#but its a good reference to have for the basics of how it could function

[ppenguinpperson]

tempalate by caninewhistles on devianart!! nothing in february:( little penguino so sad the ward take him away.. oh well! teehee.. thank you all for the good year!!! Mwah!!!

[headspace-hotel]

Just spent a couple hours digging into this book. I'm not even sure what has worse environmental impacts, the paper the book is made of or the opinions printed within.

Is "post-colonial" literary theory a joke? It's distressing that a book printed in 2021 by a reputable academic press can be so painfully Eurocentric, and I mean PAINFULLY. The philosophical and literary frameworks drawn upon in most chapters are like what some British guy in 1802 would come up with. In most of the chapters, every framework, terminology, and example is inseparably fused to Latin, Greek, and/or Christian philosophers, myths and texts, even down to the specific turns of phrase. You would think only Europeans had history or ideas until the 20th century.

Don't get me wrong, non-european and even specifically anti-colonial sources are used, and I don't think all the writers are white people, but...that's what's so weird and off-putting about it, most of the book as a whole utterly fails to absorb anything from non-European and in particular anti-colonial points of view. The chapters will quote those points of view but not incorporate them or really give their ideas the time of day, just go right back to acting like Plato and Aristotle and Romantic poets are the gold standard for defining what it means to be human.

In brief, the book is trying to examine how literature can shed light on the climate crisis, which is funny because it completely fails to demonstrate that literature is good or helpful for the climate crisis. Like that is for sure one major issue with it, it shows that people *have* written stuff about climate change, but it sure doesn't convince you that this stuff is good.

Most of the works quoted are rather doomerist, and a lot of the narrative works specifically are apocalypse tales where most of Earth's population dies. The most coherent function the authors can propose that literature fulfills is to essentially help people understand how bad things are. One of the essays even argues that poetry and other creative work that simply appreciates nature is basically outdated, because:

“One could no longer imagine wandering lonely as a cloud, because clouds now jostle in our imaginations with an awareness of atmospheric concentrations of carbon dioxide and other atmospheric pollutants” (Mandy Bloomfield, pg. 72)

Skill issue, Mandy.

The menace of doomerism in fiction and poetry is addressed, by Byron Caminero-Santangelo, on page 127 when he references,

the literary non-fiction of a growing number of authors who explicitly assert, some might even say embrace, the equation between fatalistic apocalyptic narrative and enlightenment…they are authoritative in their rejection of any hope and in their representation of mitigatory action as the cliched moving of deckchairs on a sinking ship

He quotes an essay “Elegy for a country’s seasons” by Zadie Smith, who says: “The fatalists have the luxury of focusing on an eschatological apocalyptic narrative and on the nostalgia of elegy, as well as of escape from uncertainty and responsibility to act." Which is spot-on and accurate, but these observations aren't recognized as a menace to positive action, nor is the parallel to Christian thought that eagerly looks forward to Earth's destruction as a cathartic release from its pain made fully explicit and analyzed. Most of the creative works referenced and quoted in the book ARE this exact type of fatalistic, elegiac performance of mourning.

I basically quit reading after Chapter 11, "Animals," by Eileen Crist, which begins:

The humanization of the world began unfolding when agricultural humans separated themselves from wild nature, and started to tame landscapes, subjugate and domesticate animals and plants, treat wild animals as enemies of flocks and fields, engineer freshwater ecologies, and open their psyches to the meme of the ‘the human’ as world conquerer, ruler and owner.

This is what I'm talking about when I say it's dripping Eurocentrism; these ideas are NOT universal, and it's adding nothing to the world to write them because they fall perfectly in line with what the European colonizing culture already believes, complete with the lingering ghost of a reference to the Fall of Man and banishment from the Garden of Eden. It keeps going:

“Over time, the new human elaborated a view of the animal that ruptured from the totemic, shamanic and relational past.”

Okay so now she's introducing the idea of progression from shamanic nature-worshipping religions of our primitive past...hmm I'm sure this isn't going anywhere bad

“While humanity has largely rejected the colonizing project with respect to fellow humans, the occupation of non-human nature constitutes civilization’s last bastion of ‘normal’ colonialism. A new humanity is bound sooner or later to recognize and overthrow a colonialism of ‘nature,’ embracing a universal norm of interspecies justice.” (pg. 206) 

OKAY????

Not only denying that colonialism still exists, but also saying that humans' relationship with nature constitutes colonialism??

Embracing limitations means scaling down the human presence on demographic and economic fronts…(pg.207)

ope, there's the "we have to reduce the human population"

Embracing limitations further mandates pulling back from vast expanses of the natural world, thus letting the lavishness of wild (free) nature rule Earth again” (pg. 207) 

aaaaaaand there's the "we have to remove humans from wild nature so it can be freeeeeee"

don't get me wrong like I am a random white person with no particular expertise in anti-colonialist thought but I think this is an easy one. I'm pretty sure if your view of nature is that colonialism involving subjugating humans doesn't exist any more and actually humans existing in and altering nature is the real colonialism so we should remove humans from vast tracts of earth, your opinion is just bad.

Anyways y'all know I have an axe to grind against doomerism so it was probably obvious where this was going but good grief.

[kujoestars]

The Mechanism of Kafka's Transformation and How It Affects Him

(Crossposting my analysis/theory from Reddit. Also, warning: this post contains both anime and manga spoilers so beware if you are anime-only)

So, something that drove me nuts about the manga's version of the X-ray scene was the fact that there was literally no difference from a normal human chest x-ray. The anime THANK GOODNESS fixed that:

We finally know exactly how Kafka's core looks while he's in human form. It appears to be primarily occupying where the chambers would be with a good amount of myocardium (the heart muscles) suspending it while also continuing to function as a heart.

Notably for me, there's actually a translucent hemicircle up top there where it's supposed to connect to the aorta. In fact, you can see the core is translucent on its left (our right) side while more opaque to its right (our left).

Let me highlight it for reference I hope y'all appreciate the fact I had to do it with a mouse on MSPaint because Reddit won't save images to drafts and I can't drop images from tablet like on desktop:

It appears that Kafka's heart was fully converted and the tissue there is just a facsimile since it appears to be forming a pouch for the core to nestle in.

The anime's expansion of the scene the Mysterious Larva/Young Yoju fused with Kafka ended up perfectly tying in to this. Something I noticed was that Kafka was not actually transforming for most of it. Initially he was clutching at his throat where it entered:

Then just before the transformation started (when his eyes started glowing), he was clawing desperately at his chest:

For reference to anyone who's never studied anatomy, the mid-esophagus is actually resting against the heart, which is why the best form of imaging for the heart is a transesophageal echocardiogram (i.e. stick an ultrasound down the esophagus), which works like in this diagram:

In other words, the Larva's target was his heart and it was burrowing into it from that point. Which is consistent with where Kafka was clawing at in the shot I posted before and why after the change completed, his hand was resting just above that area:

Basically, the theory I have been saving specifically for after this episode is: Everything about Kafka's body is tied to the core.

Yes, that was obvious since we saw him regenerate his entire body from just the core, but what I'm saying here is that that the heart was the only thing the Larva was trying to fuse with. The rest of the body followed instantaneously once the heart became a core. Kaiju cores appear to be storing a lot of energy, so it would fit in with why even the initial change could happen so rapidly. It was a large burst of energy that had Kafka's cells all convert and restructure, and we even see steam coming both off and out of him here in the anime.

All future changes seem to be purely a matter of him controlling every cell in his body like individual muscles or even like how cuttlefish and octopi are able to change their appearance in an instant from muscle contractions and chromatophores.

In other words, the evidence has stacked to full OVERKILL that Kafka is truly a kaiju that can shapeshift into a human rather than the reverse like he and everyone else prefers to think.

Which leads me to my big pet theory right now: the reason Kafka is losing his ability to revert to human form is because he's becoming malnourished. I won't stack the image evidence since I've already done enough and the focus is on the core and Kafka's real biological nature now (I'll save that for a future post, lol), but it only stands to reason that if Kafka is physiologically a kaiju regardless of form, that means he has the metabolic needs of a kaiju.

He was only fine before because he had a lot of extra body fat as reserves and didn't use his kaiju form much. But after entering the Defense Force, he's been in multiple situations where he had to push himself while transformed and consume much more energy. If you pay attention to his body type, you'll notice he's been having quite a bit of weight loss.

Sure, he's been training a lot too and eating better, but following the fight with Isao, he's becoming abnormally thin. Maybe not enough for people to immediately think he needs a sandwich, but as of the latest chapters, I've noticed he's actually pretty lanky now even in kaiju form when previously Kaiju No. 8 was built like a bear.

You could argue it's just art evolution EXCEPT literally no one else had such a drastic change in body type or AT ALL. I'm pretty convinced this is an intentional transition from Matsumoto.

Whatever Kafka is eating as a human, it's not enough to sustain him long term and so his body is going into power save mode. And since his default is kaiju (why else would he constantly slip up his first few months if it wasn't actually his default form?), his body is losing its ability to shapeshift because it doesn't have the energy to. Malnourishment tends to manifest in a similarly piecemeal fashion irl, so I'm not surprised its first sign is just one spot on his hand.

Such a deceptively simple reason for the kaijufication is precisely why I'm very certain that is the cause. Kafka has a lot of issues with loving and taking care of himself. And this series is all about subverting tropes in favor of common sense. It's not some "inner demon" trying to take over (the Larva actually only did that once because Kafka was both in danger and refusing to fight back what it perceived as another daikaiju); Kafka just isn't taking care of himself as usual!

And there you have it, folks. Finally, a clear breakdown of what exactly the Larva did, how the transformations work, and why the kaijufication may not be as scary as everyone thinks. Or rather....not in the way they think. Someone please feed that kaiju properly!

[am-i-the-asshole-official]

WIBTA if I send in screen shots to someone that made a callout post about a former friend?

Please read this entire thing before your decision. I understand the "blurb" may make me seem like a backstabber and someone you wouldn't trust, but I have my reasons I'll detail why this person is a former friend.

I'm a former friend of someone we'll call Marie. Marie, idk how to explain it, but she kind of didn't care about anyone but herself. Anytime someone would talk about something she'd make it about herself and it was very annoying. Marie also would make a lot of us uncomfortable at times. She said some racial slurs to us various times and claimed it wasn't racist. One was towards me and I asked her not to, basically I told her she can't call me a slur because she's white and made me feel uncomfortable. The other was some Irish thing I had to google because our friend who is Irish was uncomfortable and I'm still horrified with what I saw.

Marie would reblog my vent posts on tumblr a lot. None was ever to console me. One was where she reblogged and said "this would be a good ice breaker for a date." I did go off on her since at the time I had such a nasty break up and my vent had absolutely nothing to do with that. Now here's the issue, besides reblogging my vent posts, someone archived her reblog of my vent posts on the wayback. Multiple ones. I contacted wayback, but they said they only delete archives if the blog owner makes a statement on their blog. For reference, i have had multiple chronic stalkers and Marie was very well aware of it. So I already had wayback not allow archives of my blog because one stalker was using it to archive everything on me online. So a stalker found a loophole in the form of Marie. Now, this was before Tumblr had allowed us to disable reblogs. So no jumping to the comments saying it's my fault when this was years ago before that function was available. So, Marie refused and told me its whatever and if anything they were probably archiving her edits despite all of the archives on her blog had my vents she reblogged, like every single time she reblogged it got archived.

Now lastly, Marie was one of those people who would never celebrate anyone's victories. It was so weird, someone could say "oh, I got a new camera for my photography" and she'd say something like "in 3rd grade someone shat on my camera, so I never got a new camera". It would make stuff so awkward and make us not want to talk in our discord. I got a scholarship one year she decided to go to school (she was 12 years out of highschool) and she lost her financial aid in one semester because she didn't do any of her school work! Yet somehow "the government picks favorites and doesn't want to pay people that deserve it". Her words, I was very offended since she knew I worked full time, was a POC, and was not eligible for financial aid. Let me have the scholarship win without making it about you!

So one day I just blocked her everywhere after I deleted the friend discord we had. It wasn't right after, I waited over a year and became more and more distant. She did contact me again, but surprise surprise, she wanted me to help build her a website for her "oni-sona". I declined and we haven't spoken since.

Now the callout part. She has a callout under her new alias and it has her previous too. In this callout it's talking a lot about how she treats people like shit and uses them for her own gain. It details as well to not support her or any of her projects because she steals (idk about that, I've personally never witnessed it, but I'm believing OP because everything else is true.)

Now, would I be the AH if I submit stuff to add to the callout? I was just going to send in how she reblogged my vents and someone archived them on wayback and she refused to contact way back to delete them despite knowing I had stalkers. Maybe I'll submit more stuff, but not caring I had stalkers is my biggest gripe and something I think should be added since she allowed my stalkers to do that.

[imitationgame77]

ART's Walls

For any network system with capabilities to communicate, it is very important that it has walls (basically, firewalls) to protect it from potential attack from the outside.

It is interesting to note how the way ART is controlling its walls between itself and Murderbot seems to demonstrate the level of its trust and their intimacy.

[Artificial Condition]

Super machine-intelligence like ART obviously needs to protect itself carefully from a potentially dangerous threat like a rogue SecUnit. So, when Murderbot first meets ART in Artificial Condition, it cannot see what ART really is. It only drops its wall for .00001 of a second - just to show how powerful it is.

They become close so that Murderbot can interpret ART's reactions in its feed quite well, but the walls are still there.

------------------------------

But the presence in the feed was too big and diffuse for a human or augmented human, I could tell that much even through the feed walls protecting it.

[...]

It said, You’re a rogue SecUnit, a bot/human construct, with a scrambled governor module. It poked me through the feed and I flinched. It said, Do not attempt to hack my systems, and for .00001 of a second it dropped its wall.

It was enough time for me to get a vivid image of what I was dealing with. Part of its function was extragalactic astronomic analysis and now all that processing power sat idle while it hauled cargo, waiting for its next mission. It could have squashed me like a bug through the feed, pushed through my wall and other defenses and stripped my memory. Probably while also plotting its wormhole jump, estimating the nutrition needs of a full crew complement for the next 66,000 hours, performing multiple neural surgeries in the medical suite, and beating the captain at tavla. I had never directly interacted with anything this powerful before.

------------------------------

[Network Effect]

In Network Effect, it was not explicitly referred to as walls, but I got the feeling that when ART allowed Murderbot access to all its cameras, it was at least dropping a large portion of its walls. Hidden cameras are a very important part of its security system after all.

It was ART's way to show its trust to Murderbot, and Murderbot understands this.

------------------------------

I suddenly had views all over the ship. ART had given me access to its cameras. I snarled, “Stop being nice to me!”

------------------------------

[System Collapse]

By the end of Network Effect, when Murderbot (implicitly) accepts ART's proposal of marriage to join the next mission, they have reached the level of intimacy where ART does not seem to think it is necessary to have a wall between them.

So, in System Collapse, when Murderbot decides to accept communication request from AdaCol2, it is Murderbot who suggests having a wall between them, to protect ART.

------------------------------

ART-drone threw out an extra comm- and feed-block wall between us and the shuttle and I said, Let’s do full containment protocol. Which was the protocol we’d come up with (we being ART, Martyn, and Matteo and me, before my incident when I effectively became useless) for dealing with potential contamination situations.

Let’s, ART-drone said, which was its way of being nice and not letting me know that it didn’t need my advice about which containment protocol to use. Then it made it worse by adding, Be careful. The wall went up and I was alone in the dark except for my two drones, both on standby now, and the Pre-CR system.

------------------------------

And ART cannot drop the wall fast enough at the first chance of excuse.

------------------------------

ART-drone dropped the wall between us, though not the one protecting the shuttle’s systems. Is that a good idea? I asked it. Is containment protocol for everybody but you?

After it sees the file it will either attack us or ask for further contact, ART-drone said. The wall will have to go down either way.

Right, fine, whatever.

------------------------------

Not to mention that ART is practically constantly inside Murderbot's walls throughout System Collapse, (ostentatiously) to monitor its stats, because of [redacted].

And considering how private Murderbot is, it is very significant that it seems completely okay with that. Murderbot has become more vulnerable with self-doubt with [redacted], but it really does not show a least sign of discomfort in having ART there at all times.

[pigswithwings]

What kind of computers are in The Stanley Parable/The Stanley Parable Ultra Deluxe? i spent about an hour trying to remember a lot of old brands and models, here are my thoughts!

(please note that there is a readmore because this post is long, and that i'll be making light fun about the silly way one of the computers is designed)

as far as i know there aren't many computers in the game, so i'm only going to be looking at two versions of them: the computer first seen in Stanley's office (which I will refer to as Stanley's computer) and the computers seen in the rest of the office.

the second computer (main office computer) is the easier one to identify! it closely resembles the ibm ps/2 (the image shown is a model 30, as i couldn't find many good images of the other models, but a good number of them also share similarities with the office computer).

in my opinion, the two closely resemble each other - the same body shape and positioning of disc drives/switches. fun fact - portal 2 also features computers that strongly resemble these as well!

however, Stanley's computer is far more difficult. unlike the rest of the office, Stanley's computer is incredibly unremarkable (props for the connection to his character, i suppose?), which makes identifying it much harder. there isn't any unique shape to Stanley's computer, nor buttons (of any kind) that could give a good hint.

the best i would offer for this computer is that it vaguely resembles a philips nms9100 pc. they seem to share the sort of blocky head and body shape, but other than that i was unable to find anything that could be considered "very similar" to what Stanley has.

so for Stanley's computer, i would conclude that it's a specimen all of its own kind, and this is where my critique of the computer kicks in. this isn't meant to criticize the developers of The Stanley Parable, but rather to emphasize how their design choices for this specific computer resulted in something very funny to me.

amazingly, Stanley's computer features no disk drives, no buttons, no brand name, and something that could be an attempt at ventilation but instead looks like two-thirds of a halfhearted honey dipper. this computer is most likely overheating constantly (considering the fact that Stanley is a loyal nine-to-fiver) and unable to run basic programs. frankly, i am astonished at the fact that the computer can even function, and i am left to assume that it must be held together by cardboard, tape, a bit of hot glue, and the willpower of the narrator. given that events of the strangest nature have occured on the parable, Stanley's computer isn't exactly the biggest concern - but it's definitely a fire hazard. please crowdfund this man a new workspace.

end notes:

- the stanley parable + ultra deluxe are great games, major props to the developers who worked on them for years at a time. it's only because of the aesthetic of the game that i first became interested in it, and its design continues to intrigue me. also computers are cool as hell

- i am entirely aware that my knowledge is limited and my computer diagnoses may not be fully accurate - if so, please correct me or propose other possible ideas!

- thank you for reading through the whole thing! :]

[swordfright]

Tell me about how the structure of the medium impacts the story 🔫

My brother in Christ, prepare yourself for the most boring essay you could possibly imagine. I'm going to over-simplify a few things here for the sake of Getting To The Point, so bear with me.

I think a good starting place is that DSMP is an example of New Media. The go-to definition most folks use is this one: that New Media are stories told via "communication technologies that enable or enhance interaction between users as well as interaction between users and content." In other words, NM is basically this category of stories made up of convergent elements, which satisfy a multimedia requirement, and are heavily reliant on both participatory fan culture and recent advances in technology that allow creators/audiences to communicate with one another instantly.

There's a couple ways you can understand DSMP as a New Media, but as far as I'm concerned, one of the most interesting is prosumption. The term "prosumption" describes a creative situation where a piece of art is being produced (at least in part) by the same people that consume it; they're both audience and creator. DSMP is a really great example of this phenomenon, because A) it's serial and therefore the CCs had ample opportunity to respond to and engage with the audience's reception of their story; and B) because the chat feature allows CCs to interact directly with their audience during roleplay rather than after the fact. These features, among others, kinda set the stage for DSMP to function as a highly prosumptive piece of media.

In particular, the stuff that interests me is the stuff to do with storytelling convention (genre, perspective, etc) and how prosumption turns all that on its head. There are a number of altercations in DSMP canon where the course of the story is altered because of real-time interactions between the CCs and their chat - particularly times when a CC's chat warns them about events happening at the same time elsewhere in the server. In this kind of scenario, the CCs are static, they can't really leave their own stream. Their viewers, on the other hand, are able to jump between streams and talk to each other to figure out what's happening in the overarching story. When this happens, viewers have choices to make: are they going to tell a CC what's going down on the other side of the server? If so, how are viewers going to communicate those events? Viewers are biased, they directly inform CCs, and the information they divulge (as well as how they divulge that info) goes on to influence CCs' actions and thus the events of the story, to some degree. In my opinion, this is a pretty new and exciting way to prosumptively construct a narrative! Media has always been interactive to some extent (especially serial works), but the interaction being live and in real-time is pretty significant in my view because it can exert unique pressures on a narrative.

Speaking of audience choice, that brings me to the next thing I want to yap about: ergodic storytelling, a term that refers to stories “negotiated by processes of choice, discernment, and decision-making.” For reference, a good non-MCYT example of this would be hypertext fiction, because it's generally characterized by the ability of the interactant (that's the reader, in this hypothetical example) to explore material provided by someone else, either as a kind of conceptual landscape (think setting in a video game), or as puzzle pieces that must be put together in order to give the interaction the "big picture" of the story. Basically, with hypertext fiction, there is a core text (the main document that forms the skeleton of the story) and there are multiple hypertexts branching off of the core text - and whether the reader ends up reading those branches, and in what order, inevitably shapes that reader's perception of the whole story.

So here's where it gets tricky. In the case of DSMP, where is the core text located? Is there any one identifiable core text at all? Or is it more appropriate to consider each individual stream or VOD as its own singular core text, with the related Twitch channels and Youtube recommended in the sidebar being "branches"? Alternatively, if the streams and recordings distributed on the server members’ official channels are the central text in the grand hypertext fiction that is DSMP, then can adjacent spaces where audiences do the work of creating and archiving lore be considered their own story branches? I don't have answers to these questions. No one does. That's part of what makes DSMP exciting.

To translate the above quote out of Academia Hellspeak: in an ergodic story, the audience has agency, but the agency enabled and allowed by the text varies in its intensity and mode. Yes, stories told ergodically necessitate choice — and therefore enable agency, turning the reader or viewer into interactant — but that element of choice doesn't always look the same. Some hypertexts are more choice-reliant than others, or are choice-reliant in different ways. So, rather than being a choose-your-own-adventure story, DSMP is more closely analogous to a story where the audience chooses the perspective through which they view plot developments, in addition to having some influence over how plot developments unfold.

(☝️From a 2021 Polygon article, if you think I sound crazy☝️)

The web of choices DSMP presents to viewers is very complex, even compared to other forms of choose-your-own-adventure game. Because each CC approaches the task of story-creation from their own angle (bringing their own narrative baggage to the writers’ room, so to speak), those shifts in perspective this Polygon article describes often also constitute shifts in genre. For instance, cc!Wilbur brought his music production experience and interest in musical theater to the server, cited operas and stage musicals as some of his main inspirations; and accordingly, much of c!Wilbur's most crucial arcs observably draw from those sources. When you watch a c!Wilbur stream, you’re watching a story about statecraft, about revolution, about the triumphs and tragedies of ego that play out during the process of nation-building. On the other hand, cc!Quackity has repeatedly identified Breaking Bad and Better Call Saul as his primary influences; accordingly, his RP character’s story is closer to a piece of gritty prestige television in some places (especially LN series). Unlike with c!Wilbur, a lot of c!Quackity's tension does not revolve around a romanticized fantasy of revolution but around more personal conflicts: securing your place in a new regime, navigating exploitation as both exploited and exploiter, etc. In terms of both plot beats and character arcs, Wilbur and Quackity’s respective storylines embody many of the genre conventions the content creators are working within.

Moreover, a shift in genre often entails a shift in style or mode. Because cc!Wilbur was heavily inspired by musical theater, the presentation style of his character’s storyline is correspondingly both theatrical (i.e. only loosely scripted, nearly always televised live, and improv-heavy) and musical (featuring multiple instances of Wilbur singing in-character ballads and anthems.) On the flipside, Quackity’s streams (especially the later ones, since I'm mostly focusing on Las Nevadas era here) demonstrably mimic the prestige TV shows the CC draws his inspiration from, with lore sessions being pre-recorded rather than televised live, featuring distinctive sonic and visual aesthetics popularized by neo-Western thriller dramas. So, where a piece of media like DSMP is concerned, shifts in perspective entail shifts in genre, which in turn entail pronounced shifts in style. I don't think it's an exaggeration to say it's an entirely new story depending on which character the viewer decides to follow. In that regard, what initially appears to be a single choice (whose perspective to watch a plot event through) has the power to determine a wide array of other elements, as viewers’ responses to the options presented to them will decide the overall tone of the section of the story they're about to watch.

While I think the genre-switching is genuinely super cool, lately I'm a lot more interested in perspective-switching and how it's related to viewer empathy. One side-effect of DSMP being televised live is that yes, you can watch a plot event from 30+ different POVs, but you can't watch every POV live. Typically, you either have to switch between multiple streams, or you need to pick one streamer to watch live and maybe later you'll watch other characters' POVs as you see fit. This has an impact on your perception of how that plot point went down because watching something live feels very different from watching something after-the-fact. I haven't done study on this, so what I'm about to say is mostly conjecture, but I wouldn't be surprised if viewers felt greater empathy for (and greater degrees of kinship with) characters whose POVs they watched live.

The choice of which character to follow also has observable impacts on other kinds of narrative conventions (who is the main character of DSMP? the boring answer is c!Dream because the server's named after him, but the real answer is the protagonist is whoever's POV you watched most of the major plot events through) but to be honest, those questions don't interest me as much.

So, going back to perspective and empathy. I think viewers' reactions to Exile are a really solid way of exemplifying the thing I'm trying to say, so this is the part of the yapping where we gotta bring up the dreaded Exile discourse.

Even though the Exile VODs are available and new viewers can go back and watch them, those viewers experience the Exile arc in a way that is fundamentally different from the experience had by viewers who had to wait in between updates as the videos were being streamed serially in real-time. I would argue that viewers who were “present” during the whole arc noticeably felt the brutality of c!Tommy’s treatment to a greater degree, because the audience was effectively forced to sit in exile alongside Tommy’s character - stewing in anxiety, looking forward to the possibility of appearances from other characters, and living in fear of Dream’s next visit, etc etc. Obviously you could also make this point using c!Dream's time in Pandora as an example, but I'm using Exile here because I've actually seen a lot of fans bring this up when discussing the arc: "people who didn't watch live Don't Get It," "the reason newer fans don't see Exile as scary is because they didn't have to watch it live," that sort of thing. And while I have certain qualms with some of the implications here, I do think these are really fascinating responses! These sorts of responses show that viewers consciously perceive their viewing experience as having been fundamentally different from others' based on a temporal element that's unique to serial fiction!

This instance of a divergence in collective fan experience is an example of choice being rendered unavailable to viewers by virtue of the story’s structure and means of distribution; audience members who happen to accidentally miss streams or who begin following the story after major events have occurred will never be able to engage with and witness those events as LIVE viewers, merely as retrospective ones. They don’t get to make that choice, but they do get to make choices about which perspective (and therefore genre) they get to experience the story through. So it follows that each aspect of DSMP, a semi-ergodic story, can be categorized as either ergodic or non-ergodic, and whether a particular storytelling element is ergodic can change depending on WHEN the viewer began tuning in to the story.

I have a lot more shit to say (shocker) but I'm gonna cap it here for now. Though I do want to add that this is kinda why I have a lot of patience for the crazy diversity of interpretation you tend to get in DSMP fandom. If you took a random sample of fans and asked them what they think of various arcs, characters, and plot events, chances are they would all have fairly different things to say. To me, that's a feature, not a bug. Obviously I have my own opinions, and obviously I do think it's possible for a given interpretation to be "bad," i.e. not grounded in the text - but I have a lot more patience for it here, in a fandom where agreeing on what "the text" EVEN IS presents a challenge. We can't all agree on who the main character is, so I don't ever expect us to agree on more nuanced questions of theme and conflict resolution in the narrative. Again, that's a feature, not a bug. I don't think it was ever possible to reach a consensus with a piece of media like DSMP because of how inextricable the audience is from the story.

[hello-vampire-kitty]

Servamp Chapter 132 translation "To become gold"

The chapter is on Mangadex, however this post might not show up I used a link. After you read the chapter please check out the translation notes!

It's been a long time, but I finally managed to finish up this scanlation that I've started while I was still working...Now that I've quit I can translate the remaining chapters.

So, one line in this chapter made me go crazy for how long I had to contemplate on its meaning and maybe I still didn't understand it, but I try my best to explain.

TRANSLATION NOTES

On the first page, you can see that some words were written in parenthesis, to distinguish the furigana readings from the other ones. The translations are based on the furigana.

過去 (past), furigana 思い出 (memories)

未来 (future,) furigana これから (from now on)

It was weird to see that Shirayuki uses the honorific "san" for Yumikage, but I think it's because the traditional ways of the Tsukimitsu family. Maybe it's more common with historical settings, which I haven't seen much of.

About one of Shirayuki's lines, because it wouldn't have made sense in English, I wrote "goodness!" in order to express that she was shocked about what she heard Yumi say.

He used the pronoun 俺 "ore" which is the informal "I" and that's what Shirayuki repeated. Because English cannot express the degree of formality regarding "ore" and other pronouns, I couldn't have make her say "I" in the translation.

Shirayuki apparently had a problem with Yumi saying "ore", but Iori also uses ore. Maybe it's because she was more stricter with Yumi because he was the youngest and Iori was too old to be reprimanded for his language.

I also had some difficulty with Miyako's line and I used a direct translation because haven't found much alternatives, so I used "no substance", which was primarily how I found the Japanese phrase translated.

Some of you might have seen in dramas, anime/manga that teenagers who are delinquents would dye their hair blonde.

Because it's associated with being a teenager, I'm interpreting that Iori might have wished that he could enjoyed more of his adolescence like Yumi, because he was appointed the head of the family when he was eighteen.

Okay now, for the most difficult part I had with this chapter.

This is the page where I spent a few days trying to figure out what Hugh is saying because I can't tell precisely if he was speaking about Saint-Germaine or another subject in the panel before the last.

I've tried to break down what Hugh says :

奴はそういう機構だとしか解釈できぬ。

What gave me such a hard time was the word 機構 (kikou) which means system, mechanism, organization, structure.

It was tough to figure out how to apply these meanings, so when I was looking trough definitions and examples with this word, I wondered if maybe Hugh was saying "That is the only way he works/functions", regarding Saint-Germaine, when explaining to Yumi.

If you recall from previous chapters, the word "system" which was written in katakana to transliterate the English word, that used for the Servamps, referring to their structure basically, how they work.

Among synonyms for 機構 (kikou) I have found 制度 (seido) which was used by Tsubaki when I believe it was the first time that the word "システム" (system) was mentioned in chapter 87.

So, it could be that Hugh is implying that Saint-Germains's can only be understood (interpreted) [しか解釈できぬ means "interpreted only /no other way] only possessing that kind of system to him, in other words maybe something like mondus operandi, which involves the stuff Hugh mentioned (projecting and interfering with reality).

Basically, he's defined only in a single manner, he's described as being dangerous, that's what Hugh is telling Yumikage.

Or I could totally misunderstands Hugh's word, because omg like I said, it was the most complicated line in the whole chapter for me to adapt *cries*

I'm sorry if what I tried to explain doesn't make sense ;;

That's all for this chapter, still have a few more to work on and because I never got to look over most of the dialogue in those ones due to the fact that I didn't had the time when I still had my job, I hope that I won't have to deal with such difficult lines.

[butchlesbianmike]

Tower Tarot System Headcanons (Mike & his system)

Under the cut are my detailed headcanons for mike, his backstory, and details about his alters. Note that i've changed some 'canon' stuff and added a few new alters.

TW: There will be mentions of Parental Abuse such as neglect and implied physical and emotional violence. There will be mentions of Sexual Abuse relating to Mike & Vito.

Keeper

• System Aware • One of the main Gatekeepers. More of a state of consciousness than an alter. Not sure how to explain it even as a system myself but basically more of a concept and a fragment? It is not really an alter that another alter could just come up to or interact with. • Was created by the horrid neglect and abuse endured at the end of the system's mother which from a young age made clear they would not be able to function without amnesic barriers separating states of consciousness/ego states.

Lucia:

• 5 - she/her - System Unaware, became dormant until Mike went to therapy. She then became system aware. • Alter i created for their system. Sarah is a child alter and technically the first host the system had but quickly became a rarely fronting part due to varying traumatic events between the ages of 3 and 5. Her age got frozen around 5 years old. She also stopped being host at that age after a harshly traumatic event. • System is unsure if there are other parts younger than her, she is the youngest identifiable host.

Chester:

• 56 - He/Him - System Aware - One of the gatekeepers • Split off around 4. • Introject of their grandpa on their mom side. Very important to Sarah and was very kind and took good care of the system.Their mom was incredibly neglectful and their grandpa is basically who raised them. Their mom cut contact with their grandpa after a fight between them. • Losing their grandpa alongside the constant abuse now worsening from being around their mother more did lead to a split. • Chester appears very grumpy because they found it funny whenever he would go on rambles and complain about silly things to them but also because they were hardly ever allowed to express negative emotions or frustration around their mother and so Chester became a part that held a lot of those negative emotions they didnt feel safe expressing.

Svetlana (Went by Lucia) :

• She/They - Ages with body - not quite system aware, notices things but very much normalizes them. Becomes system aware once Mike gets a girlfriend and also starts exploring gender. • Split off around 7 when their mom started signing them up for competitive gymnastics. (They were already doing gymnastics before, but competitive only started at 7). • Main cohost for a long time. Helped Sarah and Lola with learning gymnastics and handled competitions due to their mother being incredibly abusive during tournaments and competitions. • She wasnt really aware she was cohost, she felt like this was her life but she kinda saw it as like.. "oh i just feel more like myself in my element! Gymnastics is just really important to me and its where i thrive everybody say they have masks depending on if theyre at school or at home or with friends!! I guess my mask just comes off when im doing gymnastics :D". • She thought that the Russian accent was just a bit she was very dedicated to and what helped her 'get in character' for competitions. That it was just her trying hard to be like those russian gymnasts they really like on TV to feel more confident. • She always felt uncomfortable with being infantilized and felt much older, but everyone around them would say they have an old soul so she assumed that must by why. • She discovers she's a lesbian around when the body's age is 14. • She is one of the alters alongside Vito who causes Mike to realize something isn't adding up and reach out to try and get therapy. • Did not like Mike's girlfriend and actually really disliked being referred to as a guy. This was actually a main source of conflict between her and Mike and another reason Mike started feeling something was wrong because he realized that the dysphoria he got seeming more masculine or being perceived as more masculine didn't feel like it was Actually Him. • She often would be very distant and even cold to their girlfriend because she realized that they were a system and that she wasn't Mike and that actually his girlfriend was hurting them. • After therapy and system work and being acknowledged as her own alter, her relationship with Mike got a lot better and they agreed on keeping some feminine stuff for her to wear whenever she's front. • Actually really likes Zoey and tries really hard to hint that she also likes her. She and Zoey actually start dating too.

Lola (Went by Lucia):

• She/her - 10 - system unaware until she stopped being host. She became system aware when the body was 12 and that she got yonked and became more of an internal alter and very very rarely ever fronted again. She was under the care of Manitoba and Chester in the headspace. • Another system kid and previous host, she handled life from 6 to 12. • She and Svetlana were really fronting together almost all the time and switching between eachother frequently, although rarely experiencing blackouts more than greyouts. • While she was a host from ages 6 to 12, she stopped aging in the headspace at 10. • A huge part of this was due to how rocky elementary school was. They were changing schools left and right and it was really hard to keep up with all the constant changes. Around 10 she lost one of the only friends she had managed to make and due to their already fragile state, this was distressing enough to halt her development as an alter in itself. Svetlana mostly started being the main host from 10 to 12 although Lola was still there and at least cofront a majority of the time. • Starts fronting a bit more after Mike starts doing system work (Body age around 17).

Mike:

• He/They - Ages with body - First Host to become system aware. • Split off around 12 due to stress bcuz the system moved in with their dad because their mom no longer wanted to be responsible for them nor pay for their highschool necessities. • He became host because he didnt carry much of the traumatic memories related to their mom, didn't have system awareness, and was fairly functional with school and with their dad. • At first he had it a lot better than previous hosts and was one of the most stable host for a short while which made it that switching didn't frequently occur except here and there or when triggered due to x y z. • That changed about 8 months after him being host. A month before turning 13 he started figuring out that he had a crush on a girl and might be a lesbian. • Not only that but also started getting a lot of gender dysphoria, even feeling uncomfortable with a lot of his clothes and even pictures of him in his gymnastic outfits and competitions. • Nothing much came out of the crush except heartbreak which did kind of shake things up for the system. Mike felt things very profoundly and the heartbreaks of feeling like he would never find love because he likes girls destabilized the system a bit which led to more frequent switches- especially at school to continue functioning with the classmate mike had a crush on. • Around 14 Mike finds out more about things identity wise and starts thinking he might be a transmasculine butch lesbian, but isn't sure of himself because he feels his identity is very shaky and constantly changing so he settles on being genderfluid. (This confusion is mostly caused by Svetlana who also is discovering she's a lesbian btw). • At 15 is when the big bad happens for Mike. He gets his first girlfriend who happens to be older and more experienced than him. She sees him as a trans guy, even though he tries to explain he isn't. She is very forward and sexual to him, which freaks him out. She is constantly trying to see his chest and fetishize him especially when he's binding. • At 17 after a long time seeing a therapist due to the previous events, he found out he was a system and has been doing system work with his therapist for a year now. This is the same year he signs up for total drama.

Manitoba 'Jones':

• He/Him - 21 - System Aware • Split off around 13. • Introject of Henry 'Indiana' Jones from specifically 'The Young Indiana Jones Chronicles'. • Chose the name Manitoba to distance himself from his source, although he finds high comfort in it. • System Historian / Internal Helper. He also frequently takes care of the syskids and takes them on adventures in the headspace. • Very rare for him to fully front but he likes to come sit around front whenever anyone watches action movies. • Is actually the one that handled breaking up with Mike & Vito's girlfriend because neither of them felt like they could and when he figured out what was going on he got very protective.

Vito:

• He/Him but later on uses any - 18 - System Aware • Split off around 15 because of Mike's girlfriend of the time. • Split off as a sexual protector and hypersexuality symptoms holder. • Sexualizes himself a lot because it makes him feel in control and desired. Feels like because 'hes a guy' it means he has to like and enjoy it bcuz thats what a real man would feel. • Gets triggered front everytime anyone in the system loses their shirt because of it creating dysphoria and PTSD. • Was actually the most heartbroken when they broke up with their shitty ex girlfriend. He loved her a lot and saw himself as her boyfriend more than Mike did, even if he knew deep down she wasn't good to them. • Is the alter that, alongside Svetlana, made Mike realize something wasn't adding up and start talking to a psychologist and getting therapy. • Started unpacking a lot of his relationship but still holds a lot of the system's hypersexuality symptoms and has a weird relationship to gender as he feels like his 'gender' as a 'guy' is affirmed through having withstood their ex' abuse and 'enjoying' it. • He is actually nonbinary but it takes him a while to figure that out and only really figures it out AFTER total drama.

Mal:

• He/She/It - Ages With Body - System Aware • Persecutor/Misguided Protector. Split off during total drama all stars. • Mal split off with the belief that to win the game you have to be selfish and self preserving and manipulative. • He feels that Mike is "Too soft" and "Too kind" to survive let alone win the game. So he decides to play it by 'their rules'. A rule that Mal perceives to be the only way to make it through. • Due to splitting off with the belief of needing to replace Mike, she actually looks very similar to him in the headspace and while she doesn't like it she finds it very easy to imitate him and sees it as a way to protect the system by imitating Mike to win the show and get everyone away. • She thinks Mike is too 'naive' and 'trusting' and Mal sees that as a weakness others in the show will exploit and abuse so he decides to distrust everyone including the people who the rest of the system feel are safe like Zoey and Cameron. • It doesn't come from a serious place of malice more than a maladaptive coping strategy where Mal is in constant survival mode and unwilling to let his guard down in case the system gets hurt and he KNOWS that its bound to happen being part of total drama. • This is reinforced by the fact that Mal split off with memories concerning their ex girlfriend and knows how deceiving people can be, especially seeing how some of the people on the show have tons of red flags that reminds her of Mike & Vito's ex. • He tries to protect the system by constantly trying to force herself front and by betraying people and playing 'the villain' so that no one will hurt them and that they have more chances to win if they're the one to strike first and he lashes out and gets angry when the system calls him out for it because he doesn't understand why they dont see what he sees. • After a lot of therapy and help from the system and Zoey and Cameron, Mal unpacks and unlearns a lot of the harmful ideas she split off with and also starts exploring herself outside of 'Total Drama'. A lot of her identity is tied as 'Mike's only hope to survive total drama' and its a lot for her to work through. • She gets on much better terms with Zoey later on, but it does take a very long time to build up that trust between them even if Zoey understands where Mal was coming from.

[idrellegames]

hi there! sorry if you've gotten a similar ask before. do you write wayfarer directly into twine or do you keep it in a separate doc? do you just have really clearly labeled sections in a word doc or something or is there a specific program you use to keep track of every story path? basically, with something as expansive and w/ as many routes as wayfarer, how do you keep all your writing organized?

I have answered this before, but I can't seem to find my posts on the subject (you may want to peruse my coding in twine tag, the masterpost has a bunch of different resources for this kind of thing!).

But in short, no, I do not write Wayfarer directly into Twine. This could functionally work for a very small game, but I would still advise against it as Twine doesn't really work as a word processor. You can't proof-read in it.

My process has three main steps:

Outlining

Writing

Coding

Compiling

Outside of my big beat chart (which spans the whole game), I break each episode down into their own outlines, and then break the routes of each episode down into their own outlines. Sometimes specific sections end up with their own outlines too. My system probably doesn't make much sense to anyone other than me, but as long as I know what the divisions are, then it's all good.

I write in MS Word. Each episode has its own folder (sometimes with subfolders) and every section of the game gets its own document.

Here's the main folders, each episode goes into its own thing.

This is an subfolder for Episode 1, specifically Route B.

Within my word documents themselves, I use a colour-coding system for separating out branches and sections. This is extremely useful for writing dialogue loops, like this:

I also add in any coding notes (variables, true/false states, stat checks) while I am writing so I know what I need to do when I sit down to code 4+ months later. I usually throw a X or XX on choices after I have written them as a note to myself that I have finished it (this is just personal shorthand - X means I've done the pass version of a check, XX means I've done the pass and fail states).

I use about 8-10 colours in my documents; I have a set of MS Word macros set up so I can easily switch between them.

I share my word documents with my editor via OneDrive, which makes it easy for her to got through and proofread.

I use MS Word because I've been using it to write since the 2000s and it's what I prefer to use. I have also been writing professionally for over a decade now, so I have systems and strategies in place that work for me that I've developed for myself over time. But if you're new to writing and you're looking for a word processor that can also help you with outlining and keeping your story straight, something like Scrivener may be helpful.

One the text is ready to be coded, it's a lot of copy/pasting from Word into Twine. When I'm coding I will typically be running multiple programs at once:

MS Word

MS Excel (for my variable sheets)

Twine

Notepad++ (which has some regularly used code stored in it; I also use it to edit CSS and Javascript, as well as any really code-heavy sections since it's easier to do that in Notepad++ than it is in the Twine editor)

Notepad (just the regular version - I use it for writing notes to myself while I'm coding)

a web browser to launch tests in as I code

Once I am done coding and I have tested things, it's time to compile. The Twine editor can only handle so many passages and text in one file (around 500-700 passages before you hit massive lag), so I break Wayfarer into multiple story files. Having multiple story files also makes it really easy for me to cross-reference events (if I need to grab a passage title to reference it later) because I don't have to look through one big file. If I know the event happens in Episode 2's first scene, then I know I need to open Chapter_2.1.

My Twine library looks like this at the moment:

I am using an old version of the editor (with an up-to-date version of SugarCube) since I didn't like the new one. I don't necessarily recommend using the Twine editor when you can easily make your game with Twee extensions in Visual Studio Code and have better support and functionality, but this is what I like and it really comes down to personal preference.

But because everything is in separate files, I have to merge them altogether. I have Tweego installed on my PC; it's run through the command prompt and outputs multiple story files into one HTML file. I've talked about this process here and here.

And that's basically it! I don't think there's a one-size-fits-all solution to keeping track of your IF. You need to figure out what works for you, based on your writing and outlining habits, how big your story is, and how much you intend to keep track of.

Hope this helps!

[yuurivoice]

Alot of big creators having deep lore in thier stories is making your fans over analyze everything and you're just like "nah thats not important" "not that deep" "anything outside of the story isn't important its just for fun" lol

A little bit, I think. There's plenty of things that are fairly deep and lore relevant, and theorizing on that front is good and fun. There's just a clear distinction in what is and is not like that in my work, and some folks who like the more loosely tied together things like Lucien for example, would love it if it was deeper.

But I'm not gonna squeak out a fart if I ain't ready to toot, because that's how you end up shitting your britches, ya feel me?

(Jackie Commentary: "The real Tortured Poets Department...")

I think it's partly a symptom of the long wait between big narrative installments like BitterSweet and Auron's stuff, because people want to dig and that's a good thing, but there hasn't been a ton of new stuff to dig into for a while. Or they want to dig elsewhere and then when they come to me with questions I'm just like...idk man I don't even remember what you're referencing because I wrote it at 3am during a manic episode and forced myself to record it when I could hardly function. lol

I'm not that clever or deep, I don't present myself like some super talented writer who has a whole conspiracy board of lore mapped out in my office. I'm a fucking mess of a man who has failed upwards and thankfully people enjoy what I create, when I'm able to create it, and the rest is smut.

We also have a bit of an issue with people who only halfway know what they're talking about speaking like they 100% know what's going on and they're only half right and don't even know why. Like referring to all listeners as "Dreamers" only somewhat right, or thinking that only some characters are "Dreamers" is also not right.

And it's actually spelled out pretty clearly what Dreamers are if you know where to look, but I'm not just going to state it plainly in a random Tumblr post because I have plans on how it'll be addressed in the content itself.

So basically, with a lot of what I'm working on I'm also trying to make shit as clear as I can, tidying up the knowledge and lore for people while also creating some new questions to ponder that at least put people back on the right track.

There are also a lot of folks who have things pretty figured out, but they're...just chilling, I think. LOL

Ultimately, having people really curious and creative about things to the point of theory crafting and going deep is a good thing. I just...don't always have satisfying explanations or answers to some things because I'm not so deeply involved with my characters or some of their less intricate stories that I can just...unload a bunch of random trivia about them.

The speculative part of being a fan of character or story is the fun part, and I worry that having such direct access to me actually fucks that up to an extent. And because of the intimate nature of the content, people get really really really invested in these characters on levels that I don't typically go to. Seth and Alphonse, maybe Auron, are exceptions because they're very personal to me. But otherwise? That doesn't happen very often.

Anywho, we're probably at another juncture where I have to decide if it's healthier for me to take a few steps back and be less involved on this side of things for a while. It can get really exhausting and it doesn't have to be, but for me and for the fandom, probably.

[adizzyninja]

I think the larger point being overlooked in all the Fallout Prime VS New Vegas Canon controversy is less who's in charge of canon and the future of the franchise and more just the general potential for stories being kinda squandered with some of these decisions.

(As a disclaimer I really liked the Fallout show!! Really solid mysteries and reveals and just overall presentation. Just criticizing a bit how it handled the wider lore)

So like, Bethesda's lore is completely separate from the 1,2 and NV stories, in my head. They can reference the past stuff as much as they want but it doesn't change the fact that the writing teams are comprised of different people working from fundamentally different mindsets. That's totally cool! They can create their own spin on the canon and go whatever direction they want with it. The Interplay/ Obsidian stories will always be there and there's nothing that can change that.

All that being said though, I feel like there's another perspective to look at some of the wider lore choices the show makes through: wasteful. The show writers had an incredible springboard of interacting factions and pre-established lore to work with. And it seems like all they really did with it is blow it up. Maybe season 2 will turn things around and it turns out New Vegas is actually fine, but it doesn't change the fact the NCR has been effectively wiped out.

I've always felt that getting too liberal with death and destruction in a story is a good way to quickly make a world feel a lot smaller. It can be done well, and to its credit the show does seem to have made the nuking of Shady Sands a fairly integral part of its plot/ themes. But I don't feel like the narrative mileage they'll get out of that could compare to just... having a massive faction like the NCR present! Not to mention how much fun could be had with a functioning New Vegas, or an even vaguely acknowledged Legion for that matter!

Idk, riding NV's coattails too hard would easily come off as cheap, but at the same time I can't help but wonder why they even bothered setting it in California if they were just going to wipe away pretty much all the established stuff that made it interesting! There's a *massive* middle chunk of America that's untouched in the lore! I just don't really see the point of basically arguing with what exists instead of just focusing on whats missing and making something new with it.

[kanobarlowe]

Werewolves and why shapeshifters suck

The big rant has overcome me. Let me explain the best kind of werewolves and why it's not shapeshifters.

The first thing to do is determine what makes a werewolf a werewolf and what makes that kind of werewolf good.

I think the best place to start is the origin of the word and concept of "werewolf" altogether. This is difficult to narrow down, as the topic comes across many cultures, with its own variations and forms, sometimes even different animals—but usually all taking on a similar function to culture and storytelling.

Let's focus on the 2 most common English words for this topic: werewolf, and lycanthropy.

Werewolf: Old English. Description of. Man+Wolf.

Lycanthropy: Greek. Affliction. Wolf+Man.

These two words at their most basic forms tell us a lot about what werewolves should be. The first one, while historically can be seen accommodating basic shapeshifter tropes, has a primary distinction: it is man first. There is no wolf without man. To have a werewolf, one must have man, which implies that the traits and clarity of man's presence is vital for the werewolf to be known and identified as such.

Lycanthropy, meanwhile, has an important difference that supports the Old English, by accident or by design: it is the affliction of wolf onto man. While lycanthropy is wolf emphasized, by its definition of being considered an affliction, notably on mind and/or body depending on literal or literary context, there must be man in the equation for the wolf to then be afflicted to.

Why does this matter? Who cares if man is in the equation?

Well clearly I care!!!!

Before I compare two well-known examples of werewolves in contemporary media, let me make it clear: based even on basic terms and definitions, the presence of man is key for the werewolf to function. How do you possibly make that clear to your audience?

By keeping man present.

If you decide to hide man from your werewolf concept and design, you're just making your end result a wolf. While the man may be present underneath, I would argue that the meaning of both words has now been lost and the wolf has now obscured the man aspect.

Next, we, can examine some popular contemporary werewolves and see what makes them truly horrific (in the best ways of course). Note that I will sadly only be going off of what I am familiar with: if I do not cover a werewolf that you think is good evidence one way or another, it's simply because I am not familiar enough with it to use. For this portion I will reference a top character list I found online.

Remus Lupin: ignoring any controversy around Harry Potter and Rowling, and ignoring his incredibly silly naming scheme, Remus is a classic werewolf. Is his story in book 3/movie 3 not compelling to audiences? I think many would agree that the mystery behind the man and the subsequent learning of his affliction and how he intends to get along despite it is worthy of acknowledging. Not to mention the danger that comes with it when the kids come in contact with him in this form.

David Kessler: I would argue David from An American Werewolf in London is the most iconic and amazing iteration of a werewolf to have existed in contemporary works. Not only are the transformation scenes brutal and grotesque, but the later ambiguity of the validity of his affliction, his lack of knowledge to if his affliction even occurring, not only is classic, but masterly crafted.

Larry Talbot: the OG wolf man and an iconic one at that. Due to effects at the time, the visuals are great for what they could do, and the story of a man who cannot resist the violent nature of the beast that overwhelms him is quintessential to what makes werewolf stories so good.

Daniel Osbourne: another iconic example to many of what makes a good werewolf. One who is meek in human form, but the monstrous side of the werewolf curse shreds through that with power and feats unknown. I can't say much more as it's been a while seen seeing Buffy, but I didn't want to leave Oz out.

Bigby Wolf: while a reversal of the concept, being a wolf inflicted with lycanthropy to give him the power to become a man, Bigby in both iterations of Fables and The Wolf Among Us is still a good example of the man and wolf nature. In the game, you get to see his progressive iterations of transformation, some being more extreme than others. Of course he does technically shapeshift, especially in his last form—but his earlier hybrid iterations are brought on by a unique variant: emotional transformation. When anger is left unchecked and out of control, his beast nature would rise out of the surface of man, which I find compelling. He is an interesting look at the affliction of man onto beast, which is what makes this more shapeshifter-esque nature more appropriate for his case.

Jacob Black: literally what is the point of him being a "werewolf" other than to be different from Edward. Other than giving him some mysterious nature it does little function - and it's an affliction he doesn't deal with at anywhere near the same capacity as the vampires do with theirs in the same book series. If I remember correctly, the only things that are an issue is he just kinda becomes a hot head who doesn't know his own strength? Okay? He's just a shapeshifter. He just turns into a literal wolf. What's the point. Lmao.

There are many more, and ones I wish I could touch on with better knowledge than I do (such as Teen Wolf, Being Human, the Vampire Diaries, and True Blood). But even with these few, I think it's clear that the afflicted, even in a unique role-reversal like Bigby, is far more compelling than shapeshifting. From what I have read about Teen Wolf, I believe it tries to strike a balance between being able to shapeshift when desired but also being afflicted by the full moon, but I would need to see it before I can comment. I am, however, not impressed with the ability to actually just turn into a wolf that is otherwise present. The monster versions look cool though.

Finally, to still rant and make some arguments but to try to not keep this too long, let's consider the impact of affliction vs shapeshifting as the function of the werewolf.

What does a shapeshifter really do to compel a story? In my opinion it renders the werewolf little more than a super power like any other kind—you basically have a 1 form d&d druid shapeshifter, worse yet if they eliminate the aspect of man and make it a full wolf transformation.

What is the impact of a wolf-man affliction? Well I mean... look at it!! Someone who may or may not know what happens to them, unable to resist or fight the bestial nature lurking beneath the surface, maybe even terrified and uncertain of all the death surrounding them! What of the overindulgence, of feeling terribly full, of the taste of meat and metal on the tongue? The horror someone would feel with this beast looming over them, claw and fang and hair and distortion on an otherwise human-like face, creating an uncanny valley effect of human-but-not for the victim.

To conclude: wolf-man is cool. Shapeshifters are also cool, but not for a werewolf narrative.

[caramsels]

tell me more about this "mono isnt a human" theory thats really interesting

Thanks for asking! A few people have asked for my thoughts on Mono’s identity, and because I will take any opportunity to ramble about Little Nightmares, I wrote up my (hopefully intelligible) interpretation of Mono, and why I think he was always a Resident of The Nowhere, instead of a kidnapped human child like most of the LN kids. This theory is super connected to a few other ones I have, so I’ll rattle descriptions of them at the start for context. Also this post is insanely long I’m sorry

The Nowhere

The Nowhere is its own world that real children get kidnapped to, it feeds off of humanity and kinda functions like your local mall. A weird amount of emphasis is put on jobs in The Nowhere, Residents are often referred to solely by their job titles (The Janitor, The Doctor, The Teacher, etc. etc.)

Besides having a job in The Nowhere, a Resident's proximity to humanity seems to give them a higher status as well. In a LN1 interview, it was said that ALL residents wear masks (as opposed to just the Twin Chefs); we even see in LN2 that The Doctor makes and presumably sells these masks. A humanoid appearance is something that most Residents want. The more humanoid a Resident looks, the more powerful they are perceived to be (not always, because of The Ferryman, but he’s just chill like that.)

Kids and valuable teens/adults (like the circus performers and Otto from the podcast) feed The Nowhere kinda like how animals feed humans. Some Residents are given jobs to maintain this system. Some jobs require more power than others however, typically these are the jobs that require a Resident to keep control over an entire area, which leads me to…

The Cycle

The head honcho Residents like The Thin Man and The Lady are more humanoid and more powerful than the others, this is because they are handpicked and raised from birth to inherit these forms that are passed down over time. This one is super important to most of my points about Mono, so I’m going to spend some time defending it.

The Lady (prior to the Six stuff) had 4 predecessors, each represented by a different mask/hat that you can collect in VLN; This means that The Nowhere (at the time of the first loop in LN2) is on its 5th cycle. The Thin Man is also a mantle that is passed down, we see the previous one interact with Mono before Mono has even entered a time loop in the LN2 comics. This Thin Man, when datamined, notably wears a different hat than Mono’s iteration.

Furthermore, when asked if Thinny Lad is a mantle that is passed on or Mono in a timeloop in an interview, the devs had this to say:

The Pretender (VLN) is a good example of what I think Mono is supposed to be, and what the child forms of the 5th cycle Residents were. The Pretender is a humanoid child with supernatural powers and a strong sense of loneliness. She has her own mansion and Resident servants. The Pretender is the heir to a currently unknown position. She has a portrait of her and five past iterations on her wall, followed by another one of her and her two Resident parents. The Pretender is native to The Nowhere.

But… who is the boss of all the Residents? Who assigns these jobs? Who creates the natural Residents and brings others into The Nowhere?

The Eye

(you could argue its the ferryman but i think he works under the eye too. employee of the year)

I think most fans agree on this one so I won't spend too long on it, but basically I think the Eye is the unseen overall antagonist of Little Nightmares, overseeing everything and everyone in The Nowhere all the time. The Eye feeds off of misery and has a fate planned for everyone, it is not happy when anything throws a wrench into these plans. I don’t think we are meant to know The Eye’s motives, not yet at least, but if I had to guess; they have something to do with an extremely misguided and angry feeling of loneliness, as that is a prevalent theme in an insane amount of Residents. This finally brings me to Mono.

Mono’s Familiarity with The Nowhere

Mono is very familiar with Pale City, he is much more aware of his own fate, abilities, and world than he’s given credit for.

In the door/boat cutscene, Mono watches every TV in the water until it exits the frame. This early in the game, Mono already has an inherent connection to TVs.

Before Pale City comes into frame for both Six and the player, Mono is already standing, he is familiar enough with the route to Pale City that he knows they arrived without even having a clear view of their destination. This is because Mono has been to Pale City before, in the sixth episode of the LN2 comics:

In this comic, Mono met (and wasn't killed by) The Thin Man shown earlier. So to list off the amount of things Mono was already familiar with at the start of LN2: His connection to TVs, his connection to The Thin Man, and how to navigate Pale City. Mono having a lot of experience living in The Nowhere is demonstrated somewhere even more prominent too:

Kickass Character Design

Six’s character design intentionally makes her not fit in with her environment. While the color scheme of The Nowhere and its residents is mostly bland, monochrome, and washed out (sans the lighting), her jacket is highlighter yellow. This represents that Six does not belong in The Nowhere, she’s from the human world.

With this information to ride off of, Mono’s design becomes interesting. Mono’s design is a beige button up, tan trench-coat, and tan pants: A monochrome, muted outfit that fits in perfectly with the aesthetic of The Nowhere. Mono’s outfit including a key ring and a useful color scheme for camouflage further implies familiarity and experience with the way The Nowhere works. If Six’s simple, bright design represents her not belonging there, Mono’s muted, practical design represents the fact that he does.

His Mask

We actually know why Mono wears his mask, we have a direct answer:

You can interpret this as a representation of Mono being shy or insecure or a combination of multiple things, but I think it’s mainly meant to represent, as the description states: Mono hiding from The Nowhere, Mono running away from his fate. The Eye wants Mono to grow up and be the next Thin Man, but he doesn’t want to. Mono’s mask represents his fear, his refusal to use his Thin Man powers, his refusal to do anything that connects him to the world that hates him and wants him to fail; he wants to hide from that world, his future, and the reality of what he is. But ….

(straight up a post of Mono running from his fate)

Unexplained Powers

Mono’s OP reveal was the moment that shook me the most when I first watched my sister play the game; I’ve honestly always been shocked at how little it’s talked about in the community. To me, it was a reveal that told us we Did Not REALLY know much about the character we had been playing the entire time, and that was exciting.

When Mono fights the Thin Man and contorts the structure of Pale City, it is with ease. This is not his first time doing any of this, his body language does not match that of someone who just discovered/unlocked a new ability, him busting out the moves is framed more like a choice that he decided on just before removing his mask. The Thin Man boss battle is easy on purpose; because it's not too hard for Mono in universe, all he does after is wipe off his head nonchalantly and then he proceeds to warp reality. The ominous boss theme that plays during this fight isn’t even for the Thin Man, its MONO’S boss music. The Thin Man is the one who helps control The Signal Tower’s influence, Mono is the one interfering with it, he is the “Signal Interference.” The theme continues even after he’s defeated The Thin Man, further hammering in that it is his.

Mono has his own ominously powerful boss theme and the abilities of one of the most powerful Residents at his disposal; he is not a normal kid.

Mono even shares a power with the established Resident heir that we already know; The Pretender.

When The Pretender sees RCG eavesdropping on her crying, she yells so loud that it physically hurts RCG, causing the screen to glitch. I don’t think this is just a visual effect to show how loud it is to the player; I think this is an in universe ability. You know where else we see a powerful child amplify their voice on purpose to harm an enemy with a screen glitch/distortion effect? Mono in Chapter 5.

Mono and the fifth Thin Man

I think that Mono ran away from wherever it is he’s supposed to be, (probably the Signal Tower) and The Eye/ Thin Man want him back; this is why Mono is not killed by The Thin Man in the comic, just pursued by him

Loneliness

I don’t think I even really need to dissect how loneliness relates to Mono’s character, but he’s not the only character who deals with it. A huge recurrent theme with Residents is loneliness; the sense that they need something, they are missing something. The Lady has a bunch of dolls, The Janitor has.. a bunch of dolls in his own way. The Hunter too. The Pretender runs off to cry when her human doll friend gets messed up at her dinner party. The Resident we meet in Chapter 3 of the podcast is the most direct example so far of intense loneliness in a Resident, and not so coincidentally, it has a ton of parallels to Mono.

Narrative

For the rest of this post, I’m going to focus on how I think this theory fits into the story; because I think factoring in the cutscenes and storytelling beats is important when putting together something’s lore.

A little chatter about Mono

Mono is often characterized as a shy little boy who plays the straight man to Six’s feral goblin who loves eating rats, which is a whole other can of worms, but with this characterization I feel like some fun and interesting parts of his character are neglected, such as: The fact that Mono is an ominous little weirdo. His attempt at trying to save and comfort someone is to hack down her door with an ax with no warning, then proceed to chase her through the house she’s been trapped in; Mono is not too familiar with human interaction. Mono isn’t really a dashing hero who tries to save every kid he comes across either. In the comics, Mono finds an area that is away from the monster killing all the kids, but it’s not like he tells the other kids or tries to bring them with him or anything. I don’t think that this means he is a toxic manipulative character or anything because he is. 9 or 10 years old. I think if anything, this is a trait that experienced characters in The Nowhere have: RCG and Mono both know that indifference is the way to survive in The Nowhere, good deeds usually get you killed. It’s the way things are. I think overall Mono is a well meaning boy who just talks and acts ominously, because that’s what he is used to; he’s an eldritch overpowered being who lives in hell if it had a 1940s aesthetic.

I think that Mono doesn’t start the game a sweet perfect little boy whose ending is sad because he gets betrayed, that’s not a character arc. I think Mono starts off relatively morally gray out of necessity, mostly helping Six out because it was kinda his fault she got captured. He develops into someone who is willing to fight his fate, fight the Nowhere and stop resorting to the escapism his mask provides, only to get crushed to rock bottom in spite of his growth. After all, the villain of Little Nightmares is The Nowhere itself.

How this creates character conflict in the plot

Anytime Mono goes into a weird TV trance, Six is horrified. Her body language tenses and she moves away from him. Six has seen first hand that even the kids like her in The Nowhere cannot always be trusted or relied on (RCG shutting the door on her). Some kids like the Pretender aren't even normal kids, they have powers they use to kill people. The one person Six is starting to trust, and he’s showing signs of possessing supernatural powers? Terrifying. Mono notices these reactions, they give him more cause to hide what he truly is from her. Residents scare and disgust Six, he doesn’t want to lose the only person he has.

This conflict leads me to another point; you know those moments of Six being sadistic and angry towards Residents? How an ominous music cue plays when she kills the bully and breaks the mannequin’s fingers? Earlier in the game, when Six first catches Mono, his part of Togetherness II plays briefly to show his feelings in that moment, which implies that the music cues we hear when a story beat happens are Mono’s reactions. I don’t think these scary music cues are because Mono is scared of Six being creepy, Mono himself likes to beat up Residents. I think that Mono is scared in these moments when he sees the extent of Six’s hatred towards Residents, because even though he doesn’t like them either… Imagine how she’d react if she knew about him.

It is only the Thin Man fight when Mono is finally pushed to the point of using his powers, because in the plan to get Mono to the Signal Tower: The Thin Man took Six as bait. Six was constantly pulling Mono out of his TV trances, Six was supposed to die back at The Nest, Six has been a problem for the Eye since the start and now it’s time to kill two birds with one stone, to sentence Six to her new fate and to crush Mono’s spirit so hard that he finally resigns to his.

The drop is its whole own debate, but whatever you think about it, I think at least one factor in Six’s decision is that from her perspective: Mono has revealed himself to be an entity she cannot trust, he didn't tell her either; he's been hiding it this entire time. Why didn’t he use this power to help them all the previous times they were in danger? What are his motives? What IS he? This, mixed with other factors, causes the drop. (a lot of manipulation on the part of The Nowhere is involved too imo but this isn't a Drop analysis)

Mono is crushed, he loses Six and any true feeling of empowerment that he had before. Rather than The Eye trapping him in the Signal Tower and forcibly transforming him into a resident, I think Mono actually accepts his fate because hes just. That depressed. He actually ages pretty normally for most of the sequence (except for being straight up like 12 feet tall, the podcast confirmed that Residents are just super super big as opposed to the kids being really small, bros got Resident genes) This sequence from the art book leads me to think that Mono knows what the hat entails, Mono chooses to run the Signal Tower like The Lady runs The Maw. The chair sequence is not actually him sitting in a chair for that long, I think it just represents his resignation more than anything.

BUT! Mono is an “uncommonly single minded boy,” who also has control over time, i.e. Mono Thin Man slowing down time in his chase just to fuck with you or the clock sounds in The End of The Hall. Whether you think he goes back for revenge or to stop the downfall of everything, he goes back in time. I think it's on purpose, I think every TV in the background of the first scene implies that Mono has gone back to this point in time over and over again, failing repeatedly, leaving a new TV behind and forgetting the past attempt each time.

This could all be wrong, maybe Mono is just a really badass 4th grader from the human realm who got his abilities like Six, just off screen. But one thing I love about LN is all of the different, creative and interesting interpretations of the fans. So here’s mine regarding Mono lore. Sorry this was so long and I write posts weirdly it is 4 AM. I hope you enjoyed

[literary-illuminati]

Book Review 63 – The Bruising of Qilwa by Naseem Jamnia

This was the last WFA finalist for best novella I was able to get at the library, so I will I suppose just have to accept that I am not going to have an informed opinion on the category. The book is, well – Jamnia’s only other work listed on Goodreads is “Positive Interactions with At-Risk Children: Enhancing Students' Wellbeing, Resilience, and Success”, and you can really kind of tell. Not a bad book – there really is a lot of good stuff here – but subtlety is just nonexistent. Though I suppose better a plot that telegraphs itself from a hundred miles away than one that feels like the author was coming up with it as they went.

The story takes place in a ‘free and democratic’ city state established after a successful war of independence from a struggling and unstable empire, and now a not-particularly-enthusiastic sanctuary to refugees from the rest of the empire. Firuz is one of those refugees, with the added issue of being a mostly-trained blood magic adept, the proximate reason why they and their family had to flee in the first place. Disguising the exact sort of magic they practice, they get work as an assistant healer to the one of (and soon the) only free clinics in the city, doing their bits to try and help the refugee populations through the plague ravaging the city. The meat of the plot is about their investigation of the source of a second strange disease that begins spreading among the refugee population a year after the first plague dies down – looks a lot like anemia, though the word’s never used – and how they try (and just totally fail) to balance their relationships and family against the good they do working in the clinic.

The book is just very earnest, and awkward, and trying to do altogether too many things at once for its length. Also the fantasy!Iranian refugees are called ‘Sassanians’. Which, like, come on. That’s literaly calling your fantasy!France ‘Gaul’.

The medical mystery was fun – strange diseases! Dissections and autopsies! Hiding the magic that’s the only hope you have of figuring out what’s happening! - but it was too strangled for space competing with family drama and a subplot of Firuz adapting and teaching another natural blood mage and just general ruminations to really shine. Which is to say there were exactly two named characters who could possibly be responsible, and it was almost instantly obvious which of them it was.

Which left the book needing to be carried on those interpersonal relationships and character dynamics. Which were like, fine? But every character basically had their key traits and the point of their arc announced on the page – the only character written with any real subtlety or layers was the eventually revealed villain.

The book’s very much queernorm – the protagonist is nonbinary and their kid brother is trans and spends about half the book lashing out as he struggles to cope with his dysphoria. Absolutely no one cares. The brother does get hatecrimed on account of being an ethnic minority and a refugee though, which I admit is a mindset about what bits of reality need to be softened I struggle to wrap my head around. More annoyingly (and, like, actually important at all) it is kind of disappointing that it cuts off any real worldbuilding about sexuality or gender; there are three major cultures in the book, and we go through the entire thing without learning anything much about any of their standards or expectations of femininity or masculinity. The brother’s dysphoria is portrayed as a purely physical ailment – you could replace it with some exotic variety of chronic pain and his role in the narrative would remain functionally unchanged.

Which just seems like a profoundly wasted opportunity to me – it’s fun that there’s one pronoun set that’s used exclusively to refer to the divine! But also I desperately want to know what the differences in cultural understanding between the usage of the two different neopronoun sets used to refer to random tertiary characters are, y’know? If you’re going to devote such a relatively big chunk of wordcount to this stuff then, like, dig into it.

Anyway yeah – as a debut effort, this is really very good. But I’m pretty surprised to see it on any best-of-year lists.

[princevontwix]

(warning, LOONGG late night rambling post)

ok, so you know about Yume Nikki Online? that really good online multiplayer hub hosting both the original game and a collection of fangames? i feel like that idea could apply really well to OFF and its fangames too! and i got the perfect name for it, OFFline.

i imagine it can go with a similar premise of YNO but just allow people to talk and gather around in OFF-related games. but i see a lot of potential for OFFline to include some kind of PvP-dedicated fangame, which I'll call Engage. which, with how many ideas i have for it, might be best to not make in EasyRPG.

the basic idea i have in mind is that there's a central hub where people can just chat and hang out which has three divisions:

Versus

Team Battle

Arcade, subdivided into Campaign and Endless.

what all of these modes have in common is a shopkeeper. it'll probably be better to make them an original character, but basically, for Versus and Team Battle, at the beginning of a match, you're given a set amount of credits to purchase from a list of items, weapons, and armor. for consistency's sake, i think its best that certain items are locked for certain characters only (say, no one else can use weapons and armor for Home characters), but healing and damage items are fair play for all.

whoever hosts a room will be able to dictate which select fangame they'd wish to fight in (as in, which cast of characters both users must use), OR decide that anything goes and both users are free to make the party of their dreams (its also here that they'd be free to select which battle theme plays).

Versus mode is between two players, who have full control of their own parties. while Team Battle is a 4v4, where each player will have control over their selected party member.

as for Arcade, its basically just singleplayer fun; the intent is that with the large amount of enemies and bosses from the multitude of fangames present, it will bring something different each time via randomizer. Campaign i would describe as being similar to Smash 3DS's Classic Mode, where you're given 3 branching paths with varying difficulties. the more difficult ones you beat, the more credits you earn, where you can make a pitstop before each boss to stack up (with zodiac orbs being pricier). referring to the sketch above, yellow cubes are enemy encounters, red cubes are bosses, and purple is for the end-game boss (the final boss from the og game/fangame, if applicable). i figured that every 3rd or 4th encounter being a boss will help prevent the gameplay from being monotonous beatdowns of regular enemies. you'll get choices for enemies and bosses, but there's only one endgame boss and that's random each time.

and lastly, Endless mode is just that. this time, you're given a larger supply of credits to use and once you enter the first round, there's no going back. each round will supply a minute amount of health or energy items to use, but will progressively get more difficult. my hope here is that it isn't just more enemies each round, but for it to sometimes bring fewer but beefier enemies, and maybe even a miniboss. you progress through each round by clicking on the individual cube labeled with the appropriate number. i figured like this it'd be more reasonable to fit within RPG2k3's limits but at this point it would be bloated so oh well. and of course, once you die, it ends. a public leaderboard will be on display to show the top 10 players and their scores.

now to get the obvious out of the way, online functionality with this many features would be difficult, if not impossible, to implement. as such, i would not be opposed to taking an approach similar to the UT fangame Don't Forget, where OFFline will be developed on an engine like Gamemaker and attempt to re-create RPG2k3's vibe and the individual games being hosted, along with Engage. the problem with the latter is that i think its more realistic to just let EasyRPG do all the work in porting the fangames like YNO, rather than recreate each one in a more modern engine. but at the same time, that would be the only feasible way of having any of these planned features to work without any fuckups. of course, i suppose a workaround to having multiplayer work in RPG2k3 would be to have a Parsec session or something similar, but that'd only be a solution for Versus mode at best. it would definitely not work for Team mode and might conflict with general offline.

in fact, the idea of OFFline might take some mad wizardry to even make it work, and i wouldn't be surprised if it barely works. making it in EasyRPG and using 2k3 as the basis vs. making it in a modern engine is the double-edged sword of this whole hypothetical. i'd love for something like this to happen, but i imagine it would be too much work to not only develop, but to keep the servers online for an otherwise niche fanbase. still, i cant shake away how much potential and fun this could be.

with that said, rambling is now over!