#interstitial flow

[bsahely]

Spiralomic Collapse: How Glyphosate Disrupts the Coherence of Life Across Scales | ChatGPT4o

[Download Full Document (PDF)] Glyphosate (N-phosphonomethylglycine), a broad-spectrum systemic herbicide introduced in the 1970s, is now the most widely applied agrochemical in the world. Initially promoted for its targeted inhibition of the shikimate pathway in plants, glyphosate has since raised widespread concern due to accumulating evidence of unintended biological consequences across…

[sabraeal]

NaNoCryMo Day 5

Excerpt:

“Don’t mention it.” The vowels were too flat and broad for Meridian, but he did not butcher the language with harsh consonants either. “Not an easy language to pick up, eh?”

“Not…not at such, no,” he replied, slightly lost. A rifle was strapped across the man’s back, and suddenly all became clear. “You’re from the Olumeyta, then?”

The man’s mouth broke into a grin as he leaned against the counter. “That I am. Name’s Juda, Juda Benoudhi. Used to be a Marshal out ‘Meyta way. ”

He stuck out a hand. Caiyur stared at his broad palm, crossed with a dozen scars and old burns, uncomprehending until he remembered the greeting he had learned at Synoris.

Caiyur clasped the man’s hand. “Banassi Caiyur Kataigidi. I recently served in Synoris.”

“Makes us as good as brother then, don’t it?” Benoudhi nodded, tipping his hat in a manner Caiyur assumed approached civility in the borderlands. “Good to meet you.”

[dduane]

Status report: In the "Adventures In Staying Housed" department...

Greetings to the Bluesky folks who've dropped by! Just to confirm what's going on:

We're hoping to sign the lease on our rented house early next this week, but we have some rental arrears that we're very much hoping to be able to deal with in the short term. Some extra cash flow in the short term would be a really big help.

With that in mind, may I possibly point you at the following SF and fantasy ebook bundles at our ebook store? All are DRM-free and come with our lifetime replacement guarantee if you lose the files or your reading device, change platforms, or whatever. (With this caveat only: due to Brexit, we can no longer sell into the UK. Our profound apologies.) And once you buy a book from us, you own it. Period.

Our store's full inventory of the revised/edited Young Wizards young adult SF/fantasy novels, and the interstitial works that go with them, is here:

All the current works in the LGBTQ-centered Middle Kingdoms adult fantasy universe are here:

And if you're feeling expansive, our entire store inventory—36 ebooks at present—is here:

Finally: if you're all ebooked up at the moment, but you'd still like to be of assistance... after some public-demand style noodging we've finally installed a Ko-Fi. If you choose to go this route, please consider yourself thanked in advance for your thoughtfulness! We very much appreciate it.

Thanks, everybody! ❤ ...And we very much look forward to enlarging your TBR pile. :)

[c1qfxugcgy0]

adventures in QA

(previous post in this series)

My shop in Advanced Midbody - Carbon Wing (AMCW) at Large Aircraft Manufacturer (LAM) is at the very end of the composite fabrication building. Hundreds of people carefully lay up a hundred foot long slab of carbon fiber, cure it, paint it, and then we totally fuck it up with out of spec holes, scrapes, primer damage, etc. The people who write up our many defects are from the Quality Assurance (QA) department.

Every single screw and rivet on a LAM aircraft can be traced back to the mechanic who installed it. Back when even everything was done in pen and pencil, it was joked that the paper used to produce an aircraft outweighed the plane itself. Now that everything is computer-based, of course, the amount of paperwork is free to grow without limit.

(Haunting the factory is endless media coverage of an emergency exit door plug popping out of an Advanced Smallbody - Upengine (ASU) plane during a routine flight a few months ago. Unlike that airframe's notorious problems with MCAS, this was a straightforward paperwork screwup by a line worker: the bolts were supposed to be tightened, and they weren't.

As a result the higher ups have visited hideous tribulations on non-salaried workers. Endless webinars, structured trainings. Here at the Widebody plant we have received a steady flow of refugees from the Narrowbody factory, hair-raising tales of receiving one hundred percent supervision from the moment they clock in to the second they clock out from FAA inspectors who can recommend actual jail time for any lapse in judgement.)

A single hydraulic bracket Installation Plan (IP) is around four brackets. The team leads generally assign two bracket IPs per mechanic, since each bracket set is something like a foot apart, and while working on the plane is bad enough it's much worse to have another mechanic in your lap.

Let me list the order of operations:

One: Find where you're supposed to install these brackets. This is harder than you might think.

Firstly, it's a hundred foot long plank of carbon fiber composite, with longitudinal stringers bonded to it to add stiffness. The stringers are pilot drilled in the trim and drill center, a truly Brobdingnagian CNC mill that trims off the composite flash at the edges and locates and drills part holes for us. But there's a lot of holes, so you must carefully find your set.

A minor difficulty is that the engineering drawings are laid out with the leading edge pointing up, while the wing panels in our cells hang from the trailing edge. Not so bad, you just rotate the paper 180 when orienteering, then rotate it back up to read the printed labels.

A major difficulty is that the drawings are from the perspective from the outside of the panel. But we work on the inside of the wing (obviously, that's where all the parts are installed) so we also flip the drawings and squint through the back of the paper, to make things line up.

Large Aircraft Manufacturer has a market cap of US$110 billion, and we're walking around the wing jig with sheets of paper rotated 180 and flipped turnways trying to find where to put brackets.

Oh well, we're paid by the hour.

Two: Match drill the aluminum brackets to the carbon fiber composite stringer. I can devote an entire post to the subtleties of drilling carbon fiber, but I can already tell that this post is going to be a miserable slog, so I will merrily skip over this step.

Three: Vacuum up all the carbon dust and aluminum swarf created during this process. This step is not optional, as your team lead will remind you, his screaming mouth clouding your safety glasses with spittle at a distance of four inches. LAM is very serious about FOD. Every jet airliner you've ever ridden in is a wet wing design-- each interstitial space is filled with Jet A. There is no fuel bladder or liner-- the fuel washes right over plane structure and wing hardware. Any dirt we leave behind will merrily float into the fuel and be sucked right into the engines, where it can cause millions in damage. No place for metal shavings!

If you are nervous about flying, avoid considering that all the hydraulic lines and engine control cables dip into a lake of a kerosene on their way from the flight deck to the important machines they command. Especially do not consider that we're paid about as much per hour as a McDonalds fry cook to install flight-critical aviation components.

Four: Neatly lay out your brackets on your cart, fight for a position at a Shared Production Workstation (SPW) (of which we have a total of four (4) for a crew of thirty (30) mechanics) and mark your IP for QA inspection as Ready To Apply Seal.

Four: Twiddle your thumbs. Similarly, we have three QA people for thirty mechanics. This is not enough QA people, as I will make enormously clear in the following steps.

Five: Continue waiting. Remember, you must not do anything until a QA person shows up and checks the box. Skipping a QA step is a “process failure” and a disciplinary offense. From the outside, you can observe the numerous QA whistleblowers and say “golly, why would a mechanic ever cut a corner and ignore QA?” Well...

Six: QA shows up. Theoretically, they could choose to pick up the mahrmax you prepared for them and gauge every single hole you've drilled. But since we're three hours into the shift and they're already twenty jobs behind, they just flick their flashlight across the panel and say “looks good" and then sprint away. Can't imagine why our planes keep falling out of the sky.

Seven: Apply the seal to the bracket. P/S 890 is a thick dark gray goop that adheres well to aluminum, carbon fiber, fabric, hair and skin. Once cured, it is completely immune to any chemical attack short of piranha solution, so if you get any on yourself you had better notice quick, otherwise it'll be with you as long as the layer of epidermis it's bonded to. LAM employees who work with fuel tank sealant very quickly get out of the habit of running their hands through their hair.

Eight: Now you wait again. Ha ha, you dumb asshole, you thought you were done with QA? No no, now you put up the job for QA inspection of how well you put the seal on the bracket. Twiddle your thumbs, but now with some urgency. The minute you took the bottle of seal out of the freezer, you started the clock on its "squeeze-out life." For this type of seal, on this job, it's 120 minutes. If QA doesn't get to you before that time expires, you remove your ticket, wipe off the seal, take another bottle out the freezer, and apply a fresh layer.

Nine: Optimistically, QA shows up in time and signs off on the seal. Well, you're 100 minutes into your 120 minute timer. Quickly, you slap the brackets onto the stringer, air hammer the sleeve bolts into position, thread nuts onto the bolts, then torque them down. Shove through the crowd and mark your IP "ready to inspect squeeze out"

Ten: Let out a long breath and relax. All the time sensitive parts are over. The criteria here is "visible and continuous" squeeze out all along the perimeter of the bracket and the fasteners. It is hard to screw this up, just glop on a wild excess of seal before installing it. If you do fail squeezeout, though, the only remedy is to take everything off, throw away the single-use distorted thread locknuts, clean everything up and try again tomorrow.

Eleven: QA approved squeeze out? Break's over, now we're in a hurry again. By now there's probably only an hour or two left in the shift, and your job now is to clean off all that squeeze out. Here's where you curse your past self for glopping on too much seal. You want to get it off ASAP because if you leave it alone or if it's too late in the shift and your manager does feel like approving overtime it'll cure to a rock hard condition overnight and you'll go through hell chipping it off the next day. You'll go through a hundred or so qtips soaked in MPK cleaning up the bracket and every surface of the panel within three feet.

Twelve: Put it up for final inspection. Put away all your tools. (The large communal toolboxes are lined with kaizen foam precisely cut out to hold each individual tool, which makes it obvious if any tool is missing. When you take a tool out, you stick a tool chit with your name and LAMID printed on it in its place. Lose a tool? Stick your head between your legs and kiss your ass goodbye, pal, because the default assumption is that a lost screwdriver is lurking in a hollow "hat" stringer, waiting to float out and damage some critical component years after the airplane is delivered.)

One tool you'll leave on your cart, however, is the pin protrusion gage. There is a minimum amount of thread that must poke outside of the permanent straight shank fastener's (Hi-Lok) nut, to indicate that the nut is fully engaged. That makes sense. But there's also a maximum protrusion. Why?

Well, it's an airplane. Ounces make pounds. An extra quarter inch of stickout across a thousand fasteners across a 30 year service life means tons of additional fuel burnt. So you can't use a fastener that's too long, because it adds weight.

On aluminum parts, it's hard to mess up. But any given composite part is laid up from many layers of carbon fiber tape. The engineers seemed to have assumed that dimensional variation would be normally distributed. But, unfortunately, we buy miles of carbon fiber at a time, and the size only very gradually changes between lots. When entire batches are several microns oversize, and you're laying up parts from fifty plies and an inch thick, you can have considerable variation of thickness on any given structural component. So you had better hope you had test fit all of your fasteners ahead of time, or else you'll be real sorry!

And, if you're really lucky, QA will show up five minutes before end of shift, pronounce everything within tolerance, then fuck off.

And that's how it takes eight hours to install eight brackets.

[ranticore]

i love you kobolds sososo much they're just. chef's kiss. they feel so distinct from so many other kind of kobold takes i've seen

is there a genetic influence to what colors kobolds get in hot vs cold phase? would it be possible for a kobold to get, like, orange hot and orange cold from either parent and look like they're not changing at all? if yes, what would that be like for them? can kobolds have pigmentation stuff like albinism, and does that effect what colors they can have?

The gradients arise from a chemical process in the underlying tissue that alters blood flow to the areas which would normally lose a lot of heat in a cold cave (the extremities - limbs, tails, etc that might contact stone). They are selectively exothermic. Areas which naturally lose less heat (such as those with more subcutaneous fat or hair) also take on the cold shade at the skin level. The colours themselves are inherited but it's not strictly "mother's colour + father's colour" or a blend between the two. Basically there's only one pigment that handles all shades, and the temperature reaction alters the pigment in different ways. The true unaltered colour of the pigment is the cold end (so it's actually more accurate to say that kobolds are facultative endotherms with exothermic evolutionary ancestors) of the gradient, this is the colour you inherit from your parents. The hot end of the gradient and interstitial shades don't seem to be inherited but may form based on life habits while young.

It is possible to have a pale hot and a pale cold gradient - the hue can shift but the value might not, and vice versa. Some gradients might be so subtle you wouldn't notice them at all. Sometimes there can be many distinct interstitial shades which might be quite different to the cold or hot end shades (Holly's gradient is red -> purple -> green -> orange -> pink -> white). Varied interstitial shades (leading to an oil-slick or rainbow effect) are considered to be less attractive in Holly's colony than a simple one shade to another shade gradient as they can end up looking a bit muddy like too many shades of paint mixed together. Holly would be considered medium ugly in his colony.

kobolds don't have melanin. A kobold who can't produce their base pigment would be sort of olm-coloured, a bit grey-translucent, but as the colours are a side effect of the underlying chemical processes, a lack of colour doesn't have any health implications. The muscles, mucous membranes, and iris all change colour too though the blood (which is red) does not.

An otherwise normal skin colour that doesn't change at all or changes in unexpected ways is an indicator of underlying conditions affecting blood flow and thermoregulation (i.e. one toe out of eight is in the hot colour phase, indicative of infection) Elderly kobolds tend to show patchy or incomplete cold areas as they struggle to thermoregulate. Kobolds with a fever will dump their cold colours rapidly over the course of a few days before slowly going back to normal in recovery, so one of the first signs of illness to look out for is the face colour (typically the largest visible hot-coloured area) starting to bleed down the neck and shoulders.

[littleeyesofpallas]

Okay okay catching up on Bleach because I was putting it off...

So the soul king has an actual name now and it's apparently Adnyeus(?*)[アドナイェウス] which at a glance I thought was some kind of weird mashup of Hebrew Adonai[אֲדֹנָי] and Latin deus as a kind of play on Yhwach's name being based on the tetragrammaton. But actually it's just the name Aidoneus[Ἀϊδωνεύς] which was an old epithet for the Greek Hades, supposedly meaning "The Unseen" which somewhat superficially fits for the Soul King as a king of the dead/underworld.

*(I have no idea where anyone is getting these romanizations I see flying around...)

It's actually not the first time the name has come up. some eagle eyed fans caught that what appears to be "ADNYEUS" was shown back in episode 6 of TYBW in Ryuuken's notes, above the illustration of the castle Silbern. And then at the end of the previous season the anime added a chant to Yhwach's Auswählen that ran:

Kakageyo Gin no Monshou, Haiiro no Sougen, Hikari ni Uzumoreta, Enkan no Michi, Menou no Gankyu, Ougon no Shita, Zugai no Sakazuki, ADNYEUS no Hitsugi. Kakageru mono wa, Omae no Shinzou: AUSWÄHLEN [掲げよ 銀の紋章 灰色の草原 光に埋もれた円環の途 瑪瑙の眼球 黄金の舌 頭蓋の盃 アドナイェウスの棺 掲げるものは お前の心臓 聖別(アウスヴェーレン)] "Raise up Crest of Silver, Ash-colored(gray) Meadow, Circular Road hidden in (the) Light, Eye(s) of Agate, Tongue of Gold, Grail* of Skull, Coffin of Adnyeus. That which is Raised up is Your Heart: Auswählen."

*notably in one of Uryuu's German chants, the Japanese word for a [杯]:"sake cup" was paired with the German word Gral:"Grail", and [盃] and [杯] are alternate kanji for the same word. At the most literal the chant in Japanese just uses the word for "sake cup" like the one he uses for the schrift eucharist, but I feel like the more implicitly western imagery evoked by "skull Grail" or maybe "...chalice" is more in line with the ongoing aesthetic of Quincy spells

I'm not actually in a position to go doing a real deep dive on this but it does seem like at a glance there are associations with that alternate title with a specific incongruous variation of the god of the underworld--that is to say: characterizations of him under this epithets are not consistent with other more common interpretstions-- where he's actually got a lot of strong sun iconography. This of course maps almost perfectly with a bunch of stuff I've ranted on about a few different times in my Bleach ramblings.

Incidentally it is also the scientific namesake of the Papilio aidoneus... a black butterfly... In the first place Bleach's hell-butterflies were already a play on the real world association of butterflies and death, often either as psychopomps or themselves the souls of the dead. That they tie back in to the Soul King himself isn't too big a stretch.

As for this "triplet world" thing... We were already told that Hueco Mundo isn't actually it's own formal realm, it's the interstitial realm that just naturally exists in the space between one world and the next. So it kinda annoys me that this feels like it's really only being acknowledged because after the fact it's just where a big chunk of Bleach's plot happened, rather than actually being cosmologically on par with the other two.

Anyway the translations going around I notice are a little sloppy, mostly in that a few are clearly just machine translated and so ignored the use of Bleach specific terminology, like "reishi" and "kishi" so here's my quick breakdown of it (thank god it's short...)

原初の海から分かたれた尸魂界,現世, 虚圏の三つの世界。 The Three Worlds of Soul Society, This (the mortal) World, Hueco Mundo divided* from the Sea of Origin. 遍く魂魄の流れを司る礎であり, かつ世界の楔たる存在によって, The universal flow of spirits is the foundation to control, as well as the lynchpin of the world which is due to existence, 霊子の世界,器子の世界,砂の楽土の三世界が分離され, the Three Worlds of The World of Reishi, The World of Kishi, The Paradise of Sand are detached*, 『生』と『死』が隔てられた。 "Life" and "Death" were isolated*.

*so interestingly all three of these different words could be translated into english as "separated" but seem to be fairly distinct contextual differences: the first means like cutting one big thing up into smaller things the "A came from B" dynamic being the focus, the second means to be separated out almost like being categorized, and the third is to be isolated or alienated.

So first it's saying the three worlds came from one sea of origin, and that the flow of spirits between those three worlds is the key to existence being what it is, which is to say three distinct realms where death and life are these things that can never coexist. All of which is stuff we really already knew.

Also we're supposed to have just completely forgotten about Hell since it's not the current plot line, I guess? If anything the Three Worlds should be Soul Society, the Material World, and Hell, with Hueco Mundo as the interstitial void/aether, like it was originally defined as. That would at least map more sensibly onto the buddhist 3 realms of

Form(Humans & animals: those bound by their physicality)

Formless(Deva & Asura: those who exist in a hightened mental/spiritual state)

Desire(Preta & those in Hell: those defined by their strong need for what they lack)

Maybe that only real point of interest is the reference to Hueco Mundo as suna no rakudo[砂の楽土], a "paradise of sand." In this voice I think the idea is that if life and death being separate realms is a bad thing that Yhwach seeks to rectify, then by being an inbetween realm, Hueco Mundo is a paradise, because it's a place of neither life nor death? But if it is a place of rest and comfort then I wonder if that doesn't validate my thoughts on the Vastolorde being the natural path of development for a soul in reincarnation afterall?

That aside, this mostly just lines up with existing Buddhist/Hindu parallels that were always pretty obviously implied but not so directly touched on. Once again things I've babbled about in some form or another already... I'm not about to go digging them all up right now.

[matthew2641]

A Baptism in Blood: The Nihilistic Purification of Hannibal

The notion of forgiveness, as expounded through the discourses of theological and moral philosophy, is a sacrosanct act of severance  - an ontological renewal through which individuals extricate themselves from past transgressions and recalibrate their moral and spiritual equilibrium. In the Christian paradigm, absolution is more than a juridical reprieve; it is an act of divine purgation, not merely pardoning sin but obliterating it, restoring innocence and severing its corrupting power. However, in Hannibal, this notion is deliberately perverted: forgiveness is not a liberation but an instrument of subjugation. Here, absolution transforms into an ouroboric rite - a macabre liturgy in which supplicants become ensnared within a necrotic lattice of control, culpability, and annihilation.

One aspect in which this perversion manifests is within the series’s rich visual and symbolic motifs. The sumptuous meals that Hannibal prepares are more than just indulgences of the flesh; they are sacraments suffused with an unholy grandeur. Such lavish repasts exist as malevolent doppelgängers of the Christian tradition of the Eucharist, meant to symbolise transubstantiation of Christ’s flesh into a vehicle of grace, Hannibal’s consumption by contrast, is a damnation - devouring rather than sanctifying, his victims desecrated in an unctuous theatre of aestheticised predation. Moreover, the recurring image of water furthers this inversion. Initially invoking the cleansing imagery of baptismal purification, water is rendered an agent of chaos. No cleansing flows from its depths, only a primal abyss, harkening back to the amniotic void. The act of submerging oneself in water, often shown as violent or disturbing, mutates into a harbinger of failed renewal. In this universe, salvation is not a promise of true spiritual redemption, but a bitter mirage that remains forever out of reach.

Nowhere is this corruption more evident than in the complex dynamics between Hannibal Lecter, Will Graham, and Abigail Hobbs. These relationships transcend simple character interplay, becoming a dialectical struggle for domination - a form of esoteric communication in which forgiveness is neither beatific nor emancipatory, only a talisman of domination. Love, by extension, is not an unblemished vessel of tenderness; rather, a festering wound aching with ruinous yearning. Encumbered by self-interest, mutual defilement, and the inexorable erosion of the self.

Will and Hannibal, though seemingly poised at opposite ends of the moral spectrum, perceive Abigail not as an autonomous individual but as a conceptual artifact. She is a spectral effigy of lost purity - an ersatz daughter for Will, and for Hannibal, a revenant for his beloved Mischa - a fulcrum upon which their competing theological visions pivot. The visual syntax of the series accentuates the dissonant and impossible nature of her position - she is placed in spaces of tension, at the margins of the frame or physically estranged from the protagonists, yet never truly outside of their gravitational pull. In this way, her existence is marked by the temporal stasis of purgatory: a suspended, interstitial space where she remains forever on the cusp of identity, never wholly belonging to either father figure, and yet, inextricably tied to both. 

Christian eschatology heralds forgiveness as a conduit through which the soul is restored to its Edenic purity. Yet, Abigail is a soul exiled from such simplistic dualities, contesting this purity model. Neither wholly victim nor unrepentant perpetrator, she is caught between the inherited monstrosity of her father and conscious agency. Through an awareness of this fact, she seeks not purification, but survival. Will seeks to absolve her in Potage (S1E3), reflecting the previously outlined transactional view of absolution: “You’re not your father. You’re not the monster he wanted you to become.” Here, Will assumes the role of a Christ-like redeemer, his forgiveness appearing as a salvific benediction meant to deliver her from the taint of her father’s sins. However, this is a forgiveness steeped in self-deception, for Will, pardoning Abigail is not a divine absolution but a desperate invocation of lost agency, an illusory salve for his own complicity in the horrors that have shaped her existence. His forgiveness does not cleanse - it merely recontextualizes, a futile endeavour attempting to transmute guilt into grace. This aligns with Freud’s concept of repetition compulsion, wherein trauma is unconsciously reenacted in a doomed effort to master it. Will is no benevolent saviour; but a man entrapped in the recursive architecture of his own psyche, seeking in Abigail the scaffold upon which to reconstruct his fragmented self. Abigail, like Will, remains trapped in the moral ambiguity of her actions - a state of perpetual suspension denied both salvation and damnation. Will’s ultimate descent into annihilation, culminating in his sanguinary embrace with Hannibal in The Wrath of the Lamb (S3E13), is the apotheosis of this compulsion. His self-immolation is far from an act of transcendence, but an ecstatic obliteration -  an offering of the self upon the altar of a love too corrosive to sustain anything but devastation. By embracing Hannibal and consummating his surrender to the abyss Will conflates destruction with agency.

Hannibal, in contrast, reframes Abigail’s trauma as an inheritance, her father’s sins are not burdens to be expunged, but rather emblems of a greater power. In Potage, he tells her, “You accepted who he was. You will always have that over Will. You already knew your father. He had to wonder.” Rather than offering liberation, Hannibal reshapes Abigail’s identity through his forgiveness, binding her to him, not as an act of grace but of possession. Unlike Will, who seeks to absolve Abigail of her past, Hannibal weaponizes it, turning it into the foundation for her rebirth under his guidance. In this respect Abigail, too, finds herself in the circuitry of repetition compulsion. Having been raised in a world where survival meant complicity, she may have found Hannibal's tutelage familiar. In helping stage her own death, she attempts to reclaim agency, denouncing emancipation in favour of continuity through submission to a structure she understands and now believes has the means to navigate, a fatalistic embrace of the cycle. Abigail’s transformation from victim to willing participant in Hannibal’s world marks her final, tragic rejection of Will’s version of redemption. She no longer seeks forgiveness in the traditional sense; she seeks something more elusive - her own place in a world devoid of clear moral absolutes.

Hannibal, however, is no supplicant. He does not yearn for forgiveness as a means of redemption; he demands it as an enthronement. His lament to Will, “I let you know me. See me. I gave you a rare gift, but you didn’t want it,” is not merely an elegy of rejection but an indictment of disobedience. For Hannibal’s desire is not purification but acceptance, and thus his transgressions are not aberrations but testaments to his divinity, earning exaltment. In this way, he is not simply a perversion of the Christ figure - he is a parodic Messiah, a devouring wolf clothed in the sheep's vestments. For Hannibal, forgiveness is not an act of grace but a mechanism of consumption: to forgive him is to surrender, to relinquish oneself utterly. Will, though a long faltering disciple, eventually succumbs to the ecstatic inevitability of this theology in Mizumono (S2E13). During which he allows himself to be gored in a "strange surrender," as Bryan Fuller describes it: "He allows the gutting. He almost feels as if he deserves it in light of what he’s done; he’s betrayed Hannibal." An oblation offered in penance for his own betrayal. This is not a fault in his forgiveness, but its consummation: an eschatological revelation in which he does not simply forgive Hannibal, but surrenders to the all-consuming sanctity of his doctrine.

Abigail’s final moments in Mizumono serve as the ultimate repudiation of Christian forgiveness. Her resurrection, a grotesque parody of divine rebirth, is devoid of redemptive meaning. She is not restored to life in a triumphant sense but merely to become a pawn in Hannibal’s grand tragedy. When Hannibal slits Abigail’s throat, it is not an act of wrath but the fulfilment of his twisted liturgy. He "saved" Abigail, in the sense that he let her live under his wing, but her existence was always contingent upon his will and in failing to become his ideal, she is excised with the same clinical elegance with which she was preserved. In Christian doctrine, failing to receive divine forgiveness results in eternal separation from God. Hannibal, as an almost godlike figure in his own narrative, enacts this separation with brutal finality. This slaughter consolidates the theological schema Hannibal wishes to impose upon his world, that there is no celestial amnesty as we understand it, no boundless agape through which the fallen may be redeemed - there is merely possession and excision. The very method of Abigail’s undoing, the languid incision across her throat, mimics the Christian iconography of the Paschal lamb, a sacrificial archetype of innocence. Though, unlike the sanctified oblation of Christ, Abigail is stripped of volition and thus redemptive teleology; not martyred but discarded, reduced to an ornamental casualty in Hannibal’s cathedral of ruin. As her body was cradled against the cavernous dark of her surroundings, the composition recalls the Pietà, yet absent of its sublimity. This is not the Madonna lamenting the body of a crucified Son, but a predatory deity relinquishing his broken creation with preordained savagery. Then, as the desecration is completed, Hannibal steps into the storm, allowing for the rain to baptise him in an additional blasphemous mimicry of penitential ablution. But this is no true purification, no soul is made luminous beneath the torrential downpour, it simply erases. A nihilistic effacement washing away all false pretences that both Will and Hannibal had married themselves to - that Abigail might yet be redeemed, that Hannibal might be anything but consuming. 

In the wake of Abigail’s death, Will is left to contend with the futility of his forgiveness. His attempts to redeem her, to offer absolution were rendered impotent. Abigail had not only failed in being liberated but had the tragedy of her existence prolonged. Such profound inevitability led Will to become more amenable to Hannibal’s version of forgiveness, and ultimately submit himself to it fully. In the grand design of Hannibal, forgiveness does not sever the shackles of guilt - it tightens them, binding its recipients in the recursive waltz of moral contamination. In this exquisite distortion of Christian sacrament, lies the surest route of destruction.

[yrfemmehusband]

Female reproductive health terms you should know!

(terfs not welcome)

Dysmenorrhea: Period pain that isn't normal, i.e. any pain more than Mild cramping.

Dyspareunia: painful intercourse

Oligomenorrhea: lighter, shorter menstrual flow.

Menorrhagia: heavier, longer menstrual flow.

Ovarian cysts: a mass on or in one's ovary, can be resolved on its own, or can remain and cause complications such as a rupture.

Polycystic ovary syndrome: a chronic condition causing cysts to reoccur on the ovaries and enlarging them. Symptoms include:

Irregular periods

hormonal imbalance

facial hair

weight gain

painful periods/ ovulation

infertility

People with PCOS are at higher risk for endometrial cancer, type II diabetes heart problems and high blood pressure.

Endometriosis: A chronic condition in which a tissue similar to, but different than, the endometrial lining grows outside of the uterus instead of inside. During menstruation this tissue sheds and has nowhere to go, thus irritating surrounding organs.

Symptoms include:

Irregular periods

Dysmenorrhea

Widespread pain

Painful ovulation

Vomiting, fainting, chills, sweating, fever and brain fog during menstruation

Infertility

Severe bloating

This also puts people at a higher risk for endometrial and ovarian cancer. There are four stages to Endo as it is a progressive disease, with 3/4 being more severe. The average time it takes to be diagnosed is 7 years.

Adenomyosis: A chronic disease similar and comorbid to endometriosis in which a tissue similar to the endometrial lining grows inside of the uterine wall. Symptoms are nearly identical to endometriosis but more difficult to detect.

Many people are diagnosed post menopause, by fault of the medical system, but it can and does develop much before then.

Ovarian cancer: cancer of the ovary(ies).

Endometrial cancer: cancer of the endometrium, the inner lining of the uterus.

Endometrial cyst, or chocolate cyst: cystic lesions from endometriosis.

Tilted uterus: the uterus is positioned pointing towards the back or severely to the front of the pelvis instead of a slight tilt towards at the cervix. Can cause painful sex and periods.

Pelvic floor dysfunction: inability to control your pelvic muscles. Comorbid with many things and is highly comorbid with endometriosis. Can cause pain and incontinence.

Vulvodynia: chronic and unexplained pain at the opening of the vagina.

Interstitial cystitis: a chronic condition where inflammation forms on the inside of the bladder and urinary tract and cause symptoms similar to that of a UTI.

Pre-eclampsia: a condition occurring in pregnancy where the blood supply between the fetus and the pregnant person is affected and can cause irregular blood pressure, swelling, and in more severe cases headache, nausea and vomiting, a burning sensation behind the sternum, shortness of breath and potentially death if untreated.

Endometritis: an infection or irritation of the uterine lining. Is not the same as endometriosis and is treatable but can cause pain, bleeding, swelling, general discomfort and fever, and more.

Pelvic inflammatory disease: an infection of the reproductive organs

Ectopic pregnancy: a pregnancy that is attached to the outside of the uterus. Can be fatal if left untreated.

There are many more I could probably add but if you see something missing, please add it!

[lyssophobiaa]

Quick sketch for Piers’ bionic arm.

Design Features

•Aesthetics: Streamlined, ergonomic design with a minimalist look, often featuring a matte or metallic finish.

•Materials: Lightweight composites like carbon fiber and titanium, providing durability without sacrificing mobility.

•Color Options: Customizable colors or finishes, including options for skin-like textures or futuristic metallics.

Technology

•Actuation: Advanced motors and actuators that enable precise, fluid movement mimicking natural limb motion.

•Sensors: Integrated sensors (e.g., myoelectric sensors) to detect muscle signals for intuitive control and movement.

•Feedback Systems: Haptic feedback mechanisms to provide users with sensory information about grip strength and object texture.

Safety and Durability

•Water and Dust Resistance: High IP ratings to protect against environmental factors.

•Emergency Features: Manual override systems or fail-safes in case of technology malfunction.

Advanced Technological Interface

•Integrated Biosensors: Built-in biosensors that can analyze blood or interstitial fluid samples to measure viral load in real time.

•Data Analytics: Utilizes algorithms to process biosensor data, providing insights on viral dynamics and trends.

•Alerts and Notifications: Real-time alerts sent to the user or healthcare provider when viral load exceeds predetermined thresholds.

•Communication System: Integrated with a communicator on the wrist, the arm serves as a reliable device for maintaining contact with his team. This system includes encrypted channels for secure communication during high-stakes operations.

•Objective Management Display: The arm features a holographic display that provides a detailed version of the communicator’s data, allowing Piers to view mission objectives and tactical data in real-time. This feature minimizes the need for external devices and keeps critical information accessible.

Augmented Reality (AR) Compatibility

•Enhanced Visualization: The arm’s display projects augmented reality overlays, allowing Piers to see additional information, such as enemy positions, weapon stats, or tactical directions, directly in his line of sight.

•Environmental Scanning: The arm can analyze the surroundings for potential threats, detect biological or chemical hazards, and provide alerts for safer navigation through hostile environments.

Electricity Conduction and Control

•Energy Conduit Design: The bionic arm acts as a conductor for the constant electrical energy generated by Piers’ mutation. It includes specialized channels and circuits designed to manage this energy flow, allowing Piers to use his mutation’s electrical pulse without it spiraling out of control.

•Dielectric Structures: The arm’s design incorporates materials that mimic the dielectric properties of his mutated tissue, particularly in the finger joints and bones. These dielectric components help regulate and contain the high voltage his body produces, diffusing excess energy safely throughout the arm.

•Controlled Release Mechanism: To avoid overload, the arm features a controlled release system that allows Piers to release pulses of energy strategically, whether in combat or to alleviate the internal buildup. This system prevents the arm from overheating or sustaining damage from prolonged electrical activity.

Containment and Compression of the Mutation

•Compression Framework: The prosthetic was specially designed by UMBRELLA engineers to act as a containment “net” around his mutation. It includes a flexible, reinforced framework that compresses the mutated tissue, keeping it in check and preventing further growth or erratic shifts in form.

•Adaptive Pressure System: As the mutation strains against the arm, sensors detect any changes in size or energy output, triggering adaptive responses. The arm tightens or loosens as necessary to hold the mutation back, functioning almost like a high-tech brace that adjusts in real-time to maintain Piers’ arm in a stable form.

•Automatic Safety Lock: In the event of a significant spike in mutation activity or electrical output, the arm engages an emergency lock to keep the mutation from expanding. This feature is a safeguard against sudden bursts of energy that could cause the arm to revert to its mutated state.

Dependency and Risks of Removal

•Rapid Mutation Onset: Without the prosthetic in place, Piers’ arm begins to mutate almost immediately, returning to its original, unstable form. The electrical pulse that his body generates becomes unrestrained, emitting a continuous, breath-like rhythm that is both painful and dangerous, with energy leaking through protruding bones and exposed tissue.

•Uncontrollable Pulse: When uncontained, the electrical pulse from his mutation surges in intensity, lacking any natural “closure” or stopping point. This pulse causes rapid fluctuations in his vital signs and risks systemic overload, leading to loss of control over his mutation and putting him at severe physical risk.

Miscellaneous Details

•The arm has a unique serial code engraved on an inner plate, serving as an identifier for UMBRELLA technicians. This code also links to Piers’ personal health records, mutation data, and arm specifications for quick access during maintenance or in emergencies.

•Due to the intense electrical pulses generated by his mutation, the arm is equipped with an internal cooling system. Micro-fans and heat-dissipating channels prevent overheating during extended use, keeping the arm at a safe, comfortable temperature. If the arm overheats, an internal alarm alerts Piers to prevent any potential damage.

•The outer layer is treated with a UV-resistant coating to protect it from environmental damage and exposure. This ensures that prolonged exposure to sunlight or harsh conditions doesn’t wear down the arm’s exterior, making it more durable in diverse climates and situations.

•Designed for various operational environments, the arm is fully waterproof and corrosion-resistant. It functions normally underwater, which is crucial for aquatic missions or when exposed to rain, mud, or corrosive substances.

•The holographic display can be customized to show additional details, such as weather, GPS navigation, or tactical maps. Piers can also set personal preferences, like color schemes or alert tones, for a more intuitive user experience. This flexibility lets him prioritize the information he finds most critical during missions.

•The communicator has an onboard language translator, enabling Piers to communicate with individuals across different languages. The arm’s display shows translated text, and a subtle earpiece can even relay audio translations, making it easier for him to gather intel and negotiate in multilingual environments.

[stupidsexymecha]

RKF Calendula

A signature of the Order Xenoglossia’s Stygos Grammaton, the Royal Karrakin Foundries Calendula is derived from the Minotaur pattern group first released by HORUS. Oddly, it is unclear from temporal markers whether the codebase used to create the Calendula was created separately, before contact with Union, despite being nearly identical to the Minotaur codebase. The Calendula uses the internal spatial manipulation abilities of the Minotaur and inverts them, allowing experienced pilots of the mech to cut into a ‘non-space’ widely regarded by Union theorists to be the Aunic Firmament. In this grey and bleak interstitial zone, matter appears as a flowing fog, and is just as easily parted.

[andmaybegayer]

Last Monday of the Week 2024-09-02

Do you rember. Wen day is dark, sember.

Listening: @cyelatm released a new album Habit Prism that I've been listening to in bits and pieces. Even, rhythmic folk, good music to have on when you have people around.

In that vein, Bandcamp Friday this coming Friday! Make your lists!

Watching: Watched The Raid which I've had kicking around for a bit. Do you want to watch guys punch each other all over for like 15 minutes at a time for an hour? No? Get better taste in movies and then watch guys punch each other all over for like 15 minutes at a time for an hour.

The Raid is so obviously made for like two dollars, there's one building, every single gun and piece of armour is airsoft gear, the camera is visibly some mid-tier hardware that suffers from severe rolling shutter, and it kicks so much ass.

There's some really interesting things happening with camera movement in this movie. Really really complicated multi-axis camera moves, the same shot will take like six different dutch angles in a single move, or will lock on to different objects and follow them, it's great for martial arts but it's also used to pretty good effect in some interstitial scenes.

The culminating fight with Mad Dog is so wild, literally just three guys in an empty concrete cube fighting for a solid ten or twelve minutes and it works! Does not seem possible. They actively remove almost every prop from the room so it's just guys hitting each other but they keep doing incredible stunts.

It's funny looking at the gifsets on here because they're unreadable, everything happens so fast and requires so much context that is only delivered in the full flow of the movie. My favourite part is when he said "It's Raiding Time" and raided all over those guys.

Reading: Finally sat down and got through the Phalanx's Twilight, Legion's Triumph series on acoup.

Sections IVa-c mostly slid off my brain because it's a bunch of wars I don't know enough about to contextualize but it's mostly justification for what's explained in parts I-III which were great, and it's an interesting look at how the political and military structures of Rome interwove to improve the effectiveness of the Legion.

Also reading Skin Horse, which I started ages ago but never got very far, I think because I started a job around that time and lost track of it. Sticking webcomic tabs on my little ARM tablet is really convenient, I've jammed Out Of Placers and Laika's Comet in there as well, it's been a while since I did a big archive dive on a comic.

Skin Horse is very much of its time, not really in sensibility but just in content. The nerds are characterized by liking Harry Potter.

Making: Resolved the power delivery issues that were causing me to have mysterious failures with the LED driver. That was annoying. Anyway remember to split your power supply when you could potentially pull like 10A@5V to drive LED's.

Playing: Tactical Breach Wizards campaign is ongoing, as you get deeper into the campaign your team expands which dramatically complicates operations, your possible actions explode, and I'm not even halfway through.

Dall was my newest operator at time of writing and she's probably the hardest to use, she can deal a lot of damage but relies more so than anyone else on good positioning, it's really easy to end up way out of place and waste her moves, and she's too heavy to shunt around with Jen's storm attacks the way you can with the others.

Speaking of those, I really like how the short turns and deterministic actions mean you can get really into the weeds. The first time I used a gale grenade to shunt Zan over one extra block to line him up I assumed this would be a sometimes food but you really find yourself doing stuff like that all the time.

I'm heading back and picking through some of the challenge missions concurrently with playing partially to stretch out overall gameplay and partially because I think having fewer abilities unlocked will make those more interesting.

Tools and Equipment: You know, I think we know each other pretty well, I can put this here. The Doxy USB-C Wand is a safe and legal thrill.

[liminalmemories21]

Hi lim! 33, 34, 35 please and thank you!

Thank you!

33. What was your biggest writing struggle this year?

I had two big struggles this year. One was with the S4 Interstitials and finding a character grounded way to integrate some of the S4 plot with what we already knew of the characters - and then with giving a voice to Carlos's relationship with his family, especially with his sisters.

The second was finding the emotional center of Knave 3, and then finding the narrative flow of the story so that the first half and the second half didn't feel disjointed and like they were actually two different stories smooshed together inelegantly. I think part of my problem was I went into the story with a definite idea of what I wanted to do with it, rather than letting the story itself guide me.

34. What's the weirdest thing you researched for a fic?

Listen, I looked up so much stuff about Austin this year that google thinks I'm moving there. I have looked up city zoning maps, and the drainage basin of the Colorado river, and the geography of the greater Austin area to figure out where the Reyes ranch might possible be located.

I've also done a lot of googling of 'where is this famous painting actually located' so I can send TK to the right cities in Knave-verse, and I have perused the online Met archives for hours to figure out what art TK would have grown up seeing in New York.

35. What words of advice do you have for yourself and other writers?

For myself - Don't make an argument in advance of my conclusion. Which is to say, figure out what the story is about after I've written the draft and edit accordingly, don't try and shove a story into a predetermined frame.

For other writers - Don't be afraid to put words down on the page. They don't have to be perfect - you can always edit - you just need to get them down. You might delete all of them, you might edit them beyond recognition - but once they're on the page it's something you can work with. My first drafts look nothing like my final drafts, but I can't get to a final draft until I have a first draft.

Fanfic Writer End of Year Ask Game

[melorasmushrooms]

The pacing on D20 has improved so much. I don’t mind rewatching the early seasons but there is so. Much. Dead. Air. In the earlier seasons. They’ve also gotten a lot better about editing down the cross talk - which can be a lot to hear when you’re trying to focus on the story. The interstitial music is also better timed I feel like, it’s over all a lot more polished now that there’s more going into production that makes it feel a lot snappier and like it flows better

[dduane]

Status report: In the "Adventures in Staying Housed" dep't...

Greetings to the Bluesky folks who've dropped by! Just to confirm what's going on:

We're hoping to sign the lease on our rented house in a couple/few days (as soon as the dust from the St. Patrick's Day bank holiday has settled), but despite best efforts, we've got some rental arrears that we're very much hoping to be able to deal with in the short term, to make sure the signing happens. Some extra cash flow in the short term would therefore be a really big help.

With that in mind, may I possibly point you at the following SF and fantasy ebook bundles at our ebook store? All are DRM-free and come with our lifetime replacement guarantee if you lose the files or your reading device, change platforms, or whatever. (With this caveat only: due to Brexit, we can no longer sell into the UK. Our profound apologies.) And once you buy a book from us, you own it. Period.

Our store's full inventory of the revised/edited Young Wizards young adult SF/fantasy novels, and the interstitial works that go with them, is here:

All the current works in the LGBTQ-centered Middle Kingdoms adult fantasy universe are here:

And should you be feeling expansive, the bundle containing our entire store inventory—36 ebooks at present—is here:

...Finally: if you're all ebooked up at the moment, but you'd still like to be of assistance... after some public-demand style noodging, we've finally installed a Ko-Fi. If you choose to go this route, please consider yourself thanked in advance for your thoughtfulness! We very much appreciate it.

Thanks so much, everybody! ❤ ...And we very much look forward to enlarging your TBR pile.

(And our deepest thanks, also, to those who've already become involved in this effort, one way or the other. We're thinking of you with constant and amazed affection.)

[everygame]

Space Invaders Part II

Developed/Published by: Taito Released: 7/1979 Completed: 04/06/2024 Completion: Able to polish off three waves counting shots. I could do better.

Not exactly by design but I’ll admit the last few weeks of Every Game I’ve Finished have been like “you should really buy exp. 2601 for context” and this week is even worse, because my article on Space Invaders there is such a banger.

However, in precis, I look at Space Invaders like Bishop looks at the Alien: I admire its purity.

I mean, there really is nothing like it. The heartbeat. The clean, immediate, graphics. You not simply against the machine, but your own ability to count shots to ensure you get the highest score. That beautiful Pepper’s Ghost.

Space Invaders Part II, which Tomohiro Nishikado pitched by writing “Space Invaders” on a big whiteboard and then adding an Y with two lines through it (this caused a lot of confusion in the office because the symbol for yen in Japan is generally 円 not￥and no one thought “Space Invadersy” was a good name) is therefore in an awkward position. Change too much, and the intense and specific flow is gone. Don’t change enough and it’s not really anything.

Of course, you have to remember the context of 1979. Everyone is still Space Invaders mad, and really all you need to do is offer people enough novelty to keep them playing. To this end, Space Invaders II offers a few things. Most simply, it allows people to actually log decent high-scores with their initials, making in the version for glory hunters, and adds some little interstitials which interestingly prefigure those that would be seen in Pac-Man not too soon after. In terms of play, however, the main changes are that there are now Space Invaders that split into two when shot, meaning that the formation can now have gaps (gasp!). Interestingly, this doesn’t happen until the fourth wave in the Japanese original, but for the US Midway release, titled Space Invaders Deluxe (guess they didn’t think it was different enough to deserve that II) you actually get to see this happen from the second wave onwards. And UFOs are slightly different: you can still count shots to ensure you get 300 points, but some of them blink on and off and can only be shot when visible, which weirdly gets you a flat 200 points in Deluxe but 500 in Part II.

And that’s not all! For the truly dedicated, you now get a 500 point bonus for the last Space Invader you kill if it was one of the octopus ones (the lowest two rows) and a 1000 point bonus if it’s the very bottom left one, requiring some creative shots (I certainly haven’t managed it.) Oh, and UFOs can sometimes drop new invaders into the formation, ruining everything!

It sounds like a lot, and it does actually significantly increase the mental load compared to the original, but in particular if you’re playing the Japanese original you’re going to have to be extremely good at Space Invaders to really notice most of it.

Which, to be honest, I don’t mind. If you’re used to playing Space Invaders, you slip into this like a warm bath, and for Pepper’s Ghost fanatics, the machine has an even more beautiful backdrop, where you’re now defending a wee moon base, your bases fitting perfectly on top. I mean for that alone I’m tempted to rate this higher than the original.

This really does manage to ride the line of being different enough, but not too different; it feels like exactly what it was intended to be: the version you upgrade to once you feel like you’ve mastered the original. 

Will I ever play it again? Whenever I see a Space Invaders machine, be it the original or Part II, I’m gonna play it.

Final Thought: Speaking of: I took a trip down to the Rochester Museum of Play to see their new video game focused expansion and sitting in the middle of their Video Game Hall of Fame, was an original Space Invaders cabinet. It was superb and practically worth the trip on it’s own. In fact, it made me fall in love with the “real” experience that after googling around I discovered that desktop toy maker MyArcade makes a tiny desktop arcade Space Invaders that marvellously uses the real pepper’s ghost technique for the screen, and I was so excited to pick it up for it’s honestly quite reasonable price until I found out that it doesn’t feature the 23-15 UFO shot timing, rendering it sort of pointless. Admittedly there’s also the Numskull quarter arcades Space Invaders if you’re absolutely determined for “the real thing, only smaller” but comes in at an eye watering $340 and I literally cannot imagine using those ridiculous wee controls. I guess I’m stuck driving to Rochester. Could be worse I suppose, I love a garbage plate!

Support Every Game I’ve Finished on ko-fi! You can pick up digital copies of exp., a zine featuring all-exclusive writing at my shop, or join as a supporter at just $1 a month and get articles like this a week early.

[karliahs]

For the fic writers ask game, 17 and 18!! :D

17. talk about your writing and editing process

ohh boy! my initial writing process is to clatter as many words onto the page as i can without overthinking it too much. which depending on how much stuff i have stored up in my head, often ends up meaning writing kind of in notes form - often just the dialogue itself with no or very little of the interstitial stuff.

hunted through my drafts and here is an example:

early drafts may also be full of square brackets of things that need to go there - [concluding dialogue] etc - or just empty square brackets to mark a place where i know some kind of descriptor will need to go between dialogue

i don't always write scenes in order, e.g. several of the scenes in unwanted that are chronologically last were written first, which definitely creates more work for myself in the long run trying to make sure things flow right and make sense but sometimes you've just gotta go for the part you're most excited about

then i go through and turn the notes into real prose, fill in all the stuff that needs to happen around the dialogue

and then i edit...obsessively. there are definitely exceptions where i've thrown things up after only a few readthroughs, but unwanted for example...i think i did editing passes on sections of that upwards of 20 times? when something is in progress i'll often get myself back into the flow by rereading & editing the parts that are already written, so whatever was written first might get an insane number of readthroughs before it all gets done

a big part of early editing is syntax and punctuation - we all joke about semicolon addictions but truly first draft me is always like. every sentence is connected to every other sentence. gotta have 4000 colons, semicolons, dashes. and i don't want to dedicate brain space to reining that in when i'm trying to get ideas out so it gets fixed (...mostly) later

i read through and look for places where sentences snag, where it doesn't quite flow right, and try to fix it. this often means waiting a day or so so i can actually notice that stuff again. i look for words that are being repeated too much (catch first draft me putting some variation of gentle/gently 4 times in the same paragraph)

i spend a lot of time looking at the stuff around dialogue. the actual words said by characters come to me pretty vividly and usually don't need that much work, but when i read through a scene i'm always looking at whether there needs to be more or less descriptors filled in around the dialogue, whether it needs to be sped up by taking some out or slowed down by putting more in.

i go through trimming off dialogue tags when they aren't needed (my old work has...infinitely too many dialogue tags imo), looking for cleverer/neater ways of indicating who is talking. thinking about whether i need to describe how a character says something or if the words said work fine on their own, and looking for repetition in how people are described talking (again first draft me is like. you've gotta indicate they are talking softly! everyone all the time is talking so so softly), and in the descriptions in general.

that kind of line-by-line editing is what i spend most of my time on. because my works are relatively short, i don't need to do as much big structure stuff - though for some fics i fuss with the order of scenes a lot, like unwanted again: i changed the order of the dream sequences and shiho scenes a lot.

then a certain amount of editing for thematic coherency/making sure things come to a conclusion that feels right to me. often i'll spend a lot of time fussing with the last scenes to try and make sure that the resolution feels decisive enough to be satisfying but not like everything is 100% fixed forever, because i'm usually writing people having big emotional things that can't be fixed without like 100k words and a bunch of therapy. it's a balance.

ahhh this got so long but man. editing. it's so so much work. it's the only reason anything i write is any good. it's really exciting when i can feel myself getting better at it. i could talk about it forever probably

18. if you keep them, share a deleted sentence or paragraph from a published fic

i'm trying to get better about keeping this stuff because it is really fun to look back on!

i had a doc full of offcuts from dead man's hand, because i pretty much let that conversation wander wherever it wanted to go while drafting and then wrestled it into some kind of coherency later, so here's a section of unused dialogue from there: