Hey, if you're just getting back into reading after a long period of depression, or psychosis, or whatever's got your brain turned to mush, don't be ashamed to start with smaller, simpler things. Don't be ashamed to read graphic novels, or fanfiction, or even children's novels. Try re-reading a book you enjoyed when you were a kid. You don't have to delve straight into academic literature or The Classics(tm) and honestly, it's okay if you never do. At least you're reading.
Building up the ability to read again takes time, and it takes effort, consistent effort. And mental illness (and sometimes, physical illness) really fucks with your ability to concentrate and retain information. But... it's a muscle you can rebuild.
You can do this. It took me months to finish my first simple book. And I'm still not where I used to be. But I've made a lot of progress, and I think you can too. Be gentle with yourself, and don't let the naysayers get you down. Whatever you're reading, as long as you're reading, is good.
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The seventy-first free, unedited chapter of my upcoming book, “The Heist at Cordia Aquarium” is now available on its website (or click here to read from the beginning).
Avery stares up at the hero. A licensee in action, costume and all: kicking down doors, saying one-liners. All to save her from... no one anymore. From anyone to begin with, if Thea is telling the truth.
In what should be a moment of relief comes an onslaught of questions. Worried questions. Spawned by her habit of blurring past one catastrophe in search of the next. Am I going to have to pay a bill or something? How much does a rescue even cost? Shit, this is my first year paying taxes. Are rescues tax-deductible?
Avery doesn't ask any of those, opting to keep them prisoner within her oxygen starved mind. She sucks in an unsteady breath. "Why did it take you so long to get here? Is the ambulance close?"
Scrypher moves her head, but barely: a centimeter up and to the right. She probably has a clock in here. "No. It's only been five minutes since you made the call and we were on-site within three; that's more than acceptable." Scrypher says, reaching a hand into the breast of her trench coat. "Medics will arrive momentarily. Before they do, could you tell me who's hiding behind that desk with you?"
[...]
Since she’s making another appearance, here’s Scrypher’s concept sheet.
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no but imagine like a whole backrooms like scenario and it's like a whole ass horror game scene- but the entity that has been following you is lonely has actually been waiting for the moment you basically 'noclipped' there. There isn't an escape because they plan on keeping you there (unlike the many others who ended up appearing on their level)
tw - imprisonment, forced codependence, obsessive behavior, mentions of death/violence, slight generalized monster fucking.
i mean, they're just as trapped as you are. they might not be exactly the same as you (no, no, they've been here far too long for that), but they can't leave either, and when they find you, lost and confused and so obviously helpless, they can't help but get a little attached - like a child might if they find a stray puppy whining in an alleyway. they do their best to appear friendly, to smile, to speak softly, but it really isn't necessary, you're as desperate for help as they are for company. it doesn't take any time at all for you to ask if you can stay with them, if you two can try to survive this dim, dark, endless hellscape together. of course, they're more than happy to let you stick around. it's not like they have many other options here, anyway.
and you're so nice to them, too, so much more understanding than the last few people they've stumbled onto. you don't blame them, or insist that there has to be a way out, or ask any questions when they ask you to stay at the little encampment they've set up to take care of... things you shouldn't have to deal with, not so early on, not when you're still so full of life and love and warmth, more warmth than they've felt in a long, long time. you're so sweet. you don't even say anything when they start to relax, when they fail to keep the light in their eyes as bright as it should be or forget which color their hair was the day before, just because they have so much more to think about now that you're by their side. you've never tried to run, but you take their warnings so well, and they've never had to explain what they mean when they tell you that they just wouldn't know what to do if you ever left them to rot here, that they just wouldn't be human any longer if you ever tried to abandon them. you can go years without seeing another person here, and there's nothing to do, nowhere to go, nothing to look forward to. they wouldn't have anything, if you ever tried to run away. there wouldn't be anything, if they had to get rid of you too. they wouldn't survive. there wouldn't be anything of them left.
but, they don't have to worry about that, right? because you're not going to run. because nothing's going to happen to you.
because they're never going to be alone again.
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actually i have more to say about 14 year old oda from this scene.
"I don't need forgiveness." The hit man's voice was close to a murmur, since his lungs were being crushed. "There is no forgiveness in this world. There is only retaliation--revenge against those who betray you."
There's just something about younger Oda's philosophies and mannerisms that... gets to me. He has a little more conviction, but. Like two pages later in Untold Stories, we get these (separate, but like, a paragraph apart).
He was young, with short hair that had a reddish tinge to it. The boy's dark-brown eyes were frighteningly vacant, void of even a fragment of emotion.
The boy looked back at Fukuzawa with lifeless eyes--not the way one would expect a boy to look at the person choking them unconscious.
This is all Oda, but does that vacantness ring any bells, anyone? What's another highly talented young boy constantly surrounded by death we know and love... oh, Dazai, of course. We're all familiar (I assume) with younger Dazai's general empty void, but I grabbed a couple lines anyway mostly because I like to pedantically prove a point. The first is pulled from Fifteen, the second from Side A of The Day I Picked Up Dazai.
His expression was back to how it normally was: lifeless and utterly disinterested.
It seems all the value standards of living reflected in his eyes are just as worthless and ugly as scrap iron.
Oda helped to put Dazai on a better path, but tonight I'm really thinking about how Dazai is a fulfillment of what Oda himself couldn't do. Oda tried to be better, he raised orphans, he stopped killing, but he never really did make it to the light. He became a mafia grunt instead of a private assassin. Its... better, arguably, but he's still on the wrong side of things. Dazai is that final push to bring someone to the light. After all, he couldn't bring the orphans to the light. At the end they were lost in the same bullshit that Oda was never able to get out of. There's no one left to fulfill that wish except Dazai at that point.
Blah, blah, Oda's last words to Dazai, moralizing, whatever, but what about this immediately after?
Whether it was past experience or someone's advice--Odasaku was trying to show Dazai the path he himself had once tried to walk. Dazai knew that.
That was why he could bring himself to believe it.
Oda's last words, last push to bring Dazai to the side of the light, wouldn't have half the impact they did if Oda himself didn't have the background he did. Oda isn't interesting, doesn't have the impact he does, because he was just some mafia grunt. He has the impact he does because he used to be so entrenched in his own view of the world as a meaningless place and started to get out. He saw a way out, even if he didn't make it. What else could Dazai do but finish what Oda started? It was never entirely about just the words. Its the history behind them, the journey both Oda and Dazai have had in trying to find meaning in the world that really makes Oda's last words have the effect they do.
I have thoughts bouncing around in my head about why this train of thought makes beast all the more tragic but that's another post for probably another day.
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*Gasp!* A romance novel acknowledged the existence of aro people!
In classic cliché fashion, the protagonist begins by saying he doesn't ever really get feelings for anybody - essentially describing an aro experience, though he's presumably allo. BUT! Instead of following the cliché by then having him meet "the right person" and finally fall in love, this author had someone immediately clock the aro vibes of that statement and directly ask the protagonist if he's aromantic! And then, instead of just perfunctorily checking the box for acknowledging aro people exist and having him say no and move on, the author has him explain that what he means by "I don't get feelings" is: "I had my heart broken and have since actively avoided developing romantic feelings at all costs" - Not: "I've never experienced romantic attraction before this one special person"
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