#2022/2023 Writing Project

[faith-of-the-grim]

Faith of the Grim (Formerly; A Grim Awakening)

"Faith of the Grim" has been a stand-alone story idea that's been with me for over ten years, since 2012, but it took some time to take shape and form in my mind.

Krysis is a grim reaper. Her entire existence is spent collecting the souls of the recently departed, and herding them along to whichever afterlife they spent their lives believing in the most strongly.

The downside to meing a reaper is that she never gets to experiance the next life herself. She, and all other reapers, are eternal, and Krysis is bored of eternity.

That is until she goes to collect a soul, and discovers a human on the cusp of becoming a minor deity. A paramedic, his medical efforts combined with his budding powers snatches the soul Krysis is there to collect from her grasp, and brings his patient back from the edge of death.

Suddenly, eternity doesn't look quite as boring anymore.

Barring no unforseen circumstances, I hope to release "Faith of the Grim" around Autumn 2025.

[stand-alone-novels]

Anthologies

I think Anthology collections can be a great way to display a variety of writing styles, or short pieces that don't always have a complex wide-reaching plot that can span a book series, or even a single novel.

While I only have one Anthology planned right now, I can easily see the potential for additional future projects of this type, so I'll be collecting anything related to Anthologies and Short Stories and Flash Fiction on this side blog, including my occasional 15-minute writing exercises.

A Little Touch of Magic is planned to be a collection of 15 short stories, each one less that 3,000 words long. Each short story will show a brief moment in the life of the witch Lucille Corrobane as she learns about her magic, studies to control her powers, and discovers the secrets her family have been protecting for generations.

Blurb

Blurb Pending

[cthulhubert]

I posted 28,458 times in 2022

That's 2,097 more posts than 2021!

78 posts created (0%)

28,380 posts reblogged (100%)

Blogs I reblogged the most:

@argumate

@ernilthur

@sweetest-garlic

@bdigfreakingwooper

@preggo-my-eggo-meggo

I tagged 18,154 of my posts in 2022

Only 36% of my posts had no tags

#what can i queue - 13,722 posts

#words - 503 posts

#long post - 428 posts

#deja vu - 352 posts

#rationality - 240 posts

#endorsed - 213 posts

#frog - 206 posts

#goal body - 163 posts

#homestuck - 130 posts

#lemon text - 123 posts

Longest Tag: 140 characters

#a wizard appretice has such bad ocd he discovers a conspiracy to rule the world and has to get a princess and her pet gremlin to save his li

My Top Posts in 2022:

#5

The worst thing about Blasphemous is that they never added Achievements for any of the expansions (fyi: all included in the price of the game now).

Stir of Dawn added New Game+ with three choices of “Penitence” that make the game harder (you can only do one per run, and each gives you a unique bead on the next NG+), a series of five new bosses, and a gold sink donation box that gives you a bunch of bonuses, including a unique skin when you max it out.

Strife and Ruin added a Boss Rush mode, a series of five platforming challenges (that are part of a crossover with Bloodstained), and new prayers and beads.

And Wounds of Eventide added two new bosses that you have to beat to get a new Heart which adds a second phase to the second to last and final boss fights which gives you the True ending.

I’ve done all of these now because they were fun but I crave external validation of the matter!

12 notes - Posted May 6, 2022

#4

Bought a gallon capacity (four liters, actually) insulated water jug, mostly on a whim. It’s not bad but it doesn’t really offer much over my old stand by 40oz bottle beyond mild physical comedy. Every time I use it I legit feel like this:

12 notes - Posted June 23, 2022

#3

Blasphemous, a 2D retro styled action platformer is on sale for 75% off (6.24$) on Steam, on GoG, AND on Nintendo’s store for the Switch (those are all links). Steam’s, at least, ends April 4th.

There’s a sequel announced for 2023 and that’s an instant buy for me now.

I started out kind of lukewarm on this game but by the time I beat the first boss, I was kind of in love? The platforming stuff gave me some big old school Prince of Persia vibes (maybe it’s the instant death spikes); and the combat is fun. Some of those exploration/metroidvania elements. It’s “Souls-like”, though the difficulty isn’t really turned up to 11, it’s just got the whole “parrying, death means you need to go reclaim something, health flasks that refill, story is mostly in item descriptions or hidden away” kinda thing. I know it’s been done before but I really loved the whole “Evil(er) Fantasy Catholicism” aesthetic.

CW: Lots of blood and gore and some pixelated bits and bobs, if you dislike that. And obviously some, uh, look at the name.

16 notes - Posted April 1, 2022

#2

"#arknights #I honestly enjoy the bafflement everything I see about this game (it's a game right?) induces" - look, it's simple: you play as a mesothelioma charity that inexplicably keeps getting involved in catgirl civil wars

I am now enlightened.

18 notes - Posted May 16, 2022

My #1 post of 2022

Had another dream featuring tumblr mutuals and follows.

It was a fairly sprawling dream, and had something almost like an adventure narrative except it was really chill. Basically I went from place to place via various methods, accomplishing tasks. A lot of it blurred out of memory, but near the end I was at some kind of... distribution center? A giant blocky gray building full of offices and warehouses. I seem to recall it was a government service. I was definitely there with somebody else to pick up a large package. But I walked into one waiting room, possibly looking for water, and a bunch of trans and non-binary people from tumblr where there (I remember @beste-glatisant and @transgenderer, maybe @natalieironside?) and we shot the shit for a minute, and I mentioned how I’d run into TRAINS (I think but can’t be sure that this was something that actually happened in the dream, but I forgot except for the part where I referenced it later, during the same dream); which was... some kind of organization, except you always refer to its members/representatives as being the organization itself? The name is an acronym (and I think the T was for Trans). And all of you were excited and amazed and talked about how rare it is to run into them “organically”.

I was so caught up in pondering the implications, and the odd grammar, that I woke myself up.

42 notes - Posted February 11, 2022

Get your Tumblr 2022 Year in Review →

[fiercynn]

on ao3's current fundraiser

apparently it’s time for ao3’s biannual donation drive, which means it’s time for me to remind you all, that regardless of how much you love ao3, you shouldn’t donate to them because they HAVE TOO MUCH MONEY AND NO IDEA WHAT TO DO WITH IT.

we’ve known for years that ao3 – or, more specifically, the organization for transformative works (@transformativeworks on tumblr), or otw, who runs ao3 and other fandom projects – has a lot of money in their “reserves” that they had no plans for. but in 2023, @manogirl and i did some research on this, and now, after looking at their more recent financial statements, i’ve determined that at the beginning of 2024, they had almost $2.8 MILLION US DOLLARS IN SURPLUS.

our full post last year goes over the principles of how we determined this, even though the numbers are for 2023, but the key points still stand (with the updated numbers):

when we say “surplus”, we are not including money that they estimate they need to spend in 2024 for their regular expenses. just the extra that they have no plan for

yes, nonprofits do need to keep some money in reserves for emergencies; typically, nonprofits registered in the u.s. tend to keep enough to cover between six months and two years of their regular operating expenses (meaning, the rough amount they need each month to keep their services going). $2.8 million USD is enough to keep otw running for almost FIVE YEARS WITHOUT NEW DONATIONS

they always overshoot their fundraisers: as i’m posting this, they’ve already raised $104,751.62 USD from their current donation drive, which is over double what they’ve asked for! on day two of the fundraiser!!

no, we are not trying to claim they are embezzling this money or that it is a scam. we believe they are just super incompetent with their money. case in point: that surplus that they have? only earned them $146 USD in interest in 2022, because only about $10,000 USD of their money invested in an interest-bearing account. that’s the interest they earn off of MILLIONS. at the very least they should be using this extra money to generate new revenue – which would also help with their long-term financial security – but they can’t even do that

no, they do not need this money to use if they are sued. you can read more about this in the full post, but essentially, they get most of their legal services donated, and they have not, themselves, said this money is for that purpose

i'm not going to go through my process for determining the updated 2024 numbers because i want to get this post out quickly, and otw actually had not updated the sources i needed to get these numbers until the last couple days (seriously, i've been checking), but you can easily recreate the process that @manogirl and i outlined last year with these documents:

otw’s 2022 audited financial statement, to determine how much money they had at the end of 2022

otw’s 2024 budget spreadsheet, to determine their net income in 2023 and how much they transferred to and from reserves at the beginning of 2024

otw’s 2022 form 990 (also available on propublica), which is a tax document, and shows how much interest they earned in 2022 (search “interest” and you’ll find it in several places)  

also, otw has not been accountable to answering questions about their surplus. typically, they hold a public meeting with their finance committee every year in september or october so people can ask questions directly to their treasurer and other committee members; as you can imagine, after doing this deep dive last summer, i was looking forward to getting some answers at that meeting!

but they cancelled that meeting in 2023, and instead asked people to write to the finance committee through their contact us form online. fun fact: i wrote a one-line message to the finance committee on may 11, 2023 through that form, when @manogirl and i were doing this research, asking them for clarification on how much they have in their reserves. i have still not received a response.

so yeah. please spend your money on people who actually need it, like on mutual aid requests! anyone who wants to share their mutual aid requests, please do so in the replies and i’ll share them out – i didn’t want to link directly to individual requests without permission in case this leads to anyone getting harassed, but i would love to share your requests. to start with, here's operation olive branch and their ongoing spreadsheet sharing palestinian folks who need money to escape genocide.

oh, and if you want to write to otw and tell them why you are not donating, i'm not sure it’ll get any results, but it can’t hurt lol. here's their contact us form – just don’t expect a response! ¯\_(ツ)_/¯

[mostlysignssomeportents]

It all started with a mouse

For the public domain, time stopped in 1998, when the Sonny Bono Copyright Act froze copyright expirations for 20 years. In 2019, time started again, with a massive crop of works from 1923 returning to the public domain, free for all to use and adapt:

https://web.law.duke.edu/cspd/publicdomainday/2019/

No one is better at conveying the power of the public domain than Jennifer Jenkins and James Boyle, who run the Duke Center for the Study of the Public Domain. For years leading up to 2019, the pair published an annual roundup of what we would have gotten from the public domain in a universe where the 1998 Act never passed. Since 2019, they've switched to celebrating what we're actually getting each year. Last year's was a banger:

https://pluralistic.net/2022/12/20/free-for-2023/#oy-canada

But while there's been moderate excitement at the publicdomainification of "Yes, We Have No Bananas," AA Milne's "Now We Are Six," and Sherlock Holmes, the main event that everyone's anticipated arrives on January 1, 2024, when Mickey Mouse enters the public domain.

The first appearance of Mickey Mouse was in 1928's Steamboat Willie. Disney was critical to the lobbying efforts that extended copyright in 1976 and again in 1998, so much so that the 1998 Act is sometimes called the Mickey Mouse Protection Act. Disney and its allies were so effective at securing these regulatory gifts that many people doubted that this day would ever come. Surely Disney would secure another retrospective copyright term extension before Jan 1, 2024. I had long arguments with comrades about this – people like Project Gutenberg founder Michael S Hart (RIP) were fatalistically certain the public domain would never come back.

But they were wrong. The public outrage over copyright term extensions came too late to stave off the slow-motion arson of the 1976 and 1998 Acts, but it was sufficient to keep a third extension away from the USA. Canada wasn't so lucky: Justin Trudeau let Trump bully him into taking 20 years' worth of works out of Canada's public domain in the revised NAFTA agreement, making swathes of works by living Canadian authors illegal at the stroke of a pen, in a gift to the distant descendants of long-dead foreign authors.

Now, with Mickey's liberation bare days away, there's a mounting sense of excitement and unease. Will Mickey actually be free? The answer is a resounding YES! (albeit with a few caveats). In a prelude to this year's public domain roundup, Jennifer Jenkins has published a full and delightful guide to The Mouse and IP from Jan 1 on:

https://web.law.duke.edu/cspd/mickey/

Disney loves the public domain. Its best-loved works, from The Sorcerer's Apprentice to Sleeping Beauty, Pinnocchio to The Little Mermaid, are gorgeous, thoughtful, and lively reworkings of material from the public domain. Disney loves the public domain – we just wish it would share.

Disney loves copyright's other flexibilities, too, like fair use. Walt told the papers that he took his inspiration for Steamboat Willie from Charlie Chaplin and Douglas Fairbanks, making fair use of their performances to imbue Mickey with his mischief and derring do. Disney loves fair use – we just wish it would share.

Disney loves copyright's limitations. Steamboat Willie was inspired by Buster Keaton's silent film Steamboat Bill (titles aren't copyrightable). Disney loves copyright's limitations – we just wish it would share.

As Jenkins writes, Disney's relationship to copyright is wildly contradictory. It's the poster child for the public domain's power as a source of inspiration for worthy (and profitable) new works. It's also the chief villain in the impoverishment and near-extinction of the public domain. Truly, every pirate wants to be an admiral.

Disney's reliance on – and sabotage of – the public domain is ironic. Jenkins compares it to "an oil company relying on solar power to run its rigs." Come January 1, Disney will have to share.

Now, if you've heard anything about this, you've probably been told that Mickey isn't really entering the public domain. Between trademark claims and later copyrightable elements of Mickey's design, Mickey's status will be too complex to understand. That's totally wrong.

Jenkins illustrates the relationship between these three elements in (what else) a Mickey-shaped Venn diagram. Topline: you can use all the elements of Mickey that are present in Steamboat Willie, along with some elements that were added later, provided that you make it clear that your work isn't affiliated with Disney.

Let's unpack that. The copyrightable status of a character used to be vague and complex, but several high-profile cases have brought clarity to the question. The big one is Les Klinger's case against the Arthur Conan Doyle estate over Sherlock Holmes. That case established that when a character appears in both public domain and copyrighted works, the character is in the public domain, and you are "free to copy story elements from the public domain works":

https://freesherlock.files.wordpress.com/2013/12/klinger-order-on-motion-for-summary-judgment-c.pdf

This case was appealed all the way to the Supreme Court, who declined to hear it. It's settled law.

So, which parts of Mickey aren't going into the public domain? Elements that came later: white gloves, color. But that doesn't mean you can't add different gloves, or different colorways. The idea of a eyes with pupils is not copyrightable – only the specific eyes that Disney added.

Other later elements that don't qualify for copyright: a squeaky mouse voice, being adorable, doing jaunty dances, etc. These are all generic characteristics of cartoon mice, and they're free for you to use. Jenkins is more cautious on whether you can give your Mickey red shorts. She judges that "a single, bright, primary color for an article of clothing does not meet the copyrightability threshold" but without settled law, you might wanna change the colors.

But what about trademark? For years, Disney has included a clip from Steamboat Willie at the start of each of its films. Many observers characterized this as a bid to create a de facto perpetual copyright, by making Steamboat Willie inescapably associated with products from Disney, weaving an impassable web of trademark tripwires around it.

But trademark doesn't prevent you from using Steamboat Willie. It only prevents you from misleading consumers "into thinking your work is produced or sponsored by Disney." Trademarks don't expire so long as they're in use, but uses that don't create confusion are fair game under trademark.

Copyrights and trademarks can overlap. Mickey Mouse is a copyrighted character, but he's also an indicator that a product or service is associated with Disney. While Mickey's copyright expires in a couple weeks, his trademark doesn't. What happens to an out-of-copyright work that is still a trademark?

Luckily for us, this is also a thoroughly settled case. As in, this question was resolved in a unanimous 2000 Supreme Court ruling, Dastar v. Twentieth Century Fox. A live trademark does not extend an expired copyright. As the Supremes said:

[This would] create a species of mutant copyright law that limits the public’s federal right to copy and to use expired copyrights.

This elaborates on the Ninth Circuit's 1996 Maljack Prods v Goodtimes Home Video Corp:

[Trademark][ cannot be used to circumvent copyright law. If material covered by copyright law has passed into the public domain, it cannot then be protected by the Lanham Act without rendering the Copyright Act a nullity.

Despite what you might have heard, there is no ambiguity here. Copyrights can't be extended through trademark. Period. Unanimous Supreme Court Decision. Boom. End of story. Done.

But even so, there are trademark considerations in how you use Steamboat Willie after Jan 1, but these considerations are about protecting the public, not Disney shareholders. Your uses can't be misleading. People who buy or view your Steamboat Willie media or products have to be totally clear that your work comes from you, not Disney.

Avoiding confusion will be very hard for some uses, like plush toys, or short idents at the beginning of feature films. For most uses, though, a prominent disclaimer will suffice. The copyright page for my 2003 debut novel Down and Out in the Magic Kingdom contains this disclaimer:

This novel is a work of fiction, set in an imagined future. All the characters and events portrayed in this book, including the imagined future of the Magic Kingdom, are either fictitious or are used fictitiously. The Walt Disney Company has not authorized or endorsed this novel.

https://us.macmillan.com/books/9781250196385/downandoutinthemagickingdom

Here's the Ninth Circuit again:

When a public domain work is copied, along with its title, there is little likelihood of confusion when even the most minimal steps are taken to distinguish the publisher of the original from that of the copy. The public is receiving just what it believes it is receiving—the work with which the title has become associated. The public is not only unharmed, it is unconfused.

Trademark has many exceptions. The First Amendment protects your right to use trademarks in expressive ways, for example, to recreate famous paintings with Barbie dolls:

https://www.copyright.gov/fair-use/summaries/mattel-walkingmountain-9thcir2003.pdf

And then there's "nominative use": it's not a trademark violation to use a trademark to accurately describe a trademarked thing. "We fix iPhones" is not a trademark violation. Neither is 'Works with HP printers.' This goes double for "expressive" uses of trademarks in new works of art:

https://en.wikipedia.org/wiki/Rogers_v._Grimaldi

What about "dilution"? Trademark protects a small number of superbrands from uses that "impair the distinctiveness or harm the reputation of the famous mark, even when there is no consumer confusion." Jenkins says that the Mickey silhouette and the current Mickey character designs might be entitled to protection from dilution, but Steamboat Willie doesn't make the cut.

Jenkins closes with a celebration of the public domain's ability to inspire new works, like Disney's Three Musketeers, Disney's Christmas Carol, Disney's Beauty and the Beast, Disney's Around the World in 80 Days, Disney's Alice in Wonderland, Disney's Snow White, Disney's Hunchback of Notre Dame, Disney's Sleeping Beauty, Disney's Cinderella, Disney's Little Mermaid, Disney's Pinocchio, Disney's Huck Finn, Disney's Robin Hood, and Disney's Aladdin. These are some of the best-loved films of the past century, and made Disney a leading example of what talented, creative people can do with the public domain.

As of January 1, Disney will start to be an example of what talented, creative people give back to the public domain, joining Dickens, Dumas, Carroll, Verne, de Villeneuve, the Brothers Grimm, Twain, Hugo, Perrault and Collodi.

Public domain day is 17 days away. Creators of all kinds: start your engines!

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/2023/12/15/mouse-liberation-front/#free-mickey

Image: Doo Lee (modified) https://web.law.duke.edu/sites/default/files/images/centers/cspd/pdd2024/mickey/Steamboat-WIllie-Enters-Public-Domain.jpeg

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

[aioustudio9]

How to Do Research Project 8613 in AIOU

Research Project 8613 is a compulsory course for all students enrolled in the Bachelor of Education (B.Ed.) program at Allama Iqbal Open University (AIOU). The course is designed to help students develop the skills they need to conduct the research project. In this post, we will discuss the steps involved in doing Research Project 8613 in AIOU. We will also provide some tips on how to write a…

[shesnake]

Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’

Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.

Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.

While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.

As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.

"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."

"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."

[rebekah1213]

NaNoWriMo 2022 Updates

I had two, technically three projects I was working on in November. I gave myself a personal word count goal of 20,000 words for NaNoWriMo this year as I have been fighting brain fog and writer’s block. I achieved my 20,000 words by November 9th.. By November 25th, I got 56,877 words …yay!! I have to thank all those who set up word sprints. They helped me get the most words hand written in a…

[dlstmxkakwldrlarchive]

Partly for the prolific volume of projects artists release each year and partly for the fluid definition of an album (running anywhere from three to 13 tracks), an annual ranking of K-pop albums is never easy. As South Korea continues to extend its global musical influence, certain projects transcend hit-song compilations, presenting larger visions and conceptual narratives.

In 2023, stars like V, WOODZ and ONEW used their latest solo projects to share the music that inspires them at their core as artists and let listeners settle into sonic worlds they’ve developed.

[...]

First Place: Onew, Circle The First Album

While it’s somewhat criminal to think that 15 years after ONEW’s debut with SHINee in 2008 we only just received his first full Korean album, the singer-songwriter himself would say that now was the perfect time for Circle. A musical journey unlike anything released this year, ONEW shared that he had attempted to record the album’s title track before dropping his Dice EP in early 2022, but felt it wasn’t at the level of perfection it deserved and held onto the song. ONEW then involved himself in every aspect of Circle‘s production process, from meticulous mixing and mastering to tuning, beats, recording and mastering, attesting to the singer-songwriter’s dedication to artistic expression.

The single “O (Circle)” opens the album with an intriguing blend of electronica and strings, while its gospel-tinged chorus emphasizes lyrics about the circular nature of life and how memories, feelings and dreams are all fleeting. The 10 tracks on Circle develop unique transformations from start to finish: the breezy melodies in “Cough” are paired with loneliness-themed lyrics and a melancholy instrumental breakdown, while “Rain on Me” starts with aggressive acoustic guitar strumming before transitioning into an atmospheric, percussive ballad. Sweet surprises abound, too: ONEW scats on the jazz-rap hybrid “Caramel” and gives a glimpse into his indie-rock side on “Parachute.”

The album’s effortless flow is anchored by ONEW’s famously solid yet understated vocals. As Circle concludes with the tender piano ballad “Always” which addresses themes of loyalty and resilience, the listener wonders if it’s an allegory for ONEW’s public journey through health challenges, including vocal cord surgery. Even without any writing credits on Circle, ONEW’s presence is undeniably felt in this seamless collection that boasts an emotional depth brought on by 15 years in the game. That’s the kind of introspection you can’t rush or doctor through A&R but need to cycle through and arrive at when the moment is right. From scheduling this album’s release to the messages on the final track, time is definitely on ONEW’s side to deliver such a project. — J.B.

source

[angsthology]

THE KANGAROO(KIE) VS. THE WORLD

the misadventures of being the only female f1 driver through the eyes of the grid’s renowned snoopy-loving kangaroo

mostly thank u to @sebscore and @disneyprincemuke for the idea of fem!driver on the grid (i love both of them by them please check it out)

anyway! these are mostly from random spurts of thought i have along with memories of my toddler self who wanted to be race car driver! (did not in fact become one btw. im somehow becoming a law student instead). i also try to not use any y/n (which so far i have succeeded in, hopefully, hehe) and psa, she is often implied as a non-european. (well more on how i write her cause i write what i know)

also, apologies in advance, this is going to have a LOT of projecting <3

talk to meee!!1! (or maybe request just whatever)

tag << everything rvstw (asks, brainrots, & more!!)

ABOUT THE DRIVER

☆ introduction

a little intro into our driver and the likes of her (hcs)

☆ re-intro

idk car stuff and some designs

☆ more

just random stuff about her

☆ behind the driver

behind every little gremlin is a group of tired adults

ROOKIE ERA (2022)

☆ the origin story

the journey of when what and whys of our driver

☆ the kangaroo!

the story of how she got the nickname “roo”

☆ the gig

she’s... in a band?

☆ the presence

roo has been acting a little too quiet and when the drivers take notice of it they had to ask

☆ the figure

it started as an accident, ended with family

☆ the dye

who told him this was a good idea?

☆ the m problem

so... we need to talk about roo?

OH, WELL, THE MORE YOU KNOW! (2023)

☆ the rise

lets get the year started, yeah?

☆ the button (–2024)

it went from that to this

☆ the kid

she forgets things, it’s not her fault

NEW YEAR, NEW ME (2024)

☆ the shoot

welcome to 2024! who is this person...

☆ the streak

she is posessed by the demon (her real self)

☆ the girls

at times like these she really misses her girls

HOLIDAY HURRAHS (from summer break to winter breaks)

☆ secret santa

the process of how the 2023 secret santa went

☆ beach day

spending the day at the beach with a large group of f1 drivers may seem like a good idea until you remember some of them are literal children

☆ beach day the sequel

the consequences of your actions and some more actions

PADDOCK ENCOUNTERS (misc & shorts)

☆ chilli-pepper

☆ sold

☆ teenagers and baseball gears

☆ roo vs. the cameraman

BEST OF ROO (the compilations)

☆ radio

☆ incorrect

SOCIAL MEDIA POSTS

☆ after the gig

☆ what’s your roman empire?

☆ there’s another side that you don’t know

☆ into outer space

[aronarchy]

A copy of the first reading list, if you dislike clicking on Google docs links:

The liberal news media is working overtime to silence Palestinian voices. As we sit thousands of miles away, witnessing the massacre through social media, the least we can do is educate ourselves and work to educate others. Apartheid threatens all of us, and just to reiterate, anti-Zionism ≠ antisemitism.

Academic Works, Poetry and Memoirs

The Revolution of 1936-1939 in Palestine: Background, Details, and Analysis, Ghassan Kanafani (1972)

Palestinians: From Peasants to Revolutionaries, Rosemary Sayegh (1979)

Popular Resistance in Palestine: A History of Hope and Empowerment, Mazin Qumsiyeh (2011)

My Life in the PLO: The Inside Story of the Palestinian Struggle, Shafiq al-Hout and Jean Said Makdisi (2019)

My People Shall Live, Leila Khaled (1971)

Poetry of Resistance in Occupied Palestine, translated by Sulafa Hijjawi (Baghdad, Ministry of Culture and Guidance, 1968)

On Palestine by Ilan Pappé and Noam Chomsky (2015)

Gaza in Crisis: Reflections on the US-Israeli War Against the Palestinians, Noam Chomsky and Ilan Pappé (2013)

The Politics of Dispossession: The Struggle for Palestinian Self-Determination, 1969-1994, Edward W. Said (2012)

Queer Palestine and the Empire of Critique, Sa’ed Atshan (2020)

Stone Men: The Palestinians Who Built Israel, Andrew Ross (2019)

Ten Myths About Israel, Ilan Pappé (2017)

Blaming the Victims: Spurious Scholarship and the Palestinian Question, Christopher Eric Hitchens and Edward W. Said (2001)

Palestinian Walks: Notes on a Vanishing Landscape, Raja Shehadeh (2010)

The Gun and the Olive Branch: The Roots of Violence in the Middle East, David Hirst (1977)

Gaza: An Inquest into Its Martyrdom, Norman Finkelstein (2018)

Fateful Triangle: The United States, Israel and the Palestinians, Noam Chomsky (1983)

Israel and Palestine: Reappraisals, Revisions, Refutations, Avi Shlaim (2010)

Politicide: Ariel Sharon’s War Against the Palestinians, Baruch Kimmerling (2006)

The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering, Norman G. Finkelstein (2015)

Light in Gaza: Writings Born of Fire, Jehad Abusalim (2022)

Nakba: Palestine, 1948, and the Claims of Memory, Ahmad H. Sa’di and Lila Abu-Lughod (2007)

Peace and its discontents: Essays on Palestine in the Middle East peace process, Edward W. Said (2012)

Three Poems by Yahya Hassan

Articles, Papers & Essays

“Palestinian history doesn’t start with the Nakba” by PYM (May, 2023) 

“What the Uprising Means,” Salim Tamari (1988)

“The Palestinians’ inalienable right to resist,” Louis Allday (2021)

“Liberating a Palestinian Novel from Israeli Prison,” Danya Al-Saleh and Samar Al-Saleh (2023) 

Women, War, and Peace: Reflections from the Intifada, Nahla Abdo (2002)

“A Place Without a Door” and “Uncle Give me a Cigarette”—Two Essays by Palestinian Political Prisoner, Walid Daqqah (2023)

“Live Like a Porcupine, Fight Like a Flea,” A Translation of an Article by Basel Al-Araj

Films & Video Essays

Fedayin: Georges Abdallah’s Fight (2021)

Naila and the Uprising (2017)

Off Frame AKA Revolution Until Victory (2015)

Tell Your Tale Little Bird (1993)

The Time That Remains (2009)

“The Present” (short film) (2020)

“How Palestinians were expelled from their homes”

Louis Theroux: The Ultra Zionists (2011)

Born in Gaza (2014)

5 Broken Cameras (2011)

Little Palestine: Diary of a Siege (2021)

Al-Nakba: The Palestinian catastrophe - Episode 1 | Featured Documentary

Organisations to donate to

Palestine Red Crescent Society - https://www.palestinercs.org/en

Anera - https://support.anera.org/a/palestine-emergency

Palestinian American Medical Association - https://palestinian-ama.networkforgood.com/projects/206145-gaza-medical-supplies-oct-2023

You First Gaza - https://donate.gazayoufirst.org/

MAP - Medical Aid for Palestinians - https://www.map.org.uk/donate/donate

United Nations Relief and Works Agency - https://donate.unrwa.org/-landing-page/en_EN

Palestine Children’s Relief Fund - https://www.pcrf.net/   

Doctors Without Borders - https://www.doctorswithoutborders.org/what-we-do/where-we-work/palestine

AP Fact Check

https://apnews.com/article/israel-hamas-gaza-misinformation-fact-check-e58f9ab8696309305c3ea2bfb269258e

This list is not exhaustive in any way, and is a summary of various sources on the Internet. Please engage with more ethical, unbiased sources, including Decolonize Palestine and this list compiled by the Palestinian Youth Movement.

[faith-of-the-grim]

A Grim Awakening Moodboard. Featuring Spectre, the Spirit Hound. Krysis, the Grim Reaper, and a ghostly grey aesthetic.

[thefearandnow]

So with Oppenheimer coming out tomorrow, I feel a certain level of responsibility to share some important resources for people to understand more about the context of the Manhattan Project. Because for my family, it’s not just a piece of history but an ongoing struggle that’s colonized and irradiated generations of New Mexicans’ lives and altered our identity forever. Not only has the legacy of the Manhattan Project continued to harm and displace Indigenous and Hispanic people but it’s only getting bigger: Biden recently tasked the Los Alamos National Lab facility to create 30 more plutonium pits (the core of a nuclear warhead) by 2026. So this is a list of articles, podcasts and books to check out to hear the real stories of the local people living with this unique legacy that’s often overlooked. 

This is simply the latest mainstream interest in the Oppenheimer story and it always ALWAYS silences the trauma of the brown people the US government took advantage of to make their death star. I might see the movie, I honestly might not. I’m not trying to judge anyone for seeing what I’m sure will be an entertaining piece of art. I just want y’all to leave the theater knowing that this story goes beyond what’s on the screen and touches real people’s lives: people whose whole families died of multiple cancers from radiation from the Trinity test, people who’s ancestral lands were poisoned, people who never came back from their job because of deadly work conditions. This is our story too.

The first and best place to learn more about this history and how to support those still resisting is to follow Tewa Women United. They’ve assembled an incredible list of resources from the people who’ve been fighting this fight the longest.

https://tewawomenunited.org/2023/07/oppenheimer-and-the-other-side-of-the-story

The writer Alicia Inez Guzman is currently writing a series about the nuclear industrial complex in New Mexico, its history and cultural impacts being felt today.

https://searchlightnm.org/my-nuclear-family/

https://searchlightnm.org/the-abcs-of-a-nuclear-education/

https://searchlightnm.org/plutonium-by-degrees/

Danielle Prokop at Source NM is an excellent reporter (and friend) who has been covering activists fighting for Downwinder status from the federal government. They’re hoping that the success of Oppenheimer will bring new attention to their cause.

https://sourcenm.com/2023/07/19/anger-hope-for-nm-downwinders/

https://sourcenm.com/2022/01/27/new-mexico-downwinders-demand-recognition-justice/

One often ignored side of the Manhattan Project story that’s personal for me is that the government illegally seized the land that the lab facilities eventually were built on. Before 1942, it was homesteading land for ranchers for more than 30 families (my grandpa’s side of the family was one). But when the location was decided, the government evicted the residents, bought their land for peanuts and used their cattle for target practice. Descendants of the homesteaders later sued and eventually did get compensated for their treatment (though many say it was far below what they were owed)

https://www.hcn.org/issues/175/5654

Myrriah Gomez is an incredible scholar in this field, working as a historian, cultural anthropologist and activist using a framework of “nuclear colonialism” to foreground the Manhattan Project. Her book Nuclear Nuevo Mexico is an amazing collection of oral stories and archival record that positions New Mexico’s era of nuclear colonialism in the context of its Spanish and American eras of colonialism. A must read for anyone who’s made it this far.

https://uapress.arizona.edu/book/nuclear-nuevo-mexico

There isn’t a ton of podcasts about this (yet 👀) but recently the Washington Post’s podcast Field Trip did an episode about White Sands National Monument. The story is a beautifully written and sound designed piece that spotlights the Downwinder activists and also a discovery of Indigenous living in the Trinity test area going back thousands of years. I was blown away by it.

https://www.washingtonpost.com/podcasts/field-trip/white-sands-national-park/

[sgiandubh]

The door faces North

This has been, by far, one of the most complex investigations I have ever done in this fandom, and I am truly sorry for the long wait I had to inflict on many of you & for the uncharacteristic radio silence in DMs and comments. During this peculiar journey, I checked, double-checked and cross-checked as many details as I could and I carefully considered at least two different theories, of which I still think they do not exclude each other. I am now confident enough to make not only an educated guess, but also a daring bet on SRH's next whisky move.

Also, sorry for the length of this post. Truly sorry - think of the completely pulverized night sleep I had to give up, in order to bring this to you.

But first, a word on Marple's obvious PR tip on the Hopetoun Estate refurbishment and distillery old/new project. I am fair game enough to tell you the obvious: her overall recounting of the principals is roughly correct, spare perhaps one or two minor details. Correct, but dry - she limits herself to the technical documentation submitted by Golden Decanters and The Hopetoun Estates Trust to the West Lothian Council for approval. She correctly points out that S is not a visible part of the deal, at this point in time and she does a decent summing up of a very, very, VERY plethoric amount of bureaucratic information. She concludes, and I think she is partially right, that he might be interested in becoming an investor (I am taking things a bit further, though). But in doing so, she focuses on the development phase of the project only: the possible connections with SRH and his own spirits business are less, if at all, obvious.

I am going to give you my view of all this charade and, if I am going to mention (and probably repeat) some things already found by her, I am going to focus on the people: this is where the whole story starts to become remarkably interesting, at least to me. After all, I remember promising you some more clarity. Here's an honest, fair play take.

Little did I know, when I started to write about that (now defunct) company, Midhope Castle Distillery, Ltd (https://www.tumblr.com/sgiandubh/748597198794670080/the-info-provided-above-is-correct-but-outdated?source=share), that my investigation would turn to this:

... for it was to be just an almost random layer of a juggernaut matryoshka of defunct or still active companies, featuring roughly the same people and no less than 6 different name combinations centered around Midhope, Hopetoun, etc.

The following pics will give you an idea - feel free to open them in a separate tab, for clarity . I preferred this synthetic approach, because otherwise you will curse the shite out of me. But it had to be done, with or without Depon, Advil's Greek cousin (and before you ask a graphologist, this is my handwriting, and nobody else's 🙃):

The only explanation for the whole almost frantic Midhope/Hopetoun crisscross/hopscotch (LOL) combos I can think of is two people trying to secure one (several?) credit lines or to attract significant investors for their project and ultimately failing to do so. But I might be wrong (although I doubt that, thank you). Out of this entire maze ( I swear I now have a migraine), there are only two active companies remaining: Golden Decanters Ltd (renamed GD Spirits Ltd, in April 2022) and Midhope Ltd (renamed Skosk Ltd, in July 2023). It is on them I am going to focus my gaze.

GD Spirits Ltd was incorporated in Berwick-upon-Tweed, England (just across the Scottish border), probably for tax reasons, on March 11, 2015, the nature of its business being listed as 'wholesale of wine, beer, spirits, etc.'. It started with a team of two women: Julia Mackenzie-Gillanders and Ann Medlock, whose names we are going to see over and over again in all the eight corporate avatars. Later down the timeline (LOL for three decades and a half), on January 30, 2018, they were briefly (until July 19, 2018) joined by two very interesting professionals: Mrs. Margaret Boswell, an attorney at the very prestigious international law firm Gide Loyrette Nouel (Paris and London offices)...

...and Ken Robertson, former Corporate Affairs Director at Diageo Whisky, a subsidiary of the international Diageo group, one of the major players on the world spirits' market:

The second company, Skosk Ltd, was incorporated in August 2021, in Perth, Scotland, its nature of business being listed as 'distilling, rectifying and blending of spirits', with the clear intention to align with the exacting criteria prescribed by the 2009 Scotch Whisky Regulations:

[ Source: https://en.wikipedia.org/wiki/Scotch_whisky - sorry, I don't have time to wax lyrical on this, and neither do you]

This time, we only meet again the two distillerettes, Gillanders and Medwick. Up until now, at least, nobody else (attorney, former sales executive, whisky expert) has joined the platoon - TBC? I would not speculate and leave all options open.

There is little to 0 transparency on Skosk's financial situation, at the moment and to be honest, it looks very much like S's co-star (hehe)'s Irish business venture...

... but I was a bit more lucky, and the numbers more chatty, as far as GD Spirits was concerned:

Paging all shipper chartered accountants out there, but to me, it doesn't look great, at the moment. Cash is ridiculous, the net worth is hemorrhaging and the current assets are negligible, compared to 2020, when I think they managed to secure one or two credit lines, but not nearly enough for what they needed. Just enough to pay themselves and their external consultants and cover the operating costs, if you ask me.

The revised Planning Statement, of 8 February 2024, posted first by Marple, echoes my initial guess (COVID blew it up, see link to the first post) and the above assessment:

Mark this: 'Discussions are now proceeding with investors and there is a realistic prospect that work will begin in the near future (2024/2025) to implement the permission.' Given that they will start with the road and parking rehabilitation and upgrading, probably overlapping with the distillery building, it would make sense to begin this autumn at the earliest, with the most urgent: access to the site itself.

The initial Planning Statement, dated 9 July 2020 and re-posted on March 21st, 2024, tells a more detailed story. This is part and parcel of the current project as well, since the revision is just pointing out the changes operated, not the entire rest, which remains unchanged. You be the judge:

Also keep in mind this tiny, tiny thing: the Business Plan is 'submitted (...) under Private and Confidential Cover'. See where I am looking?

The initial plan was (and still is) for GD Spirits to produce their own booze, using Midhope's own barley (this is very important for the rest of my theory!). They even offer an overview of the real impact of their project on the local economy:

20 to 38 initial new job creations for a £ 15 to 30 million investment is not 'huge', madam Marple. Cumbernauld is huge. This? This is rather modest, if you ask me. But hey, what do I know about the labor market, right?

That initial Statement tells also the story they want to tell about the genesis of their idea, the scouting for the right location and a couple of other interesting details:

So they are telling us they started to look for the perfect location in 2018 and oh, hello, they found the Hopetoun Estate rather quickly, already starting the pre-planning application consultations as early as July 2019 (don't get me started, please):

If so, then why did they incorporate not one, but two different companies clearly linking them to the Estate (Hopetoun Estate Distillery Ltd and Hopetoun Estate Whiskies Ltd) the same day and as early as May 23rd 2017 (and both dissolved in December 2022), as my above penciled timeline (LOOOOOL) shows? Who is really behind this project and why this entire ballet? It's like me pre-emptively looking for rental properties in (let's randomly guess) Lisbon, when it's just wishful thinking, heavily projecting and with 0 guarantees I will be posted there, right? I mean, I adore and deeply know Lisbon and I would be thrilled to go there. But I am not currently looking for any rental property, just like that, because that would be a #silly, rookie mistake. In their case, I think there's a different situation - again, you be the judge.

A first answer, as to who is really behind that project, was given by the UK media, back in 2020:

How odd, when we know that both Mrs. Boswell, the well-traveled attorney and Mr. Robertson resigned from GD Spirits in July 2018. Do they still say hi to the two distillerettes? Do they quietly keep an eye on the project? Are they silent partners? Business angels? Shareholders? Time to remind you that under UK law, there is 0 visibility on the shareholder's structure of a company. You just see the officers (Director, Secretary, etc), on the Company House website. On an umpteenth, last- second cross-check, it became apparent that Mr. Robertson remained involved in another company of the distillerettes, Hopetoun Estate Whiskies Ltd (yes, the one mentioned above), until its voluntary strike-off, in December 2022.

Their best laid plans do mention OL, and how could it be otherwise? But all this £ 15 to 30 million hullaballoo for 20.000 people only (who counted them and how?), on a seasonal basis?

High-end restaurant, luxury B&B, event spaces, you name it. Interesting, to say the least.

And, for the people in the back, who still think SRH has a 100 years lease at Midhope (Jesus H. Roosevelt Christ, the stupidity!):

This is why he commented as a 'member of the public'. At face value, there is no public involvement into that project. Yet. But it is my belief there is a vested interest in all this, justifying the comment, the visit, those papers rolled in his fist, etc. At first, I thought that was a visit to Lallybroch by the Exec Producer of OL's Season 8, to discuss technicalities - and shared that privately with a wonderful friend only. I mean, why not and still perfectly possible. But then, as I could not sleep tonight and felt guilty to have you all waiting, I started to connect some tiny dots.

Like this one, for a start:

Yes, I know, Marple told you that FIRST, I would not dare say otherwise, because if I did there would be a transcontinental screech. That trademark application was filed at the US Patent and Trade Office in September 2023 and I thought (and still partially do) it was a potential rebranding solution to The Sassenach's EUIPO nightmare (much exaggerated by the fandom's toothbrush experts):

But you also know I am an idiot and I always check people's CVs, when I follow a thread. This morning, the one Distillerette I am particularly interested in is Mrs. Julia Hall-Mackenzie-Gillanders (née Scales) and not like *urv would be.

Her LinkedIn profile is exceptionally talkative, too:

... and a BA (with Honors) in Fashion Design, class of 2005, at the Northumbria University.

The Financial Times article 'From packing boxes to wine deals worth millions', you can read on her LinkedIn page, tells a very interesting story. It is the story of a shy underdog (lots of temple bells clinging, at the moment), who made it by sheer persistence. It starts like this:

'When a painfully shy young woman contacted a fine wine merchant and said ' I have no qualifications- can I help?', she got the job and today is signing deals worth millions of pounds.'

It obviously did ring a bell and if SRH knows she exists (she is married, *urv!), and I dare to speculate he does, it must have struck a deep chord. Would I do business with her? I wouldn't speculate, although I am not very sure. Would he? He'd probably listen very carefully to what she has to pitch, for a start.

And what she has to pitch is also very interesting, in his world. A brief look at the Golden Decanters' website shows a first high-end single malt sourced collection of 4 exceptional expressions already sold out:

And when they mean high-end, they mean gold leaf labelling and all the tralala:

And, some last minute news, too:

Remind me, because I am an old woman, after this white night: wasn't The Sassenach (no comment, we agree to disagree and I am very skeptical), a blend?

We have these dots, then:

Bold Underdog ->spirits business->high-end collection of single malts sold out->business partnership with owners of Midhope Castle, fictional Lallybroch in OL, including a distillery and whisky production with Midhope/Lallybroch barley -> visit by the male lead and spirits entrepreneur (also the fictional Lallybroch laird) to Midhope/Lallybroch and vested interest in the estate's most recent business project....

What if The Sassenach would be included, for a start, in that new Blended Collection? And could it really be fanfic to imagine a future high-end, limited edition, Lallybroch whisky produced at Midhope, with Midhope/Lallybroch barley? It wouldn't be the first time, would it: after all, they did it with that limited tequila batch.

As I said, because I am (remember Someone? LOL) a 'silly cow', I was hoping he wouldn't do it. But my guess is he might very well do exactly that, with those people and under that label.

It's half past eight AM, local time and I need a strong, black coffee.

I rest my case (and I am bracing myself for the screeching). I will answer Anons later, after I come back from the hairdresser's. Appointments must be kept at all costs. Thank you all for your patience.

[eyecantread]

In case James Somerton tries to release a second manipulative apology video, here's some stuff I haven't seen shared on Tumblr. In the initial wake of HBomberguy's video release on December 3, Somerton made the following post to Patreon that was quickly deleted:

Here he dismisses Plagiarism and You(tube) as "not bringing up anything new since the last time he was accused of plagiarism" and tries to pull the same victim card as before when he complained that a "big creator was unfairly targeting him." This is a rehash of previous controversies and criticisms he's received such as when he went after Nebula for "not wanting to platform him because he's queer (lol wut)" in 2022 and lashing out at Dan Olson on Twitter when Dan called him out for the Patreon shit in April 2023 (James begged his viewers to support him on Patreon because he claimed to be in dire financial straights and then bought a $5k+ camera). The man is very versed in DARVO.

The Ace Couple, a pair of Asexual podcasters (who you should totally listen to btw) detailed the Nebula debacle in a recent episode, as well as their own interaction with Somerton as financial backers of his film project who disagreed with the content of one of his videos. The issue? Aside from the shenanigans with Telos, the Indiegogo film studio the Ace Couple backed, Somerton had said in a video that asexual people don't get sent to conversion therapy, which is categorically not true. Naturally, he resorted to his tried and true tactic of accusing the Ace Couple of attacking him.

He then released a second statement later in the evening of the release of Hbomberguy's video:

All of this on top of him subtly throwing his cowriter under the bus for it in his apology video! Statements like, "I'm not trying to throw Nick under the bus" don't work when you also say things like, "things that weren't true I didn't write or believe made it into the videos!" What other conclusion are viewers supposed to make about shit like 'American soldiers lusting after Nazi bodies' and the snarking misogyny that can't be traced back to a source other than Nick wrote it? Somerton is using Nick as a fall guy and trying to gaslight everyone into thinking he's not and it's transparent and pathetic.

The man absolutely does not deserve another chance and any claims he makes that he is seeking money to reimburse the queer creators he erased by plagiarizing their work should not be trusted. The guy has zero credibility, don't give him the benefit of the doubt.

[mostlysignssomeportents]

Kickstarting the audiobook of The Lost Cause, my novel of environmental hope

Tonight (October 2), I'm in Boise to host an event with VE Schwab. On October 7–8, I'm in Milan to keynote Wired Nextfest.

The Lost Cause is my next novel. It's about the climate emergency. It's hopeful. Library Journal called it "a message hope in a near-future that looks increasingly bleak." As with every other one of my books Amazon refuses to sell the audiobook, so I made my own, and I'm pre-selling it on Kickstarter:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

That's a lot to unpack, I know. So many questions! Including this one: "How is it that I have another book out in 2023?" Because this is my third book this year. Short answer: I write when I'm anxious, so I came out of lockdown with nine books. Nine!

Hope and writing are closely related activities. Hope (the belief that you can make things better) is nothing so cheap and fatalistic as optimism (the belief that things will improve no matter what you do). The Lost Cause is full of people who are full of hope.

The action begins a full generation after the Hail Mary passage of the Green New Deal, and the people who grew up fighting the climate emergency (rather than sitting hopelessly by while the powers that be insisted that nothing could or should be done) have a name for themselves: they call themselves "the first generation in a century that doesn't fear the future."

I fear the future. Unchecked corporate power has us barreling over a cliff's edge and all the one-percent has to say is, "Well, it's too late to swerve now, what if the bus rolls and someone breaks a leg? Don't worry, we'll just keep speeding up and leap the gorge":

https://locusmag.com/2022/07/cory-doctorow-the-swerve/

That unchecked corporate power has no better avatar than Amazon, one of the tech monopolies that has converted the old, good internet into "five giant websites, each filled with screenshots of the other four":

https://twitter.com/tveastman/status/1069674780826071040

Amazon maintains a near-total grip over print and ebooks, but when it comes to audiobooks, that control is total. The company's Audible division has captured more than 90% of the market, and it abuses that dominance to cram Digital Rights Management onto every book it sells, even if the author doesn't want it:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

I wrote a whole-ass book about this and it came out less than a month ago; it's called The Internet Con and it lays out an audacious plan to halt the internet's enshittification and throw it into reverse:

http://www.seizethemeansofcomputation.org/

The tldr is this: when an audiobook is wrapped in Amazon's DRM, only Amazon can legally remove it. That means that every book I sell you on Audible is a book you have to throw away if you ever break up with Amazon, and Amazon can use the fact that it's hold you hostage to screw me – and every other author – over.

As I said last time this came up:

Fuck that sideways.

With a brick.

My books are sold without DRM, so you can play them in any app and do anything copyright permits, and that means Amazon won't carry them, and that means my publishers don't want to pay to produce them, and that means I produce them myself, and then I make the (significant) costs back by selling them on Kickstarter.

And you know what? It works. Readers don't want DRM. I mean, duh. No one woke up this morning and said, "Dammit, why won't someone sell me a product that lets me do less with my books?" I sell boatloads" of books through these crowdfunding campaigns. I sold so many copies of my last book, *The Internet Con, that they sold out the initial print run in two weeks (don't worry, they held back stock for my upcoming events).

But beyond that, I think there's another reason my readers keep coming back, even though I wrote a genuinely stupid number of books while working through lockdown anxiety while the wildfires raged and ashes sifted down out of the sky and settled on my laptop as I lay in my backyard hammock, pounding my keyboard.

(I went through two keyboards during lockdown. Thankfully, I bought a user-serviceable laptop from Framework and fixed it myself both times, in a matter of minutes. No, no one pays me to mention this, but hot damn is it cool.)

https://pluralistic.net/2022/11/13/graceful-failure/#frame

The reason readers come back to my books is that they're full of hope. In the same way that writing lets me feel like I'm not a passenger in life, but rather, someone with a say in my destination, the books that I write are full of practical ways and dramatic scenes in which other people seize the means of computation, the reins of power or their own destinies.

The protagonist of The Lost Cause is Brooks Palazzo, a high-school senior in Burbank whose parents were part of the original cohort of volunteers who kicked off the global transformation, and left him an orphan when they succumbed to one of the zoonotic plagues that arise every time another habitat is destroyed.

Brooks grew up knowing what his life would be: the work of repair and care, which millions of young people are doing. Relocating entire cities off endangered coastlines and floodplains, or out of fire-zones. Fighting floods and fires. Caring for tens of millions of refugees for whom the change came too late.

But with every revolution comes a counter-revolution. The losers of a just war don't dig holes, climb inside and pull the dirt down on top of themselves. Two groups of reactionaries – seagoing anarcho-capitalist billionaire wreckers and seething white nationalist militias – have formed an alliance.

They've already gotten their champion into the White House. Next up: dismantling every cause for hope Brooks and his friends have, and bringing back the fear.

That's the setup for a novel about solidarity, care, library socialism, and snatching victory from defeat's jaws. Writing it help keep me sane during the lockdown, and when it came time to record the audiobook, I spent a lot of time thinking about who could read it. I've had some great narrators: Wil Wheaton, @neil-gaiman, Amber Benson, Bronson Pinchot, and more.

I record my audiobooks with Skyboat Media, a brilliant studio near my place in LA. Back in August, I spent a week in their recording booth – "The Tardis" – doing something I'd never tried before: I recorded a whole audiobook, with directorial supervision: The Internet Con:

https://transactions.sendowl.com/products/78992826/DEA0CE12/purchase

When it was done, the director – audiobook legend Gabrielle de Cuir – sat me down and said, "Look, I've never said this to an author before, but I think you should read The Lost Cause. I don't direct anyone anymore except for Wil Wheaton and LeVar Burton, but I would direct you on this one."

I was immensely flattered – and very nervous. Reading The Internet Con was one thing – the book is built around the speeches I've been giving for 20 years and I knew I could sell those lines – but The Lost Cause is a novel, with a whole cast of characters. Could I do it?

Reader, I did it. I just listened to the proofs last week and:

It.

Came.

Out.

Great.

The Lost Cause goes on sale on November 14th, and I'll be selling this audiobook I made everywhere audiobooks are sold – except for the stores that require DRM, nonconsensually shackling readers and writers to their platforms. So you'll be able to get it on Libro.fm, downpour.com, even Google Play – but not Audible, Apple Books, or Audiobooks.com.

But in addition to those worthy retailers, I will be sending out thousands – and thousands! – of audiobook to my Kickstarter backers on the on-sale date, either as a folder of DRM-free MP3s, or as a download code for Libro.fm, to make things easy for people who don't want to have to figure out how to sideload an audiobook into a standalone app.

And, of course, the mobile duopoly have made this kind of sideloading exponentially harder over the past decade, though far be it from me to connect this with their policy of charging 30% commissions on everything sold through an app, a commission they don't receive if you get your files on the web and load 'em yourself:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

As with my previous Kickstarters, I'm also selling ebooks and hardcovers – signed or unsigned, and this time I've found a great partner to fulfill EU orders from within the EU, so backers won't have to pay VAT and customs charges. The wonderful Otherland – who have hosted me on my last two trips to Berlin – are going to manage that shipping for me:

https://www.otherland-berlin.de/en/home.html

Kim Stanley Robinson read the book and said, "Along with the rush of adrenaline I felt a solid surge of hope. May it go like this." That's just about the perfect quote, because the book is a ride. It's not just a kumbaya tale of a better world that is possible: it's a post-cyberpunk novel of high-tech guerrilla and meme warfare, climate tech and bad climate tech, wildcat prefab urban infill, and far-right militamen who adapt to a ban on assault-rifles by switching to super-soakers full of hydrochloric acid.

It's a book about struggle, hope in the darkness, and a way through this rotten moment. It's a book that dares to imagine that things might get worse but also better. This is a curious emotional melange, but it's one that I'm increasingly feeling these days.

Like, Amazon, that giant bully, whose blockade on DRM-free audiobooks cost me enough money to pay off my mortgage and put my kid through university (according to my agent)? The incredible Lina Khan brought a long-overdue antitrust case against Amazon while her rockstar DoJ counterpart, Jonathan Kanter, is dragging Google through the courts.

The EU is taking on Apple, and French cops are kicking down Nvidia's doors and grabbing their files, looking to build another antitrust case for monopolizing GPUs. The writers won their strike and Joe Biden walked the picket-line with the UAW, the first president in history to join striking workers:

https://doctorow.medium.com/joe-biden-is-headed-to-a-uaw-picket-line-in-detroit-f80bd0b372ab?sk=f3abdfd3f26d2f615ad9d2f1839bcc07

Solar is now our cheapest energy source, which is wild, because if we could only capture 0.4% of the solar energy that makes it through the atmosphere, we could give everyone alive the same energy budget as Canadians (who have American lifestyles but higher heating bills). As Deb Chachra writes in her forthcoming How Infrastructure Works (my review pending): we get a fresh supply of energy every time the sun rises and we only get new materials when a comet survives atmospheric entry, but we treat energy as scarce and throw away our materials after a single use:

https://www.penguinrandomhouse.com/books/612711/how-infrastructure-works-by-deb-chachra/

Anything that can't go on forever will eventually stop. We have shot past many of our planetary boundaries and there are waves of climate crises in our future, but they don't have to be climate disasters. That's up to us – it'll depend on whether we come together to save ourselves and each other, or tear ourselves apart.

The Lost Cause dares to imagine what it might be like if we do the former. We don't live in a post-enshittification world yet, but we could. With these indie audiobooks, I've found a way to treat the terminal enshittification of the Amazon monopoly as damage and route around it. I hope you'll back the Kickstarter, fight enshittification, inject some hope into your reading, and enjoy a kickass adventure novel in the process:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

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/2023/10/02/the-lost-cause/#the-first-generation-that-doesnt-fear-the-future