#Narrative crafting

[ink-the-artist]

Love the contrast between the Americans’ “Apollo” and the Soviets’ “Sputnik.” You got the Americans naming their rocket after a Greek god trying to communicate the grandness and importance of this rocket. And you got the Soviets naming their rocket “fellow traveler.” Like a friend you go on an  adventure with together. This rocket is our little friend lol 

[ampleappleamble]

haven't seen this on here yet so:

in case you don't want to slog through the shitscape that is the bird/letter website, take a peek beneath the cut (shamelessly copied from the something awful forums dungeon meshi thread)

- Her first memory of video games was watching her father playing Wizardry on Famicom, also Dragon Quest, Ultima, and Fire Emblem among others.

- She was a difficult child so her parents didn't let her play. Wizardry is a boring game to watch, but the monster illustrations on the walkthrough evoked her imagination and made her keep watching.

- She only started becoming a serious gamer after the serialization of Dungeon Meshi was locked, for research purposes. Before that, she read fantasy novels such as The Neverending Story (Michael Ende) and The Lord of the Rings (JRR Tolkien).

- The international title for Dungeon Meshi: Delicious in Dungeons was decided by her editor.

- D&D popped up a lot when she researched the history of video games, so she read the rule books, replay novels, and games inspired by D&D.

- One of the first games she studied was the Legend of Grimrock (game's 80% off on Steam atm). Originally, she wanted Dungeon Master (FTL Games) which was famous for "RPG with meals" but hunting down the game and machine was too much.

- She didn't like games other than turn-based RPGs at first, but she decided to stop being picky and play anything that piqued her interest.

- She played Zelda: BotW and TotK on a borrowed Switch from her editor due to the console's scarcity at the time.

- She enjoyed Red Dead Redemption 2 and God of War for their stories. RDR2's incredible attention to detail had Kui engrossed so much that she asked her editor and other mangaka to play it so she could discuss it with them.

- Kui praised The Witcher 3 localization as something only possible with full support from the developer. Cyberpunk 2077 is one of her all-time favorites.

- Papers, Please was her first taste of indie games.

- Disco Elysium is the perfect game for her due to the lack of fighting, intriguing story, charming character interaction, and top-down perspective. She tried playing it in English at first due to an unlikely chance for JP loc, but it was out of her ability. Thus she is forever grateful to Spike Chunsoft for localizing it.

- Kui played Baldur's Gate 3 from the time it was in Early Access. Again, she's grateful for Spike Chunsoft's JP loc. She hoped BG3's success would bring the possibility of JP loc for other titles too, such as Pathfinder: wotr

- She likes games with top-down perspective because they have narration text for monologues and scenery description. Even if the graphic is lacking, the texts show the atmosphere and each character's behavior and psyche. Also, characters that react to your choices.

- She praised Unpacking and House Flipper for being able to tell what kind of person lives there only through their belongings, and that there's no right or wrong for the placements; she would make the best arrangement and then enjoy her hard work while sipping tea.

- The biggest inspiration for Dungeon Meshi was the Cosmic Forge pen from Wizardry VI. With improved graphics from its predecessor, now it could show broken farming tools in the background and many more details that made exploration so much fun.

- At the time of the interview (Dec '23) she still hadn't watched DunMeshi anime, but she attended the recording sessions. She's embarrassed that the dialog she wrote now acted passionately by professionals. Marcille's screaming was wonderful but also made her want to flee.

- Kui was anxious about the CP2077 anime adaptation, but she was relieved it was the Night City she knows and loves.

- Other than minor adjustments, she left it to TRIGGER as to how to adapt

- She's happy that Mitsuda Yasunori was chosen as the anime composer, as she used to play Chrono Cross and rewatched the opening many times.

- Her anticipated games in 2024 are Cloudpunk, Nivalis, and Avowed.

- DunMeshi would be hard to adapt into a game because in the first place, what Kui depicted in the manga are parts that are omitted in games for the sake of brevity.

- If DunMeshi game was Wizardry-like, it'd be told through Laios' perspective and eating was essential not to die

[deancasforcutie]

The way Dean’s queer joy and revelation at others just being outside the stereotypical control images is also ours

Honorable mention:

[momochanners]

Yes, YES; This one gets it.

[lavenderhayes12]

me when fated soulmates

[mostlysignssomeportents]

Against Lore

For the rest of May, my bestselling solarpunk utopian novel THE LOST CAUSE (2023) is available as a $2.99, DRM-free ebook!

One of my favorite nuggets of writing advice comes from James D Macdonald. Jim, a Navy vet with an encylopedic knowledge of gun lore, explained to a group of non-gun people how to write guns without getting derided by other gun people: "just add the word 'modified.'"

As in, "Her modified AR-15 kicked against her shoulder as she squeezed the trigger, but she held it steady on the car door, watching it disintegrate in a spatter of bullet-holes."

Jim's big idea was that gun people couldn't help but chew away at the verisimilitude of your fictional guns, their brains would automatically latch onto them and try to find the errors. But the word "modified" hijacked that impulse and turned it to the writer's advantage: a gun person's imagination gnaws at that word "modified," spinning up the cleverest possible explanation for how the gun in question could behave as depicted.

In other words, the gun person's impulse to one-up the writer by demonstrating their superior knowledge becomes an impulse to impart that superior knowledge to the writer. "Modified" puts the expert and the bullshitter on the same team, and conscripts the expert into fleshing out the bullshitter's lies.

Yes, writing is lying. Storytelling is genuinely weird. A storyteller who has successfully captured the audience has done so by convincing their hindbrains to care about the tribulations of imaginary people. These are people whose suffering, by definition, do not matter. Imaginary things didn't happen, so they can't matter. The deaths of Romeo and Juliet were less tragic than the death of the yogurt you had for breakfast. That yogurt was alive and now it's dead, whereas R&J never lived, never died, and don't matter:

https://locusmag.com/2014/11/cory-doctorow-stories-are-a-fuggly-hack/

Hijacking a stranger's empathic response is intrinsically adversarial. While storytelling is a benign activity, its underlying mechanic is extremely dangerous. Getting us to care about things that don't matter is how novels and movies work, but it's also how cults and cons work.

Cult leaders and con-artists know that they're engaged in mind-to-mind combat, and they make liberal use of Jim's hack of leaving blank spots for the mark to fill in. Think of Qanon drops: the mystical nonsense was just close enough to sensical that a vulnerable audience was compelled to try and untangle them, and ended up imparting more meaning to them than the hustler who posted them ever could have dreamt up.

Same with cons – there's a great scene in the Leverage: Redemption heist show where an experienced con-artist explains to a novice that the most convincing hustle is the one where you wait for the mark to tell you what they think you're doing, then run with it (scambaiters and other skeptics will recognize this as a relative of the "cold reading," where a "psychic" uses your own confirmations to flesh out their predictions).

As Douglas Adams put it:

A towel has immense psychological value. For some reason, if a strag (strag: non-hitch hiker) discovers that a hitch hiker has his towel with him, he will automatically assume that he is also in possession of a toothbrush, face flannel, soap, tin of biscuits, flask, compass, map, ball of string, gnat spray, wet weather gear, space suit etc., etc. Furthermore, the strag will then happily lend the hitch hiker any of these or a dozen other items that the hitch hiker might accidentally have "lost". What the strag will think is that any man who can hitch the length and breadth of the galaxy, rough it, slum it, struggle against terrible odds, win through, and still knows where his towel is is clearly a man to be reckoned with.

Magicians know this one, too. The point of a sleight is to misdirect the audience's attention, and use that moment of misattention to trick them, vanishing, stashing or producing something. The mark's mind is caught in a pleasurable agony: something seemingly impossible just happened. The mind splits into two parts, one of which insists that the impossible just happened, the other insisting that the impossible can't happen.

You know you've done it right if the audience says, "Do that again!" And that's the one thing you must not do. So long as you don't repeat the trick, the audience's imagination will chew on it endlessly, coming up with incredibly clever things that you must have done (a clever conjurer will know several ways to produce the same effect and will "do it again" by reproducing the effect via different means, which exponentially increases the audience's automatic imputation of clever methods to the performer).

Not for nothing, Jim Macdonald advises his writing students to study Magic and Showmanship, a classic text for aspiring conjurers:

https://memex.craphound.com/2007/11/13/magic-and-showmanship-classic-book-about-conjuring-has-many-lessons-for-writers/

There's a version of this in comedy, too. The scholarship of humor is clear on this: comedy comes from surprise. The audience knows they're about to be surprised when the punchline lands, and their mind is furiously trying to defuse the comedian's bomb before it detonates, cycling through potential punchlines of their own. This ramps up the suspense and the tension, so when the comedian does drop the punchline, the tension is released in a whoosh of laughter.

Your mind wants the tension to be resolved ASAP, but the pleasure comes from having that desire thwarted. Comedy – like most performance – has an element of authoritarianism. You don't give the audience what it wants, you give it what it needs.

Same goes for TTRPGs: the game master's role is to deny the players the victories and treasure they want, until they can't take it anymore, and then deliver it. That's the definition of an epic game. It's one of the durable advantages of human GMs over video game back-ends: they can ramp up the epicness by "cheating" on the play, giving the players the chance to squeak out improbable victories at the last possible second:

https://wilwheaton.typepad.com/wwdnbackup/2009/03/behind-the-screen.html

This is so effective that even crude approximations of it can turn video-games into cult hits – like Left4Dead, whose "Director" back-end would notice when the players were about to get destroyed and then substantially ramped up the chances of finding an amazing weapon – the chance would still be low overall, but there would be enough moments when the player got exactly what they'd been praying for, at the last possible instant, that it would feel amazing:

https://left4dead.fandom.com/wiki/The_Director#Special_Infected

Critically, Left4Dead's Director didn't do this every time. As any showman knows, the key to a great performance is "Always leave 'em wanting more." The musician's successful finale depends on doing every encore the audience demands, except the last one, so the crowd leaves with one tantalyzing and imaginary song playing in their minds, a performance better than any the musicians themselves could have delivered. Like the gun person who comes up with a cooler mod than the writer ever could, like the magic show attendee who comes up with a more elaborate explanation for the sleight than the conjurer could ever pull off, like the comedy club attendee whose imagination anticipates a surprise that grows larger the longer the joke goes on, the successful performance is an adversarial act of cooperation where the audience willingly and unwillingly cooperates with the performer to deny them the thing that they think they need, and deliver the thing they actually need.

This is my biggest problem with the notion that someday LLMs will get good enough at storytelling to give us the tales we demand, without having to suffer through a storyteller's sadistic denial of the resolutions we crave. When I'm reading a mystery, I want to turn to the last page and find out whodunnit, but I know that doing so will ruin the story. Telling the storyteller how the story should go is like trying to tickle yourself.

Like being tickled, experiencing only fun if the tickler respects your boundaries – but, like being tickled, there's always a part where you're squirming away, but you don't want it to stop. An AI storyteller that gives you exactly what you want is like a dungeon master who declares that every sword-swing kills the monster, and every treasure chest is full of epic items and platinum pieces. Yes, that's what you want, but if you get it, what's the point?

Seen in this light, performance is a kind of sado-masochism, where the performer delights in denying something to the audience, who, in turn, delights in the denial. Don't give the audience what they want, give them what they need.

What your audience needs is their own imagination. Decades ago, I was a freelance copywriter producing sales materials for Alias/Wavefront, a then-leading CGI firm that was inventing all kinds of never-seen VFX that would blow people away. One of the engineers I worked with told me something I never forgot: "Your imagination has more polygons than anything you can create with our software." He was talking about why it was critical to have some of the action happen in the shadows.

All of this is why series tend to go downhill. The first volume in any series leaves so much to the imagination. The map of the world is barely fleshed out, the characters' biographies are full of blank spots, the mechanics of the artifacts and the politics of the land are all just detailed enough that your mind automatically ascribes a level of detail to them, without knowing what that detail is.

This is the moment at which everything seems very clever, because your mind is just churning with all the different bits of elaborate lore that will fill in those lacunae and make them all fit together.

SPOILER ALERT: I'm about to give some spoilers for Furiosa.

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FURIOSA SPOILERS AHEAD!

Last night, we went to see Furiosa, the latest Mad Max movie, a prequel to 2015's Fury Road, which is one of the greatest movies ever made. Like most prequels, Furiosa functions as a lore-delivery vehicle, and as such, it's nowhere near as good as Fury Road.

Fury Road hints as so much worldbuilding. We learn about the three fortresses of the wasteland (the Citadel, the Bullet Farm, and Gastown) but we only see one (The Citadel). We learn that these three cities have a symbiotic relationship with one another, defined by a complex politics that is just barely stable. We meet Furiosa herself, and learn something of her biography – that she had been stolen from the Green Place, that she had suffered an arm amputation.

All of this is left for us to fill in, and for a decade, my hindbrain has been chewing on all of that, coming up with cool ways it could all fit together. I yearned to know the "real" explanation, but it was always unlikely that this real explanation would be as enjoyable as my own partial, ever-unfinished headcanon.

Furiosa is a great movie, but its worst parts are the canonical lore it settles. Partly, that's because some of that lore is just stupid. Why is the Bullet Farm an open-pit mine? I mean, it's visually amazing, but what does that have to do with making bullets? Sometimes, it's because the lore is banal – the solarpunk Green Place is a million times less cool than I had imagined it. Sometimes, it's because the lore is banal and stupid: the scenes where Furiosa's arm is crushed, then severed, then replaced, are both rushed and quasi-miraculous:

https://www.themarysue.com/how-does-furiosa-lose-her-arm/

But even if the lore had been good – not stupid, not banal – the best they could have hoped for was for the lore to be tidy. If it were surprising, it would seem contrived. A story whose loose ends have been tidily snipped away seems like it would be immensely satisfying, but it's not satisfying – it's just resolved. Like the band performing every encore you demand, until you no longer want to hear the band anymore – the feeling as you leave the hall isn't satisfaction, it's exhaustion.

So long as some key question remains unresolved, you're still wanting more. So long as the map has blank spots, your hindbrain will impute clever and exciting mysteries, tantalyzingly teetering on the edge of explicability, to the story.

Lore is always better as something to anticipate than it is to receive. The fans demand lore, but it should be doled out sparingly. Always leave 'em wanting more.

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/2024/05/27/cmon-do-it-again/#better_to_remain_silent_and_be_thought_a_fool_than_to_speak_and_remove_all_doubt

[4mulaone]

so fascinating how different team dynamics played out via radio disagreements. alpine embarrassed over their recent events tried to forcefully take control and scold esteban into compliance but only served to make him finally snap and tell them to fuck off. the broken trust from terrible miscommunication and fucks ups resulting in charles literally begging for something he cant have whilst ferrari just let it wash over them. meanwhile red bull timidly but persistently ask max to give back a position get deadass ignored then told to never ask that again . f1 has so many rotten layers and im feasting on the innards of this bitch

[l-just-want-to-see]

SAPNAP: I genuinely respect you. May the best man win.

SHADOUNE: I’m glad you’re here at the final with me.

-

SHADOUNE: Sapnap! We fought, together-

SAPNAP: -we die together!

[oneblckcoffee]

and here we thought netflix lost their main character but in fact they got the most fucked up insane storyline of all time i hope the producers are popping bottles you really couldn’t write this

[lazycranberrydoodles]

COME ON GUYS DON'T LET DIANXIA DOWN

[taylortruther]

the manuscript and the act of creation, how there’s only so much control on the page: you said it was a great love, one for the ages and you know the greatest films of all time were never made and all of my heroes die all alone, this is why they shouldn't kill off the main guy and i was just thinking how we don’t have a song and i am an architect, your illusionist, i’m drawing up the plans and with every guitar string scar on my hand, the girl in the dress wrote you a song and please tell them my name and if the story’s over, why am i still writing pages?

[averlym]

litany of the martyrs (click for better resolution!)

[bookmovietvworm]

Happy to say I called the Benvi endgame all the way back at the s1 finale and never had a doubt about their endgame status. The narrative was always leading in that direction and it was obvious (at least to me).

Glad my patience paid off, Benvi endgame

[gorandomshesaid]

this has definitely been done before but

[blueskittlesart]

WHAT IF... instead of basing the movie on any of the games... it's based on the 80s cartoon? "Ex-CUUUUUUUSE me, Princess."

you understand that this is the worst-case scenario. right. it's important to me that you understand this

[dulcesiabits]

I'm a little too obsessed with SeekL and I've been thinking about it constantly, so here's an odxny character analysis, slight game analysis and a personal review ordered in a numbered list <3 Spoilers for the game, of course!

Design

Personally, I love odxny's design, and I think it's really cute how his mask changes to reflect his emotions. But to analyze it further, his mask is a representation of his guarded nature and his loneliness. At his core, odxny struggles with two conflicting desires: a desire to connect with others, and a desire to simply give up and save himself from the heart ache of failed connection by isolating himself. The mask lends anonymity, and this anonymity gives him both protection (from interacting with others) and restriction (prevents him from getting closer to anyone). Additionally, it represents how odxny uses his identity as a "hacker" as a form of protection from the rest of the world.

I think odxny's hoodie also reflects this! He has two layers to his outfit: a button-up shirt, and a hoodie on top. The hoodie is casual, and the button-up shirt hints at something more "serious", once again reflecting the duality of his desires and his personality (ie he's guarded, he has difficulty with connecting with others, the hoodie is a feigned casualness over a more serious loneliness). The button-up also is buttoned all the way up his neck, once again reflecting a closed-off nature.

Also, I don't have analytical thoughts on them, but the way the strings are tied is very cute! Super cute! The fact one hoodie string is a loop and the other is thrown carelessly over his shoulder makes me wonder if they're supposed to represent binary code (0 and 1)!

2. Names and Relationships

So, within the game's server, the nicknames of each character are randomized, and the resulting nicknames don't follow typical naming conventions. Additionally, odxny is never named within the game outside of his server nickname. I think this decision regarding names serves to illustrate the game's themes of isolation and connecting with others. The randomized nicknames strip an element of personalization in the server, while simultaneously providing anonymity.

Names are a signifier of our identity. This decision to take away the ability to name ourselves (as the player character) and for the other characters to name themselves serves to anonymize and depersonalize each character, which also furthers the isolation of each character. But this isolation seems to affect odxny most prominently, as he has the most hang-ups when it comes to loneliness (I will get into this part of his character in the next two sections).

Part of the choice with the naming conventions also reflects the general attitude and relationships of every character within the server. They aren't friends, even if they enjoy each other's company; there's a clear purpose to their relationships with a set end time (they will all go their separate ways once they fulfill their respective hacking goals). I would argue that while the other characters are okay with going their separate ways, it's this precise pattern of coming and going and non-lasting relationships that odxny is so tired of, and which drives him to physically isolate himself from society.

Additionally, before the player character arrives, each character implies they've never really revealed personal information about themselves to each other. The relationships between each character is cut and dry, and this further highlights odxny's isolation, even when he's with other people whose company he clearly enjoys. The difference between the other server member's and odxny's attitudes towards relationships serve as excellent foils to each other!

3. Lyrics

The theme song actually captures a lot of odxny's character beats, while providing great insight into him, which is really impressive! A lot of the lyrics point to the tension between his internal loneliness and his desire for connection— how he wants to "feel anything at all" and is trying to "Grind to find a way out of this hell / Used to be so confident but now I can’t tell." This is very telling of his desire to escape his circumstances through any means possible, but the particular way he chooses to do this is through hacking/his work with code. Odxny relies on hacking/coding to provide meaning for his life; it seems to be something he clings to because he no longer feels like he has anything else, which is why his apartment is so barren save for wires and electronic equipment. Perhaps he used to be more sure of himself/his goals, but the further he continues with his plans, the more conflicted he feels. Is this really what he wants to do? But if not, what other options are open to him?

Additionally, the lyrics also points to the distance he keeps from others on purpose, and a line of self-destructive thinking: "I'm stuck in a loop like lines of code/ Seeking a future that I don't even know/ Burn it down to face it alone.” He feels isolated and alone, and the only way he sees out of this cycle is just to leave everything behind. He's stuck running in circles, where nothing feels fulfilling; he can't even see a potential future, and the idea of "burning it all down" seems to hint at his desire to break out by essentially self-destructing and running away. But even then, he'll still "face it alone," so it's not a true solution to his predicament. Yet, this stanza ends with "still find myself reaching out for the phone." Despite the fact he’s decided on leaving everything behind and has given up interacting with other people, he still longs for genuine connection. At the same time, he knows the connection won’t last, which drives him further into his loneliness.

There's a dichotomy apparent in the last few stanzas: "They'll never know of me just that I've won/ That's how I operate and what I've done/ Thought you’d only know me for my voice / Never thought that leaving you would be the harder choice." In the first half, you have the confidence and purpose that hacking gives to odxny; yet, it can also be read as the way he interacts with relationships. He's fallen into a specific pattern with interacting with others, one that he doesn't believe can be changed. Yet, the second half of the stanza reveals how he's been shaken by the player character. Here's someone who he could share a genuine connection with, even though he never intended to be close to them.

Even the chorus (which is EXTREMELY catchy) reinforces this with a “I wish that I could give a damn/ Taking all your money like Uncle Sam/ I wish that I could give a fuck / I’m tryna balance out but feelin stuck.” It's a clear distillation of how odxny balances between the confident hacker facade and his genuine feelings of loneliness and feeling "stuck" and being unable to sort out his own feelings.

4. Character

The crux of Odxny's character is centered around connection and isolation. Robobarbie reveals as much in the dev log, where they mention they and the other writer, Allie, also drew on personal experiences to craft the character. So, I'd like to analyze a little more what I think this isolation entails. Odxny's isolation results from both circumstances both in person and online, both which feed into each other. A lot of his in-person circumstances captures the loneliness of being an adult, of drifting away from others and then the difficulty of finding new connections again. In fact, there's some articles online about the current loneliness epidemic within America, which odxny feels like a consequence of.

Making new connections is made both easier and more difficult in the digital age. It's a double-edged sword, because there are millions of people you can talk to online, and yet, this broad scope can increase the feelings of alienation. There are so many people out there, and yet you’re close to none. Technology exacerbates this sense of loneliness, and technology is also what both restricts and frees odxny. I would guess that a lot of the people he connects with is through coding/hacking (whether positive or negative), but it's a fleeting connection.

I’ve reiterated it throughout this analysis, but I will say it again here for emphasis: odxny has given up on connecting with other people. He tries to set himself apart from them and keeps a measured distance, yet connection is also something he desires above all else and the cause of his pain. This also ties into some of odxny's actions: a way to protect himself from vulnerability is by keeping his distance from others. After all, he can’t get hurt if he doesn’t let himself get close to others. And yet, this same the same distance also hurts him. In order to negotiate this contradiction, he has to try to convince himself this is what he really wants, that it's for the best, that all other choices are fruitless.

It’s why he only gives surface level protests against the player character’s involvement with his life; he genuinely wants someone to convince him otherwise. He wants to have a person in his life who cares about him enough to change his mind and to say that running away from society and isolating himself permanently isn't the right choice. What makes this work is that the player character is insistent, and isn't deterred by odxny's half-hearted attempts to distance himself. In a way, pushing back against the player allows odxny to reinforce to himself that this is someone who cares about him and wants him around, which in turn allows him to admit that he wants to connect with others, despite how painful it could end up being.

5. Personal Review

What I love this game is that there is a hint of a romance-- there is only one romance option, but there is no explicit confession, only hints of flirtation here and there. I love the focus is on the mini-game (which is genuinely super fun), and the interactions we get to experience with all the different characters. The dialogue is snappy, witty and real, and each character is distinct and given enough dimension that interacting with them feels like talking to people you would find in a server or a forum. The fact that they can be mean to you is great-- it feels realistic, and it's just something I personally love and find more interesting than if characters simply fawn over the player character all the time.

I love that it feels like a meeting of different people who aren’t sad to see each other leave-- they have a clear purpose in coming together, and there are no hard feelings at parting. It feels natural, and a bit bittersweet-- and part of this is how it feels like the server is a representation of odxny's unhealthy habits. When he's able to let go of the server, it feels like letting go of the past. Additionally, it's poignant because as someone who feels numb by all the partings he's had to experience, it's a sign of growth that he's willing to it let go and let things end without fear. He's able to be more open and vulnerable with the other server members by the end, and can admit he enjoyed their company, because he has some measure of hope in the future and faith in other people again. Regardless if he chooses to keep in contact with you, what's important is that he changes his mind about running away from it all in both good endings.

I love the subtle possibilities of the ending, as well: whatever path his relationship with the player character takes, what’s most important is that he’s receptive to opening up to others again. This is a story about love, but it’s a story about loving other people and connecting with them, about caring for strangers and caring about yourself. I, personally, find this more compelling than a straightforward romantic dynamic, because at the end of the day, this is odxny’s story about trying again to reach out to other people, no matter how hopeless and lonely things feel at the moment.