, it’s a great read!

Rocks Fall, Everyone Flies is by far my favourite fic in this series, its got some great character interactions and storyline. The story is reminiscent of the Kirby novels, if the Kirby novels were not childrens books and were instead horror novels. I jest, but this story does have some good spooky content and moments. Its gives good attention to all four of the dream land gang and is another great read.

Alright that’s all for the POPSTAR series, there are other fics in that series but those are the ones Im interested in, I would suggest checking out the rest of their fics however if you are interested!

Where Were the meta-knights? By purblegaymer Is one of my absolute favourites, up there with Heart and Soul. It’s a ‘missing scene’ fic, going into where the meta knights were in those episodes where they were missing, as well as giving us a look at meta knights dumb internal thoughts throughout certain episodes. It’s a long but very good read, going into meta knight’s thoughts and personality in the anime. It’s a very good read, would absolutely recommend to any anime fans.

That’s been a lot of meta knight adjacent fics, eh? Don’t worry, I’ve got other character-centric fics. For example…

Stuck With The Lor by Azzie_Tangerine Focuses on magolor after he escapes from another dimension and tries to live in the dream kingdom. However the Lor, missing its captain, decides to show up and lock magolor in his ship so it can give the poor cat some therapy. Okay that’s not ENTIRELY how it goes but it is the basic premise. The fic goes more into magolor’s guilt and experience with the master crown, creates some fun lore for the uh, Lor, and is a good exploration into how the two’s relationship. Would definitely recommend this one for any magolor fans, 100%.

How King Dedede founded Christmas by NWTGMR is both hilarious and heartwarming. I think this fic might have one of the best portrayals of dededes personality in fan content I’ve seen, with the perfect mix between big soft man and petty jerk. I would definitely recommend giving this one a read, even if it’s not Christmas you will enjoy it.

Half Blind Date by Azzie_Tangerine (again, they’ve got some good fics) is the sole reason why I ship taransusie, which is funny because as I said earlier im not very big on shipping, but this one is too good to refuse. Taransusie is kind of a rarepair in the scope of Kirby ships (definitely not the rarest, but its not too common either), but this fic is very fun nonetheless! Please don’t take a drinking game at how many times ive said the word ‘fun’ in this list so far. Anyway, very good read, would recommend if youre a fan of either taranza or Susie!

Oh, actually, while we’re here, why not recommend Books Are Stupid, Anyways!, also by Azzie_tangerine. It’s a Kirby and prince fluff fic. Very cute, nuff’ said.

Youth by katrinasis is a pre-canon story recounting how king dedede and meta knight met, its cute and pretty fun. Good read even if youre not really into metadede.

He May Even Dream Again by voidknight is a fic that focuses on… Gooey of all characters! Yeah, gooey isn’t really the star of many fics, but this one gives him the spotlight! Mostly focuses on gooey’s relationship to dark matter, its in second person but somehow manages to make it work. Its fun, its cool, perhaps its even ‘neat’. Give it a read, if you want.

The List of Things Dark Meta Knight is Forbidden To Do by WarioCart Is… a fic (I say this positively). Based on that one Scp story I think, TLoTDMKiFTD is both a mouthful to say and a great fic. Its got some good humour, and just in general really funny. If youre too bummed out by angsty fic id recommend this one.

And… That’s about it, really. There are plenty of good Kirby fanfiction out there, but that’s all I really can think of (and have time for) today.

Wait actually, before I go, I should recommend The Olde Switcheroo by TripleMK, its another game/anime crossover but it focuses on dedede, its currently in the works but has updated recently. It’s a good one!

[nakylvr]

Hey I know I just sent In a request but I saw your doing a 100 followers thing so if possible can you do a sequel to the yunjin fic I requested with #4 from the fluff prompt and #10 of the smut prompt

this is technically a part two but could be read on its own

— BIRTHDAY

huh yunjin (lesserafim) x male!reader

genre: smut

summary: fluff prompt 4("is that my shirt?") + smut prompt 10("don't worry, i'll take care of you") from my 100 follower event

warnings/tags: language, nsfw content, established relationship, oral (m receiving), hair pulling, praise,

main masterlist | le sserafim masterlist

minors do not interact

after spending a few more minutes in the shower, you eventually got out and wrapped a towel around your waist. walking out of the bathroom, yunjin sat on the bed, and you glanced at her before stopping when you noticed what she was wearing.

"is that my shirt?"

yunjin looks up from her phone when she hears your words, and she glances down at herself before nodding. "yeah. i don't have any other clothes here," she answers. she then sets her phone down on the bedside table and scoots closer to the edge of the bed where you stand, peering up at you. "what? you like seeing me in your clothes?"

you look down at her, your eyes lingering a little too long on her cleavage that was exposed due to the shirt hanging loosely on her body. "obviously, i do," you respond, your eyes going back up to meet hers. "you look good in everything."

she notices your eyes focused on her and lets out a short chuckle, and her hands grab the towel wrapped around you, pulling it off to reveal your hard cock. "awe, i'm flattered," she says as she wraps her hand around the shaft of your cock, giving a few slow pumps. "you're always taking care of me, y'know. let me help you for once."

you let out a hiss as soon as the towel is removed and the cold air hits you, and a little groan escapes past your lips when her hand wraps around your dick. "please," you manage to get out.

"don't worry, i'll take care of you," she smiles up at you. she gets on her knees and sticks her tongue out, swiping it over the tip of your cock, the taste of precum on her lips as she engulfs her mouth around your length. her head starts to bob up and down, trying her best to take all of you while her tongue swirled around.

you instantly throw your head back when you feel the warmth of her mouth wrap around you, letting out a long groan. your hands find her hair and turn it into a makeshift ponytail as you yank on it, pulling her down more to have her take your whole length at once. "fuck...just like that, princess," you sigh out, trying not to jerk your hips into her mouth.

her hands grab your thighs, nails digging into the skin as she gags around your dick, her eyes staring up at you the whole time. there's little moans and whimpers coming from her that send vibrations to your cock as tears start welling in her eyes.

you let out a moan at the vibrations being sent through you, and you're unable to keep yourself from starting to fully fuck her mouth with your hips thrusting. she lets out a small gag every time your tip hits the back of her throat, and you an see her squeezing her thighs together which only makes you harder at the thought of how wet she would be just from getting you off. "shit, keep going. god your mouth feels so good around me," you say, pushing some of her hair out of her face and wiping the few fallen tears with your free hand.

yunjin's eyes close when you begin to facefuck her, her grip on your thighs tightening as she gags and moans with your cock down her throat. her spit is covering your whole dick slick by now, and there's some drool coming from the corners of her mouth as she sits there and lets you do what you want. she can feel you twitch in her mouth and she knows you're close as you push her face all the way down where her nose is almost touching your abdomen before pulling her up again then back down at a quick pace.

strings of curses and groans leave your lips as you thrust into her mouth sloppily with a need to cum as more tears fall from her eyes. "let me cum in your mouth, baby," you say, your hips jerking.

yunjin starts bobbing her head faster, taking all of you every time she goes back down feeling you twitch again. you push her head down and let out a loud moan, your eyes rolling back as you shoot thick ropes of cum down her throat, your legs shaking as you hold her there for a second before removing her off your dick.

panting heavily, you look down at yunjin who swallows all of your seed with trickles of it dripping from the corners of her mouth. "thank you," you say.

"of course, anything for you," she smiles up at you.

"now," you gently push her down onto the bed. "let me return the favor."

[nameuserlee]

“What binds us together...? That’s for you to decide.”

Just a small collection of Sylus' lines, purely from interacting with him at the café. Latest part here.

“When people are extremely excited or scared, their heart rate skyrockets. I wonder what that feels like.”

“Is this my own heartbeat? It's noisy.”

“My heart is being rebellious today. It has a mind of its own. You also could’ve made it disobedient on purpose.”

“I caught a kitten that's been messing around with my emotions.”

“Looking into your eyes at this distance... I'm reluctant to look away.”

“Are you trying to style my hair... Am I your doll?”

“I'm getting used to this... Your touch.”

“Once I get used to your warmth, I'm not going to let you go, (Y/N).”

“Anyone who's caught by this hand should be prepared to never escape from me.”

“Your eyes lit up for a moment when you saw my hand. It's dangerous to reveal what you like so easily.”

“I don't often see someone bold enough to get touchy-feely with me. The last person who did it... There wasn't such an individual, technically speaking.”

“This happiness is addictive. And honestly speaking, the thought of being addicted to you doesn't sound like a bad idea.”

“(Y/N), you're mine for the rest of the evening. Any objections?”

“Use me as a pillow if you're tired, sweetie. You don't need to stay up just for me.”

“I keep you up at night, and you keep me up during the day. We're perfect for each other.”

“You whisked me away from the God of Dreams. Now it's up to you to give my dream a sequel.”

“Now that I'm well-rested, I can handle whatever you have in mind tonight.”

My favourite lines that I've gotten so far. Some of these are even better since they're voiced. Now, I'm gonna go poke that man a few more times to see what else he has to say...

[hooksbooks]

Fanfic Writers Appreciation Day

This year I participated in @renegadeguild's Renegade Loves Fic (Writers) event for the first time, in which we celebrate Fanfic Writers Appreciation Day by binding two copies of a fanfic we love and sending one copy to the author.

I chose Florigenesis by @nientedal (and its sequel your roots send down to grow as an epilogue), which is a Megamind/Roxanne hanahaki story. Or, in the words of the author, "Less 'Hanahaki' and more 'mutually-requited pining with flowers thrown in for flavor.' " I loved the imagery of the flowers and had a lot of fun typesetting it with as many floral motifs as I could fit in it.

The flower Megamind ends up coughing up for Roxanne are dahlias, so I found some open-source images of dahlias sourced from books in the public domain to use as scene breaks and as a watermark behind the table of contents. Additionally, I used the font "Lime Blossom Caps" to use as a drop-cap at the beginning of each chapter. The text ended up being a bit more than 380 pages.

This is the first time I've done a book partially covered in paper instead of all in bookcloth. Before gluing the paper to the cover, I sealed it with homemade paste wax, which I think turned out really well. The book has a lovely feel to it--I'll definitely do some more partial-paper covered books in the future.

Also for the first time I sewed a headband on each book. It turned out fairly well. I used waxed linen thread as the core (the waxed thread that came with my bookbinding kit--its braided and so thick I can't imagine using it for sewing signatures).

Additionally, I got myself a chisel (and sharpening kit) to trim the edges, which turned out much better than expected. I still don't have something to hold the book horizontally while I trim so I'm still trimming vertically for now, but it turned out much better than trying to use a utility knife like I was before.

Technical Details:

Quarto size (quarter-letter, about A6)

Sewn-on made endpapers

Rounded but not backed

Sewn-on headbands (no tailbands)

Chisel-trimmed pages

Oxford hollow

The linen tapes are frayed and glued to the exterior of the boards

Sewn-on bookmark

Things I especially liked about this bind:

CHISEL TRIMMING! I knew it would up my game to have a chisel to trim pages with rather than just a utility knife, but WOW, it made SO MUCH difference! Once they were finished I kept petting the edges of the pages because they were just so soft and smooth and perfect.

I really like the sewn-in headbands. I'd probably use a bit thicker core next time, but they turned out well and I'm pleased with them.

I'm surprised how much I liked the paper-covered covers. I had planned on most of my books being full-bookcloth with this one as an exception, but with how much I like the look and feel of this book I will probably switch that around and do just quarter-bound with bookcloth unless I have a good reason to make an exception.

For the made endpapers, I glued just the edge of the endpaper to the white instead of the whole page. I quite like it--it's a lot more flexible this way and doesn't have a "noticeably glued-together" feel to it.

The wax paste turned out really well. It makes the cover feel very "finished" instead of just like scrapbook paper, which is what it actually is.

Things I'd like to improve for next time:

Because the text block is rounded but not backed, there's a little wrinkling of the endpaper glued to the board right at the hinge so it doesn't pull when the book is opened all the way. I'll have to experiment a bit more with this to figure out a good hinge for a rounded-not-backed book.

Although I love the flower cover, it's a little busy to have the title legible on the cover, so it's only on the spine. That's not a bad thing, but I'm not sure what I would do if I definitely did want a title/design on the cover itself.

I think honestly there's not very much to improve for next time. I'm very pleased with how this one came out--it's very nearly perfect.

[lesterwillington]

In Trousers (1979) would make a great movie

Ok, so for those that have never heard of In Trousers, it is a musical originally written in 1979 that acts as a precursor to the much more famous musical Falsettos (though technically Falsettos is two musicals in one and this whole thing is a trilogy but that doesn't really matter for this post). In Trousers is often criticized for being too confusing as it deliberately avoids a linear storyline and leaves many details unexplained or up for interpretation.

In theater, I can understand why people wouldn't like it. Most people only see a show once. So, if they don't "get it", they probably won't like it as much. In Trousers is a musical that begs to be looked at and experienced more than once. You know a medium that is more forgiving to "artsy" and "interpretive" story structure that you can also easily experience more than one time? MOVIES, BABY!

Sure, a lot of people probably still won't be huge fans of it, but I think it could be a genuinely great way of telling this story in a way where people can more easily digest everything. If you miss a detail, you can rewind. If you need a second to process a scene, you can pause. Of course, if you're in a theater then you don't have this luxury, but I don't think it's as big of an issue if you make it interesting enough on a first watch that people want to come back for more. They might not fully understand it, but they can feel the emotions in certain scenes, connect with parts of the characters, you know, that stuff. So, while I adore it in its stage form, I also think it could be just as effective and connect to a wider audience if it was in movie form. If it was successful, you could even make a sequel or two based on the other musicals in the trilogy. It would really just come down to if William Finn (the writer/composer of the trilogy) would approve of it/lend the rights (and also maybe if you can market it well cause I genuinely do not know how you would market this but it's probably fine, it'd be a fairly small movie anyway). Maybe one day it will come to fruition. Maybe it won't Just thought it was a neat idea. (also I frame this as a suggestion but I am actively writing a screenplay, mainly for fun rather than actually wanting to get it made)