#and it doesn't have to preclude ANY genre

[llycaons]

'prestige' is a bullshit and arbitrary signifier for tv shows and yet I (not a film critic, have a tenuous and hyperspecific grasp on media critique) have the delusion that I personally can determine prestige status

[oinonsana]

thinking about world-first design

My last three games were more or less centered on the character, and consequently the player. I think this is a completely valid way of playing, but having done three kinds of games that had this, I wanted to branch out into a world-first style of design.

World-first design are the ones I associate with the stylings of mostly OSR: where the gameworld and the modules and the adventures and the equipment, the counting of ammo, of resources, are all more important than creating a character in such a way to fulfill a particular fantasy or character concept.

I call this world-first rather than character-first because it puts into primacy the very world and fiction that the players must interact with rather than the player characters being only focus of such games. In the same way that character-first design (WotC D&D, Exalted, Lancer) doesn't inherently preclude an overwhelming focus on a world's lore and vibe, world-first design doesn't inherently preclude a focus on character building or a certain primacy of the player characters over NPCs. In World-First design, to be someone of note is to have played the game and interacted with the world long enough. However, a caveat of this world-first design is that it's very easy to die, to be extinguished (it is important, in a way, in World-First design to showcase the strength of the world and how it doesn't bend to the whims of a player).

The difference of course, is how the mechanics are mostly written and presented. In World-First design, there's not much use for metacurrencies that imply that the PCs are inherently different or privileged over other player characters. World-First PCs gain privilege from things within the gameworld. While diegesis is of value, it is not the be all end all, as long as the game focuses on mechanics of the world rather than of the player. Frex: ROMANCE OF THE LOTUS THRONE has a (very rare, D&D 4e Action Point-esque) reroll system known as DETERMINATION. However Determination is a very real thing in the game, and can be gained from succeeding in particular tasks, or interacting with community and finding some form of purpose. Its sublimated form of willpower. Its also a bit of an Undertale reference. The difference then is that Determination is not meta-currency: it's in-world currency. There's no Determination stat in the character sheet: it instead fills up an inventory slot. It's a mechanic of the world and not of the player. It's simulationism without the tax forms (rules-lite, fiction-first simulationism is a topic for another post).

When I play or run RPGs, my personal preference has always been that of immersionism. The deeper you sink into a world's physics, a world's customs, the more the Other becomes the Self is a point of great joy for me: whether that be the chilling borderlands of SYMBAROUM, the intricate Underworld of VAMPIRE, the ineffable Space Opera of FADING SUNS, or the crimson-gold otherworld of ARTESIA. World-First can be a genre emulation philosophy (frex, if your world is meant to emulate a genre, a la Exalted's Creation) but I believe that Genre Emulation is not the be-all end-all of Role-Playing Games, as some would think it to be. Mechanics aren't automatically good just because it hearkens to a particular genre, a la PbtA. I think mechanics are good when they accomplish the Design Goal of the game. And sometimes Design Goals are to simulate or fabricate an otherworld and transport you there. I think that goal is one of the more difficult ones to truly achieve, so any that attempt it to this day I hold in respect, even if they end up being rules-heavy simulation-esque attempts. I believe that World-First games are like, the immersive sims of TTRPGs (in the sense that they take some getting used to but create for some of the best emergent gameplay moments, as well as potent immersion of a world).

In ROMANCE OF THE LOTUS THRONE, I’ve managed to do a bit of a mixing. Inspired by the likes of Dark Souls and Elden Ring, where the world is important, but its the character builds that make or break a game, I’ve made the characters dependent on the world. This means you more or less start a game with a blank slate of a character, or someone with the bare minimum of detail. Then, as you play, you learn and gain abilities from milieu of the world, gaining items and powers and magicks from playing the game, rather than from a Class Table. In a way, this is also an inherent forcing of diegesis in the game, and diegesis is one of my favorite concepts in all game design, across all mediums.

This does (somewhat) assume that the characters you’re playing are either amnesiac, young, or people that have not really accrued anything over the years. This is just as well: I believe that you can gain world-changing skills and capabilities even at 60 or 70 or beyond. However, if you want to build a character already seasoned, that’s easy enough to do: simply give them a number of starting equipment and Arts.

All of this lends itself to the ROMANCE's Buddhist bent, especially concerning the ideal of Anatta or Non-Self. Metaphysically, there is no self, all individuation arises from a nigh infinite set of other factors that eventually form the character. This enlightenment is inevitable for PCs that live long enough in Romance: a character eventually becomes a master of anything, removing the individuation of specialization as they inch their Cultivation closer to Awakening. To gnosis. To bodhi.

At the end of it, world-first design kind of asks the players to interact with the game not from their own biases but on the game's own terms. For the longest time this has been a no problem: the biggest world-first games are OSR after all, and they carry the baggage of D&D. However, for games that need and deserve worlds to be taken on their foundation and not the player's, both a World First design approach as well as a World First player mentality could provide a different, maybe even enriching experience that most character-first games would not deliver in the same way (character first games deliver a different, honestly more marketable niche in the realms of OC gaming and Power Fantasy).

[writingquestionsanswered]

I have a question about publishing, especially in the YA or New Adult genre. Friends and I read a book series recently where the books after the 1st were kinda sloppily written, and I saw that each book was published a year after the other. It happened again on this other book series I'm reading. And it made me wonder if the problem behind this is that some authors HAVE to publish once a year and can't devote time to editing as they otherwise would. (I'm really not saying this to be mean btw)

Subsequent Books in Series Seem Sloppy

I would be curious to know whether these books are self-published or traditionally published. It matters, so I'll answer for both.

In the Case of Self-Published Books - When you self-publish, the only publishing timeline you have to meet is your own, so you wouldn't have a situation where the author "has" to publish once every year and can't devote time to editing. There are a lot of opinions as to how often self-published authors should publish, and since it's common for traditionally published authors to publish every year or so, it's common for self-published authors to aspire to a similar timeline. However, that shouldn't preclude a self-published author from doing the necessary self-editing and/or hiring a professional editor. The truth is, many self-published authors publish two or three books per year or more, and their books are still well-edited.

Having said that... the harsh reality of self-publishing is a lot of people go into it hoping they're going to have the next big TikTok sensation, so they invest thousands of dollars into their book for editing, cover design, interior design, formatting, promotional materials, and more. Then, the book doesn't sell as well as they'd hoped and they don't make back the money they invested. They may find themselves in a situation where they simply can't afford to hire a professional editor for the second and third book, but they put them out to complete the series and in hopes of making back some of the money they lost on book one.

In the Case of Traditionally Published Books - When you traditionally publish, you do have a timeline set by the publisher, but it's unlikely a publisher would put out an unedited or poorly edited book just to stick with a publishing timeline. Also, traditional publishing houses have in-house editors, so it's not like the author is editing completely on their own. Obviously they do self-edits, and they make the necessary edits suggested by the editor, but it's not like the author would come up against their deadline, turn in the unedited draft, and that goes straight to print.

Having said that... I do think it's worth noting that many readers and industry experts feel there has been a substantial decline in the editing quality of traditionally published books over the years. I'm definitely in the camp of people who've noticed this trend, and I subscribe to the theory that it's just another sad check mark in the column of unbridled capitalism. Publishers aren't putting out books because they love the written word or because they want to encourage literacy... they publish books because they want to make a profit, and like any business, they want to make the biggest profit possible. In today's constantly shifting landscape--where self-publishers are putting out million-dollar best sellers, and where TikTok can launch a book so far into the stratosphere that books two and three could be moldy copies of a 1970s phone book and they'd still sell a million copies--traditional publishers are cutting corners where they feasibly can in order to maximize profit, and those cut corners usually impact product quality.

Fortunately, there are still loads and loads of well-edited, high quality traditionally and self-published books hitting the market every year, so while you may find sloppy subsequent books in a series more often now than you used to, hopefully you'll still find more well-edited books than not. :)

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[lakesbian]

Hello! Because I was curious and had this discussion before; when I first read through Worm I either by projecting or just a personal interpretation of sorts, came to headcanon Taylor as Ace. Do you think there is enough in the actual text to support that?

not even remotely. this and the similar "taylors thing with brian is comphet" read are So not there. So not there even a little bit in any way shape or form. she is so obviously blatantly textually horny for him it's like. i'm not even going to say it's unreal, it's actually Extremely Real. i love that being a teenage girl doesn't preclude her from being written as a whole entire person including the absurd levels of horniness most teenagers have going on. but it is Intense. girl who is always bluescreening and blacking out because she thought about brian laborn [redacted] [expunged] [loud plane flies overhead] [bus drives by] too hard and almost died. like we all remember the shit she's thinking when they're sparring and he grapples her. And don't even get me started on how much shes staring at other womens tits. asexual and or lesbian taylor headcanons are fully in the 'just making shit up for fun' genre of headcanons because taylor is, despite the homoeroticism, one of the most convincingly attracted to men female characters ive ever seen in my life ever

[denimbex1986]

'Cillian Murphy will be involved in the production of 28 Years Later. The movie, which is currently in development, will be the third installment in the horror franchise. The original 2002 movie, 28 Days Later, followed a rage virus turning most of the population of the U.K. into violent, mindless creatures and starred Murphy as bicycle messenger Jim, who wakes up from a coma in a drastically different world. Jim did not appear in the 2007 sequel 28 Weeks Later, which followed a group of people attempting to repopulate the region after the disease was supposedly wiped out.

Per The Hollywood Reporter, the upcoming 28 Years Later will see Murphy return to the fold. The project, which was picked up by Sony after a fierce bidding war, will see Murphy stepping into the role of executive producer opposite returning director Danny Boyle and returning screenwriter Alex Garland. Although Murphy could potentially return as Jim, no onscreen appearance for the star has been officially confirmed at the time of writing.

Will Jim Return In 28 Years Later?

A Murphy 28 Years Later return is a distinct possibility. Jim lived to see the end of 28 Days Later, with the ending hinting at the imminent rescue of himself and his companions Selena (Naomie Harris) and Hannah (Megan Burns) after the infected humans have largely died of starvation. None of those three characters were alluded to in 28 Weeks Later, so there is no canonical confirmation of their fate after that, implying that they could very well have survived, though the virus' spread throughout continental Europe in the sequel's ending likely complicated their chances.

Ultimately, Jim's return depends on Murphy's willingness to commit to a more involved role in the project. This may not be a given, as he likely has a wealth of new projects to choose from following his Oscar nomination for his role in Christopher Nolan's 2023 smash hit Oppenheimer. Even if he is too busy to star in the movie, however, his involvement as a producer could place him on set for long enough to film a cameo appearance detailing Jim's fate.

One point in favor of Jim's return is the fact that the star has shown a willingness to return to the post-apocalyptic horror genre with his appearance opposite Emily Blunt in the 2021 sequel A Quiet Place Part II. However, even if Murphy doesn't return onscreen in 28 Years Later, that doesn't necessarily preclude any other 28 Days Later characters from coming back. So far, the movie has reunited three of the major players in the original movie, so the presence of more would hardly be out of the question.'

[booasaur]

The Root/Shaw ending is same way I feel about Villanelle/Eve, with certain shows the type of shows they are and how they're built up, some deaths make sense. If there is a legit reason behind someone dying then it doesn't upset me. Even in Buffy for example, Spike sacrificing himself, not that I cared much about him but using him as an example his death made sense. I know the thing here is about another lgbt women character dying but Shaw wasn't senseless imo. Happy endings aren't meant for all genres, and POI was one of those shows where I could see what happened happening. Also I think it's ok to spoil that show since it's been over for years.

Hmm, but POI's genre is action/procedural/crime drama/scifi, right? Which doesn't preclude happy endings, especially since Harold got his. I don't really take "anyone can die!" shows seriously because certain characters usually still end up having plot armor.

It makes even less sense for a show like Killing Eve which stayed an irreverent dark comedy to suddenly turn moralistic and overwrought at the end. Considering they managed to live happily ever after in the just as violent stories the show was based on, the show had to do extra work to have one of them die, for not really any kind of reason that I could see on screen.

Me, personally, I won't recommend anything with a death, and since the anon did come to my inbox, I guess that overrules everyone else's feelings on the matter. :P

[mermaidsirennikita]

As someone who comes from a "third world country" lol, I don't understand the concept of colorblind casting for historical productions. I get Cinderella, it's a fairy tale. But casting colorblind in those popular adaptations of english novels basically means erasing british historical exploitation of other cultures and societies, doesn't it? We should be pushing for productions that focus on other cultures, or that explore those power relations not... make them invisible.

I think that's a valid point. But I also understand that a lot of the counterarguments come from other people of color, with different perspectives. I don't think there's a perfect answer that would satisfy everyone; and at least in terms of adapting historical romance, the literary genre needs to promote authors who write characters that are people of color written by people of color. It's also possible to adapt historical romances with white characters written by white authors, played by people of color in a Brandy's Cinderella fashion. The unfortunate reality is that those authors have a leg up in terms of adaption, and until that changes, I don't.... want actors of color to not have those opportunities. It's thorny, to be sure. I'd love to cut to the chase and have Beverly Jenkins adapted in the same sense that Julia Quinn is, but until that happens, I don't want to begrudge Black actors for taking opportunities, for example.

Again, it's not my place to dictate what should be done. But I will say that from like... idk... an academic perspective, I personally don't view historical romance in the same lens as I do historical fiction. Historical fiction, imo, is obligated to provide a more accurate view of history--to an extent. I think historical romance is... if people are blunt and stop pretending that Georgette Heyer is historically accurate... Closer to alternate history. Does that remove the issues that surround race? No. But imo, if people were more honest about what historical romance is today, they'd acknowledge that it plays by its own rules that are less beholden to history than they are the romance genre. That doesn't mean historical romance shouldn't be academically critiqued in regards to its relationship with the *real* history. For better or for worse, however, I think the reality is that authors do not (and probably should not) prioritize accuracy over story, and readers (of all backgrounds) don't either.

But again, I think your view is totally valid! To be clear. I just also see the point that others make when they say that they'd like to indulge in the fantasy, more than the accurate history. Far be it from me to dictate what's correct there.

Again--the primary objective should be to push for things that tell stories that are not explicitly Euro/Britishcentric. But I don't know that this precludes *truly* colorblind casting in productions that adapt material set in the UK or Europe at large. It's not for me to say. If I was an author of a historical romance novel set in England (a country I do not live in or care for, but will most likely write in due to... historical romance conventions) I personally would prefer that any adaptation of my work would be adapted with a colorblind approach, just for the sake of... casting the best people possible. But that would require adjustments and awareness.

[alectoperdita]

Question about Lure: How long does their "relationship" last? I was lurking a bit, and saw you mention how their "relationship" develops over the years... Just curious how long it lasts and the end, of course lol. (my personal fan-theory: they both (or one of them, and by that I mean Kaiba) dies) Also, the playlist slaps! Usually, I listen to my fav songs, but Call me Devil and Wolf in Sheep's Clothing? *chef's kiss*

When I say relationship for Lure Kaijou, I mean it in the definitional way of how people orient and understand their place in each other's lives and act accordingly. For Kaiba and Jounouchi, the sexual aspect is most prominent. But over time, there are varying degrees of comradery and even familial-esque bond. However, there will never be any explicit acknowledgment of their relationship dynamics beyond the superior/subordinate formalized by the sake initiation ceremony.

(They're both staying in that closet.)

As for how long? Pretty long in my head. In private discussions, ideas have been discussed out until the fifth-/sixth-year mark. Will I write all of them? Not likely. The vast majority of the stories in Lure will take place in the first year, with the occasional addition for later years (current count: 19 Year 1 fics vs 2 Year 2 fics vs 1 Year 3 fic vs 2 Year 4 fics). It's front-loaded because that's where I see most of the interesting developments taking place.

On a philosophical note, I think relationships between fictional characters continue for as long as they have narrative value to the writer/reader.

For me, that easily extends to about a decade, because there are stories to be mined from that duration. Even though I may stop writing this universe around the year 4/5 mark, it doesn't invalidate your personal theory that one or both of them dies an untimely/violent death. But I'm a sap and a major wimp when it comes to Major Character Death, thus why I avoid writing it.

Once again, I don't want to discourage your interpretation! Because even after they settle into their status quo by the end of what I will share, it doesn't preclude the possibility of death afterward. It's entirely appropriate to the organized crime genre and their dangerous lifestyles.

P.S. It makes my day to know that you enjoy the playlist. 🥺

[wellhalesbells]

If you have the time and if you don't mind, what are some books you really recommend? Doesn't have to be all time faves, but anything that pops into mind that you want more ppl to read and love, Extra points if lgbt+ , i got the whole summer with little to do and i wanna spend it reading some good quality writing and honestly so far your recs have introduced me to so many faves its unbelievable

[blushes profusely] oh wow, thank you!!!  i’m so glad you’ve trusted me enough to check out some of the stuff i reblog; that is like the ultimate compliment, i can’t even???  i don’t mind at all(!), fair warning though: i only started recording what i read partway through last year and my mind is like a sieve so i’ll do my absolute best to remember what’s sang to me in the recent past.  warning number two: i’m in an open relationship with absolutely every genre out there so i’ll try to note which belongs where so you can avoid those that hold no interest for you.

LGBT+

i’ll give you the sun.  i loved this book, the writing is fucking transformative and all the characters are so damn likable, while still being realistically flawed human beings.

the raven cycle (tetralogy).  definitely my favorite series since harry potter.  the writing, the world-building, the characters, it’s all on top-form.  i wrote a little, mini non-spoilery review of it: here, back when i was better (worse?) wordly-wise and my feels were brand new.

more happy than not.  i’m still not sure how i feel about this book.  it was hard, but it felt very true to the characters and the lingo and style matched the ages of the players and i have a lot of respect for that.

the watchmaker of filigree street.  woooow i loved this book.  i admit ‘historical fiction’ kind of makes me cringe.  it never precludes me from reading a book but it does knock it down the list by a book or five because they’re often very dense and very clunky and end up taking me ages to get through.  but this one was gorgeous.  i loved the plot, the attention lovingly placed on every character and the historical elements.  the surprise gay in an already brilliant book felt like winning the lottery honestly.

captive prince (trilogy).  okay, truthfully, i’m only putting this on here because the second book is such a high point for me.  it was never bad at any point but it had unfortunately been hyped far too much for it to live up to my, admittedly, very high expectations.  hopefully it’ll fare better with you?

everything i never told you.  i go back and forth on this one.  i like the writing a lot, i like the LGBT aspect a lot, and i like the mystery aspect a lot but there are definitely characters i would cut out entirely for sheer predictability if i could and that killed a lot of my enjoyment at the time (but i think much more highly of it in retrospect?).  so, take that as you like.

aristotle and dante discover the secrets of the universe.  if there’s a book that handles its characters with more care or respect or consideration then i haven’t run into it.  i love the way this is written and the people it’s populated with.

flying lessons & other stories.  a bunch of uber talented authors writing a bunch of uber diverse and LGBT-focused stories and, yes, that is exactly as awesome as it sounds.

the song of achilles.  it is utterly heart-breaking but so rich, honestly.

FANTASY

the diviners.  (also has a minor LGBT character, who may play a bigger role in the sequel?)  fair warning, i have not read the sequel, lair of dreams, because it is somehow still not out in paperback (yes, i read physical books, yes, i pretty exclusively read paperbacks so i can lug them everywhere with me, YES, I PRE-ORDERED THIS ALMOST TWO YEARS AGO AND IT’S STILL NOT OUT, NOT THAT I’M BITTER ABOUT THAT OR ANYTHING) so i can’t speak to that one finishing on a high note as i don’t know.  but this was the first historical novel i managed to like in a long while.  it does such a good job of fusing in 1920s lingo and dress and aspects that i couldn’t help but love it.  add in the fantasy elements and i can admit i’m the perfect sucker for it.

the scorpio races.  i’m not sure why but it took me a long-ass time to get into this book, i wasn’t flipping pages with gusto until well towards the end but - especially as i was reading so much YA at the time - i really appreciated coming across a romance that lets both people come into it as themselves and stay themselves, neither puck nor sean were ever smashed or crumpled or shaved away to fit into their relationship, which was so refreshing.  plus the water horses were fucking cool.

the night circus.  the writing, the atmosphere, the circus.  just… it is all very whoa.

all the birds in the sky.  i loved this writing style and these characters and the magical elements.

CONTEMPORARY

i’ll meet you there.  there was something about this and i just… ended up liking it way more than i expected to.  i might’ve just read it at exactly the right time, i’m not sure, but i really enjoyed it.

the invoice.  this is honestly just hella cute and so freaking surreal.  swedes, man.

NON-FICTION

why not me?  i like mindy kaling a lot.  i make no apologies for that.  plus you can read both her books in about five seconds, haha.

SCIENCE FICTION

station eleven.  i loved this book.  the way the narrative is woven is so refreshing and i wish the comic book miranda was writing in this book was a real thing more than anything else in the woooorld.

illuminae.  hot DAMN this book was cool.  the plot was rock solid, the characters were hilarious and badass and the graphics made out of text and spiraling words and just the way this thing is put together?  shit, it’s worth your money and then some.

a robot in the garden.  okay this is just cute as hell.  i can’t even with tang, he’s the most adorable robot to ever adorable.

annihilation (southern reach trilogy).  (LGBT minor characters.)  okay, honestly?  i don’t know.  this was freaking zany but i was invested as fuck in all the kookiness for reasons i can’t articulately elaborate on.

the martian.  hilarious, engaging, SPACE.  what more do you want?

HORROR

things we lost in the fire.  this is more atmospheric than anything but, damn, could this get me wishing i wasn’t reading this in the dark or looking over my shoulder to make absolutely sure no one was standing behind me.  it’s a book of short stories (by the way, i love books of short stories and i definitely realize that is not true for everyone) and each one is so well-delivered and stylized.  i really enjoyed reading this.

let the right one in.  okay, this is legit horror so definitely stay away if you’re easily squicked out but it is harrrrrd to find good horror (at least in my opinion) and this definitely, definitely qualifies.

horrorstör.  i honestly had such low expectations for this, a horror story set in a wannabe-ikea, but it ended up being so ridiculous and strange and funny that i was won over by the finish.

the girl with all the gifts.  holy unique and well-executed zombie idea, batman!

SHORT STORIES

the bigness of the world.  there were definitely ones here that hit better than others but the ones i liked, i really liked!

GRAPHIC NOVELS (i read a lot of these so, um, prepare yourself)

saga.  (LGBT minor characters as well.)  this is world-building to a degree that i’m convinced did not exist before.  just, i can’t say enough amazing things about this series and the staggering amount of imagination that regularly goes into it.

ms. marvel.  heart-warming as fuck.  it’s definitely really easy to lose faith in the world these days, luckily kamala is there to remind you that people are primarily and genuinely good.

black science.  this is another one that took just an insane amount of imagination to cook up.  i got off to kind of a rocky start with this one but the gray-ness of all the characters really speaks to me, and that doesn’t really blossom until later in the series.

spider-man/deadpool.  this was very satisfying for my super duper spideypool-shipping mind.  joe and ed did us so good, and joe basically said in his sign-off: i made it absolutely as gay as they would let me, haha.

the wicked + the divine.  (LGBT minor characters that you’re going to get way too attached to, and retroactively.  it’s awful [sobs].)  the concept for this, gods reincarnating into teenagers before they burn up their hosts after a predetermined set of time, is so fucking cool.  the humor and the characters and the plot is all just aces.

iceman (LGBT MAIN CHARACTER).  okay, so this just started.  like issue #2 was only released days ago but 1) i am liking it so far and 2) marvel did it so dirty and barely advertised bobby - an openly homosexual superhero - was getting his own series, like, i found out about it the day before it went on sale and i keep my ear fairly close to the ground (not as close as some BY A LOT, but closer than the lay person i’d say) so if you can support it, please do!  pre-orders mean a lot in terms of numbers. :))))

descender.  admittedly, this starts out rooough.  because the main character, TIM-21 (and his little dog too), are annoying as hell.  he’s an android so there’s no dimension to him so he’s booooring as all get out but i am so glad i stuck with it through to the next trade because, probably picking up on the unsustainability of him as a main character, he gets shuffled off and the side characters get the stage and they rock so hard.

paper girls. (LGBT main characters.)  i’m kind of just convinced that brian k. vaughan can do no wrong at this point.  his plots are so tight and mind-blowing and badass.

monstress.  here’s a little tid-bit about me: female comic book writers are 100% more likely to get my money and my time because they are so damn rare and this series is unique, badass, and eye-opening.

black monday murders.  i’m a little premature with this since there’s only one volume and i usually try to wait until there are at least two but i check up on a volume two a lot so that definitely means something intrigued me!

nailbiter.  okay, i haven’t read the final volume yet ‘cause i’m reluctant to let it go but, so far, a series about multiple serial killers all being from the same town has me VERY HOOKED.

i wish i could remember more but this is honestly way better than i expected to do, haha.  they’re definitely not all my all-time faves but they’re ones that have stuck with me for one reason or another and that i didn’t feel i wasted my time on, so that’s something, right?  i hope this helps get you started and that you don’t think too awfully of me when you inevitably run across ones that aren’t your cup of tea!